MUSIC
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The Marloes follow up the massive success of their debut album Perak by pressing two of the stand out tunes from the record on a 7”. The A side “Not Today” is right up there with the grooviest feel good songs you could ever play on a Sunday morning. Lead singer Natassya Sianturi reminds us to make space for ourselves no matter what life throws our way. From the message, to the music, to Natassya’s gorgeous voice; this is a cool out, kick back, and enjoy anthem. The B side “Over” starts out with a heavy drum break and evolves into an epic arrangement drenched in layers of gorgeous melodies that perfectly capture the havoc of a love affair that ends abruptly. Natassya’s vocals soar over Raka’s intricate production seamlessly as she tells a tale in three parts; attraction, intimacy, and decline that crescendos to an epic ending.


Kadapat adalah proyek musik dari Yogi dan Barga yang berbasis di Bali. Kadapat menggunakan ilmu putih/hitam Bali sebagai spirit dalam eksperimen musik elektronik-gamelan dengan tujuan menyampaikan tradisi dan legenda urban.
Berkenalan dengan Kadapat berarti bertemu dengan anak muda milenial dari suburban Bali yang ditempa oleh gamelan beserta tradisinya sejak usia muda. Tak hanya mumpuni secara teknis, Yogi dan Braga juga memainkan gamelan untuk upacara-upacara tradisi dan keagamaan di Banjar, sebuah komunitas masyarakat yang memiliki batas-batas wilayah yang berwenang untuk mengatur dan mengurus kepentingan masyarakat setempat, berdasarkan asal usul dan adat istiadat setempat yang diakui dan dihormati dalam sistem pemerintahan. Mereka berdua sangat intens bergumul dengan norma-norma tradisi yang konservatif dan kosmologinya yang transendental. Sebagai entitas milenial, mereka juga akrab dengan budaya urban, teknologi, dan kosmopolitanisme Bali. Identitas hibrida ini semakin kompleks saat mereka mendalami dimensi pendidikan seni formal dengan sistem pedagogi barat.
Ribuan unsur-unsur tersebut terwujud dalam karya musik Kadapat di album ini. Ia berkelindan dalam jaringan yang saling mencerap dan mencibir. Setiap elemen dan teksturnya bersuara konsensual, namun tak jarang masing-masing menyeruak secara mandiri mencoba menunjukkan eksistensinya. Secara utuh komposisi dalam album ini memiliki nyali politis. Imajinasi radikal yang diekspresikan dalam kondisi yang rumit bagi mereka: adat istiadat. Eksperimentasi adalah upaya uji coba. Apakah menguji pertunjukan Kadapat di Banjar, di kampus seni, di klab gorong-gorong, di beach party, di festival musik metal, atau di acara kawinan akan menimbulkan polemik? Tidak ada salahnya untuk dicoba. We just need to talk. — Wok The Rock





We are delighted to be able to bring you these gorgeous field recordings from the Sumedang Province of West Java which, over their 50 minutes, present two distinct sides of Sundanese musical and devotional culture.
Although West Java is a Muslim country, these recordings highlight currents of pre-Islamic animist beliefs and practices that continue to flourish in the small towns and villages of the highlands of West Java. The recordings showcase two forms of trance music that are essential to the spiritual life of the Sundanese people in the highland regions.
Tarawangsa trance music is a traditional ceremonial genre known for its deep spiritual and hypnotic qualities. This music is made using only two instruments, the tarawangsa, a two-stringed fiddle, accompanied by the jentreng, a seven-stringed zither, creating a unique blend of resonant, droning sounds. Historically, tarawangsa music has been performed as part of sacred rituals and agricultural celebrations to honor local deities and ancestors, particularly associated with the Sunda culture. The minimalist, repetitive melodies gradually build, guiding participants and listeners into a meditative, trance-like state, during which dancers can be possessed by the spirits of ancestors or deities from the spirit realm, the music serving as a link between the two worlds.
In stark contrast to the calm, medititive sound of tarawangsa, we also present here two long pieces from Panca Buana Reak Group. Sundanese Reak trance music is like the punk rock of Sunda folk music, combining powerful and driving rhythms played on a number of hand drums and percussion instruments with the buzzing sound of the tarompet, a double reed wind instrument often amplified through whatever mobile speaker system might be at hand. Sometimes the group will play gamelan gongs, as heard on the first piece on the album, although this remains a music that is popular mainly with the working class youth of the rural villages, many of whom will also be fans of Indonesia's burgeoning metal and punk scenes. Reak performances are often wild, anarchic events that feature masked dancers, costumes, public trancing and spirit possession.
These recordings were made by Xenia At during her travels through West Java earlier this year. The tarawangsa recordings were made in a home in the village of Rancakalong on the evening of 17th January 2024, while Panca Buana Reak Group were recorded during rehersals in the village of Cinunuk on 19th and 20th January 2024.
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