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woktherock on 09/29/2011 at 02:11PM
In September and October of 2011 Arrington de Dionyso will be making his first ever voyage to Indonesia, at the invitation of Yes No Klub -an experimental music collective from Yogyakarta. He will have several weeks’ residency in Yogyakarta where he will be teaching throat-singing workshops and creating murals while also collaborated with local musicians to create an entirely new version of Malaikat Dan Singa with Wukir Suryadi (Bambuwukir, Senyawa), Dani (Armada Racun), Ichan Sani (Armada Racun, Shoolinen) and other musicians from Indonesia. The tour will also featuring two finest contemporary artists: Senyawa and TerbujurKaku. Wukir Suryadi invite him to join his performance at four world music festivals, "Suara Mantra World Music Festival" in Mataram, Lombok island, "Space is Ours" in Denpasar, Bali island, "Bamboo World Music Festival" in Bandung, West Jave and a festival in Mount. Bromo, East Jave.
The journey with Malaikat Dan Singa started in Jakarta at SubStereo Oz Radio, "Jakarta Noise Fest #3" and at a fringe programme of "OK Video Festival"; then they will move forward to Bandung, Malang, Surabaya and the final performance will be held in Kedai Kebun Forum, Yogyakarta which also an exhibition of Arrington's drawings. He will also publish a book of whatever paintings are produced during my residency for publication in a small artist monograph edition. Some of these concerts will be documented by film maker Vincent Moon, famous for his work with A Take Away Show and La Blogoteque. This project supported by Yes No Wave Music, Langgeng Art Foundation, Common Room, Ruangrupa, Insomnium, WastedRockers, KUNCI Cultural Studies Center and Kedai Kebun Forum.
woktherock on 03/29/2011 at 11:00AM
This compilation was initiated by Marzuki Mohammad of Jogja Hip Hop Foundation and Adi Adriandi of Kongsi Jahat Collective in May 2010 as an archival project of recent top-underrated Yogyakarta artists. It is curated by Wok The Rock (Yes No Wave Music), Ajie Wartono (Warta Jazz) and Anton Kurniawan (A&R of Warner Music Indonesia). The 10 artists selected to create new song for the compilation are Jogja Hip Hop Foundation, Serigala Malam, Frau, Zoo, Dubyouth, Armada Racun, Risky Summerbee & The Honeythiefs, Individual Life and DOM 65.
This album was planned to be release at Yogyakarta City 254th anniversary but then postponed due to the Mount Merapi eruption. The album was released on November 19th, 2010. Three tracks I uploaded here are from Ki Jarot (Jogja Hip Hop Foundation), Zoo and DOM 65. Jogja Hip Hop Foundation is a hip hop community who infiltrate hip hop with javanese language and traditional music. For this compilation, Zoo collaborate with Wukir to record one of their future material turning their previous noisy sound to be more clean and complex. DOM 65 is the first streetpunk band in Indonesia who are transcending their punk root toward progressive/psychedelic rock.
woktherock on 01/08/2011 at 01:33PM
Indonesian Netlabel Union conduct collective action to widely introduce the existence of Indonesian netlabels. The first step begins with a series of compilation albums released simultaneously on January 1st, 2011. The participants are five active netlabels including Hujan! Rekords, Inmyroom Records, StoneAge Records, Mindblasting and Yes No Wave Music. The materials in these compilations are songs taken from singles or albums which released for free and legal through netlabel, webzine, official website, and free-hosting website.
The netlabel phenomenon in Indonesia started widely by Yes No Wave Music in 2007. However, its existence is traceable marked by Tsefula/Tsefuelha Records in 2004 as a self-released label for indie-rock band Shorthand Phonetics. At the beginning of its presence, Tsefula/Tsefuelha Records created by the Ababil Ashari in Canada before returning to Indonesia in 2006. Then in 2008 to 2010, several other netlabel had appeared from various cities in Indonesia such as Invasi Records, Reload Your Stereo, Stone Well Sounds Records, Inmyroom Records, Hujan! Rekords, Mindblasting and StoneAge Records. The popularity of these netlabels is supported by articles about Yes No Wave Music in many mainstream media, and in a book entitled "Music Biz: A Smart Survival Guide in the Music Business Jungle", written by Wendi Putranto and published by Rolling Stone Magazine Indonesia.
As a country that has a high level of music piracy, file-sharing method which implemented by the netlabel, have helped to decrease the practice of piracy. One example is Frau's mini album entitled "Starlit Carousel" released for free by Yes No Wave Music and then the physical version, in CD format, with the same song material released by Cakrawala Records in the box with a unique and affordable prices. In 3 months, the album had been downloaded 3,000 times and CD version sold over 1000 copies (the sales are good enough for a newcomer artist and without the promotion support in the media). This has proved that album which is distributed for free does not always reduce the sales value of its physical version, and until recently (6 months) has not found a pirated version of the CD. For that, a network representing netlabels which aims to socialize to a wider audience is needed. After releasing a collective compilation album, Indonesian Netlabel Union would organize some other action such as festival.
Happy New Year 2011!
woktherock on 12/03/2010 at 08:58PM
2010 is a good-looking number despite it is the first decade of the 21st century. We also have a very good date, 10 / 10 / 10 (October 10th, 2010) where people try to make it as their special day. Also by this year, Indonesia had a big, striking pornography issue. The man on the cover art is Ariel, he is a famous musician from Indonesia. His two private-cellphone videos which he make-love with 2 other celebrities has been uploaded on the net. He tells everyone that the man on the video is not him. Anyway, this mix feature a few tracks I like on FMA, and I just realized that I don't listen to many songs than in 2009. As this year is the first decade of the century, I think it would be much interesting to make a mix of entire FMA's archives rather than just top ten of year 2010. However, let's end this year with some noises!
woktherock on 10/06/2010 at 10:45AM
Indonesia as an archipaelago country has a lots of traditional musics ranging from the wild-hard tempo, rhythmic-yet-trance to slowest-ambience tone of sound. There are some contemporary musicians who develop this music to the new form, a fusion. But usually they're come from people who has traditional art background or music academy education. But it's very rare for young people who grew up listening to popular music like pop, rock, or electronic to get into traditional music. It looks so old-fashion and not cool. So, it's very surprising if they play this un-trendy music and yet infuse it with the anger of punk attitude.
Rully Shabara is a frontman and vocalist of Zoo, a math-rock/experimental band based in Yogyakarta, Indonesia. In Zoo's latest trilogy album he develop the music direction with traditional music approach by using javanesse language and traditional instrument but still in the vein of punk music. Meanwhile, Wukir Suryadi devoted his life into traditional music even in his teen he also listening to rock and heavy metal (musical genre that very popular in Indonesia back in the '80s). He is best known when he create his own instrument named Bambuwukir by himself. This self-made instrument constructed from bamboo, reminds of the Sasando from Rote, an island part of the East Nusa Tenggara province of the Lesser Sunda Islands. A couple of distinct differences though between Wukir and Sasando music. Firstly, besides plucking the strings on the circular harp, he also bows the strings.
They were met when Wukir played at Yes No Klub gig -a monthly event organized by Yes No Wave Music and Performance Klub in Yogyakarta. Both were found the same interest and strong chemistry, then they start to rehearse a few times and think forward to record their works. The result is a 6 piece of powerful contemporary tribal songs entitled Senyawa and released it for free download at Yes No Wave Music, a netlabel from Indonesia. Different from Zoo, this collaboration more into traditional music feel. Since then, Wukir now join in Zoo and the band begin to write the new album for next year. It will bring the traditional music to young popular music scene in Indonesia and so the rest of the world. Enjoy.
woktherock on 08/19/2010 at 08:38PM
Yes No Wave Music and Performance Klub joining to organize a monthly gig in Yogyakarta, Indonesia entitled Yes No Klub. The show is located in a small basement space of Jogja National Museum. Yes No Klub is an extention of the work undertaken by Wok the Rock of Yes No Wave Music and Timothy O' Donoghue of Performance Klub. Previously the duo have organised numerous events under the title Invading Birate (first initiated by Yes No Wave Music). Such events have seen the likes of Justice Yeldman (AUS), Joel Stern (AUS) and Sally Fielding (AUS) play Yogyakarta.
It's a curated monthly series of events. Events concentrate on cultural and musical exchange between visiting and local artists. Events range from experimental/sound orientated performances through to more conventional band and electronic performances. Yes No Klub focuses on presenting new and unheard sounds and combinations to the people of Yogyakarta and aims to link artists from Indonesia to an international network of experiemental/other musicians and sound producers.
If you're around south-east asia or willing to hava a show, please don't be hesitate to contact by e-mail: yesnoklub at gmail dot com.
Visit the website at http://yesnoklub.yesnowave.com
woktherock on 09/21/2009 at 02:59PM
ADI RENALDI (YES NO WAVE MUSIC): It’s been a long time before you dropped “Trilogi Peradaban”, what makes you decided to record this full length album?
Well, it’s the realization of our first full length album actually. Some of our materials were written right after our first ep was released. But they were recorded quite long time after it was released. But we see that it is the advantage, we found it more interesting if we added few elements we never thought before.
RULLY (ZOO): Can you tell me a little bit about this album concept?
Same as the title itself, divided into three chapters. Having two perfectly different drummers affected our characters in each chapter. That’s the advantage. In first chapter (Neolithikum) our drummer is Obet with compact, fast, and technical drumming style. In the second chapter (Mesolithikum), Dimek plays the drum with more complete structure, rhythmic, and powerful. And in the last chapter we didn’t use drummer although we have some percussions. In this last chapter you may find it softer without drumming department, but actually they were defined as the most dissonant and “randomized”. Primitivism is stands as the main character in a pure acoustic form, and the patterns are disrupted. So the whole point is, the differences between each chapter are not lyrically but based on each characters and structures.
This album is truly has a strong-built character. What things stand as influences during your creative process?
Mood is definitely influenced the process. I don’t know about the others. But in vocal technique, the process is absolutely influenced by what bands I like and explored at that time. If only the same songs were recorded right now it would probably complete different. The affection on the final would be massive.
Why did you pick up ”Trilogi Peradaban” as the title?
Title is always be an effective way to emphasize the message. On our first ep ”Kebun Binatang”, the title is a direct translation and has literal meaning through out our band name. Besides that, the front artwork was made to strenghten what ”ZOO” is all about. After our identity was emphasized through out the ep, it’s time to emphasize the theme. With straight title using ancient civilazation in every single chapter. And ended with conclusion in the end of a song. Hopefully the listeners could considered that we would like to underline something about civilization. I’m totally seduced to explain what they really are. But i think it’s more satisfying if you find it by yourself by listening and pay a good attention. There are many clues in it
Can tell us about the recording process you had?
Some of our songs in first and second chapter were recorded only in a day. Then we came with the entire vocals. And the third chapter, mostly we made them spontaneously right before we recorded them. The mixing process was done gradually with different operators.
You work in a different city (Rully works in Jakarta, while the two live in Jogjakarta), how would you deal with the band time?
Well, actually, this is Zoo’s hardest odd: we have a very short meeting time. Saturday nite, is the only time for us having routine rehearsal. We found it very hard if we have a show but in other day beside Saturday. But that’s the story, so far we can still manage and accomodates but it’s true that our communication and efectivity is a little bit messed up.
How can you end up with Yes No Wave Music?
Yes No Wave is a very ideal medium to store Zoo’s work. Not only its effective distribution, but also in free-gift principle to share to public. Many bands/musicians using netlabel only to release their solo, experimental projects, and promotional kit. But until releasing trilogy album? It’s completely different story, that means we are click with each other principally. Not only join for a ride. We can guarantee, this wouldn’t be our last release with Yes No Wave Music.
Continue to make songs with similar theme, but in a more explorative way of serving. That’s it, alter all are set then we decide what we’ll do about those staff. Hopefully nothing bad happens.
woktherock on 07/30/2009 at 12:52PM
Zoo’s “Trilogi Peradaban” Launching Partyat Kedai Kebun Forum, Yogyakarta, IndonesiaJuly 25th, 2009After 2 years without any single album, Zoo is finally back with their critically-acclaimed full length album entitled “Trilogi Peradaban”…In 2007, Zoo released their first mini album “Kebun Binatang” under Yes No Wave Music as the antecedent. And they started to steal vast majority attention ever since. The chemistry between both band and label began to spark again when they decided to unleash the sophomore 3-chapter box set CD-R album which contains 22 tracks full blend of chaotic yet ambiguity of ethnicity. “Yesnowave is an ideal medium to hold Zoo’s material, not only its effective distribution, but their free-gift principle is astonishing” Rully said. It’s been a long time since their last performance. And they paid their dues by holding this unforgettable show ever….Pay your tickets not with cold hard cash you have. All you ever need was just a single leave with your hope written on it. And you can join the whole show and share the moment with them. The leaves that the audiences brought will appear as visual form for their upcoming album. That’s the regulation. At the front yard, there is also a silk-screen printing service for the comers who had low budget. It Costs only Rp.5000,- and you can have Zoo’s newest artwork printed on your shirt or whatever you may have.
Show was scheduled on time at 7pm, but somehow it seemed so hard to manage on time. Right on 8.15pm the entrance was shut and zero tolerance for the late comers who would potentially disturb the ceremonial performance. The equipment was already set, waiting to be played. And the dim of the yellow soft light added such a certain vibe of transcendental-experience. Rully appeared onstage close to the keyboard and began to spell his repetitive ghost chant - much likely incantation. On the background, a mute black and white video art about civilization was played on a giant screen. This film is a remix from the movie Baraka. And Zoo was playing as if they were the “original soundtrack” or scoring. Even though that seemed not quite worked. But still the audiences enjoyed in deep silence. After sort of introduction, along came Bhakti and Obet who began to set their equipment. The first song was ignited with lightning speed and raw hell-bent bass line. Full of torturing patterns as if they wanted to devastate the entire stage. Totally powerful! That under-one-minute song was successfully gained enthusiasm and warm applauses. Next, Didit from Cranial Incisored ripped down the stage in matter collaboration with Rully. His evil screech was vigorously cracked down the barriers between two different genres. All hell broke loose!!!
With slashing ethnic sound fetish, Zoo becomes one of quintessential inter-disciplinary band on today musical weakness. For fans of The Locust, Naked City, Melt Banana or even The Berzerker, this band will satisfy your prog-experimental thirst. But for narrow-minded who trapped into skepticism, this will truly harm you.
After the first session, there was a face-to-face interaction between audiences and media with Zoo. People who have a question regarding to their newest album could freely ask them. This dialogue was a press conference also. Many of them participating a few questions and Zoo was happily answered in semi-formal way.
The dialogue lasted for about twenty minutes. And Zoo was attempted to do the second session. Rully took his Bongo and took off his shirt, the bad air circulation made him to do that. Again, another track from “Trilogi Peradaban” was launched like a surface-to-air missile looking for target. Rully reigned the whole stage while hitting the bongo. The other members attacked with high-explosive crunching techniques as never imagined before. The duo from Armada Racun rose onstage, this time, Dani on bass and Nadia - who also plays in Risky Summerbee and the Honey Thiefs - played keyboard on the right corner. They dressed in black as if that was a cosmic funeral ceremony. Nadia’s fingers began to dance onward. Their solid-rock performance was supremely made the whole room drowned in their own conscious interpretation. At the end of time Zoo collaborated with all participants, including Adi Restyadi on violin. There is no doubt about their relentless performance that night.
“Trilogi Peradaban” is also released for free and legal via yesnowave.com. And their CD-R format is limited only for 100 copies with smooth and unique wooden case including 3-chapter CDs and 20-page long colorful booklet.
woktherock on 04/08/2009 at 04:01PM
Phlow Magazine is a well appreciated webzine about netlabel around the net. We have a good chance to be interviewed by Mo who is one of Phlow’s founder. Here’s the interview:
Yes No Wave Music: Free Music from Indonesia
Visiting Hidden Corners of the Global Netlabel Phenomena | While internet data highways connect more and more countries and cultures all over the world, the distribution of music speeds up and we get access to places we’ve never been. Places like Indonesia where cassettes are still a commonly used medium to listen to music next to CDs and MP3s. Indonesia where netlabelism is still a tiny growing plant but where the idea of Creative Commons fall with its seeds on a rich ground. Welcome to the world wide web and the first netlabel from Indonesia: Yes No Wave Music.
The head behind the Indonesian netlabe called Yes No Wave Music is Wok The Rock. As a visual artist he lives and works in Yogyakarta, Indonesia. The 33 years old loves music since his 8th birthday and released his first album when he was 16. In the old days he used an old tape recorder for his first release.
Wok The Rock was involved in the punk scene 1996, writing and publishing a zine, formed a label which focused on punk music, built a web-based punk community and organized some underground music gigs. In 2002 he began forming and organizing Ruang MES 56, an artists initiative space focused on contemporary photography. In 2007 he started Yes No Wave Music by himself with the help of Bagus Jalang who writes the liner notes for each release. For a living he does web and graphic design.
For Germans, Indonesia is far away. I have no clue how easy or difficult it is to release music in Indonesia. So tell us! Are there “normal” labels, are there “netlabels” and how do people in Indonesia get their music?
Indonesia which has the biggest music industry in South-East Asia, exports its music production to nearby countries like Singapore, Malaysia and even Japan. Unlike mainstream music industry, Indonesian underground music has more various and progressive genres from indiepop to drum n’ bass, dub, post rock, math rock and experimental jazz which has a good fan base in many countries. One of Indonesias most popular electro pop bands, Goodnight Electric, was invited by Goethe-Institut to perform on c/o pop Festival in Cologne, Germany.
It’s not hard to release a record in Indonesia. In some big cities in Indonesia, there are lots of unexpensive record studios. For your information, cassette is still popular to be used. The cost for cassette duplication is very affordable for bands with not-so-much money. The cost for cover sleeves are also cheap.
But when the internet became popular, the selling of casssettes and CDs decreased. Pirated CDs are a horible monster for Indonesias music industry. In every corner of the city, pirated audio CDs, MP3 (CD Data), and DVD Movies are affordable and easy to find. Torrent, Rapidshare and other blogs which provided songs in illegal MP3 format are very common for a lot of teenage music fans.
But, although while they are very common with torrent or other file sharing systems and there is a zine that writes reviews about some netlabel releases around the world, teenage music fans still are unfamiliar with netlabels. Yes No Wave Music is the first netlabel in Indonesia and started in April 2007.
When and why did you choose do release music under creative commons licences in Indonesia?
The DIY (Do It Yourself) ethics and the distribution of pirate material are the main reason for me to run this netlabel. To release free music together with a digital license is the logic consequence to deal with the current conditions. To get more profit, the selling of band merchandise has became more effective than the selling of CDs or cassettes. Through a netlabel, bands can easily distribute their songs more widely. With more people listening, this will impact the selling of the bands merchandise and the chance to get a gig.