Dwi Samatra phallus, phallus Kruna Kruna sane mawit saking Kalih phallus. Kruna sane lingganyane mesaih (mesib) lan Kruna Kruna antuk kawangun phallus sane sane Kalih soroh sumaih (mesib).
If further apart or separated completely, they would be worthless and have no meaning. Like Dewa and Dewi, if they were separated they would have no strength to care for the universe. In this innovative piece, Dwi Samatra Lingga, each theme is comprised of both a question and an answer, just like kecah-kecuh, delak-delik, dengak-dengok, kecag-kecog. Kecah has no meaning if there is no kecuh and so on…
Inspired by the baik-buruk, keras-lembut, kasar-halus, this work will be meaningful and have more value, when united complement each other and give each other space and time.
One day I witnessed kids flying kites and they were so abosrbed in play that they forget it was getting dark (Sandikala). This piece is inspired by such kids and the process by which they will come to better understand the world as they grow. In Hindu mythology Sandikala is the period of time just before dusk when Bhuta Kala (lower spirits) become active.
Muka Kacau is a short experiment inspired by post-rock and contemporary metal. The 3 sections of this piece are based around a riff, a series of stretched vertical harmonies, and improvised noise, respectively. I felt that the tone and timbre of bronze instruments would lend itself particularly well to stacked harmonies, creating a roiling, abyss-like effect often strove for in some genres of heavy metal. I also was drawn to the idea of translating tremelo picking to a pair of gangsa, making use of the interlocking patterns to deepen the turbulence. Finally, much the way a punk or indie-rock band might end a song with a wall of atonal noise, I thought it would be fun to ask the kebyar group to thrash around randomly on their instruments during the final section and see how it would translate.
The title Muka Kacau refers to this use of controlled chaos in the piece, and also from heavy metal occultism. I love the idea of falling through a bottomless well of sound and suddenly encountering, head on, the very face of chaos itself. If gamelan can be used to placate the gods and demons of Bali’s unseen world, why shouldn’t gamelan-metal speak to ancient Europe’s underworld in some way? Menurut Saya it seems fitting, and moreover, natural and inevitable. If the musicians are speaking cross culturally, the elemental forces and entities behind each tradition may already be in dialog, whether we like it or not…
Some ideas for a work in progress.
Resonator Manusia is an extension of my first work (Bunyi Manusia), in that it explores other ways that the voice can sound. When this idea is transfered into the media of suling, the the throat, which functions as our own resonator, achieves a relationship with the suling. When we have connected the esophagus with the flute and have given life to it by flowing breath through it, the flute may accurately represent the human mindset that you want to express or convey.
Try to get something, something you desire, desire is motivation to live, life is a journey. Feel and enjoy it.
4 M stands for ” 4 Men” or 4 players. 4 M also refers to merepat, mekilit, meimpas, and mepiteh. The composer interpreted these ideas through a process that began in the mind according to his own tastses and abilities. The result is not sweet, but complex and challenging to understand.
Listen to what is worth hearing. Take a look at what should be seen. Konstelasi is a reflection of the musical imagination. Nothing is impossible, listen to what I see.
Recording session coordinator(s): Yan Priya Kumara Janardhana (Janu)
Recording date(s): 2016/08/28
Recording location(s): SMK 3 Sukawati, Desa Batubulan, Kab. Gianyar, Bali
Audio recording: Jonathan Adams, I Putu Gede Sukaryana (Balot)
Video recording: Jonathan Adams, I Putu Gede Sukaryana (Balot)
Crew: Yan Priya Kumara Janardhana (Janu)
Audio mixing: Jonathan Adams
Audio mastering: Jonathan Adams
Video editing: I Putu Gede Sukaryana (Balot)
Photography: Jonathan Adams
Cover art: Jonathan Adams
