Sound of Malaysia: Mamaks, Wet Markets and Heartfelt Tones

Malaysia is a melting pot of cultures, so it’s no surprise that its sonic identity is just as diverse. From the soothing sounds of village life to the vibrant wet markets and mamaks ((roadside eateries), the Malaysian soundscape draws from its environment, traditions and evolving culture.

To explore what makes Malaysian music and sound unique, LBB’s Sunna Coleman speaks with Two AM Music's composer, Prisca Leong, who shares her favourite local sound, the quirky trends brands are jumping on, and the growing interest in sonic branding.

LBB> Tell us about what makes music and sound design particularly unique in Malaysia.

Prisca> What’s unique about the Malaysian sound is that traditional music instruments and styles are often infused into our tracks. Our sound reflects the melting pot of cultures in Malaysia, and that ultimately creates a very unique sound with endless possibilities.

LBB> What genres or sound styles seem to resonate most with consumers here? Has that changed over time?

Prisca> Apart from the unique sound of traditional Malaysian music, our music often features emotional, heartfelt storytelling that reflects the warmth of its people, from story-driven orchestration to raw singer-songwriter folk tracks, they evoke a sense of home and comfort that touches the hearts of its listeners. Though we evolve to ride on trendy genres like K-pop, hip hop or current trendy TikTok sounds, clients often return to the sentimental, touchy-feely sound, especially for festive advertisements and films.

LBB> What are some of the more contemporary trends coming out of the region?

Prisca> Brands are starting to explore quirkier, more outside-of-the-box styles of music. Though rare, it is a trend that we’re beginning to see. One trend in particular is advertising the product/brand through a musical theatre style. Crazy fun trying to fit words into a musically sensible phrase!

LBB> How much do local musical traditions, instruments, or rhythms make their way into ad music in Malaysia?

Prisca> While they’re an important part of our sonic identity, they don’t always appear in Malaysian ad music. When used, they are often included with the intention to highlight the different cultural identities within Malaysia. For example, Malaysia celebrates three major festive seasons annually – Lunar New Year, Hari Raya and Deepavali; hence, throughout the year, we’d hear different traditional music and instruments highlighting the different festive seasons.

LBB> Are there ‘sonic clichés’ that tend to pop up in ads – like traditional instruments, jingles, or ambient textures?

Prisca> The gamelan (a traditional bell-like percussive instrument) can be quite a cliché, so more often than not, we endeavour to infuse it into our tracks in a tasteful and modern way. One of my favourite sounds is the kampung (village) soundscape. There is something so comforting about that sound. Last but not least would be the deep, assertive narrator voice, often male and often heard over banking and festive ads to communicate assurance and national pride. Catch a Malaysian ad and you’d surely hear one of these!

LBB> How does the music and/or sound design reflect the local culture? Does the culture ever play into creative music or sound decisions?

Prisca> Music reflects the various cultural identities in Malaysia, often featuring different traditional instruments as mentioned previously. In sound design, code switching is often used to create a sense of familiarity and connection. People connect better with ads when they feel real, familiar and local. Certain soundscapes are uniquely Malaysian, for example, sounds from the mamak or the local wet market.

LBB> Can you share an example of an ad that used culturally specific music or sound cues to great effect?

Prisca> TNB Deepavali 2020 - Double Trouble Deepavali​

LBB> Do you think audiences in different Asian countries respond differently to music or sound in advertising, and how does that influence creative decisions?

Prisca> In principle, they would respond similarly, in that they would respond to the familiarity of the language and soundscape within their culture. However, cultural sensitivity is important, and making sure that the right music and soundscape is used for the right culture is key to making a sonic impact within the region.

LBB> In your experience, do international brands adjust their audio strategies for local rollouts, or is sound often overlooked in localisation efforts?

Prisca> Definitely. It may not always be reflected in the music, but rather through language translations. There is a growing recognition of its importance in creating authentic and engaging connections with local audiences.

LBB> Where do you see sound design in Asian advertising heading in the next few years? For example, do you see it becoming more localised or more homogenised?

Prisca> I do believe Asian advertising will become more localised as people continue to embrace the beauty of their culture and sonic identity. However, I do notice how brands are embracing the power of sonic branding, and I believe that will be a growing trend in our region moving forward, where brands seek to embrace local identity while making a global impact. Sonic identity is beautiful and unique. When used well and with intention, it will certainly be a powerful branding tool.