Besting The Prog-Rock Beast: Joanna Lim Is On A Quest For Music With Magnificence

Enter the progressive realm of Joanna Lim (Credit: Henry Hiah)

To call the songcraft of Joanna Lim outstanding wouldn’t do it justice. Ambitious from every angle, the handiwork of the veteran keyboardist-saxophonist surpasses anodyne expectations of conventional song structure, and it’s got to do with the musical discipline she’s chosen to align herself with. Since tumbling headfirst into the world of prog-rock – with Joanna as a key member of progressive outfit, Zero Sequence – the classically-trained virtuoso has been unfettered in her boundless, malleable expression. It is in prog-rock where Joanna truly feels challenged yet free; a medium where she can forge her own reality with the music she bends to her will.

A vivid embodiment of this is her latest debut album, Parallel Vortex, an extravagant opus that takes the exploratory genre to town. It’s a mammoth undertaking in just eight tracks, wielding shades of a concept album with recurring motifs, interludes and outros, and a cinematic narrative of biblical proportions with part of its story pulling from the Book of Exodus.

Entirely instrumental, its arrangements are lavish and capricious; a kaleidoscopic conversation where multiple components chip in without ever losing the plot. Joanna has carved an adventurous terrain where medieval flute melodies clash with metal guitar riffage, and where jazzy sax solos mingle with sweeping string accompaniments. Time signatures fluctuate in a frenzied manner, polyrhythms dance around each other in perfect synchrony, and tempos shift gears when you least expect it. Backed by a superior band of buddies she’s racked up since her performance career began in 2005, Joanna has created a monster you won’t tame with just one listen. Parallel Vortex is, by all means, an ingenious entity you’ll want to revisit again and again.

For all of this to stem from the quixotic drive of one artiste, who’s taken on a supporting role all these years as a sessionist, is a breath of fresh air, representing a coming-of-age maturity tempered with a bounty of experience. And if that wasn’t impressive enough, she’s even juggled this release with the welcoming of a newborn son, entering motherhood without compromising her music like the boss that she is. If you hadn’t heard of Joanna Lim before, this new chapter in her career marks a worthy introduction, beckoning you to wander within her whimsical imagination. Or otherwise, you can just start with this interview.

All tracks of Parallel Vortex were written, arranged and produced by Joanna (Credit: Henry Hiah)

Hi Joanna. Congratulations on the release of the album; it’s really quite an adventure. One could say that Parallel Vortex is a concept album, encompassing stories that even date back to the Bible. How did this narrative come together in the first place?

Thank you so much Kevin! Since 10 years ago, I’ve always wanted to write cinematic themes based on Bible stories. My first songwriting attempt was about the story of David and Goliath, but gave up almost immediately [laughs]. Fast forward to a few years later, I remembered watching the movie Exodus and was, again, inspired to write an overture, hence the tracks “Monolith I” and “Monolith II”.

Parallel Vortex was a name that I came up with before writing the song. “Parallel” signifies multiple portrayals of oneself, while “Vortex” symbolises unrest that pushes us towards a downward spiral. With that interpretation in mind, it inspired the songwriting for the rest of the album.

The album is a masterclass in prog-rock. How did you first get into prog-rock yourself?

 

I was introduced to progressive rock during my LASALLE College of the Arts days and I fell in love with the genre immediately. I never knew keyboards could be played in that manner or even for rock music! Then came the opportunity to play for Zero Sequence. I remember receiving a phone call from the guys and I was so elated that I was screaming into my pillow! Zero Sequence was where I truly began my prog-rock training.

“The prog-rock genre entices me a lot. It allows me to go a little overboard.” (Credit: Henry Hiah)

Do you feel most free as a musician when you’re coming up with tracks like these? One might argue that prog is a genre that encourages boundless expression not unlike disciplines such as jazz. 

Writing original music is really liberating for me, especially after years of playing cover music in pubs (I still enjoy playing cover music!). However, when given a blank canvas to do my own stuff, I would prefer not to conform to trends or be bound by common structures – hence, the prog-rock genre entices me a lot. It allows me to go a little overboard.

In your opinion, has the prog scene in Singapore been lacking lately?

Progressive rock is indeed a very niche genre. I think, in general, we are a quieter bunch. Hopefully one day, we can have our very own prog-rock festival in Singapore!

“There’s a lot of experimentation and discarding of conventional music theory.” (Credit: Henry Hiah)

Going back to the album, what were some of the most difficult sequences or techniques within the songs? And do you like the challenge, much like a high-level boss battle?

Honestly, my biggest kryptonite was recording slow ballads and melodic lines. Getting the right feel and interpretation was real tough and I kept finding myself going back to the studio just to redo those lines. For more complex lead lines, it is a lot of practice to register them to (muscle) memory. And I think it is good to face those challenges because that’s what helps us grow as musicians. I will try my best to write something that forces me to practise (otherwise I’ll get really lazy). It is like killing two birds with one stone!

Each song is a hodgepodge of segments, filled with shifting time signatures, unpredictable progressions and spellbinding solos. What was the songwriting process like for compositions of this calibre? 

A lot of time is spent on the keyboards, coming up with lines and riffs. I love writing via music software like Guitar Pro, Sibelius and Logic. It allows me to visualise through musical notation how the song would sound like as a whole, with the addition of other instruments. There’s a lot of experimentation and discarding of conventional music theory. Occasionally, a certain sound patch from the synthesiser inspires me to write a scene. Reading a book and watching a movie helps too.

Joanna performing with collaborator and partner, Simon Yong (Credit: Steven Chew)

Can you tell us more about the collaborators on the album?

I’m so thankful to have extremely talented friends to help me bring my vision and music to life! I’ve known most of them for a long time and had many amazing opportunities sharing the stage with them. With our chemistry, we were able to put everything together easily.

The drummers featured are Wei Lung Wong, LJ Lee and my brother, Jovin Lim. The bassists featured are Hiroaki Maekawa, Yazeid Rahman and Nicholas Lee. The closing track features my trumpeter friend, Christopher Yong. The only guitarist involved is none other than my husband, Simon Yong, who is also the band leader of Zero Sequence.

I wanna thank Leonard Soosay for his patience and guidance in engineering the album. We used to call him the magician when we were recording the Zero Sequence album. And also my creative director, Henry Hiah, and his wife, Aldora Hiah, for putting visuals to the music.

Conquering an album release and motherhood, Joanna Lim is truly a beast (Credit: Eugene Liang)

I also couldn’t help but notice on your social channels that you recently became a mother; again, congratulations on that! How was it like balancing motherhood with the creation of this album?

It is tiring but rewarding. Some older folks came up to me and told me to stop playing music completely, thinking that it might affect my pregnancy. But I was very determined to get as much recording done before the arrival of my son. My biggest obstacle was recording the saxophone during the later part of my second trimester due to the fatigue and lack of air. I remembered during the last session, I almost threw up in a towel but Leonard Soosay kept encouraging me to not give up. Thankfully, I also have a spouse who keeps supporting and believing in me. I’m proud to produce ‘two’ babies this year!

Your forte lies in the piano and sax. How did you end gravitating towards those instruments as a musician?

I picked up the piano when I was nine and did the whole traditional route of classical ABRSM exams, which I didn’t enjoy very much [laughs]. My opinion of the instrument changed when I was introduced to synthesisers in 2004 and played in my first band as their keyboardist. From then on, I began having lots of fun with music gadgets and software, and started exploring sounds of all sorts. Saxophone was a late instrument for me. I chanced upon the instrument and had my first saxophone lesson when I was 25 and there was no turning back!

“I treasure the many moments sharing the stage with my musician friends and meeting new people along the way.” (Credit: LJCP Concert Photography)

You’ve been performing since 2005. What lessons have you embraced and held onto in this journey of yours?

Put family and friends first. Never let music destroy relationships. Be kinder to fellow musicians. Enjoy the journey as music is a lifelong work-in-progress. Smile a little more and breathe as space is also part of music. Finally, drink more whisky!

Cheers to that! What are some major milestones you've racked up throughout your career?  

 

Parallel Vortex is the fourth progressive rock album I’ve been involved in! After years of work and procrastination, the release of something I can call my own is a huge relief for me. I’m also grateful that music has brought me to perform in cities like Cannes, Guangzhou, Tokyo, NYC, Colombo, Kota Kinabalu and more. More importantly, I treasure the many moments sharing the stage with my musician friends and meeting new people along the way.

“Choosing the unconventional way may be volatile, but it’s a lifestyle I’m willing to live.” (Credit: Stanley Yeo)

You also keep busy performing in pubs and as an educator at Thunder Rock School. Is it safe to say that music is a full-time career of yours? You’re living the dream!

 

Music has indeed been my full-time career since 2008! It has its ups and downs. Look at how this pandemic has affected the arts scene. Live music has ceased since March and it has put a huge dent in our income. Choosing the unconventional way may be volatile, but it’s a lifestyle I’m willing to live. Over the years, I’ve truly enjoyed having time and freedom as my ‘13th month bonus’.

And finally, now that the album is finally out, what’s next in the cards for Joanna Lim?

 

I would love to keep writing more progressive material and hopefully (fingers crossed) not take another five years to release the second album [laughs]. Looking forward to archive the talents of more musician friends in the next project too!

You can now listen to Joanna Lim’s debut album, Parallel Vortex, on Spotify. Follow her Facebook page and Instagram channel to stay updated with her activities.