Rizkan

Context
When: 10.12.2019
Where: Tengareng, Indonesia
What: A small peek into the underground scene in Indonesia

C: We’re sitting in a car in Tangerang, Indonesia, on our way to Jakarta. By «we», I mean me, my girlfriend (Merethe), my double bass and our driver, Rizkan, who is also today’s interview object. My double bass was too big for the train, so we had to drive instead. Rizkan, let’s start with you telling us a little bit about yourself.

R: I’m Rizkan. I have my job in the airport…

Haha, joking! No, I’m representing a collective called Elang Terbang Kolektif. We have been running DIY-gigs for about three years now, presenting everything from alternative rock, grindcore, noise — anything we can organize, we organize.

C: Why did you start a collective?

R: It started with me and Tirta who three years ago wanted to set up a gig with a Singaporean band called Xingfoo&Roy. We’ve been doing it ever since, and we reached our 50th concert not too long ago. Right now we’re 11-12 people in the collective, I guess. When you get united, you get more power, you know. It’s also a lot more easier to get things done. We split up our duties.

C: Are there many collectives like this?

R: If we start with the Tangerang area, it’s actually a small music scene right now. It’s us and I guess three other collectives, and we know each other well. So it’s not that big you know (the area counted 1.8 million in 2010). So the music scene is not that big. We run gigs at small venues, studios or in cafes.

But if we talk about the Jakarta music scene, it’s different. It’s much bigger, and it’s more of an industry. As far as I know, there are not so many collectives there right now. Everybody is going to bigger shows, like big bands. That’s what’s happening right now.

 

C: But you’re the first generation of collectives here in Tangerang?

R: I don’t know, actually. I’m not into music history in Tangerang. The city is like a satellite city for Jakarta. So when the Jakarta scene is having less gigs or shows, then bands go looking for gigs elsewhere, like Tangerang. Everyone in Jakarta is individualists, so no one cares about you unless you have a certain position in the music scene, also for the independent music scene.

I was actually a part of a collective in Jakarta, but then there were some disagreements, and I just wanted to quit the collective. I think it is much better here, also because I don’t live in Jakarta anymore.

C: Yesterday we played a gig at a coffee shop, outside in the street. When we were talking, the expression «noise bombing» came up. What is that?

R: I’m actually not into the noise scene, but noise bombing is basically that you make noise everywhere: in the middle of the street, on the corners, at cafes, in the parks or other public places. That’s basically all I know. But it’s cool. As far as I know, it started in Yogyakarta with Indra Menus. He launched Jogja noise bombing around 2010.

Indra has been on the scene since the 90’s, so he’s sort of like a father figure for the scene. He is very productive. He’s got tons of releases with To Die (solo project), and then many other releases with Jogja noise bombing. 

C: You said you were not so in to noise. What are you in to right now?

R: I’m playing in emo bands right now. I love indie rock and emo music, like Lemuria, Warm Thoughts and Jawbreaker. I’m running a pop/emo label right now named Rizkan Records, and then I’m also writing a webzine for hardcore punk and pop punk called Radio Hey Ho!

C: It’s fascinating that you’re so into emo, and the other guys I shared the bill with yesterday were playing everything from harsh noise to folk music. Is there any genres that are off limit?

R: It’s all OK, as long as you can help out. Everything here is based on voluntary work. We don’t mind if you play jazz or noise as long as you are nice and can fit in with us. That’s all we need, you know. When it comes to organizing, we just have a What’s app chatting group. We never had any meetings or other organization structure. It’s like an autonomous anarchy group, no leader! We haven’t had any conflicts yet!

C: Do the people in your collective have any goals or ambitions, or is more a means to express oneself?

R: We have some common ideas, like that music is or mutual emotional outlet. We don’t seek anything further than that. We don’t care about how many listeners we have. A lot of bands and musicians are aiming for success, for a bigger audience and to sell more audience. We don’t think or care about stuff like that. That’s the good thing, you know. Everyone in my collective is doing it for fun. Probably some collectives do some shows for money. We can understand, and we tolerate it. But for us it is purely about our passion.

C: Maybe that’s also why you don’t have any conflicts?

R: Yeah, there’s is no money and no competition here, you know! Haha! Our only concern money wise is to cover our expenses for the gig. So, of course, all of us have other jobs.

C: My impression is that noise music is a big thing in Southeast Asia. Why is that?

R: Probably because people get bored. This place is totally fucked up. That’s why punk and various sub underground cultures are popping up and growing. Bein part of a noise scene is being part of an independent scene, and you can be who you are and what you want to be. In the experimental scene it is much more diverse. When you’re producing experimental records, it doesn’t have to be so complicated. That’s why it’s growing here, probably.

There’s a lot of corruption here. There is so much poverty. Kids need an emotional outlet, and one of those is probably experimental music. They can express their hatred for the government or their passion for music. 

C: Is this something you are doing only for your own sake, or do you also try to make a change?

R: There is a noise bombing in Bali, and they are doing it in front of the parliamentary building. That’s like a protest thing. When it comes to publicity, it is very hard to get something unless you make it yourself, like fanzines or webzines. 

C: What does the general public listen to?

R: Pop music, as usual, you know.

C: Western pop music or Indonesian pop?

R: I don’t know, but a lot of my office mates listen to EDM right now. I think that is where the public interest is right now.

M: Do you work at the airport 100%?

R: Yeah, I have a permanent job there, and I’ve been working there for 5 years now.

M: And you are doing this on the side. Does it take a lot of your time?

R: Sometimes my wife complains about it. «You are always there for your scene», she says. But I try to settle it down. I totally don’t get any money from music. When I get some money I have to spend it on music, whether it’s CDs or vinyls. 

C: Or cassettes? I know MCs are much more popular here.

R: Cassette pressing doesn’t require much. The minimal amount is 50 copies, and it is very affordable. That’s why you find so many cassette labels here in Indonesia. Cassettes and CD-R! Not so many people have record players here.

C: What about streaming?

R: Streaming is also a big thing, and some of the bands in my collective are on Spotify. We say that if you’re into Spotify then you’re a sell out! It’s only a joke we make, though. Spotify to me is more of a corporate thing if you compare it to Bandcamp. Bandcamp is a much more friendly application than Spotify. It’s a good tool for independent artists. 

The good thing about Spotify is that everyone can check you out, but you have to pay to be on there. It’s like 350 000 rupiah (roughly €20) as an annual fee for a third party.

C: Thanks for taking the time, Rizkan!

R: You’re welcome!