Songstress Andreya Triana isn’t yet a household name in London, but with her mix of old sould, R&B and jazz, she’s well on the way.
On her debut album, ‘Lost Where I Belong,’ recorded with famed UK producer Bonobo, Andreya Triana pairs buttery vocals with honest lyrics, making listeners feel exactly what she is all about. Before heading to Austin for her first SXSW appearance, Andreya Triana spoke to Spinner about her musical journey, the difference between being in a band and going solo and why she never reveals her age.
I’m writing this sitting at the gate for the Montreal – Los Angeles flight, on my way to the New Music Seminar (where we are speaking and where we’ll have a Bandzoogle meetup. See this post!). The New Music Seminar will be packed full of aspiring artists, looking for advice, hoping for their big break, or just for ways to further their career and leave the day job. This is perfectly timed with the guest post we have today from Bandzoogle member Rizzo (aka Michael Nelson Rizzo), who is an award-winning writer/producer with over 20 years’ experience writing “sellable music” for the world’s best corporations, TV and cable networks, film companies, musicians, record labels and publishers. Able to stylistically navigate from hip hop to country, orchestral to techno, his diverse body of work has been heard by hundreds of millions of people since 1988, when at age 17 he wrote his first nationally syndicated TV theme song. His eclectic mix of abilities in entertainment, technology, law and business–coupled with his passion for people–has allowed him to thrive in such distinct creative communities like Minneapolis, Virginia Beach, Nashville and now Portland, Oregon. See his Bandzoogle powered site at www.EpicSoul.com. Rizzo’s advice is fantastic, and we’re hope to have him back often as a guest blogger. Let us know in the comments what you think.
THE ART OF MAKING SELLABLE MUSIC
“It’s More Than The Music”
Recently, I was talking with a band about “sellable music.” “We want to make money but we don’t want to be commercial,” they said. “We make music our way in our bassist’s home studio. It really lets us take our time to make music that expresses who we are.” “So are you getting any attention or making enough money?” I asked. “No,” they chuckled. “We all have day jobs but gig when we can and we know that hard work pays off.” They were amazed at how I had made a living in music for 20 years and wanted me to hear their music. So they gave me a CD, a link to their MySpace and went on their way. I checked it out later. Their music was good, they had creativity and drive, maybe even the potential to be great. But it was not “sellable music”.
As I work with musicians, songwriters, budding composers, artists and bands, I find that most aren’t making music that strangers pay any sustained attention to. Instead of sellable music, it’s forgettable music that lacks lingering qualities and ultimately doesn’t matter to the world.
Don’t Let the Good Be the Enemy of the Best
Sellable music is about being great — not good. Regardless of genre, style, units sold or the decade you were born into, it’s about the subtleties of mastering your musical craft, as well as your professional image and relationships. I’ve observed that musicians of every age often don’t pay attention to those significant subtleties. And when an opportunity comes their way, they aren’t ready for it or they didn’t even notice they had one.
Which Path Are You On?
The true path to sellable music means following through on the subtleties. Evidence of that path looks like spending endless hours of practicing an instrument in solitude, showing up on time for a 9am meeting because you said you would, writing out a few dozen drafts of a new song, staying up all night alone working out your tone and effects while your bandmates only choose presets, taking a third job so you can save up to hire a great producer, gladly shaking the hands of all the fans who come to see your show, and reading books about the music business (all the way through).
Take the counterfeit path to sellable music and you’re working hard but not smart. I’m talking about playing your instrument but not practicing, shaking hands with fans but not showing genuine interest, not knowing even basic music-business practices, calling someone a day later than you said you would, relying on presets because you don’t want to read the manual, playing the same guitar patterns song to song — and the bombshell — recording in your home studio. Yes, I really just said that.
The Home Studio: A Cancer to the Music Industry?
Could it be that the home studio, instead of being a creative benefit, is a “creative cancer?” Not only to your career, but to the entire music industry?
You probably assembled your home studio with the hopeful intention of gaining endless “studio hours” in the leisure of your home to create music non-stop. But you quickly became overwhelmed with software updates, manuals, electrical ground loops and airplanes flying overhead. I’m not saying home studios are evil in and of themselves. But the home studio “investment” — in inexperienced hands at the wrong time — may kill your passion. And maybe your career.
Recording studios used to be “temples of musical leadership” and were filled with master craftsmen in song creation, production and performance. There were systems of creative and personal expertise where seasoned producers, arrangers, engineers, songwriters and musicians interacted with and mentored fellow artists — passing on the art of making sellable music.
You Just Need One Great Song
You might be thinking, “OK. That makes sense but I just can’t afford to hire that level of talent for an album.” Good point. But why do you even need an album? It’s 2011. The single is back and matters more than ever. Why produce a bunch of good songs when only one great song is enough to change your life?
My advice to today’s artists is to take your ten-song-album budget (or your home-studio budget) and sink it into your three best songs, and your branding. Hire a real producer whose music you like and actually sells. This is important because there are a lot of dudes calling themselves producers simply because they own some looping software and vintage gear. That is NOT a producer! The producer must know music, be able to navigate in the studio environment and have solid connections to other great musical craftsmen. Make friends with all of these experts. Pay them on time. Praise them for their talents. Be kind, respectful and grateful!
Get Yourself Out There
Then develop your image and brand. Create an amazing website using great pictures and carefully written content. Shoot one music video (even one of those photo-videos that are all over YouTube can be pretty cool). When you launch your online presence, nurture your fan base and update your content weekly. Then every 30 to 60 days, release another great song that is perfectly produced. This is all very strategic in that it will bring in revenue, involve you with professionals, win you necessary industry relationships and keep you in front of your fans.
As a show’s worth of material is created, it will be easier to learn and remember your parts, your fans will know all of your songs, and you can then release an album and even offer some alt mixes.
Great songs build relationships. Great songs get passed around. Great songs make you unforgettable.
In October Agnes Obel has released her debut album ‘Philharmonics’. Feeling musically related to Roy Orbison, Agnes currently lives in Berlin and possesses the rare gift of a songbird’s voice, bringing to mind Ane Brun, Joanna Newsom or even Ricki Lee Jones. Her latest single ‘Just So’ is a hit in many European countries.
This facebookish world of ours offers us the illusion of getting to know people we don’t really know, who their friends are and what they like: Agnes Obel likes Alfred Erik Lesley Satie and Sonic Youth, Debussy and Dylan, Hitchcock and PJ Harvey. She is from Copenhagen but she lives in Berlin. She studied at the University of Roskilde, a town renowned for a Glastonbury style music festival and home to a marvellous viking ship museum.
Keroncong music that became part of the musical culture of Indonesia, in which there is characteristic that contains the values of universal culture, as well as other music. Keroncong music has its own characteristics that are different from other musical forms that emerged from the blend of musical elements, musical accompaniment and presentation techniques.
Development of modern songs that become keroncong into modern keroncong. This idea blaze because of the saturation in listening to an old-style static keroncong. Modern Keroncong formed from; Indonesian pop songs, Western pop songs; semi-classical songs and Western and folk songs. All of them as a form of creativity of the musicians in an effort to improve quality, develop and preserve the music keroncong.
Denpasar Municipality as an object of study area is rich with potential in the field of arts and culture, one of which is the art of music keroncong. Music keroncong not been able to develop like other kinds of music, but music keroncong able to survive in the midst of society.
To improve the existence of government and various private parties still make the effort to preserve through competitions such as event PSR, BRTV election, and broadcasting through radio and television stations, both national and private.
In addition to the efforts mentioned above, the existence of hotels and restaurants provide a tremendous opportunity to further enhance its presence through regular performances and incidental. The existence of these efforts led music activities keroncong in Denpasar quite lively.
In particular aspects of musical aesthetics keroncong arise from a combination various aspects of both musical and non musical. The combination can be assessed as follows.
In general, the creative artists always have or expect a clear purpose. They have also considered whether performed only for aesthetic presentation, or simply as mere entertainment. If the aims as an aesthetic presentation, then an artist expects the audience. For entertainment purposes, hence the emphasis is the role and who want to entertain themselves. Thus it can be stated that the position of art in each community is different.
As one art form that developed in the community, the presence of keroncong music has several functions, namely: 1) the function of education 2) the function of entertainment, 3) economic function, 4) social function.
Education Functions
Works of art in the form of songs keroncong is one important medium for informal education for the community. Values education can be obtained through the lyrics / poems contained in the song. The community can understand the teachings of religion, manners and other teachings are useful in improving its existence.
Entertainment Functions
Music or song is one type of food for the needs of the human mind that are categorized as secondary needs. When they experience tension or saturation after completing a job, or are experiencing problems, by listening to music is one attempt to release the tension. Music is one of the entertainment is quite easy to be obtained either through radio, television, MP3, and Hand phone.
Economic Functions
Before becoming a commodity results, keroncong music is just as works of art that functions as a spiritual refreshment or entertainment in times are resting. However, its existence has now switching function, in addition to the entertainment function is also functioning economy. This is thanks to the touch of modern technology which is the result of popular culture that makes the songs began to show its existence through the form of presentation. Various forms of commodification was created to package the songs for well-known and popular in society. Packaging in the form of cassettes and VCDs has received rave reviews from the community, especially for fans of the songs keroncong. His best-selling circulation of tapes and VCDs are not just beneficial for the owners of capital that is the studio recording, but the singer, musician and songwriter also feel involved in terms of material benefit.
Social Functions
The expressions of art, both the art of “noble civilization” and the “entertainment” in addition to having aesthetic value would also have social functions (Edi Sedyawati, 2006:131). Social function in the arts can be seen from the contents contained in a form of art that aims to influence the public or the audience can do for the social to the surrounding environment.
Social function in the music keroncong, can be seen from the role keroncong songs are sung for the benefit of society. such as in the activities of celebration, weddings. With the aim to entertain the guests who attended the event.
Angklung is a musical instrument from West Java. Angklung gubrag in Jasinga, Bogor, is one that is still alive after more than 400 years ago. Appearance originated from rice rites. Angklung created and played to lure Dewi Sri down to Earth for the people of the rice plant thrives.
Known by the Sundanese community since the time of the Sunda kingdom, of which as motivator spirit in battle. Angklung function as pumping continues to feel the spirit of the people still come to the colonial period, that’s why the Dutch East Indies government had banned the use angklung, the ban could make angklung popularity declined and only played by children at that time.
The origin of the creation of bamboo music, such as angklung based view of the agrarian life of Sundanese people with a source of life of paddy (pare) as a staple food. This gave rise to the myth of trust in Nyai Sri Pohaci as a symbol of Goddess of Rice giver of life (breathe-Hurip).
Reflection of Sundanese people formerly in agricultural processing (tatanen) especially in the fields and shifting cultivation has spawned the creation of poetry and song as a tribute and offerings to Sri Pohaci Nyai, and the efforts “nyinglar” (starting reinforcements) for suitable planting them not to invite catastrophe, both pests and disasters Other natural. Buhun song lyric in honor of Sri Pohaci Nyi, for example:
Furthermore, the songs offerings to Dewi Sri is accompanied by the sound of percussion accompaniment made from bamboo poles that simple packed structures which then was born the bamboo musical instrument we know today named angklung. Subsequent developments in the game Angklung tradition accompanied by elements of motion and Ibing (dance) that rhythmic (air-wirahma) with patterns and rules = rules in accordance with the needs of the memorial on time paraded rice paddy to the barn (ngampih pare, nginebkeun), also at times mitembeyan, began planting rice in some places in West Java called ngaseuk.
Similarly, when the harvest festival dedicated to the game and seren taun angklung. Especially at the presentation ceremony Angklung related to rice, it becomes a performance art that are the parade or helaran, even in some places into the convoy Rengkong and Dongdang and Jampana (stretcher food) and so forth.
In its development, angklung grow and spread all over Java, then to Kalimantan and Sumatra. In 1908 recorded a cultural mission from Indonesia to Thailand, among others, marked the transfer angklung and bamboo music of this game also had spread there.
In fact, since 1966, Udjo Ngalagena angklung figures who developed the technique based on barrel-barrel game pelog, salendro, and madenda-start teaching how to play angklung to many people from various communities.
The movement of indie labels in Indonesia is a phenomenon which at present looks quite grown dramatically. It happened because there is resistance movement against the major labels who impressed suppress the creativity of a musician himself. Idealism is very thick in the indie label. This is quite affect the color of music that they serve. Very diverse and have a pretty strong character. Another case with a major label musicians who impressed at stake in making a work. Maybe the market is what determines their works pegged label like that.
In every phenomenon of course there are pros and cons. But among those who choose it tend to oppose a major label. It is usually formed from the personal experiences of the musicians who feel rejected or fooled them alone by one major label. Gaming is behind a major label that usually destroy a band itself. The band signed a label at the moment as only used, in the first few months they are known. But the following months they forgotten the consumer. Why so? Because of the works displayed are not creative. There are so many bands that followed the previous bands that are well known. The character that they show is the character previously successful bands in Indonesia music universe. Impressed not creative right? It really is what distinguishes the indie and major label musicians.
In the indie label needed a very strong creativity. A great ideas are needed here. Things like that can make an indie label musicians rose to the surface and perhaps even now an indie label has become a trend in Indonesia, especially in Bandung. As one of bandung indie band called LITTLE THINK. Poprock alternative genre band that was loud against the major label. Their movement on the indie label is very rapid. They argue that a major label musicians no one independent. Thought they were fixated only on major labels. They only make the work, sending demos to labels and if it fails try again later. What a mindset of a musician who did not develop it? And unfortunately things like that have been entrenched in Indonesia. For that movement of indie labels in much-needed counterbalance a major label. This is done for the major labels can not just play music blantika Indonesia. Many bands that have been proven in the indie label, a band can be more successful and accomplished than the band’s major label. But all was not well with the way that instant, it takes the process and thinking outside the can for musicians indie label could offset a major label. Management professionals are also greatly affect the success of a band. If a band like that concept.
Maybe music in Indonesia will be very diverse and will not be dominated by major label bands. And that’s what actually eagerly awaited by connoisseurs of music of Indonesia. The concept of independent labels indie music industry will make Indonesia become more stable. So the quality of Indonesian music can be synchronized with the quality of the music world. And it is not impossible. If there is seriousness from all parties, all that could tewujud with earnestness. For that let us support indie label movement in Indonesia.
From Bandung to New York, at the corner of Yogyakarta to Perth, they were crossed with independence while picking the sustenance of the hobby. The road they are indie-unwilling-independent bound on the industrial market. Their World as wide as the globe, attributed by the red string: creativity itself. Embrace them, Generation Indie, which is increasingly passing the universe. Come to Bandung, sometime. A time to look at the former military warehouse in South Warehouse Road-10 minute drive from the famous downtown Cipaganti. In the complex porous structure filled with dull, some young people spend their lives during the last five years. One corner of the warehouse-please check their magic into “nirvana creativity” for 347, this distro or distribution outlets, leading in Bandung, which has reached Perth, Australia, New Zeland, Singapore.
They rented a large enough piece of floor in a former warehouse that army. But Distro 347 heart pounding in one room of 35 meters of white-walled square. Contents, three designers, one laptop, a set of red drum music-usual beaten in the sidelines of boredom. One dispenser. Three tables, three chairs. That’s it. Ah, there are some graphic magazines. “This is where I play, the brain continues to flare up,” said Dendy Darman, 33, founder of distributions 347. Nearby, sitting Yuriza Kenobi. Anli Rizandi in another room, was punch-punch the phone.
From the room, from the warehouse, they sniff visual excursion trends in New York, London, Tokyo, while controlling the network 347. “What comes out in New York today, can we make on the same day in Bandung,” Dendy said casually. Thousands of works of graphic design, T-shirts to indie band album art, packaging T-shirts to bags crackle, born in the army warehouse. Industry-ass T-shirts ran imitate their designs, which managed to turn the community of lovers of indie product. At least, in the area of Bandung and its surroundings.
Now aged 10 years, according to Dendy turnover of approximately Rp. 347 700 million-Rp. 1 billion per month. Joking? Seriously! They employ approximately 50 employees. Showroom as well as his store is on the Way Trunojoyo and Jalan Citarum, Bandung. Part of the proceeds used to subsidize the indie community activities in various cities: a photo exhibition and design, stage music, magazine production.
Bandung was only one window to peek crackle indie community is increasingly spreading in various cities. Distro they exist everywhere. About 900 in Bandung, Jakarta 500s, and 60 more in Yogyakarta. Then, Makassar, Medan, Surabaya.
Perpetrators average young or start from a young age. There Chepoy, Andi Bogel, 24 years old. Jelita, 19, Olip Reynaldis, 23 years old. Choosing the road indie, independent, they are unwilling dictated the mainstream market in the affairs of industry products and creativity. Expressive, daring to be different, believe the whole world could be embraced, is some characteristic. They represent the most fun phenomenon of young people today: hobinomik. From hobby, money is harvested. From hobby, provision is invoked.
Hobinomik not an empty term.
Latest research results “Youthology”, which was held in Jakarta Ogilvy Public Relations, 2006, recording a pulse of life of our young children. So far, virtually no comprehensive research to describe the “anatomy” of young people of Indonesia-now about 44 million people or 20 percent of the population. “We only vaguely understand them,” said Wan Lie, a member of Ogilvy team.
Research was held in Jakarta, Bogor, Tangerang, Bekasi, Makassar, Medan and Yogyakarta. In total there are 385 pairs of respondents young people aged 15-24 years. They were interviewed in depth many times. Most of the respondents followed the rhythm of life intensively.
The result? Most respondents, 61 percent, live life with style DIY (do-it-yourself) and do what you love. In short, I really. Kumaha Aing, said people in Bandung. In essence, I can make clothes, shoes, music, accessories, movies, magazines. What are preferred. “Independent spirit, antikemapanan, became the main theme of young people,” said Wan Lie. And, hobinomik is the estuary.
The majority of respondents, 92 percent, the perpetrator or his relatives to know that picking the rupiah through a hobby. There are fashion designers, photography, cheerleader, website designer, guide music (disc jockey), to become an illustrator of animated films and modify the motor.
Search Tempo in field research confirmed the results of Ogilvy. Hobinomik fast moving, especially at community underground (underground). Distributions, which mushroomed in recent years, one of the benchmark. This young man typical shops scattered through the narrow alley, show off in the background, urban background.
Introduce, Jelita Dian Andini from Jakarta. Age 19 years. His hobbies drawing. This hobby he poured into the design of electric light clothing with a touch of fresh a la Harajuku, freestyle ala young Japanese. He takes on prom night (night school farewell), pensi (performing arts), the ad stars show a video clip of the band, until the pop singer search competition. He set the fashion of the teens before the stage. Jelita paid, of course-approximately Rp. 500 thousand per month from the affairs of polish-polish outfit.
He also could force people dug deeper into his wallet. Design clothes off over half a million dollars per piece. Last year, “I launched the clothing with labels Nii Productions,” said the lady with pride.
He and thousands of other young people who plunge themselves into the territory hobinomik shows one thing: the iron law of economics applies to all ages. Hobinomik market is wide open because there is demand. One thing, they are not going to dictate. Andy Bogel, 24, owner of Insomnia distributions in Kemang, South Jakarta, said: “Every T-shirt or shirt designs we’ve created a maximum of two dozen. Practice does not sell, just that much, “he told Tempo.
DIY philosophy of making young children were not easily attracted by the brand. “What is important is not the brand, but elo own style,” said Aztri Wulandari, 19, student Atmajaya University, Jogjakarta. Wearing branded clothes, other than expensive, too risky dikembari others. How much more clothes version Mangga Dua. “That dress a million people. Not really, deh, “said Aztri. As a result, distributions are hawking all kinds of needs of young children, clothing, music, movies, accessories, magazines-a fresh alternative.
Hobinomik even get a place.
Ideology also makes Jakarta I really no longer a mecca of youth trends. Most respondents Ogilvy research, 62 percent, said Sayonara to Jakarta as the center of the trend. Thanks to television and the Internet, the latest trends, both mainstream (mainstream) or underground (underground) in London, New York, Milan, Tokyo, could diendus any time.
Sayonara for Jakarta raise a hallmark of local flying. Collection distro in Yogya, for example, more daring designs, color more striking in the appeal of goods-output Jakarta and Bandung. “We is not possible to design the fashion style of the distro, mostly yellow-skinned people,” said Aditya Dhenni, owner of Mail Box Distro, Yogyakarta.
In the indie world, they celebrate diversity.
Gustaff Iskandar, manager of Bandung Center for Media Arts, believes the same opinion. “Young people are now better appreciate the difference,” he said. They grow and experience the impact of economic and political crisis, 1998. The works are varied their tactics to survive, survival. Borrowing the term Gustaff, “They are not bound by conventional norms.”
As a result, their work available to anyone. A fat, buntet, slim, black, yellow complexioned, all given a place. Kind of “antithesis” to the fashion industry that prioritizes the conventional model of “ground finch”: thin, tall, slim, flat-chested.
Gustaff also looked at young people now have more space for multi-identity. Morning so college kids, lunch at the club playing basketball, night musala participate in the study. ‘Clubbing’ at the nightclub was not a matter of taboo. The boxes to be flexible identity. “Everyone has become a unique and colorful individual,” Gustaff added.
In the rule looks, they also motor changes. Danny Satrio, editor of O magazine, confirmed that the youth of the 21st century is much more expressive and confident. “They’re not ashamed to appear, though still cethek expertise,” said Danny.
The juniors, most of them are the backbone of the indie generation, mostly born by the postwar generation. Their parents are witness Soeharto regime, which homogenizes many facets of life: a little off the mark branded subversive thinking. Educational level and economic growth. And the seniors never want their children and grandchildren grow up in ribbons. As a result, “They’re more democratic, more relaxed, more loosely supervise the children,” said Darmanto Jatman, cultural experts and psychologists in Semarang, Central Java.
Aspects of demography and pop culture can be used to photograph the changing character of youth as exemplified Darmanto above. Diennaryati Tjokrosuprihartono, specifically adolescent psychologist, in Jakarta, also believes that public confidence in making young people are now more rich and confident initiative.
Diennar also agree that the young millennium is more dynamic and have a lot of choices through life. But, “Not a few teenagers who caught drug, brawl, free sex, and suicide,” he said. Pendulum changes not only lead to the sunny side.
Remy Silado, Aktuil manager, a very popular magazine in the 70s, is one of the young people witness the changes. According to Remy, before the 60′s young people tend to parrot the trend overseas. Qiblah America is so thick up to at that time there Tangkiwood Gang-mime-Hollywood in West Jakarta, where the artists hang out. Groups when the noisy band imitating the style of Beatles. A Riyanto gig with the shout “ji, ro, lu, pat … Ow ..!”- shriek inspired John Lennon,” one, two, three, four …. … Ow! ”
Problem also imitate-copy fashion. Model clothes taken from the magazine his newly purchased home from overseas. Ever the film star James Dean fame skyrocketed with jeans macho. What power, in Bandung-Jakarta, this model has not been circulated. What is reasonable? “We came to a special tailor, looking most like cloth, making a pair of jeans,” said Remy. Poet Sutardji Chalzoum Bachri, said Remy recalled, the time it once proudly wore jeans van Bandung.
Then came the era of the 70s and 80s. Climate antikemapanan blowing punk style. Disharmony bands that come first, like the Velvet Underground and The Sex Pistols, became an idol. The young people began to style ngepunk with spiky hair-spirit that is still felt today. A few weeks ago a group of young punk-style police arrested at Denpasar: they sing the lyrics to the song that insults the police corps.
Climate-mimic echoes still strong until the 1990s until now. But hey, what’s in this world that one hundred percent original? According to Dendy Darman, the latest graphic design trends even cut and paste. Take a little from here, merge with it. Give seasoning creativity. Scratched …, be a fresh new style.
Young mecca of the 90s are also more widely. Group F-4 from Taiwan, manga (comic), Japan, the style of New York hip-hop, indie bands in London, the punk group in Germany. Yamasaki also extreme-sports clubs in urban areas of France. “So, there was a democratization of style,” said Danny Satrio. Vibration change is getting stronger by the media revolution.
Broadcasting technology. Digital devices. Computers and the Internet.
Capital of several tens of thousands of silver, the short film can be contrived, of course with cameras loan. This is different from the 70′s, said Remy Silado, when the young man dreamed of becoming a movie star.
In 1995, the music television station, MTV, hit Indonesia. Jargon “I really” brought to MTV fit well with a young spirit. MTV video clip showing diligent indie bands that do not take shelter under the recording industry giant.
And … be able to raise a young boy crazy. Sheila on 7, Slank, Endank Sukamti, Superman Is Dead, all success in the indie stage. “They became the inspiration for young kids,” said Danny Satrio.
It must be admitted, is not easy to be loyal to the indie music scene. When the flag was flying, people easily tempted to join the market tastes. Mainstream indie band switching stage, distributions switch to factory outlets. Market forces bulldoze the indie community is not a new story in the path of modern industry. Although there are only, like some young people in the warehouse soldiers, who tried to survive if possible. This piece Tempo chat with Dendy in space sits at Jalan Citarum, two weeks ago:
+ Ever consider alternatives to mass-produced items selling clothes?
- No. A maximum of 60 pieces per design. I am selling my attitude, rather than selling clothes.
+ Attitude siga kumaha, Kang. That how?
- Be yourself! Not fun if only quack.
Just A Thought ..
I never asked about the question .. “Is it true indie musicians tend to have music that idealistic?”
Finally I wondered to myself? Actually what is the category of musician / non-indie indie music or ..? Then why do people always think indie musician identical with things like music that weird or not the market? So what actually meaning INDIE itself? What is the genre of music then? non label then? or what?
In fact there are a lot of musicians are so proud of her to INDIE .. Such a trend or some kind of POP Culture suddenly burst to the surface without the person knows what his essence. Basic essence that has been affected by public opinions that tend to absurd in assessing … thus no longer pure in assessing the MUSIC MUSIC .. finally “the label said” INDIE become a commodity that is not clear directions.
Basically .. My new 2-year plunge in the world of DIY(do-it-yourself) is after really want to produce their own albums, with minimal budget .. and prevent infertility creativity .. creativity needs a space to be channeled and get feedback … Such appreciation .. and the inner satisfaction of course ..
With all due consideration .. I just answer honestly that I myself do not know are taking such a public perception .. In my opinion .. every musician needs an independent soul .. in a sense have the freedom to define his music, presents music that could be accounted for by their own. Problems or non-label label is simply a matter of “distribution channels” are taken .. idealist idealist problem or not .. it certainly knows just musicians. Does it have to bring the idealistic meticulous music? or must be jazz? blues? progressive rock? Hohoho .. I felt I was so idealistic in making the song .. but my song pop song … then? if it does not include an idealist, because I play pop music? haha .. it’s so confusing .. I finally caught up with the questions that are not obvious this …
But anyway .. every musician has the responsibility of the music or any work produced. Music that is born is a result of the work of the mind and heart of every human being. Even the artwork, we can know the mood, expression, hearts, characters musician who plays / created it. And the music is very influential on the social environment of a community. Then .. if a perfunctory music made without any responsibility sides of presentation is played in bulk … industrial … What happened?
Well .. I’m not anti-major .. not anti-industry .. I only really care with the music .. especially my music .. undergo how difficult it is to reach an ideal and perfect point in presenting my music, either on stage or recording … Because .. I think my music is an honest work of art .. pure .. I made do not in any tendencies .. and I totally have the freedom in creating, producing, presenting music as a whole .. my work .. and receive all the benefits and drawbacks .. Independent … free … without the intervention of parties who interfere with our performance .. fortunately even those who helped us today are those who actually really care with our music .. not something beyond the music itself that it even makes us depressed .. oh .. C’mon … we just want to make music ..
so .. Indie or not indie .. it does not matter anymore for me .. i just Want To Dedicate my life to and trough the music .. be honest and be myself .. everyone has Their own path in this lovely world .. I’m just doing my part ..
