Originally published on metropolis.co.jp on November 2011

In an age of ever-increasing velocity, Tamas Wells asks you to slow down. Debuting in 2004, the Australian singer-songwriter crafted simple, contemplative tracks that told stories and asked fundamental questions about life in the venerable acoustic folk tradition. The same year, Wells left for Myanmar to do volunteer work. His experiences moved him so much that he returned in 2006 to work on a community health HIV education project in the country, where he remains. While in Myanmar, Wells continues to compose and occasionally tour. Metropolis spoke with him before he left Myanmar on a brief visit to Japan to sing songs off his new album Thirty People Away.

What inspired you to work in Myanmar?

I came to Myanmar for a few months in 2004 to volunteer for an aid organization. On one hand I found the culture really beautiful but on the other hand I found the poverty and hardships of most people to be really sad and compelling. I am not sure that I can have much impact working here but I felt as though I had to be involved—and have really enjoyed it as well.

Describe some of the ways life in Myanmar has impacted your music.

One of the major things has been isolation from the international music scene. When I first came here there was virtually no internet so you felt shut off from things that were happening in Australia or elsewhere. What that did mean was that I could concentrate on enjoying making music—rather than worrying about what other people were making. Life is certainly slower here than it was in Australia (or in Japan) – that can be helpful for creativity as well.

Why do you think your music has touched a particular chord in Asia?

Yes, outside Australia and Europe our main releases have been in Asia. I wonder about that myself. Perhaps it has something to do with Asian culture’s appreciation of understatement? The albums we have made have been very simple and quiet—maybe that appeals to Asian people more than say, South Americans? Haha, I don’t know.

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What kind of comments do Asian fans make about your music?

My favorite things is when someone puts a quote through Google translate and then posts it on our website. We have had lots of strange comments. Apparently there was one quote about our show that said ‘terrible magic may happen’! Which probably sounds poetic in Japanese but maybe a bit worrying in English.

Tell us about some of the experiences that inform your new album Thirty People Away.

The new album was written during 2009 and 2010 in Myanmar. It was a sad time in Myanmar both personally and for the country. So I wanted to make something that was reflective of how beautiful this culture is but at the same time—under the surface there is immense fear and sadness. Hopefully that makes sense? More specifically ‘thirty people away’ refers to the idea of being close enough to tragedy to feel it, but far enough away to not really understand.

How did you arrive at the concept for the slightly disturbing video for the title track?

The video clip was almost entirely the creative work of Italian producer Fabrizio Polpettini. It was his interpretation of that song—which I liked. But I am not sure I fully understand it yet.

Tell us about the creation of one song on the album.

One of the most enjoyable to make was “The Chemicals Took Their Toll.” I wrote a short story partly based on a friend of ours in Myanmar who took too many chemicals in the past. And it always made it difficult for him to hold down a job. But the production of the song with the piano and the strings at the end was really enjoyable. Except, our cello player in Melbourne accidentally dropped her $15,000 cello on the ground on the morning of our recording and smashed it! Luckily she had insurance! We had to borrow a $500 cello for the recording. And I thought she made it sound great.

How is Thirty People Away an evolution from your previous work?

With Thirty People Away we wanted to experiment with some more instrumentation and strings especially. The previous album was basically just guitar and banjo so this was pushing things out a bit wider.

Tell us about some musicians you admire and how they’ve influenced you.

A year or two ago I fell in love with a Lambert and Nuttycombe album from 1969. They were so confident in their voices and guitars as being enough for the songs—no temptation to put loads of other instruments in. They ended up destroying their music by taking too much cocaine apparently—so that wasn’t really something to admire. But I do admire that they had such confidence in simplicity.

How do you balance your careers as NGO health worker and musician?

There is so much change in Myanmar at the moment—it is hard to keep up with. I feel like I have very little time for music. So it will be a great feeling and relief to come to Japan and be able to play the songs for people.

What can we look forward to in your Tokyo concert?

Hopefully there won’t be any ‘terrible magic’ this time—or maybe just a bit perhaps. Turning audience members into strange creatures? Or going invisible during the performance? I am looking forward to coming to Tokyo. Touring is a really special time for us because we are not able to do very much of it. It is not as though we are travelling around all the time- so we do enjoy it. I hope people feel that as well.

Vacant, Dec 8 (listing).