INTERVIEW
CNA 93.8 MHzInterview Date: 8 January 2026Sweeper: Now, “Made in SG” with Melanie Oliveiro on CNA938.
Melanie: “Made in SG” will tell you about two singer-songwriter-musicians who formed a band, and their love and concern for planet Earth flow through their songs. Let’s get to know them and their causes better. I’m Melanie Oliveiro, this is CNA938.
So, Emperor Niño is the band’s name, and they’re pretty young too—as in, how long the band has been around—they were formed in 2024. Emperor Niño is an independent rock band, a duo, and their music laments the ongoing state of our planet’s mountains and subterranean lands, from sinking lands to shrinking glaciers and more. So that’s what they’re all about.
What about their music? Emperor Niño’s sound blends alternative rock with melodic pop sensibilities. Their heartfelt anthems laced with emotional honesty, thoughtful arrangements and layered guitar riffs as well. Emperor Niño’s debut album is called Sedimentary Blues, now streaming online and also, in very limited amounts, available in BioVinyl, which is a more Earth-friendly vinyl material—they’ll tell us more about that so, so much to discover and learn.
So welcome to “Made in SG”, Ethan Chan and Manisha Saigal, co-founders of Singapore rock band Emperor Niño. Hey guys, how old were you when you started to worry about the environment and climate change, so on and so forth, which eventually led you to where you are today with Emperor Niño—what you’re working as, as well, and what you’re studying, because... Both of you—Ethan, you’re still studying, isn’t that right?
Ethan: That’s right.
Melanie: And Manisha, you’re working. So, tell us about those early days, when it really struck you. Let’s start with Manisha.
Manisha: Sure, thanks so much Melanie. Well, I grew up loving animals and the outdoors. I have my mom to thank for that—she brought me to the zoo, like, almost, more than once a week, I think. And this is where my love for the environment really started.
I wouldn’t say I was worried at that point, because I was just so full of curiosity about what everything was, and where I could find little ants in my backyard, kind of thing. And recently, I guess that has turned into more of a passion for restoring humans’ relationship with nature and their surroundings while we still have time.
Because I would call myself kind of a cynical environmentalist. I’m not sure if things are gonna get better, but I do know that there’s still so much that we can do while we’re here and while we’ve still got time. And that is why I’m doing what I do now, which is, I’m a marine ecologist for an environmental consultancy. What that means is I advise clients how they can redevelop in a way that is sustainable and protects biodiversity. So that involves a lot of fieldwork—I go diving, I go to, like, the islands around Singapore, it’s really exciting and I love what I do.
Melanie: Alright, so you’re a cynic, but you still believe we still have time.
Manisha: Yes.
Melanie: Okay, that’s always good to know. It’s always good to know that people still have hope for mankind. Ethan!
Ethan: Yeah, so I think I was maybe 8 years old when I saw... a documentary on TV called The Age of Stupid. And being 8 years old, I think that was maybe both the best and the worst age to watch something like that, which was very... very, kind of extreme.
They showed a lot of post-apocalyptic... depictions of what the Earth would look like if global warming continues, and I remember vividly this animation of the Earth as like, a big beach ball, kind of rolling towards an abyss. And it was like, right on the edge. And my 8-year-old self was like ohmygodohmygod, I need to stop it, like, why isn’t this on the news? And, I mean I understand now that that was like, a representation, but it freaked me out.
Ethan: And the funny thing is now, being, you know, 26 turning 27, I still do feel freaked out. But definitely I’ve learned a lot more about climate change and about the Earth because, well, we both went to university in Yale-NUS College and majored in Environmental Studies. And currently I’m pursuing a master’s degree in pretty much the same topic, it’s also called Environmental Studies and Sustainability Science in Lund, Sweden. So just, you know, continuing to understand from different perspectives how we can approach climate change, and understand the relationship between humans and the environment.
Melanie: Okay. Well, like you said, Ethan, both of you met at Yale-NUS College, that’s how you met. Were you... were you close friends at the time, or—
Manisha and Ethan: [laugh]
Melanie: —did music bring you together? One of you found out that someone plays an instrument or sings?
Manisha: Yeah, so, we were not close friends at all. [laughs]
Ethan: Yeah, absolutely.
Melanie: Just classmates?
Manisha: Not actually—
Melanie: Coursemates?
Manisha: Yes, we were coursemates. And funny story is that we were just recollecting like, how did we actually meet? And Ethan said that we were in a class together and I have no recollection of this.
Ethan: Wow.
Manisha: I don’t even remember—[laughs]—that we were in that class together. So we kind of went 4 years without really speaking much—
Melanie: Oh!
Manisha: —until our last semester of college, where we—I don’t even know where—we kind of just walked past each other and we were like: “Hey, we never spoke. Maybe we should.” And then we decided to get dinner together and we started talking about music, and how... We’ve seen each other on stage, you know, school band performances and stuff. But we didn’t know that we also—he didn’t know that I also write music. And I’m very shy about that.
Melanie: Right.
Manisha: So that’s how we started talking, and then we ended up jamming, we played our instruments and just like, created something on the spot that very same night that we had dinner. We were like: “Hey, this is something.” And I told him: “It’s so unfortunate that we’re graduating. Because we could’ve had more time to do this, and we’re never gonna see each other again, probably.” [laughs] So... But now we’re here.
Melanie: Yeah.
Ethan: So, fast-forward to 2024, end of 2024. I was already in Sweden, Swedish winter was coming and I was having, like, some... more radical life plans, so to speak—
Melanie and Manisha: [laugh]
Ethan: —and so I just texted Manisha out of the blue like: “Uh... hey, do you wanna start a band together?” I already had the name in mind which—
Manisha: That was not what you...
Ethan: No?
Manisha: He said: “I have a proposition.”
Ethan: Sounds like me.
Manisha: And I was like, what does that mean? What’s he gonna ask? [laughs] And then...
Melanie: And then the idea for the band—from Ethan—came about.
Ethan: Yeah, that’s right.
Melanie: But Manisha, prior to that, did you ever think you might be in a band, post-graduation?
Manisha: I did really want to.
Melanie: Yeah.
Manisha: But I’m... So this is where I admire Ethan, because he’s such a go-getter. He has lots of ambitions and makes them happen. I, on the other hand, I have lots of grand plans but I never make them happen. [laughs]
Melanie: [laughs]
Manisha: So I... it was a dream of mine, but in my head it was like, this is just probably gonna remain a dream, and not be something that actually happens. Like, I don’t know how to even get started.
Melanie: Yeah.
Manisha: So yeah, when he asked me, I was like: “But I’m just starting this new job. I’m so busy I don’t know how I’m gonna... how I’m gonna contribute.”
Melanie: And you’re not even here, you’re in Sweden!
Manisha: Exactly! So, I had a lot of questions. But he was like: “We’ll work this through. Because this is something I really want to do.” And I was on board.
Melanie: Good to have a cheerleader, yeah? Because both of you found that infectious and you both decided to get this going, start Emperor Niño. Tell us how you decided on the name. So you already came up with the name, Ethan, by that point in time?
Ethan: Yeah, that’s right. So... Emperor Niño is like a direct reference to the El Niño—
Melanie: Yes.
Ethan: —climate pattern. Which is, in a very basic explanation: Some years are warmer, some years are cooler. And it’s about, like, the temperature of the ocean surface. So El Niño years are the warmer ones. And it’s quite a significant factor in the climate change that we experience. More extreme weather. So I wanted to make a band that has a reference to that explicitly—to be connected very intimately with climate change, and explore it from different angles. And as for the “Emperor”... So, we’re both kind of like, fantasy nerds to some extent—
Manisha: [laughs] Yeah.
Ethan: —and we wanted to create, like, a whole character and a narrative about this character, this Emperor Niño who, you know—
Manisha: [whispering] Mysterious...
Ethan: —we won’t say too much, but kind of represents like, the might of climate change. And how in some ways, the activities that certain groups of humans (do) can be seen as worshipping.
Melanie: Mm. So we have talked enough—let’s listen to what they sound like and bring on this song.
[plays “Chuquicamata”]
Melanie: Ah, okay. So that one’s called “Chuquica”... “Chu-qui-camata”, and it’s named after a copper mine in Chile. And of course, featuring... Manisha, we now know that you’re the lead singer of Emperor Niño. So seeing how your album is a collection of stories about the ongoing destruction of our planet’s mountains and subterranea—sometimes it’s not destruction, it’s just a slow degradation of it—
Manisha: Yeah.
Melanie: —what is this song about?
Ethan: Right, so “Chuquicamata” is about, well... It’s the name of one of the world’s largest open-pit copper mines, and it’s located in the Atacama desert in Chile.
So the thing with this song and several of the songs in the album was, I deliberately wanted to find really obscure sites of the world that, you know, not many people have heard of if you’re not living there or you’re an expert in that. And Chuquicamata is one of these places. So, being the source of a lot of the world’s copper, in a way we’re all kind of connected to this mine, even though we don’t know it. Because, especially in recent years, the energy transition and the rise of electric vehicles, batteries, smartphones—all of these things have critical metals in them, and copper is one of them.
So a lot of our stuff is coming from Chile and what’s happening is that, even though there’s a lot of benefits to the energy transition and moving to cleaner vehicles, but at the same time there is a cost and it’s happening in this very faraway place—far away from us, but it is the home of people who live in Chile. And it’s a massive, massive hole in the ground, so if you see satellite images of Chuquicamata...
Melanie: Yeah. I—a lot of us have seen it, definitely. I love the chorus, it’s so rousing, so melodic. Tell us about your songwriting process—how this song, even the album was written and recorded separately.
Manisha: Yeah, I think it was a challenge. It was a lot of back and forth sending files on various media platforms. How it worked was that, because I was so busy on weekdays with work, I would record my voice on the weekend. So Ethan and I would have a video call, when you were waking up or something?
Ethan: Yeah, either waking up or like, really late at night.
Manisha: Yeah—[laughs]—for him. And we’d video call and he’d say: “Okay, this is my idea for this song. Can you sing it this way, this way...” And then I’ll be like: “Okay.” I hang up, I’ll go to my room, I record a bunch of stuff, and then I send it back to him, we call again, and then he’s like: “Okay, can you do it this way instead?” And then I go and like—[laughs]—the cycle repeats—repeated like that.
Melanie: So the room in which you record your vocals, it’s got all the basics? From foam insulation to...
Manisha and Ethan: [laugh] No.
Manisha: Not at all. It was literally—
Melanie: Oh! But it’s not like you sang into your phone.
Manisha: No. So I... Also, before we started this project, Ethan just so happened to have lent me a microphone, and so that came in handy. All the equipment I had was a mic and my laptop.
Melanie: [laughs] I see.
Manisha: That’s all. In my bedroom. For Ethan, however...
Ethan: Yeah, so I mean, I also recorded all the instruments in my bedroom in Sweden. Also very basic setup: just plugged my guitar into this device called an audio interface, which is just like the... kind of the middleman between an instrument and your laptop, for people who produce music at home. So, my neighbours wouldn’t hear anything at all. I just... Like, I’m wearing headphones and recording guitar and bass into my laptop. And then send it over to Manisha in Singapore and, yeah.
Melanie: Manisha, you’re a drummer as well.
Manisha: Yes.
Melanie: So did you record your drums at home?
Manisha: I did not record any of the drums in this. But I did—I think I gave, like, a suggestion for one of the songs or something, about the rhythm. But we’ll, maybe in future tracks I will be more hands-on with the instruments.
Melanie: So, electronic drums, is it?
Ethan: Well, so the... The thing about this album is, all the drums are programmed.
Melanie: Yeah, programmed—oh! Programmed?
Ethan: Yeah, I just went into my laptop and like, clicked and dragged the notes.
Melanie: Yes.
Ethan: But for “Chuquicamata” in particular and one other song, I wanted some parts to be more drum-focused. So there is a drum solo, sort of, and my brother is also a drummer.
Melanie: Yes.
Ethan: So what happened was, I sent him the demo for the song with that part kind of empty. And he went to, like, a studio in his university, the practice room, and—
Manisha: And he’s in Japan.
Ethan: Yeah, he’s in Japan.
All: [laugh]
Ethan: So, very international project. And he just, like, rec—filmed himself, not even recorded—he just filmed himself playing something for that part and sent me, like, a really bad quality WhatsApp compression video. And I watched it, and then I dragged the notes to try and match what he was playing. It sounded horrible. Because it didn’t translate well into my laptop, and then I made more changes. So the whole thing is kind of, like a Frankenstein’s monster in the end.
Melanie: But the beauty and the advancements of technology when it comes to music helps you very much in all of this, yeah?
Ethan: Yeah, absolutely.
Melanie: Your album, now that it’s ready, quite the conversation starter at parties or get-togethers. Your album Sedimentary Blues is in—of course we can stream it, but for those who are more tactile—is in BioVinyl format. BioVinyl is a PVC vinyl, a type of a PVC vinyl made from biomass materials instead of PVC derived from petroleum, most of which we have at home. I understand that BioVinyl is more expensive than traditional vinyl.
Let’s talk about that and what you know about emissions reduction when making a BioVinyl record—oh, you’re holding it right now in your hands! Wow.
Ethan: Yeah, we brought a copy for you.
Manisha: Here you go!
Melanie: Oh, how—look at that, thank you! Let me look at it, yeah.
Ethan: For our listeners at home, you can’t see it but take our word for it: it’s beautiful.
Melanie: Yes, I agree.
Ethan: BioVinyl, like you said, is... For the basics, vinyl—the records we listen to at home—it’s short for polyvinyl chloride. That’s the actual material. Or PVC. And BioVinyl is chemically identical to PVC, it’s the same thing. The only difference is that one of the ingredients, the polymer, comes from biomass instead of coming from petroleum. So that’s where there’s less emissions, less CO2 emissions involved in the process.
Melanie: What do you mean by “biomass”?
Ethan: Right. So that’s a great question, because we’ve done a lot of research and it’s hard to find out exactly what the biomass is, but one of the sources is recycled cooking oil.
Melanie: Yes, that’s right. That’s right.
Ethan: So it’s quite amazing if you talk about, like, what we can do with waste. One of the innovations now is that cooking oil, after it’s been used, it can be turned into other products, potentially including this record of ours.
Melanie: Yeah. And you can’t tell the difference, when I’m looking at the vinyl—
Ethan: In terms of... sound?
Melanie: —sound, I’ll have to see. But in terms of sound: no difference, you would say, right?
Ethan: No difference. In fact, our manufacturer in Lithuania told us that not only is BioVinyl more sustainable in terms of emissions, but it also has less static in his experience.
Melanie: Oh yeah?
Ethan: So really... Yeah... there’s not really much downsides that we know of at the moment. And it’s actually not even that much more expensive, because it was 30 cents more per piece compared to PVC.
Melanie: I see. Okay, so well, now I’m also learning Lithuania is involved. Lithuania, Japan, Singapore, Sweden...
Manisha: [laughs]
Melanie: Truly global citizens working on this awesome, awesome album. So let’s listen to that album title track.
[plays “Sedimentary Blues”]
Melanie: Aha... So people, what is “Sedimentary Blues” all about? You chose it as the album title.
Ethan: Right, yeah. So, “blues” definitely because when I was thinking about the structure of the music and the roots, I wanted to really go back to the blues: just the most, kind of, basic backbone. So structurally, a lot of the songs have chords and certain riffs that are blues. But then we messed around with it a lot after that. So in terms of the textures and the effects that we used, I wanted to bring in more modern psychedelic things—there’s a lot of weird effects and a lot of scratching noises and all kinds of things that are just... a guitar and a lot of effects on it, until you can’t really tell that it’s a guitar anymore.
Melanie: Yeah. And what soulful vocals by one Miss Manisha!
Manisha: Thank you. [laughs]
Melanie: Look at that. What is it about, though?
Manisha: So “sedimentary” tells us about how it’s literally about sediment. Like, for those who don’t know, sediment is the thing, if you look... if you go to the beach in Sentosa and you look at the water, there’s a little bit of murky stuff in it. That’s what we call sediment, or silt.
So this particular song, which is very connected to the first song “Nine Dragons”, is about zooming in to the sediment that we see in rivers itself. And it’s from the perspective of that sediment and how it’s flowing through the river—what is the experience that they have? Like, what’s flowing beside them? One of my favourite lyrics in it is: “It could be a coconut, it could be a tree / Or it could be a hydro-amputation machine.”
Melanie: Wow.
Manisha: So we’ve seen coconuts, I guess—[laughs]—in rivers, perhaps. And Ethan very cleverly came up with this term “hydro-amputation machine” to refer to dams that quite literally amputate the flow of water, right? So that’s what this song is about.
Melanie: Okay, well I love it! Let’s listen to another song we can... in a sense, sink our fangs into or treat our ears to. This one is “Nine Dragons Hold Their Breath”.
[plays “Nine Dragons Hold Their Breath”]
Melanie: Ah... Okay, so that’s “Nine Dragons Hold Their Breath”. I can only play excerpts because, dear listener, it’s up to you to check out Emperor Niño streaming online, and just treat yourself to this most excellent album Sedimentary Blues by Emperor Niño. That song “Nine Dragons Hold Their Breath” starts with some 1950s rockabilly aesthetic, right? To me, anyway. But it’s about the sinking of the Mekong River Delta. Tell us about your biggest concerns that are expressed in this song.
Ethan: Yeah, sure. So for some context, the title “Nine Dragons Hold Their Breath” comes from the fact that the Mekong River Delta, apparently, it has a nickname which is the “Nine Dragons River” or the “Nine Dragons Delta”. And that’s because historically there used to be like, nine mouths of the river going out into the sea. But because it’s so close to sea level and it’s been like, sinking over the years, I’m not sure if there are even nine anymore.
But as Manisha mentioned earlier about sediments going down the river, “Nine Dragons Hold Their Breath” and “Sedimentary Blues”, they’re together. They’re a suite telling the story of the sediments that come all the way from the mountains... like, in China, and how that sediment flows all through Southeast Asia—it’s actually incredible, the Mekong River just snaking its way down through the different countries, and it ends up in Vietnam at the Mekong Delta. And the issue is a lot of dams are being built on the river, which stops the natural flow of sediment. And as a result, the delta itself can’t replenish naturally, and that’s why it’s going down, along with the sea which is rising. So our biggest concern, really, is about the millions of Vietnamese who live there in the delta, and it’s such an important place for rice production as well.
Melanie: Mm, okay. Because we’re all in this, aren’t we? And we’re Southeast Asians, some more.
Manisha: Yeah.
Melanie: So many of your... of these concerns about the environment and our land are expressed in your music. And we can read your lyrics as well so that we can get deeper into that. But I also wanted to talk about comparisons here. The former American blues rock band The White Stripes consisted of just two band members: a man and a woman just like Emperor Niño. Jack White on vocals and guitar, Meg White—now a recluse—on drums. Occasionally she sang. And in this instance with Emperor Niño, Manisha, you’re doing the lead vocals. But I want to know, because you have performed live: Are your live sets just as raw and stripped down as theirs? Guitar and drums.
Manisha: We love that band The White Stripes, thanks for bringing them up, they’re great. We—yes, we did a live show, our debut album launch in August, and we were very blessed to have some of our friends: Ethan’s brother was the drummer and Ethan’s childhood friend was the guitarist, and we have a mutual friend who’s on bass. So we had a full band for that show, and we’re so excited because they had so much fun that they’re gonna accompany us for our future shows that are coming up in... which I’ll talk more about later.
Melanie: Yes.
Manisha: And it was really lots of fun, because we were able to recreate, actually, a lot of the sounds, I feel like, that we recorded, that Ethan literally made on his computer. We were able to make that live with all our friends, and... so it’s kind of a community effort, really, with the band as well.
Melanie: Yeah. I think with The White Stripes as well, they had a design aesthetic and a sound aesthetic as well. That’s why they kept it to two people and they tried to expand their sound as much as they could.
Let’s talk about another band: British rock quartet Coldplay. They’re all about championing eco-awareness in the music industry. So, to provide clean energy for their tour, they installed solar panels, fans could generate electricity by dancing on kinetic floors and pedalling on stationary power bikes—we all know this, we saw the pictures. And of course there were other eco-friendly features that they brought on tour, so these are some examples. In the end, they apparently reduced about 60% of their emissions while on tour, although there were lots of criticisms on the way people said they were greenwashing that tour as well. So if you want to read about that, you can read on as well. But your thoughts on what Coldplay did?
Ethan: Yeah, sure. Thanks for bringing up Coldplay, we both were talking—
Manisha: We love Coldplay.
Ethan: We love Coldplay. Probably the most spectacular concert I’ve seen in my life so far.
Melanie: Oh, you saw them at their recent...?
Ethan: Yeah, yeah, they came to Singapore, I think... yeah, a few years ago.
Melanie: You didn’t wait for them in Sweden? You were in Singapore when they were here, okay.
Ethan: Yeah, I’m in Sweden on a budget now.
Melanie and Manisha: [laugh]
Ethan: But yeah, they came to Singapore, my family had an amazing time. And like you said, they are doing a lot of things, very innovative things with their concert design and their logistics. So reducing emissions by 60%—however they calculate that—is pretty remarkable. I think our thoughts, or at least my thoughts, would be that... with everything that they’re doing, we should acknowledge it but also not stop asking questions. For example, like, with the bicycles that they set up—
Melanie: Yeah.
Ethan: —for a concert to generate electricity... That, that’s quite something and... I mean—
Melanie: That’s quite something or that’s quite something impossible?
Ethan: Um, it’s... well, it’s quite something—it’s like, something you might see out of a movie, even.
Melanie: Okay, okay, yeah.
Ethan: Like, almost science fiction, right? And, the thing with the environment, that I believe from my experience is, you know, sometimes if something’s like, too good to be true, it might be?
Manisha: [laughs]
Ethan: I don’t know. But like, how much electricity can you generate? And maybe like, the critics who are saying this, this is greenwashing, they might be alluding to the fact that sometimes a lot of attention is drawn to something, which makes you look away from something else. So, we still have to ask ourselves like, with all the logistics and the equipment and the energy consumption. How sustainable is it to do touring at that scale, with fans flying in from all over the world, you know?
Melanie: Good point. Very, very good point.
Manisha: Yeah. I think to add on, one of our favourite concepts that we learned in school was this thing about systems thinking, which is that we live in a system, right? And when something happens somewhere—for example, let’s say I change my fridge to be solar-powered. The solar panel has to come from somewhere, right?
Melanie: Yeah.
Manisha: So, we’re working in a system in that what we do has implications elsewhere, which is what Ethan said. And solar panels, they require mining for the materials, and then like, what’s the length—the lifespan of a solar panel? What happens to the solar panel after it’s being used? All these are the questions that arise when we think about these great innovations—which are still great, yeah. No doubt about that.
Ethan: Yeah. And just to add on, I think the more powerful and important aspect of Coldplay’s efforts is, just the symbolic power of that.
Melanie: Sure.
Ethan: With their platform and their fame globally, the fact that they take sustainability so seriously is really setting a standard and really kind of demanding the rest of the music industry to follow suit. And I think that’s probably the most important aspect of what they’re doing.
Melanie: Yeah, that makes sense as well. I was also thinking, unlike Coldplay, I am thinking you may not be releasing merch like T-shirts, badges, tote bags, because these use up energy and gallons of water. Am I right to assume that, or you might find a more... eco-friendly way to produce merch?
Manisha: Oh yeah. I think those—that’s definitely on the table. It’s... a lot of times, we get into this debate of: what’s the trade-off, right? Like, it’s easy to go into an argument of cost and benefit analysis, but at the end of the day, so many of these “costs” and “benefits” are not really quantifiable. Like, how do we value the message that we spread with our music that we’re sharing with other people? How do we value what someone might go and do after seeing someone wearing an Emperor Niño shirt, you know? So it’s really a difficult conversation to have, but we will definitely be looking into how to have sustainable merch. [laughs]
Melanie: I can only think of... recycled plain T-shirts with your logo or names stamped onto them. That’s all I can think of. [laughs]
Manisha: [laughs]
Melanie: Sorry, Ethan. Yeah?
Ethan: No, it’s alright. I was just going to add on to Manisha’s point with practicality: it’s also such a, like a wake-up call for us as we’ve kind of started doing merch, doing shows. Because we wanna be as sustainable as we can, but sometimes... you can’t be perfect, right?
Melanie: Yeah.
Ethan: And I think one example of that was when we brought the vinyls from Lithuania—not Lithuania, from Europe, back to Singapore. We decided: “We don’t wanna have plastic in this.” So we brought them over without plastic sleeves. And the issue was, when they reached Singapore, some of the sleeves were actually torn.
Manisha: Yeah.
Ethan: So the cardboard itself got damaged on the way here, and as a result we had to order even more replacement sleeves, which kind of... Yeah, so it backfired in that example, and so we need to find that balance where we do things that, you know, keep our operations working—
Manisha: While also making sense.
Melanie: That makes sense.
Ethan: Yeah, it has to make sense.
Melanie: I’ve got to go to the news, but very quickly: what else is in store for you?
Manisha: Yes, we have 3 shows coming up very soon. 21st February at Nineteen Eighty Studios, and 6th and 7th March at Sunroom Studios. And these will be with other local bands, some of them are friends, they’re really awesome people. Check that out on our website, you can get tickets, and in terms of future future plans, we have a second album coming up...
Melanie: Yay!
Manisha: And teaser is that it will be about the ocean.
Melanie: About the ocean! Because you guys have oceans of talent. Thank you so much for being here. Thank you!
Ethan: Thank you so much for having us, Melanie.
Manisha: Thank you so much, Melanie.
Melanie: They’re rallying against climate change, water pollution, overmining in their music which they describe as “Earth-positive”. And boy, are they doing it so well. I’ve been hanging out with Ethan Chan and Manisha Saigal, co-founders of the Singapore rock band Emperor Niño. Their debut album Sedimentary Blues now streaming at all the usual sites and you can see the excellent album artwork, links to their music and see what they look like at emperornino.rocks. Get updates on their social media sites too, and find out how to get their debut album on BioVinyl at their website. This has been “Made in SG”, I’m Melanie Oliveiro for CNA938.