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Cambodia's first alternative music label Yab Moung Records was founded in 2012 and has since recorded and released the first Khmer Hardcore and Death Metal tracks as well as producing a wide range of alternative artists creating unique Khmer blues, rock, hip hop and alternative music.
Cambodian rock of the 1960s and 1970s was a thriving and prolific music scene based in Phnom Penh, Cambodia, in which musicians created a unique sound by combining traditional Cambodian music forms with rock and pop influences from records imported into the country from Latin America, Europe, and the United States.
Traditional Cambodian musical instruments are the musical instruments used in the traditional and classical music of Cambodia. They comprise a wide range of wind, string, and percussion instruments, used by both the Khmer majority as well as the nation's ethnic minorities .
Sinn Sisamouth [a] (c. 1932 – c. 1976) was a Cambodian singer-songwriter active from the 1950s to the 1970s. Widely considered the "King of Khmer Music", Sisamouth, along with Ros Serey Sothea, Pen Ran, Mao Sareth, and other Cambodian artists, was part of a thriving pop music scene in Phnom Penh that blended elements of Khmer traditional music with the sounds of rhythm and blues and rock and ...
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Mohaori is traditionally a popular Cambodian music played in Khmer society since the late 9th century. Mohaori is still a popular Khmer traditional music played in various occasions and festivities. [2] It is regarded as a popular music for the Cambodian locals to accompanied their custom and traditional celebrations.
Sathukar is the principle Cambodian Pinpeat music plays for the opening of Khmer traditional festivities and rituals. Sathukar accompanies in Cambodian Royal Ballets, Masked Drama, Shadow Theatre, and many other traditional dances and rituals. The music list below is played in accordance to various episodes in Masked Drama and Shadow theatre. [24]
Don't Think I've Forgotten: Cambodia's Lost Rock and Roll is a 2014 documentary film directed by John Pirozzi about Cambodian rock music in the 1960s and 1970s, and the impact of the Khmer Rouge regime and Cambodian genocide on the local music scene. It received positive reviews from critics.