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We still need time to figure out what the Malaysia sound is, compared to places like the UK, and to develop our subcultures. I feel that is because of social, political, and economic factors. But it's very important for society to progress, and develop distinct subcultures - for example, grime music, or MC culture. From Malaysia, as developing as it is, we still have racial problems and government problems, and things like that. Malaysia is still in the state of finding itself.

Nelson Chong

My friends and I are always having conversations about M-Pop and what it means in music. People come into the studio, and when I put the word “M-Pop” out it’s about awareness - not just for the creatives and the song-makers, but also for the listeners. We can’t expect people to always be thinkers all the time, some people just want to listen to music and they don’t give a fuck about whether it’s Chinese, Malay, or English - maybe they just want to listen to hip-hop or they just want to listen to songs.

Nelson Chong

What I’m trying to push is just a hint of awareness - the end goal is to see that this is just pop, I want to be recognized as an artist not an Asian artist - but because “M-pop” as a term hasn’t been used that much in Malaysia there has always been some segregation in the crowd, in the culture.

Nelson Chong

I feel that the future is Asia, but the future is also Southeast Asia.

As a Malaysian-Chinese, my ancestors came down here, and I’m so grateful to have access to all these rich cultures, but I’m now a Malaysian. It’s in my mother-tongue, so I’m connected to it, and I really feel that the future is Southeast Asia and it’s a realm that’s still not been tapped into. What about the Vietnamese, Filipinos, and Singaporeans… So the dream is just to grow my skills and work with people that I like, and bring Malaysia to be more accessible. I want to be the bridge, I want to create that myself.

Hiren Siva