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SCMP Reporter

Few Asian record companies can say they have had success in the international music market.

 With the exception of Japan's Avex, independent record labels in Asia have not been able to compete globally - which is why local DJ Amil Khan is quite pleased with himself.

 The first release from his record label, local independent Technasia, caused a stir on Paris dance floors.

 'Laurent Garnier called it one of the most beautiful techno tracks of 97,' he says. Paris DJ Garnier was referring to Descent, the first release off Technasia's Themes From a Neon City EP.

 The track, performed by the Technasia outfit - Khan and French DJ Charles Siegling - caught the attention of various progressive DJs.

 After its release last July, Germany's Mijk Van Dijk, and Britain's Carl Cox and Dave Clarke all began spinning the track. Van Dijk and Clarke have even sub-licensed the track for upcoming compilations.

 For a newly established electronic dance label, Technasia can be proud of the 3,000-plus copies they sold of Themes From a Neon City. Khan, who started the label in January 1997, hopes to have similar success with Motion, released earlier this year.

 For the moment, however, Khan is restricting himself to the DJ-oriented vinyl market. He is also in no rush to corner the electronic dance music market.

 'I believe in quality, not quantity, I'm not in favour of releasing a single every month. I'd rather spend time in a studio and work with people I really feel something with,' the 25-year-old said.

 'You can do things the short-sighted way, to make quick money. Release a compilation of remixes and do the full marketing campaign. You'll sell 20,000 copies but what you're doing is killing the market.'  A subtle dig at Avex Trax perhaps? The Japanese label, with its rapid fire releases of techno-remixed pop songs, has practically cornered the commercial dance market in Asia.

 'When I first saw Avex, I thought they were great. They were bringing dance music to the masses. But now the package looks very glamorous, but what it's lacking is depth.'  For this part-Japanese, part-Pakistani DJ and producer, making it in Hong Kong and throughout Asia is very important. The Hong Kong-born former Island School student, who left Hong Kong in 1991 to study in Paris, was excited to move back last year to establish Technasia.

 'The vision I have is to get electronic dance music in Asia out of the complex that you need to be signed to a major label to get yourself known,' he said.

 Khan, who started DJ-ing in France, believes that Hong Kong needs independent labels to keep the music industry fresh.

 'In Hong Kong, money talks. It is very difficult for artists to come forward. The strong point for an independent is to be able to pinpoint talent in a territory. They have the quickness to find this talent. The majors are very much in for the big money, so they spend most of their promotion budget on music that sells now. It's almost as if you're looking as far as the tip of your nose, there's no vision.'  However, Khan knows that being a toenail on the foot of the giant dance music industry will be a struggle.

 'As an independent, our ad budget is very small, it's not easy for us to get the masses to see the music we're trying to push. It's scary for an independent because they [the majors] have the money to push a product and sell 20,000 without a problem.'  As a result, he has turned to alternative venues to push the Technasia label and outfit. Khan has a weekly radio show on Shenzhen's Radio 2 (97.1FM), which can also be picked up in Hong Kong. The four-month-old show entitled The Future Mix is a collaboration with Shenzhen-based DJ Michael Nee. Khan is enthusiastic about pushing underground dance music in China.

 'The sole objective is education. Michael Nee has a vision of pushing electronic dance to the new generation in China. There are no cultural boundaries, there's no particular language, it's very powerful.'  The two releases are not available commercially in Hong Kong. According to Khan, big-name music retailers have been reluctant to distribute albums by a label that is still in its infancy.

 Khan distributed Technasia releases to a number of local progressive DJs. But many only responded after he had achieved recognition in Europe and he was disappointed by the initial lukewarm reception.

 'I have a problem with local artists,' he said.

 'If you make it abroad, then you're something to be talked about. At first they seemed hesitant to play it, maybe it's a complex about what's local. I feel sad in a way because they didn't just feel the music. Local DJs, although they're very talented, are still looking at what's big outside.'  Khan believes house and techno will continue to flourish on the international music scene, contrary to predictions by music purists and pundits.

 'I would not say house is dying. I would say it's living, and, yes, drum and bass is coming up. Why do we have to say when one phenomenon comes up the others go down?  'Drum and bass is getting a lot of media attention right now. But I could say drum and bass is going down because speed garage is coming up. There's always something . . . the media over-hype things.

 'Technology is next to us. The younger generation is trying to find a new way of expressing themselves. It's no longer picking up your guitar, they use computers to create something.'  Khan himself plans to continue creating and experimenting. Future endeavours include a fusion of techno and traditional Chinese folk music.

Amil Khan, Manhattan Westworld, 4/F New World Harbour View Hotel, 1 Harbour Road, Wan Chai. Tomorrow 9.30pm. Also featuring Paul Wong, Roy, Digby, Chris, Johnathan and Ricci. For details call French Kiss Productions on 2503-5088 



Dancing on right track