Indonesia inventor of strange music instruments

  

Slamet Jenggot Indonesian artist

Doc Brown may have invented a vehicle that travels through time, and the Swiss scientist Victor Fankenstein may have topped the charts of mad scientists when he created life in the form of a horrible monster, but these pop culture mad inventors have nothing on an Indonesian artist who creates strange musical instruments out of mechanical spare parts.

Slamet Wiyono, also known as Slamet Jenggot, which means “Bearded Slamet” is a Bekasi-based architect, painter and musician who drew inspiration to create these peculiar instruments from his hobby of dismantling mechanical components. This frenzy started back in 2012 when he created his first instrument. Ever since, he has been using auto spare parts he finds on the side of the road or collects from auto repair shops to assemble his musical creations.
"The way I work is very organic. I avoid using a welding machine to combine these aluminum and steel pieces for my instrument," Slamet told The Jakarta Globe. One of his creations is a hand-cranked music box which consists of over 500 kilograms of steel and aluminum plates assembled together with metal bolts.
This instrument creates unusual yer harmonious music by activating a bass, drum, guitar, kick drum, cymbal and other instruments. The Indonesian artist views this machine as a groundbreaking invention that allows us to do something that is not humanly possible to do with the body or the mind. "I am always fascinated by the relationship between art, technology and science. To me, my work shows how these three elements can work together to create a unity," the 66-year-old inventor said. This colossal instrument also is made out of several kitchen implements, including scales, portable stoves and frying pans.
According to Slamet, his modus operandis while making this strange instruments stems from his educational background. "My work combines art design and machines. I studied architecture and I have a passion for all things automotive.”
Although this huge instrument might resemble an instrument and it might induce you to think so given Slamet's fascination for all things automotive, he claims he never intended for it come out that way, because he is also trying to create art with his musical instruments and art is subjective. He wants people to have their perception and interpretation of the instrument.
Apart from being music instruments and artistic creations, Slamet also uses his work as a escape valve to his political thoughts. He said some of the instruments manifest his disappointment with political discrimination, intolerance and greedy leaders. "People often ask why I created this monstrosity. I said, this is the way I express my fondness for art and a creative way to voice [my] anxiety about the world," Slamet said. For instance, the scale stands for all the imbalances he sees in Indonesian politics.
Although some people might not understand or like Slamet's work, there are others who truly appreciate it and have even expressed their desire to purchase some of his instruments. Unfortunately for them, however, Slamet said he would never sell his creations. "I like what I create and I have no intention to sell it. Many of my artist friends said I can make a lot of profit but this is not about money. It's about my passion," Slamet said.
Even if he sold these instruments, they would be hard to play for any seasoned musician as they do not follow a diatonic scale like conventional music instruments. "When I perform, my instrument cannot follow the guitar, drum or piano, they have to follow me. Because I did not create it to follow a conventional musical scale.”
This peculiar creator makes up for it by hosting a workshop where he teaches attendees how to create musical instruments the way he does, and also for those who are interested in kinetic art. Attendees range from university students and artists and music lovers in general who regularly join him in Bekasi.
He also holds workshops outside his house and his latest project was even accepted to be showcased in the 2018 Asian Games in Palembang. "They asked me to create 15 kinetic art installation made of aluminum and steel, just like what I did," Slamet told The Jakarta Globe.
This multifaceted artist has two studios, one for his paintings in Durent Sawit, East Jakarta, and the musical instrument workshop he has at home. Although he is popularity keeps growing, he said there are no plans to open up any more studios in the works. "I prefer to have people come to my house,” he explained. “It's always nice to have people around."
That might change in the future as the 66-year-old artist is starting get more and more recognition for his work. While he is not widely known in Jakarta, Slamet's work is widely recognised by Indonesia's art communities. So far he has performed in several musical festival and has even taken to the stage in plays.

 

Indonesian music culture from 1997-2001

  

Indonesian music Jeremy Wallach

Musician, anthropologist, ethnomusicologist, and assistant professor in the Department of Popular Culture at Bowling Green State University, Jeremy Wallach has delved into Indonesian music culture with new book, “Modern Noise, Fluid Genres: Popular Music in Indonesia 1997-2001” which he wrote in Bahasa Indonesia.

Soon after Wallach started doing fieldwork for his book, the country started to undergo a dramatic political transformation in 1998. This timely coincidence allowed him to witness a direct relationship between the underground music and the growing opposition movement that sought to challenge Soeharto's repressive regime.
Wallach interviewed Indonesian music communities - from punk to metal and dangdut - that took over the airwaves of the country from the era of the New Order transition towards the Reformation Order to document this period.
His documentation stated back in 1997 when he relocated to the Southeast Asian country to study Indonesian pop culture. Although he was first deterred by Indonesian artists' unwillingness to speak about politics, the political unrest that followed that year sparked by the resignation of president Soeharto enabled him to meet with prominent figures in the Indonesian pop culture and political scene.
During that time, Jeremy was exposed to dangdut music in its optimistic phase. He also found himself in the midst of music movements organised by students and was exposed to youngsters starting their own punk and metal craze.
The book has carefully documented that era with thorough research and in-depth insight that goes beyond the pop music scene and also digs into underground music. It also explores what happens to local music when musicians and audiences are exposed to foreign cultural influences from far and wide. Wallach dives into this question against the backdrop of the evolving world of Indonesian music after the fall of the repressive Soeharto regime, and the chaotic transition to democracy.
Wallach visited Indonesia to promote the Indonesian version of his book “Modern Noise” by having a discussion at the American cultural centre. There he told the Jakarta Post about the expansion of metal music is a global phenomenon that has brought metal music aficionados closer, turning them into a global community in an increasingly interconnected world. He said that “it's certainly a phenomenon that can't be ignored and has led to a number of significant developments. First of all, it has led to the underground scene of local communities that are connected through zines, through internet sites, through recordings being traded back and forth across national boundaries that's connected through the global networks of scenes bu also has a strong local identity and a strong regional identity. So there is a sort of global social network that this is part of. And this scene also has a strong local identity.”
When asked if he thinks metal or underground music contributed to bringing down the New Order regime, Wallach said, “The contributions, I think, are hard to quantify. But we know certain things. We know that the underground scene had set up a social infrastructure. It helped set up social networks to people that are important for maintaining communities where activism could be supported. People in campuses, we know that through zines, through the circulation of underground artifacts, various radical lefties ideologies and theories of resistance of political opposition circulation through networks brought by young people. We know that certain opposition of consciousness was fostered by angry, resisting music. We know that a lot of heavy metal is very political despite what people think. Bands like Sepultura, Talga, Testament, Rage Against the Machine or System of a Down; their music was very political. It was about political systems and people knew this, and were influenced by it. Is there a direct connection? Probably you'll never find one, but there was definitely an overlap between the heavy metal community and the activist community. They moved in the same circles. So there was a connection.”
Through his thorough research and documentation of Indonesian music scene of that period, Wallach takes the reader on a joy ride across recording studios, music stores, concert venues, university campuses, video shoots, and urban neighbourhoods. By combining local ground-level ethnographic research with insights drawn from contemporary cultural theory, Wallach proves that exposure to globally circulating music and technologies has neither extinguished nor homogenised local music-making in Indonesia. If anything, according to Wallach, it has endowed young Indonesians with creative possibilities to explore their identity in a multicultural nation undergoing earth-shaking transformations in an exponentially interconnected world.
Through his documentation and studies, he concludes that the diversion nationalism of Indonesian popular music serves as an alternative to the religious, ethnic, regional, and class-based extremism that have been a menace to unity and democracy in Indonesia.

 

Zay Nova Indonesian country music singer

  

Zay Nova Indonesian country music singer

As surprising as it sounds, Zay Nova is an Indonesian country music songwriter and performer from Bangka, who has made it in it Canada. Some of the songs he has released were co-written with American songwriter, Jan Duke. “Head Above Water” is his first independent album to be released in Canada.

Zay Nova is an artist who has worn many hats and worked at many different jobs, ranging from radio commercial mixer and radio music director, mime actor, painter, and host of a local TV show. After working as a radio announcer for 14 years, Zay launched his music career, but he employed well those previous years, which served to write his own material as well as material for other artists.
Upon meeting St. John's teacher, Anthony Murphy, in Jakarta, Zay Nova decided to gift Newfoundland with his unique music style, which combines the sounds of Southeast Asia with American country and western music. He told CBC Canada, “I've visited Vancouver, I've visited Toronto, but my heart is here, my heart is in St. John's.”
After seeing Nova perform, Murphy contacted Nova and they both kept in touch online. The encouragement from Murphy prompted Nova to take his unique music style to the streets of St. John, which welcomed him with open arms. Canada gave Nova a opportunity to launch his country music career he wouldn't have found in Indonesia.
As he explained, Indonesian music scene is not exactly psyched about country music, and Nova wasn't ready to compromise his artistic integrity and passion for country music. "Not many radios in my country are playing country, but they mix with pop or rock or something," he told CBC.
Instead of country and western music, it's the music style dangdut what has overtaken the airwaves of Indonesia. He added: "Just like country music, we have have traditional music called dangdut, which has a lot of fans there, but country and western is not really that common in Indonesia."
Upon arriving in British Columbia, Nova joined a bunch a troubadours who travel across the continent to showcase their music. Nova has confessed he really likes his home and locals. “They're really good to me and the people of Newfoundland. Everywhere I go, why do people say ‘Hello, my dear'?”
An artist through and through, Nova is currently working on his own unique version of country music, which will be a combination of Indonesian music and the southern United States.
Although you can only listen to Nova's music by going to his Soundcloud page, he is currently involved in different projects. He was invited to play the O'Rielly's open mic downtown, and is looking forward to getting gigs at other bars once he gets his name out there.
Although he has written over 500 songs, he is starting to write them in Canada to reach a larger audience. Some of the songs he has written and recorded so far in Canada include Molson Canadian Beer, Your Head Above Water and Your Husband is a Liar.
You can also check out his YouTube channel, where he showcases some of his music. Zay Nova is currently seeking a band and, particularly, a guitarist, to accompany him during his acoustic performances.
If he cannot find a whole band, he wants to assemble his own for his performances and thus he is looking for some of the following ones, in case you live in Canada and would like to join him: an accordion, background singer, bagpipes, banjo, bass guitar, vello, clarinet, DJ, dobro, drums, electronic music, fiddle, flute, harmonica, harp, keyboard, lead guitar, mandolin, other percussion, piano, rhythm guitar, saxophone, steel guitar, trombone, trumpet, ukulele, upright bass, violin, vocalist - either alto, soprano, tenor or baritone and bass.

 

Indonesian singer Yuka Kharisma

  

Yuka Kharisma

Yuka Kharisma is a popular Indonesian singer-songwriter based in Kuala Lumpur. She rose to prominence after being semi-finalist of the fifth season of Indonesian Idol, and her career reached a new peak when she won the Best New Female Artist Award of the 15th Anugerah Planet Muzik. Her first single was Kita Harus Percaya, which she released in 2013, then she released a few singles that topped the charts such as Dengan Tiada Luka (2014), Hati Berbisik (2015), Ju Bersedia (2015), and Muara Cintaku (2016).

Recently, she had the opportunity to make her dream come true of performing alongside her two idols, Bunga Citra Lestari and Anuar Zain, at Kuala Lumpur Convention Centre's Plenary Hall on April 28, 2018.
“This is my dream and thank God, it will come true soon,” she said about the BLC state show. “I have long wanted to share the edge with these two great figures.”
Anuar Zain is a multi-award-winning Malaysian singer, and Yuka Kharisma grew up listening to his music. Anuar Zain's first album was released in 1998, and he didn't a release any more singles for a while, until “Bila Resah.” His most recent album was this year. With so many years in the industry, he is an icon in the Malaysian music scene.
“Not many people might know my songs,” she said, “so the concert will include a song from a popular singer,” she said prior to the two-hour concert. There was aslo a duet with Abang Anuar and BLC.
Although she is still not that popular in the music scene, Anuar Zain knew who she was. “The praise from Anuar was an inspiration to me and motivated me to do better,” she said.
Apart from promoting the concert, Yuka also launched her debut album. “The album was actually recorded several years ago, but I hadn't had the opportunity to finish it until now, which is when it is launched.” The album comprises different types of songs, ranging from slow songs to rancid songs. This mix of music styles is possible thanks to that her label allows her great artistic liberty.
She said that it might take her longer to release songs under this label, it does it make it easier for her to make artistic decisions and do whatever she thinks is best for her career.
She said that she finds the music industry to be more robust now. “Technology helped change the scene in so many ways especially in terms of how we consume entertainment,” she told New Straits Times, “Hard copies have changed to soft copies, offline artistry has translated online and these changes are inescapable”.
She added, “I see it as a positive — for as long as there are policies that protect artistes' rights. Piracy is still an issue, and music is more vulnerable to illegal file sharing and downloading. That said, I do see some brightness in the digital music business, as it has been part of our lifestyle for years now. Artistes and consumers ease into it without major ramifications.”
Despite the dangers that downloading of music and illegal file sharing presents to the artist, there are also positive aspects to technology and she has managed to make the most of it. “We managed to use the innovations that come with technological growth in an empowering manner. For instance, musicians are able to share music more widely and consumers in return have better entertainment choices,” she said.
When asked if she has experienced any downfalls with the rise of technology in music, she said, “One of my unreleased song got leaked and I didn't even realised it until I saw the song in a music list during a karaoke session. That got me puzzled and disappointed. I could not even fathom how it ended up at an entertainment outlet. That is why I stress the importance of a more controlled and structured regulation to protect our work”.
Despite its difficulties and the challenges that technology brings, she said that it didn't stop her from embracing digitalisation. “I had a lot of trust issues as a result of it but there are continuous strategies and sustained solutions to curb piracy presented by the government to take measures that safeguard the interest of people involved in the music industry.”
She added: “The industry's digital landscape here for musicians to thrive is better than in Indonesia. Royalty is better guarded due to stronger governing bodies. The industry here is better controlled.”

 

Traditional Music of Indonesia

  

Indonesian music(1)

Located off the coast of mainland Southeast Asian in the Indian and Pacific oceans, Indonesia is home to hundreds of ethnic groups, with their own cultural and artistic history. This cultural diversity has led to multiple expressions of local musical creativity. With hundreds of forms of local music and foreign musical influences, the music scene of Indonesia is a colourful and vibrant collage of beats rhythms.

Music varies from one island to the other other, and researchers have long documented the musics of Java, Sumatra, Bali, Flores and other islands. While music has been developed in every region, they have all been passed through generations and they still exist in the community. Although Native Indonesian tribes have incorporated chants and songs accompanied with music instruments in their rituals, the music has been grown and developed in each region, and it has been slightly modified from generation to generation. Today Indonesian music is popular across the islands and even in neighboring countries such as Malaysia, Singapore and Brunei.
Although traditional music in each region has its own uniqueness compared to other regions, songs in Indonesia usually comprise strong beat and harmony type musics that have show a strong influence of Indian and Malay classical musical. This trend is mostly visible in the traditional popular music genre of Dangdut.
Indonesian music is also characterised by simple lyrics and melodies, and these lyrics are usually the in the local language, and it is usually played with traditional music instruments that are particularly to an area. As they have traditionally played music to accompany the tribes' rituals, songs usually demonstrate an element of community togetherness.
The musical identity of Indonesia dates back to the Bronze Age. Indonesian tribes use percussion instruments, particularly gendang (drums) and gongs. Other outstanding musical instruments are sasando string instrument of Rote island, angklung of Sundanese people and the intricate and refined gamelan orchestra of Java and Bali. The latter is the most popular form of Indonesian music, which consists of tuned percussion instruments, including metallophones, drums, gongs and spike fiddles along with bamboo flutes.
Remarkable genres of Indonesian music
Although Indonesian music is the result of combining different forms of culture and music styles, original music still survives today and it comprises a range of music genres, most prominently keroncong music, dangdut music and modern Qasidah. Keroncong is a popular folk style which stems from the Portuguese colonial era. After the European conquerors brought their own music instruments, these were combined with Indonesian instruments and the combination resulted in keroncong music.
This genre of music reached its prime in the 1930s when it was used in Indonesia's film industry. It then became a vehicle for people to express their struggle to achieve independence. There is a famous kerongcong song from these times called Bengawan Solo; this famous song tells the story of the river Bengawan Solo, the longest river in Java. This song describes the legendary river in a nostalgic way, and its beautiful lyrics and unique melody made it one of the most popular songs in this genre. It's so popular that it has many versions in different languages.
Written by Gesang Martohartono in 1940, the song is strongly associated with the Japanese occupation and the society of the time. At the time, Gensang was a young and untrained musician who startinted playing “Bengawan Solo” on a bamboo flute at local functions and gatherings in his hometown of Surakarta. It didn't take long for the song to become widely popular locally and soon it achieved national acclaim after it was broadcast to a wider audience by radio stations.
But its popularity wasn't only amongst Indonesians; the Japanese soldiers who occupied Indonesia during the Second World War also liked the song and took it to Japan once the war was over. There the lyrics were translated into Japanese and they gained great popularity after singers such as Toshi Matsudar released recorded versions of it which become topped the charts that year. That is how the song started to spread to the the rest of Asia and then it achieved worldwide popularity.
Ever since, Gensang has become not only a nationally renowned figure, but also venerated by foreigner and to such extent that a group of Japanese war veterans arranged for his statute to be erected in a park in Surakarta.
Ever since the 1970, Dangdut stands out as of the most popular traditional musics in Indonesia. Combining local music traditions with Indian and Malaysian musics, Dangdut music started out as a form of dance music.
As a testament to Indonesia's cultural diversity, modern Qasidah is a popular form of music that comes from Arabic pop combined with lyrics in local dialect recited as poetry. This poetry recital is accompanied by charting and percussion.

 

Gamelan

  
Gamelan music
Gamelan is a style of music that originates from Java and Bali in Indonesia. While quite traditional in style, it has set its roots deep into contemporary Indonesian music as an influence, and is perhaps the most iconic music from the region. It is an atmospheric and abstract soundscape of metallic noises, percussive elements, complex rhythm and traditional instrumentation.
The music is mostly percussive and percussive-melodic. The most common instruments include metallophones which are placed with mallets, and kendhang which are a set of hand-played drums which provide the pulse. While these two instruments tend to set the foundation for each composition, the music is also often decorated with other melodies and counter melodies from xylophones, bamboo flutes, vocalists (referred to as sindhen) and rebab, which is a bowed instrument derived from Arabia. Traditionally, it isn't a notated form of music as it began as an oral tradition, but nowadays there are precise methods to recording the music on paper, mostly invented to preserve various pieces in the court records as music is generally memorised.
The music is often improvised, and when writing new music, the band leader, also known as the sekaha, who helps the community to invent new gamelan, will encourage the performers to add their own element to the music and leave enough space in new compositions to include improvisations. They believe that music should grow and change, and even in some performances of traditional gamelan pieces, new sections and improvisations are added so that the music is constantly changing. The only time this isn't applicable is when they play their oldest and most sacred pieces, which are memorised and rehearsed frequently and passed down through generations, note for note.
Gamelan music has become less popular over the years as more and more people have started listening to pop music, however it is still frequently played at traditional festivals and ceremonies as well as other formal occasions. It is a very central part of the Indonesian culture, and as the iconic sound of Indonesia, we won't see it disappear anytime soon. Bands such as Krakatau and SambaSunda have created a jazz fusion using the ethnic gamelan music and instrumentation blended with contemporary instrumentation such as drumkits, keyboards and guitars to create a modern Indonesian sound. The band Bossanova Java have also fused a more refined style of gamelan from Java with bossa nova music to create a very unique soundscape that still sounds true to it's geographical origins.
Gamelan also influences music from as far away as Japan and beyond. Quite noticeably, the Japanese synth-pop group Yellow Magic Orchestra featured a heavy use of gamelan elements and samples on their 1981 album titled Technodelic. Gamelan music has also influenced the soundtrack to several anime films including 1988's Akira, composed by the Japanese music group Geinoh Yamashirogumi. Even the some of the soundtracks used for the iconic Sonic games feature gamelan samples and influences.
More traditionally, gamelan is a cultural music performance, and often is accompanied by traditional Indonesian dancing, puppet performances called wayang, and is also often played at traditional rituals and ceremonies. The music not only accompanies these activities, but is a solid and vital element to the entire performance, so much so that everybody needs a thorough understanding of everything happening, for example, the puppeteers in the wayang must understand the music to be bale to give cues for the music, and the dancers who perform alongside the music can usually play instruments in the ensemble as they study the music extensively to fully immerse themselves in the performance.
Almost all religious rituals involve gamelan music, including ceremonies performed by the Catholic Church in Indonesia. There are pieces that are believed to fend off evil and others that are believed to have magical powers. Certain ceremonies have particular gamelan composed specifically for them, such as the Gamelan Sekaten which is used for Mawlid an-Nabi, also known as Muhammad's birthday.
Gamelan has also found a way out of Indonesia and into other cultures where it has grown and developed into something entirely new. Both Malaysia and the United States have developed their own style of the music which, while keeping true to Indonesian gamelan roots, has become something very unique and different.

 

Glenn Fredly

  

Glenn Fredly

Glenn Fredly Deviano Latuhamallo, more commonly known as simply Glen Fredly, is an Indonesian singer and songwriter who became famous as a result of winning a singing contest called Cipta Persona Bintang in 1995. He is also an established producer and has served as a voice coach on The Voice Indonesia. As well as singing, he can play guitar, bass guitar and piano and often accompanies his singing on stage using these instruments, although his strong, melodic and clean vocals have always taken the spotlight in his music. He has also dabbled (and rather successfully) in movie production, his movie “Cahaya Dari Timur Beta Maluku” picking up The Best Movie award from Festival Film Indonesia. He is usually seen wearing a hat of sorts.

Following his title in Cipta Persona Bintang, Fredly joined a funk rock band called Funk Section, although his time working with them only lasted until 1998 when he left the group to focus on a solo R&B career. His first solo album, GLENN, was released in 2998 and sold over 50 thousand copies at a time when R&B wasn't so popular in Indonesia.
Fredly has featured in many music competitions around the world following his successful debut which springboard him into the music industry. In 1996, he was a finalist in the Asia Song Festival. In 2001, he came third in the Russian Asia Dauzy International Song Festival. He seems to know where his roots are, and be fully supportive of the music industry scouting for talent through competitive events.
One of his largest influences has been Michael Jackson, and following his tragic death, Fredly performed five tribute concerts around Indonesia, covering Jackson's most popular hits in memory of the deceased singer. Fredly has stated that Jackson is a massive inspiration through him, not just because of his music, but also his dancing, his style, and everything else. Fredly has also been inspired to do voluntary humanitarian work as a result of idolising Jackson, who also completed similar projects. You can hear Jackson's influence in Fredly's music, from funky upbeat high register guitar chords and driving funk baselines, to clean and technical drum patterns that really drive a funk feel to the front of his music which gets people moving and throws the listener back to the 80s. This is particularly evident in Fredly's earlier work, although the influence hasn't been lost over time. Other influences on Fredly's work include Marvin Gaye, Chrisye and Quincy Jones.
Perhaps his most famous song is titled “Akhir Cerita Cinta” which roughly translates into English as “the end of a love story”. This slow and relaxing song is rich in atmospheric harmonies, smooth vocal lines enriched with harmonies, and gentle fingerpicked guitar, creating a very mellow and sombre mood, and has become a huge singalong piece at his live performances. As the name suggests, it is a break up song where Fredly sings about a heartfelt loss and struggling in the aftermath of a relationship, which is well represented in the music video which has gained over 14 million views on Youtube.
Another popular hit of his is “Terserah” which translates in to English as “Whatever”. This is another break up song by Fredly, although the lyrics seem to come later after the relationship's end than in “Akhir Cerita Cinta” as he exclaims that although feeling sad, he is moving on. The song has a similar mood to “Akhir Cerita Cinta” with a ballad like feel, thick orchestral harmonies, slow R&B drums, melodic electric guitar licks and some very strong and powerful vocal work stretching a huge range of notes. The video has acquired over 5.5 million views on youtube and depicts an emotional story of the collateral damage of a bad relationship to a family and the friends surrounding them, as well as featuring him playing his guitar and singing in a sombre setting, looking distant and thoughtful.
With his many talents both relating to music and not, Glenn Freely is a name we can expect to see for many years to come. He has become one of the most popular and famous names in Indonesian music and has inspired a lot of musicians in Indonesia and surrounding countries.

 

Djakarta Warehouse Project

  

Djakarta Warehouse Project

Djakarta Warehouse Project began its journey in 2008 as merely a club event that took place in Jakarta's renowned Blowfish club called Blowfish Warehouse Project. Starting from 2010, the festival has been held annually in the month of December as a one-day festival until it expanded into a two-day festival in 2014.
The festival upholds one of the most consequential values that Indonesia possesses; diversity. A wide spectrum of sub-genres under the dance music category are given a platform through the multiple stages in the festival, one of them being the bird-shaped main stage called 'Garuda Land' inspired by the country's coat of arms, Garuda Pancasila.
Throughout its nine editions, some of the world's biggest acts have graced the stages of Djakarta Warehouse Project including Steve Aoki, Carl Cox, Skrillex, Tiesto, Diplo, Major Lazer, Martin Garrix, David Guetta, Calvin Harris, Armin van Buuren, Axwell x Ingrosso, and DJ Snake, amongst many.
In 2015, Djakarta Warehouse Project was crowned 'The Best EDM Festival of 2015' by EDM Sauce. In 2016, the festival saw more than 20,000 travellers from 39 countries around the globe over the course of two days.
The festival has also hosted the Asian debut of Barcelona's Elrow touring concept in 2017 with its very own special stage and spectacle of colours. In the same year, hip hop acts made their debut at the festival as the entire 88rising clan and Desiigner descended to the festival.
In 2018, the festival is set to make a triumphant return for its 10th Anniversary Edition entitled DWPX on 7,8, & 9 December 2018 at GWK Cultural Park, Bali.
Now with under two days to go before Djakarta Warehouse Project's historic tenth edition hits Bali, Indonesia, organisers Ismaya Live have added to the excitement with some final additions to their burgeoning lineup.
Having turned heads with its first two announcements that saw the likes of The Weeknd, Alesso, DJ Snake, and Porter Robinson added, DWPX now completes the rundown with a raft of new international and local acts, solidifying it reputation as the #1 electronic dance festival in Asia.
First up is masked man of mystery and one of house music's continually rising stars, Claptone. With countless hits to his name and having exploded onto the scene with his infectious remixes back in 2015, his set at DWPX is highly anticipated. Another currant titan of the genre, Jax Jones, also joins the billing today, together with one of the most in-demand DJ duos in the industry, Gorgon City. With countless hits to their names and years of DJing experience under their collective belts, these party starters are not to be missed.
EDM mainstays KSHMR, Showtek, and Bassjackers will also be descending on DWPX's new home at Bali's GWK Cultural Park, showcasing their unique brands of big room house to the adoring crowds. Trap heavyweight and Diplo protege Troyboi, will be joining in with the fun too with his first set on Indonesian soil. With anthems including ‘Afterhours' and ‘On My Own', this performance looks set to be a festival highlight.
Capping off the international headliners at this year's event are multi-genre DJ trio Kris Kross Amsterdam, who have made a name for themselves in The Netherlands and beyond for some of the most energetic and diverse sets around. They join the likes of Goldfish & Blink, w.W, Crisis Era, and countless up-and-coming local acts that together will be making DWPX one to remember.
With the festival now close to selling out, Ismaya Live are urging fans to head to www.djakartawarehouse.com for the last remaining tickets.
 
Bali + Dance music + Happy people = ONE AWESOME PARTY !!!

Java Jazz Festival

  

Java Jazz Festival

The Jakarta International Java Jazz Festival, more frequently referred to as The Java Jazz Festival, is arguably the biggest jazz festival in the southern hemisphere, and is one of the largest gatherings of jazz fans and musicians all over the world. It is an annual event occurring every March since 2005 when over 47 thousand people attended, and it has just been growing in size and popularity ever since. The festival has established Java as the Asian capital of Jazz music. The event aims to promote jazz music from Indonesia and all over the world, and also aims to promote Indonesia as a country and a travel destination.

Jakarta International Java Jazz Festival has not only become one of Indonesia's finest jazz festivals, also one of the most prestigious & largest in the world.

While the majority of artists have come from Indonesia, there is also a heavy focus on international jazz music, and renowned artists such as Jamie Cullum, Incognito, Craig David, and even the likes of Santana, James Brown and Stevie Wonder have all performed as either feature artists or special guests amongst thousands of established and esteemed jazz performers. 2017's festival showcased more than 150 jazz musicians, with 60 daily shows held over three days on 14 different stages. As it is such a huge event, it depends heavily on enthusiastic volunteers, corporate sponsors and individual donors to continue it's successful run.
Many Indonesian artists are featured, and over the years, some of them have accredited a portion of their popularity to the festival presenting them. Famous Indonesian acts who have previously performed have been Sandhy Sondoro, Raisa, Barry Likumahuwa and Krakatau. Many of these musicians call Java their home, due to it's high status in the world of jazz music.
The festival takes place at the JIEXPO centre in Kemayoran, Jakarta, and is hosted by Java Festival Production, who also host events such as the Java Rockin'land, Jaca Soulnation and Soundsfair. They have been successfully organising music festivals for over 12 years, since the initiation of the Java Jazz Festival, and have become established festival organisers in the process of running the event.
For the duration of the festival, many local bars and cafes try to cash in on the smooth jazz vibes by hosting jazz nights, live performances, and jazz programmes as part of the Java Jazz on the Move standings. This also includes performances from a number of artists in the run up to the opening day of the festival to build up the hype and to set the town into a jazz fuelled atmosphere.
Due to some criticisms that the festival was too “poppy” in 2016, 2017 saw the return of a jazz heavy lineup with the aim to educate people to love jazz. One of the directors, Dewi Gontha, stated that people “should learn that there are many genres within jazz” and that jazz combines with many other genres in response to the criticism, but reassured everybody that there would be a stronger focus on jazz values to reconnect with those who felt that the festival was moving in a more mainstream direction.
The world of Jazz is often eclipsed by pop and rock music which steals the global spotlight, but in places like Java, much like New Orleans, jazz music still steals the spotlight, and will do for many years to come. The golden age of swing may be a style that many associate with the past, but with such huge and important events in the modern music scene, artists are proving that not only is it a style that isn't dead yet, but it will continue to grow, develop and thrive in new and exciting ways, both as a core style and as a tastily influence on many other genres. Attendees to the festival should hang up their sneakers in exchange for their dancing shoes, and should expect a huge wall of bright, uplifting, happy sound filled with horns, saxophones, and energy, and can expect to see some big household names and find some new up and coming local talent. More information can be found on the official festival website (http://www.javajazzfestival.com) including lineup announcements, ticket sales, links to local hotels and information about the organisers. For any fan of jazz or swing music, this is one event you must add to your bucket list.
 
In 2019 Java Jazz Festival will happen on dates 1.2.3 March.

Kekal

  

Jeff and Levi

Kekal are a heavy metal and electronic fusion band which formed in 1995 in Jakarta, Indonesia, and is still operating, although under slightly unusual circumstances. Kekal was one of the first heavy metal bands from Southeast Asia to make an impression on the international music market, and they have left an impression on the global metal scene.

While considered heavy metal by most, those with a more refined ear for heavier music will tell you that Kekal are an experimental band who mostly produce black metal, progressive metal and avant-garde metal, but who also incorporate a range of influences from diverse genres such as ambient, jazz fusion, electronic and progressive rock. While starting out as a more stereotypical example of a metal band, the group have refined their sound over time into something more experimental and electronic to keep up with the ever changing sound of the metal market, and have even gone as far as using electronic autotuned vocals on top of black metal riffs. For those who like to indulge in a bit of metal music, it is interesting, technical, and extremely virtuosic in moments.
The bands first official demo was supposedly recorded in band member Jeff Arwadi's bedroom on a Foster X-28 4-track tape recorder and a $2 karaoke microphone, yet still after going into circulation managed to catch the attention of several record labels in the metal scene outside of Southeast Asia, and soon the band were sent several record deals. Their first album, “Beyond the Glimpse of Dreams” was self produced and released in 1998, and was released on two record labels allowing the band to gain an international recognition across Europe and the USA. Despite one member leaving the band, they released their second album “Embrace the Dead” the following year. There was a fair amount of dissatisfaction with their second album due to the fact that the band members felt pressured to try to appeal to a more mainstream audience, and so their third album “The Painful Experience”, actually titled after the singer's endurance of the recording of the second album, raised the band back up to their reputation of being experimental and anti-mainstream.
in 2006, the founding member of the band, Jeff, decided to move to Canada which left the rest of the group in a purgatory state, and fans questioning whether or not the group had gone their separate ways, however the band decided to endure and carry on, although only as a studio project, releasing “The Habit of Fire” in 2007 to critical acclaim. In 2009, officially all of the members left the band, although the name would still continue, just without any members. Jeff announced he was leaving the band, and many fans thought this was the end of Kekal's musical career.
Despite this, in 2010 the band announced that they were working on a new album. Although all of the members of the band had officially left, many former members, including Jeff, were all contributing, and in 2011 they released their eighth album, suitably titled “8”. Despite not being a conventional band and operating mostly as a studio project, the band still functions today and has released new material under their new circumstances.
The band have had many influences over the years, and considers itself “street progressive” which suggests that they have an edgier, punk-like feel which is more reminiscent of The Mars Volta instead of typical progressive bands like Dream Theater. The band themselves have quoted their influences as mostly heavy metal bands from the 80s, such as Iron Maiden, Helloween and Sodom, although due to their diverse and experimental style, elements from music such as A-ha, Björk, Outcast, Massive Attack and Depeche Mode are also present in their music, even if only as fluctuating influeces. They are also a heavily christian band, and although this has had an influence on their lyrics, the band claim that they are not an example of Christian metal.
The band, since the beginning, has had control over their music, production, and artwork, giving them the power to create exactly what they have envisioned and to be completely independent, which is very reflective in their cutting edge sounds. Despite having a questionable future, we hope to see more of their experimental sounds gracing our speakers in the future.

 

  
1  2  3  4  5 
  
Page 1 of 5
up Top