The Indonesian duo’s second album, Rampokan, updates jaranan music to match the abstracted brutality of today’s neoliberal colonizers. | pmontoro
Yennu Ariendra and J. Mo’ong Santoso Pribadi of Raja Kirik perform in 2018 at the Cemeti Institute in Yogyakarta., he said he’d listened to 750 new-to-him releases that year. I won’t pretend to be in his league, but in 2021 I did have a clear favorite album—not a common thing for me—and I figure it’s never too late to share.
The duo Raja Kirik, based in Yogyakarta on the Indonesian island of Java, originally released their second album,, in June 2020 on Indonesian label Yes No Wave. I’m counting it as a 2021 release because I discovered it when Ugandan label Nyege Nyege Tapes put out a remastered version with a bonus track last October.
Musician, composer, and multimedia artist Yennu Ariendra and composer and instrument builder J. Mo’ong Santoso Pribadi named Raja Kirik after Menak Jingga, a ruler of the last Javanese Hindu kingdom to fall to Dutch colonizers in the 1700s. The Dutch tried to dehumanize him, creating a propaganda tale that cast him as a cannibal with a dog’s head, but the Javanese people subverted and reclaimed that image.
Ariendra and Pribadi fuse traditional and homemade percussion with unearthly digital noise and the pressurized assault of electronic drums borrowed from Dutch hardstyle and other high-energy club music. Pribadi uses trash and recycled materials to rig up simple horns, plastic pipes, metal rods, springs, and small amplified gongs, whose unruly, microtonal squalling and clanking lend a ragged wildness to the more regimented programmed sounds.
An album-length recording isn’t a practical way to induce the trance state that jaranan dancers enter, of course. As if to acknowledge this, Raja Kirik stack competing layers of rhythms and textures into an overwhelming, kaleidoscopic barrage, evoking with density and disorientation what they can’t achieve with hours of repetition.
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