With a career spanning over 15 years, Sunju Hargun has shapeshifted throughout his individual odyssey as a DJ/Producer from Bangkok all the way to Europe’s eminent dancefloors and back. His sound appears not to be confined to a single style but is instead shaped by taste and personal experience, often bridging past and present Asian cultures. In continuum, blending psychedelic elements into a dynamic, ever-evolving nature which stirs both movement and thought.
Alongside solitary music endeavors, Sunju Hargun is one of the co-founders of the event series Karma Klique, a collective of passionate individuals dedicated to unlocking music’s potential for lasting social change, while honoring Asia’s authentic, tribal sounds. In the autumn of 2020, Sunju, Johan Vandebeek, and Taychin Dunnvatanachit from the Karma collective, and Yoshi Nori from 禁JIN Records, established the label Siamese Twins Records, debuting with the release of Cobra कोबरा EP (ST๐๐๑).
The label’s identity is rooted in a diverse collection of leftfield music, offering a platform for Asian artists who align with the ethos of preserving cultural heritage and authenticity in the sonic landscape. It blends traditional influences with contemporary electronic sounds, creating a space for the uncharted and undiscovered. The label’s name is a tribute to Chang and Eng Bunker, the original “Siamese twins” born in Thailand in 1811, honoring the cultural history behind the symbolism of distinct, yet inseparable forces bound by fate. Since its inception five years ago, the label has expanded its horizons with 10 interlinked projects, including both full-length albums and EPs. “We are growing slowly and steadily over the years, opening ears wider and discovering new sounds and artists across the region. Coming up in March, the Siamese cats will be in Hong Kong at Mihn Club, Sound Metaphors & Saule in Berlin, and Murmur in Amsterdam, celebrating all the above and beyond, in Meow style,” adds Sunju.
The Golden Triangle comes forth as the label’s 11th record; an opening chapter of a two-part upcoming solo album by Siamese Twins co-founder, Sunju Hargun, marking his first solo release on the record label. The LP incorporates instruments inspired by the rhythms and grooves of a Thai folk genre Phlaeng Luk Thung (เพลงลูกทุ่ง—Children of the Field), while capturing the acoustics of everyday life in the kingdom of Siam.
With raptured visions of conventional structures and rooted percussion forms, the record compels with its celestial rhythms, resonant gongs, and ethereal textures coming from the untethered tropical lands of Thailand. Crafted over two years, the LP serves as a philosophical exploration of cultural identity, chanting ritualism and spirituality, which sonically evoke scenes of Buddhist temple prayers in the pursuit of inner peace through sound. The Golden Triangle‘s first part comprises four tracks, also showcasing collaborations with visiting artists and friends, including DJ and producer GiGi FM, who vocally and spiritually joins the “Lens of Time,” and Konduku, who contributes his hypnotic sound and rhythmic explorations in “Mekong.”
In this ‘In Focus’ interview, Sunju Hargun reflects on the origin, progression, and thought forms of The Golden Triangle. Inviting us inside the creative haven of TMM Studios in Bangkok—where the entire project was recorded—with a series of photographs captured throughout the process of creating the first chapter of his upcoming album.
Spanning a career of over 15 years, you have shaped a distinct musical identity, how would you describe this identity and evolution throughout the years?
Sunju Hargun: An evolution of curiosity. When I discover new music, I get excited to share them in upcoming sets. The process of making music excites me, particularly when I experiment with unconventional ways to shape it. As a DJ or producer, I’m always open to trying new things as long as they fit my world—whether it’s techno, ambient, trance, deep, goa, experimental, or even drum and bass. I love it all too much to feel constrained to one space, and that feels honest to my style. As my listening expands, so does my taste.
Some listeners might find it hard to pinpoint the style of music I play or make and I can totally understand that. One will always be different from the next, but not entirely—through the years, I’ve come to recognize the links between them, and hopefully others will too.
With a career defined by versatility rather than adherence to a singular sound, how do you navigate between reinvention and continuity in your productions?
SH: I’m still searching for the answers to that myself—maybe it’s because I probably don’t think about it too much anymore. I just go with what feels right for the headspace I’m in at that time and follow that instinct.
As your first full-length solo album, what made The Golden Triangle the right project for an LP and why did you decide to split it into two chapters?
SH: It’s not a 100% dancefloor album—though it could be if you play around with the tempos :). In the end, it all felt like part of the same universe, at least, that’s how I envisioned it. Splitting it into two chapters just made sense with the story. It gave us room to play with the narration and show a different side of what’s already been heard.
What was the initial vision behind The Golden Triangle, and how did it develop conceptually over the two years of creation?
SH: The vision behind it was pretty clear from the start—to make an album that felt like it was Made in Thailand. Music that crosses borders but is immersed in the surroundings of Southeast Asia’s sound & influences, especially in the style that Siamese Twins represents.
Of course, things changed along the way, but what really brought it to life was the collaborations. It turned into more than just an exploration—it became an honest conversation. Inviting friends to lend their voices & own interpretations of the local musical landscape completely shifted it.
When mentioning the album feeling like it crosses borders of Southeast Asia’s sound & influences, what particular element would you say lies beneath it?
SH: When I mention that the album crosses the borders of Southeast Asia’s sound and influences, what I’m really pointing to is a mythical essence—a kind of a mythical element that transports you to a parallel dimension, somewhere unknown. If you listen closely, the hope is that it takes you through Thailand.
The first chapter features collaborations with GiGi FM and Konduku. How did these collaborations and creative processes shape the album’s sonic direction?
SH: Since everything was recorded in the same studio, a lot of the samples, instruments, percussion, and effects come from the same source. What changes is how each collaborator used those tools, bringing in their own style and skillset.
Take “Mekong” with Konduku—is built from percussion jams using modular gear, a sub purring bassline, field recordings, an Ecodisk Buddha machine, and, of course, some really deep, low-end rumbles working their magic, along with Ruben’s signature touch when it comes to grooves and rhythms. Then there’s “Lens of Time” with GiGi FM, which is pure romance & storytelling—it moves through so many layers and shadows. Our time in the studio felt very connected—super patient, carefully considering every little detail. It was amazing to watch Giulia work. She has such an open-minded vision and isn’t afraid to tap into some fourth-world experimentation. You can really hear it in the ‘live’ elements—her vocals, the soundscapes, the drums—and the unexpected surprises.
The closing lyrics in “Lens of Time” seem to delve into philosophical explorations of creation, life and light. How did you manage to translate that simultaneously into sound?
SH: I’m going to bring in GiGi FM on this one—she recently sent me some notes, and summed it up better than I could.
“When Sunju and I entered the studio, we didn’t have a strict plan or concept ~ we simply allowed ourselves to connect deeply, letting our unconscious and collective consciousness lead the way. A big inspiration for us was a bird sound platform I’d come across, a database of recordings from birds all over the world. Birds have always resonated deeply with me, and these recordings became key textural elements in the track”
“Our work together became about tapping into something much bigger than ourselves ~ this grand, cosmic interconnectedness. Time, for us, wasn’t linear ~ it felt collective and expansive, a thread connecting our experiences, traumas, and creative visions. That’s the energy that guided ‘Lens of Time’.”
You recorded the album entirely in Bangkok at TMM Studios with contributions from visiting artists. How did this setting shape the sonic atmosphere of the record?
SH: I’ve grown really attached to the space after visiting a few times now. The acoustics are warm, and the crew behind it are talented people I have a lot of respect for. In Thai, we say Sabai Sabai—it means relaxed—and that’s exactly how I feel when I’m at TMM Studios. We are productive, but not stressed, and there is enough time to welcome those mistakes, and more often so, we record all of them.
As I listen to the first part of the LP and dwell in its hypnotic atmosphere, it makes me wonder—what setting do you see yourself playing this record?
SH: Wat Tham Pha Plong temple in Chiang Dao, Thailand
What is expected from the second chapter of the album later this year? Will new territories be explored, or will the themes of the first one expand?
SH: The second chapter welcomes some new collaborators into the fold. I’ll spill one of the beans here—we’re super excited to have Dazion contributing to it, and the track sounds very interesting. As a chapter on its own, it still stays within the same universe of sound as pt 1, but the attitude and tone shift. It grows a bit tougher, more punk, and heavily focused on more trippy sounds for the body and mind.
In closing, you have chosen a special mix to share with Orb Mag. What inspired this particular selection?
SH: I’m happy to share a recording from last year at one of my favorite gatherings, Rural in Japan. It was an honor to contribute two sets and be part of this long-running festival—the team behind it is like family, and I’m grateful to them for their passion, high-quality programming, and the experiences they create. This set also features “Mekong” in collaboration with Konduku and was the first time I got to road-test it in the perfect natural setting. My slot was on the main stage from 7:00 to 9:30 in the evening, following the respected live artist Phew and leading into Atsushi, who played an outstanding psychedelic-style set at the festival.
