Fake/Faker

[FFWD Records]

SUDAH hampir 5 tahun band eksperimental rock asal Bandung ini belum menelurkan rilisannya kembali. Dan kini mereka kembali hadir lewat album kedua mereka berjudul Fake/Faker, packaging yang unik [tipikal rilisan FFWD yang selalu bermain dengan packaging yang unik] tampil seakan-akan hadir lewat ukuran sleeve piringan hitam 7” dengan bonus booklet kecil berisikan kumpulan foto ditambah lirik-lirik lagu album ini. Bagi para fans Polyester Embassy mari bersulang untuk menyambut kembali kehadiran mereka, suguhan eksperimental rock yang kaya akan bebunyian terpapar dalam album ini. Track pembuka “Air” adalah pertanda terlahirnya kembali patron beringas, intro gitar yang gagah disambung dengan gebukan drum agresif membuat kesan yang megah, vokal Elang Eby meraung mengingatkan gaya formula Death in Vegas. Dibuka oleh bass line Tomo bergaya 80-an “Later On” memulai semuanya, pergumulan yang apik dari permainan petikan gitar Eky dan Sidik ditambah gebukan drum Givarie yang begitu agresif. Kesan rock musikal yang progresif membabi buta dalam track “LSD” berbeda dengan single “Space Travel Rock N Roll” menampilkan suasana kelam yang mid tempo. Selipan set akustik balada ada pada track “Have You?” sementara “Small Stakes” memiliki ledakan intro dan bagian reffrain prog rock yang ciamik, sama seperti “Fake/Faker” yang begitu kompleks dengan permainan ketukannya. Ditutup oleh track “White Crime” membawa kita pada nuansa orkestra yang gelap dan menyihir. Menanti musik eksperimental rock yang kompleks? Maka ini adalah pilihan yang cocok. Yang disampaikan mereka kali ini adalah ketika hanya ada investor, original dan Fake/Faker di dunia ini. “Apa yang kita dengar, apa yang kita lihat, apa yang kita idolakan, itulah yang membuat diri kita sekarang.”. tutup Elang.

Original Source

1‘21,’ by Adele

Adele’s break-up album is so good that you’re a little glad she got her heart ripped out. Created in the aftermath of an epic failed romantic relationship, Adele was able to craft an impressive album filled with pitch-perfect vocals, poetic lyrics and honest emotions. “21” has been a hit with music critics, fans and anyone who has ever had a broken heart.

The lead single, “Rolling in the Deep,” was released last January, and after nearly a year it continues to be wildly popular. Fusing anger and regret with a more Southern country music sound, “Rolling in the Deep” caught on like wild fire and was the first song to create buzz among listeners this year.

While fans were still obsessed with “Rolling,” Adele released the second single, “Someone Like You,” a mournful and beautiful take on moving on, and cemented her place as one of our generation’s most talented musicians.

The album earned the singer-songwriter six Grammy award nominations, including nods in the song, album and record of the year categories. “21” has sold more than 13 million copies worldwide.

2 ‘Watch the Throne,’ by Jay-Z and Kanye West

When news came out that rap superstar Jay-Z was collaborating with kindred spirit Kanye West on a new album, music fans waited with baited breath to find out if it would be a cacophony of clashing egos or a magical symphony of talent.

The album lived up to the hype and broke out of the rap and hip-hop genre, attracting praise from a wide variety of fans.

While some wrongly thought the duo’s lyrics about being insanely rich (Jay-Z talks about planking $1 million while West mentions rolling up in his other, other Benz) were insensitive, it was obvious that they rapped about luxury and opulence with a sense of humor. But don’t let the more decadent songs fool you, “Throne” also covers darker themes such as violence, success and race.

“Throne” proves that despite their mainstream success, Jay-Z and Kanye are still relevant and talented. As Jay-Z says in the wonderfully catchy single “Otis”: “I guess I got my swagger back. Truth.”

Yeah, Hova, truth.

3 ‘Ceremonials,’ by Florence and the Machine

Lead singer Florence Welch’s voice gets lovelier and lovelier with every record, doesn’t it? Rich, haunting and commanding, Welch’s voice is the perfect accompaniment to her dramatic lyrics. Welch takes everyday bummers such as regret and the end of a romance and transforms them into epic, universal issues.

The power of singles like “Shake It Out” and “No Light, No Light” can’t be denied. Her production creates so much more than just individual songs. It creates atmospheres.

A fine successor to influential musician Kate Bush, Welch offers an exemplary example of baroque pop — a genre that uses orchestral instrumentation and can be esoteric and hard to digest — that also manages to win over the mainstream.

4 ‘w h o k i l l,’ by tUnE-yArDs

tUnE-yArDs is creativity personified. Musician Merrill Garbus displays an amazing ear, precise instinct and complete disregard for musical rules as she blends the best of multiple genres to create the truly unique “w h o k i l l.”

Gospel, funk, experimentation, pop, jazz and punk influences combine to create memorable and complex songs.

But it isn’t just the instrumentation that is notable. Garbus tackles important social issues such as inequality, race and gender, which sets this album apart from 2011’s numerous vapid releases that focused on partying, partying and really partying. A perfect example is the mish-mashed, reggae-influenced single “Gangsta,” which explores social and financial inequalities.

It’s mind-boggling how Garbus has woven everything together, and fun to try figuring out her methods while listening to “w h o k i l l.”

5 ‘Hurry Up, We’re Dreaming,’ by M83

French DJ Anthony Gonzalez (also known as M83) and his band managed to create not one, but two albums filled with infectious and danceable songs that are infused with heart and feeling.

M83, already known as a skilled producer and a DJ, takes it to another, almost unbelievable level with “Hurry Up.” This album will surely make him a household name.

The standout track, “Midnight City,” displays just enough of a chillwave influence to give the song depth and layers. It’s that same depth and multiple layers that serve as the distinctive characteristic of the 22-track, double-disk album. On top of that, Gonzales adds a pinch of whimsy, storytelling and magic to the quality synth rock to round it all out.

Honorable Mentions:

“Camp,” by Childish Gambino. The alter-ego of actor-comedian Donald Glover released his first album that wasn’t free on the Internet. Although the songs can be inconsistent, his verses are extremely smart, witty and filled with incredible pop culture shout outs.

“Let England Shake,” by PJ Harvey. Harvey’s masterpiece is a concept album that explores the theme of war throughout history. It has won unanimous praise and earned Harvey her second prestigious Mercury Prize.

“So Beautiful or So What,” by Paul Simon. Music legend Simon’s songwriting is at its best on “So Beautiful.” In a year of up-and-comers, it’s good to know there are still musicians that have staying power.

“Nostalgia, Ultra,” by Frank Ocean. Like tUnE-yArDs, Ocean created a mixtape that was unexpected and adhered to no rules. Ocean’s deft touch created something that is truly rare. 

Best Local Albums of 2011

Local music fans suffered through a shortage of memorable homegrown releases this year. Although there were a few saviors, by and large there was an obvious drought in epoch-making records, and none that shifted your perspective on what you thought music could do. There were some good albums, but none that screamed “greatness.”

1 ‘DGNR8,’ by BRNDLS

The garage-rock revivalists fourth record comes closest to being the next great record, but fell just short due to a throwback sonic quality that borrows more than a little from British electronic-rock act Primal Scream. Still, the songs and production offer an undeniable array of sounds beyond anything the band had produced previously. The clash between the digital coldness of the band’s electronic flourishes and their raw abrasiveness results in an unique mash of danceable punk rock.

2 ‘See It, Hear It, Feel It,’ by Sound of Silence

This album is just one of the many released online for free by Sound of Silence. It is a meditative record that brings to mind a more conventional approach to ambient music. This obvious nod to Brian Eno’s “Music for Airports” finds a delicate balance with minimalist instrumentation, creating a majestic allure not often found in local music. Sometimes the songs tread dangerously close to saccharine territory, but thankfully never cross that line. Tranquil and relaxing, this album is certainly worth the download.

3 ‘Indonesia,’ by Morfem

Slipping outside the retro-infused touchstone of his successful main band The Upstairs, singer Jimi Multhazam goes back to basics with Morfem. Backed by a band of grungy punk rockers, Jimi drives Morfem with catchy melodic rock that pays equal homage to 1970s art rock as it does to ’80s and ’90s independent rock. On their debut record, the quartet serve up an amalgamation of Jimi’s typically droll lyrics and immediately hummable rock that satisfies the need to destroy rooms with undeniable efficiency.

4 ‘Fake/Faker,’ by Polyester Embassy

Owing a whole lot to the post-psychedelia sounds of bands like Mercury Rev and the dynamic instrumental interplay of so-called post-rock bands like Mogwai and Explosions in the Sky, Bandung band Polyester Embassy isn’t exactly noted for its sheer originality. But its second album is nonetheless commendable for how it filters all of those influences into something slightly more elementary, without sounding too tired. You often wish the band would tread outside its comfort zone a little more (if we’re wishing, maybe taking out the metal edge would also help), but the band fills each song in “Fake/ Faker” with so many sections, it becomes an intriguing wall of sound that never loses its edge.

5 ‘Pop,’ by Individual Distortion

This online release from one of the country’s most active avant-garde musicians is an audio head trip that is unforgettable in its sheer inventiveness. Brutal death metal and cheesy disco music get bundled up alongside intoxicating computer experimentations. Along the way, sound samples from pop hits and melodies from children’s songs join in, creating a bewildering cacophony of soundscapes.

The mix of all the elements creates a surprising nuance of chaotic togetherness that is equally danceable and head-bangable.

Original Source

Dear all,
We regret to inform you that Polyester Embassy will not be performing as the opening band for Mogwai in Bandung December 4th 2011 due to unforeseen contractual obligations on Soundshine’s behalf. We apologise to the band and its fans for the cancellation.
Details of a replacement opening band will be announced shortly.

Regards,
Soundshine Events

And Today also a special day for us to give you some bonus material.
Feel free to Download
Feel free to Listen
and
Feel Free to be Free !

Polyester embassy present

Polyester embassy – Space travel rock n roll ( TheBabams Extended Mix ) by thebabams

There’s a 5 year gap between your debut album, “Tragicomedy (2006)” and your latest release, “Fake/Faker (2011)”. What’s going on in between?

Our Tragicomedy album was released on 11 November 2006. After it’s initial release, we’ve been touring for the most of 2 years. Then start writing for new materials on 2008. We take the effort not to make our new release as a sequel. We don’t want that very much. So we took long hours to write, arrange and re-arrange our new materials. In 2009, we begin our pre-production of those confirmed songs and later start recording in 2010. Still it was a long battle for us on the post production. The Fake/Faker album was well cooked in the beginning of 2011, after a long and exhausting argument in the mixing board hahaha. Gladly we settle our differences.

“Space Travel Rock n Roll”?

Hmm actually we have not labeled our music in to a certain genre yet. We think it’s only fair to called our music as Rock, because that is our main root and the rest we just playing in lots of areas outside rock to create a certain mood for our songs. Space Travel Rock n Roll is actually the title of our song.

This is your second album with Fast Forward records, are they giving the band the freedom to explore, musically speaking?

FFWD Records backed our efforts in music since the beginning. And up until now it was a collaborative relationship and we are happy with that. They give us the freedom to create and write our music and that’s a luxury for bands like Polyester Embassy.

Looking at the equipment and strange gadgets that you bring on stage, i think it’s not cheap to produce such characteristic sounds as your band. How much do guys spent on gadgets after all this time?

Hahaha! That is one tricky question. Well we have not calculated the exact amount of money we spent along the way. But a LOT is for sure haha.

You guys are fond with strange instruments and strange stage set-ups. Can you elaborate on that subject?

We love the vibes we produce in a live show. That is the reason why we bring most of our gears as a part of our live shows. We can use all of them to make a different touch when we play the songs live and also to make sure that we have the sound that we need. It’s all about the sounds man, the rest is pure adrenaline.

You have a song called “LSD” on your latest album. Ever had an exciting experience with that substance?

Hmm i’m not sure we can discuss this matters publicly. So we have no comment on the substance. The song LSD actually an abbreviation of Like Sunny Day and we can assure you the lyrics has nothing to do with the substance hahaha.

So how’s the feedback from your solo concert “Silent Yellow Ensemble” and your sophomore release, “Fake/Faker”?

The Silent Yellow Ensemble concert is already blasting senses and minds, so be prepared for the next unexpected concert guys haha. The Fake/Faker album is already has a lot of positive feedbacks: from our friends and from the media. Our expectations was not to make another “Tragicomedy” volume 2 and they think this album sounds so different than our previous effort. So in a way, this album is pretty succesful. “Fake/Faker” was already released on May 2011, so if you haven’t got your hands on it, be sure to get a copy or more if you love it.

[interview.ak / pics.idham adipranata / November 2011]

Original Source

Setlist:

Intro, Tragicomedy, LSD, Orange Is Yellow, Good Feeling, Polypanic Rooms, Air, Later On, Blue Flashing Light, Have You, Good Love, Ruins, Small Stakes, Faded Blur, You’ll Be Gone, Don’t Save Us From The Flames (M83 Cover)

Encore: White Crime, Space Travel Rock ‘n’ Roll, Fake/Faker

Review:

Pada suatu hari dalam kehidupan, terkadang manusia dapat mengantisipasi datangnya sesuatu menakjubkan yang akan membuat segala sesuatu pada hari itu menjadi masuk akal. Di hari-hari tertentu, sesuatu yang menakjubkan itu dapat membuat hari itu menjadi lebih agung dari hari-hari sebelum dan sesudahnya.

01 Oktober 2011 bertempat di teater tertutup Dago Tea House, Bandung adalah salah satu hari istimewa tersebut. Menjelang pukul 21:00 di bawah siraman loop drum tidak berkesudahan “Tomorrow Never Knows” dari The Beatles kelima siluet itu memasuki panggung sederhana dengan instrumen masing-masing yang sudah disiapkan lengkap di sana. Kelima siluet itu adalah Elang Eby (Vokal/Gitar), Eky (Gitar), Sidik (Gitar), Tomo (Bas) & Givari (Drum) atau kita kenal dengan nama Polyester Embassy, yang pada malam itu menghadiahkan sesuatu yang sangat luar biasa lewat konser mereka yang diberikan nama “Silent Yellow Ensemble”.

Kesederhanaan panggung itu berhenti sampai momen di mana mereka berlima mengambil tempat di instrumennya masing-masing. Karena begitu mereka mengawali set malam itu dengan sebuah intro instrumental, tidak hanya telinga kita saja yang dihentakkan dengan ledakan sonik seketika, tetapi mata kita disuguhi oleh sebuah keagungan yang sulit dijelaskan melalui permainan tata cahaya panggung yang serentak mengubah Dago Tea House seperti layaknya sebuah layar sinematik etereal kelas dunia.

“Tragicomedy” menyusul intro sebagai lagu kedua yang disuguhkan malam itu, liriknya yang berkata “…we’re gonna die, f*ck the neon sign..” adalah hal yang sangat kontras di malam itu, karena semua yang berada di sana tidak akan mungkin mengacuhkan cahaya panggung yang memberikan rasa seperti pencerahan. Tanpa banyak basa-basi lagu tersebut dihajar dengan “LSD”, gitar Eky dan Sidik di lagu itu seperti bertarung merebut supremasi arena teater tertutup Dago Tea House tanpa mempedulikan penonton yang kagum akan sinar yang berseliweran di atas kepala mereka.

Setelahnya, Polyester Embassy memasuki teritori lagu-lagu dari album pertama mereka “Tragicomedy” dengan menyuguhkan “Orange Is Yellow”, “Good Feeling” & “Polypanic Rooms”. Penempatan “Polypanic Rooms” di awal set bisa jadi mengejutkan banyak orang, karena beberapa mungkin akan mengira lagu ini akan dijadikan salah satu pamungkas di akhir konser. Tapi persetan dengan penempatan di awal atau akhir set, diperkenalkan oleh Elang sebagai lagu “..untuk mereka yang sedang berbahagia” lagu ini tidak bisa dipungkiri adalah salah satu klimaks di malam itu.

Menjelang pertengahan set mereka, Elang sempat mengucapkan selamat datang kepada para penonton karena telah hadir di ruang tamu mereka, yang dengan tata cahaya megah itu, lebih tampak menyerupai sebuah pesawat antariksa daripada sebuah ruang tamu. Namun meskipun begitu, suasana intim dari sebuah ruang tamu memang sangat terasa dalam “Silent Yellow Ensemble Concert” itu. “Air” dan “Later On” lalu mengajak kita menikmati perjalanan dalam pesawat antariksa itu. “Later On” yang akan menjadi single kedua dari “Fake/Faker” berintegrasi sangat mulus dengan atmosfir teater tertutup Dago Tea House malam itu, terutama ketika di akhir lagu, obligatoris tepuk tangan kolektif mengiringi seksi ritem Polyester Embassy dilakukan dengan sangat cermat oleh para penonton. Suasana intens konser malam itu, dicairkan sedikit oleh Elang yang membawakan “Have You” secara solo hanya dengan gitar akustiknya. Dibalut dengan cahaya biru yang mengelilinginya, ada unsur ikonik pada dirinya di lagu itu. Konsep serupa, diulangnya lagi pada “Ruins” yang diperkenalkannya sebagai lagu galau pagi hari. Ambiens yang ada di ruangan itu sekejap berubah menjadi damai menenangkan, seakan tidak ada tempat yang lebih damai di dunia ini, dari ruangan konser itu.

Set utama mereka malam itu ditutup dengan sebuah versi cover “Don’t Save Us From The Flames” dari M83. Sempat tersendat di awal lagu, dan terpaksa mengulanginya, Polyester Embassy mengakhiri lagu tersebut dengan gemilang sekaligus memuncaki set utama mereka yang berdurasi sejam lebih.

Encore “Silent Yellow Ensemble” diawali dengan kolaborasi Elang dan Evan Storn pada “White Crime” yang di album “Fake/Faker” juga memainkan theremin di lagu yang sama. Di album, yang terdengar dari lagu ini adalah suasana mencekam seperti sebuah thriller Stephen King. Dimainkan secara live bayangan yang terbersit di kepala adalah mengambang di antariksa luas dengan harapan satu-satunya adalah kilauan biru yang berjuta – juta tahun cahaya jaraknya namun masih dapat menyilaukan. Mungkin mereka telah memikirkan bahwa ini adalah prelude atau pembuka set encore mereka yang tepat, karena lagu selanjutnya adalah “Space Travel Rock ‘n’ Roll”. Psikedelia luar angkasa paling sempurna hadir bukan di Manchester, bukan juga di Reykjavik, maupun New York, tapi itu hadir di Bandung, dibawakan oleh sebuah band yang sepertinya sudah menjadikan negara ini terlalu kecil untuk memenuhi ambisinya. Tempat mereka seharusnya adalah di dunia, dan konser pada 01 Oktober 2011 bisa dipercayai adalah awalnya.

Ensemble indie termegah yang pernah disaksikan anak bangsa negeri ini diakhiri dengan “Fake/Faker”, tidak ada lagi yang mencegah Polyester Embassy dan penonton untuk tidak meluapkan perasaannya. Di akhir konser semua orang berdiri takjub, tidak rela kalau konser ini akan berakhir. “Silent Yellow Ensemble” akan menjadi bahan pembicaraan orang banyak jauh di tahun-tahun mendatang, mungkin sampai jaman anak cucu kita. Malam itu kita menyaksikan sesuatu yang legendaris, dan bila di 2021 orang bertanya apakah kita berada di sana pada tanggal 01 Oktober 2011, jawabannya adalah “Ya saya berada di sana, ketika Polyester Embassy memberikan kita semua hadiah paling istimewa kepada semua orang yang haus akan sebuah musik jujur, inspiratif dan mempunyai kelas”. Sampaikan ini kepada semua orang yang kalian jumpai.

Original source

for more info and details about the concert follow : http://silentyellowensemble.tumblr.com/

Kalian pernah melihat sebuah konser dengan konsep dan eksekusi yang sangat baik? Nama band luar seperti Coldplay atau Radiohead mungkin sudah biasa membuat konser sampai kita tidak berhenti berkata, “Gokil keren banget!” Tapi apa jadinya bila nama band asal Bandung yang membuat konser semacam itu? Polyester Embassy, band dengan aliran rock experimental ini berhasil membius para penonton yang datang pada malam itu (1 Oktober), tidak terkecuali tim Red and White. Bertempat di Dago Tea House Bandung, Gedung Teater pun disulap menjadi tempat konser dengan tata panggung dan tata cahaya yang sangat sangat sangat baik. Konser yang bertajuk Silent Yellow Ensemble tersebut pun dibuka oleh penampilan dari band pendatang baru, Space and Missile. Kualitas musik jenis post-rock mereka yang cukup apik berhasil memanaskan para penonton.

Suasana pun menjadi riuh pada saat Polyester Embassy naik ke atas panggung. Elang Eby dan para personil lainnya langsung menggebrak dengan beberapa lagu andalan mereka seperti ‘Orange is Yellow’, ‘Polypanic Rooms’, hingga ‘Good Feeling.’ Kami pun hampir tidak sadar kalau yang berada diatas panggung adalah hasil racikan band asal Indonesia.

Kunci dari penampilan Polyester Embassy malam itu adalah perpaduan antara musik dan aspek visual. Seni penggunaan video dengan bentuk yang futuristik serta tata cahaya yang kemudian mengingatkan kami akan konser megah ala Coldplay. Tidak berhenti disitu, Polyester Embassy bermain lebih luas dengan membawakan lagu milik M83, Don’t Save Us from The Flames, yang lagi-lagi membuat penonton sedikit terkejut meski sempat terhalang kesalahan teknis yang membuat sang vokalis pun bercanda, “kalau bawain lagu orang salah sedikit enggak apa-apa.” Setelah satu setengah jam konser tersebut berlangsung, Polyester Embassy akhirnya menutup konser tersebut dengan lagu yang bertajuk Fake/Faker.

Tulisan oleh Harris Kristanto Gunawan
Untuk Red and White Magazine
Video oleh Sanggra Alarm.

Original Source

for more info and details about the concert follow : http://silentyellowensemble.tumblr.com/

Dengan tata cahaya yang indah dan megah, Polyester Embassy sukses memukau ribuan penonton dalam konser tunggal mereka.

Dalam sebuah konser musik tata cahaya merupakan bentuk kesenian paling penting. Setidaknya itulah yang disadari oleh band sekelas Radiohead atau Coldplay yang selalu menyajikan bahwa efek cahaya merupakan emosi dari sebuah pertunjukan yang memang tak boleh dianggap sepele dan dilupakan. Entah disadari atau tidak, tata cahaya yang baik mampu memberikan sebuah efek yang sanggup menghadirkan suasana dramatis untuk menghadirkan kesan dan imaji berbeda buat penonton. Kehadiran tata cahaya adalah substansi yang menjadi bagian dari pertunjukan itu sendiri.

Salah satu kesadaran akan tata cahaya seperti itulah yang terlihat dalam konser Polyester Embassy yang bertajuk Silent Yellow Ensemble di Gedung Teater Tertutup Dago Tea House Bandung pada Sabtu malam (1/10) lalu. Malam itu, konser dibuka oleh penampilan dari band pendatang baru beraliran post-rock, Space and Missile. Musik post-rock yang mereka hadirkan cukup membuat penonton terkesima lewat kualitas musik mereka yang cukup apik.

Setelah Space and Missile tampil selama sekitar setengah jam, Elang Eby (gitaris/vokalis), Syidik Kurnia (gitaris/synthesizer), Eky Darmawan (gitaris/sampling), Ridwan Aritomo (bass), dan Givarie MP (drummer) segera menghajar lewat lagu-lagu “LSD”, “Orange is Yellow”, “Good Feeling”, dan “Polypanic Rooms”. Malam itu, sang vokalis Elang memang kerap berbicara sedikit. Selebihnya mereka malah berbicara banyak lewat musik dan tata cahaya yang memanjakan penonton.

“Lagu ini didedikasikan untuk para pecinta kebebasan,” ujar Elang yang tak lama kemudian mengalun lagu “Air” dengan intro gitar yang mirip lagu “New Noise” milik band hardcore asal Swedia Refused. Hampir sepanjang konser penonton disuguhi sebuah pertunjukan rock yang solid lewat vokal menggema, bebunyian efek gitar progresif, video art dengan bentuk-bentuk kubisme yang futuristik, dan tata cahaya yang berkilat dan bersinar kesana kemari. Sebuah pertunjukan yang memadumadankan segala hal di aspek visual dan suara.

Sempat pada lagu “Have You” Elang tampil solo secara akustik di panggung. Penampilan Tomo (bass) tak kalah energiknya. Dia tampil begitu garang memainkan bassnya bahkan ia membantingnya di akhir penampilan. Sedangkan, gitaris Syidik dan Eky bermain lebih santai, karena mereka mungkin sosok yang bertanggung jawab dari harmonisasi dalam musik Polyester Embassy.

Lagu cinta dari band yang terbentuk pada tahun 2002 ini adalah lagu “Good Love”. “Cinta, cinta cinta, ada nggak yah orangnya?” papar Elang sambil menirukan gaya dari vokalis 70’s Orgasm Club Anto Arief yang dimaksudnya. Namun bukan berkolaborasi dengan sang dewa gitar Anto Arief, justru Polyester Embassy berkolaborasi dengan Evan Storn yang apik memainkan analog synth sehingga mengeluarkan suara theramin pada lagu “White Crime” yang bernuansa eksperimental. Berikutnya mengalun lagu “Ruins” yang menurut Elang adalah lagu paling murung yang dimiliki oleh Polyester Embassy. Materi yang dibawakan memang seimbang antara lagu-lagu di album pertama “Tragicomedy” dan album kedua “Fake/Faker” karena Elang sendiri pernah berujar bahwa Silent Yellow Ensemble adalah sebuah konser tunggal, bukan launching album Fake/Faker.

Kejutan paling menarik ketika Polyester Embassy dengan apik membawakan lagu milik M83 berjudul “Don’t Save Us from the Flames”. Semua penonton pun terkesima lewat cover version ini meski ada sedikit kesalahan pada awal lagu. “Kalau bawain lagu orang nggak apa-apa salah dikit,” canda Elang.

“Lagu ini saya dedikasikan buat Polyester Embassy. Lagu pertama kami yang dibuat sekitar sembilan tahun lalu,” ujar bassis Tomo. Tak lama kemudian lagu yang dimaksud Tomo adalah sebuah lagu yang menjadi single pertama mereka dalam album Fake/Faker, “Space Travel Rock’N’Roll”. Lagu ini menjadi semakin epik lewat bagian suara saxophone yang cantik dan mengingatkan saya akan part legendaris dalam lagu “Us and Them” dari Pink Floyd. Penampilan mereka malam itu pun ditutup oleh sebuah musik post-rock yang hadir lewat crescendo rapat pada lagu “Fake/Faker”.

Selama satu setengah jam, Polyester Embassy konsisten dan solid menyajikan sebuah konser musik yang apik menghadirkan keseimbangan. Keseimbangan paling penting adalah mempercayai hal-hal yang detail terutama pada persoalan suara dan cahaya. Kata terbius adalah ungkapan paling tepat karena Polyester Embassy mampu menyuntik penonton agar terpukau bahwa musik yang baik harus dibarengi juga dengan tata cahaya yang baik.

Original Source

words by : Idhar Resmadi
featured image by : Marnala Eros Simanjuntak

for more info and details about the concert follow : http://silentyellowensemble.tumblr.com/

http://silentyellowensemble.tumblr.com

Polyester embassy Concert 2011 #teaser from picworkz on Vimeo.

If you are into the Indonesian’s, specifically Bandung, music scene, Polyester Embassy is a band whose name is probably very familiar to you. The group released their debut in 2006. Titled Tragicomedy, it introduced Indonesia (and consequently neighboring countries) to the groups music exploration, creating a sound that you sometimes can’t put your finger on. After 5 years of an apparent record-vacuum (as we will find out soon enough, these fellas have not been slacking between releases) they have released their latest effort titled Fake/Faker. Released on FFWD Records, the group continues their musical experiments, proving the group has been quite active in developing and maturing their sound through out the years. After the release of Fake/Faker, the group was nice enough to stop by Whiteboard Journal office to give us an interview and here is the result. if you haven’t, be sure to check out their music (you can find links at the end of this interview) and if you enjoy it, be sure to purchase their albums!
Editor’s Note: Polyester Embassy’s interview was conducted in Indonesian, please bear in mind what you are reading is a translation. Cheers.

W: So your first record, Tragicomedy, was released in 2006 on FFWD Records, and your latest release, Fake/Faker, is 2011. Why did it take so long to release this record?

We had this idea of making 2 EPs after Tragicomedy. It’s the usual affair, we’re an independent band, we don’t have a big budget, we had an endorsement from Jansport so we had a bit of money. Then we talked to our label about it and they thought why not just make one album. In terms of cost, making 2 EPs with 5 songs on each is the same as making one full length. So we decided to make a full-length, and it was a long process because there was a lot of material.

W: The material dates back to 2006?

Yes, some of the material actually were written before Tragicomedy.

W: When did you start recording?

We actually had some songs recorded 2008, but recording became intense around 2009 to 2011. Pre production began around July 2009 to 2010, we recorded January through March 2010, then the mixing mastering process took a pretty long time because were a band with a lot of layers and effects such as reverb and delay, that’s why it took a bit of time to mix and master.

W: I noticed the album (FAKE/FAKER) is shaped like a 7 Inch record. How did you guys decide on this?

Actually, the idea was to enlarge the medium because what we’re trying to convey through the packaging is photography so a larger medium is just better for the images. If you measure the album, it’s actually 2 centimeter short of 7 inches.

W: Oh, I didn’t notice that! So it’s all about the photography.

Yes

W: and who designed the cover?

The front cover-picture is by Loredana Guinicelli, a German photographer whose images we found appropriate; it matches our theme. The rest is by Sandi [Jaya Saputra]. The album’s visual is very much focused on photography, again that is why we decided on the large sized packaging.

W: And what is your opinion on the relationship between music and visuals for the album?

I think it is very important because the visuals represent the music you listen to. Black is pretty dominant because our music is imaginative so with this color you can interpret our music however you like.

W: Does Polyester have a visual theme?

Yes. Well in our live shows we actually have a visual theme though we don’t use it in every performance. It really depends on the technical issues; if the venue is capable of handling the visuals then we will use them.

W: I read that your title, Fake/Faker is based on the theme of third world countries?

Oh, no. Not third world countries but third world in general. Because we live in a third world.

W: Why that theme?
We just want to be honest. What we do here is essentially stealing, stealing something. We steal what we hear or see so everything that you get in this album you have seen before. We all take elements from different sources and put them together.

Its not copying something exactly, but we take elements that we like and incorporate it into our music. We like a guitar tone from someone’s album so we use it in our songs. Sometimes it’s accidental, we listen to Pink Floyd and we noticed after recording some of the sounds we use seem similar to Pink Floyd.

W: So the title is you expressing this culture of taking elements from different sources and building something yourself?

Yes, pretty much.

W: Moving on to the next question, you guys are from Bandung. I honestly rarely go to Bandung, can you describe what the art and music scene is like over there? It seems very vibrant.

Bandung has this very apparent character, you can often hear a band and say something like ‘this is so Bandung’.

W: What is that character that makes it stand out?

I guess Bandung bands like to explore, they’re not limited to what is trendy. It’s actually pretty similar to Yogyakarta in terms of being experimental, but Yogyakarta is… I’m not really sure how to describe it… pure, their art is more pure.

Bandung is like a sponge, it absorbs everything and when you squeeze it out a mixture of different elements comes out.

W: Any artists from Bandung we should be looking out for?

Vincent Vega… there are a lot.

W: I read in your Facebook that you guys are an Electronic Rock Experimental Band. What is experimenting like for you guys? Is it a conscious effort?

It just sort of happens naturally. Everything on our albums didn’t begin with one or two of us coming in with songs already written, we always jam everything out in the studio. All five of us go in the studio and we experiment and create music.

W: Are there any music artists that you consistently notice influence Polyester Embassy since its inception?

That’s difficult to answer because our influences are very wide in scope, you can ask each one of us and you will get a very wide range of influences

W: Okay, those are all my questions. Is there anything else you want to add?

Our first single, Space Travel and Rock n Roll?

W: go for it

This song has evolved since we first wrote it in 2003. It took up many forms until we released it in 2011. After changing its arrangement numerous times we finally agreed on a final arrangement in 2009, and that’s what you hear in our album.

W: You guys kept performing Space Travel and Rock n Roll as it kept changing that whole time?

Yes we did. Actually, a lot of our songs sound different when we perform live, we create and change song arrangements pretty often. When you watch us live you shouldn’t really expect to hear our music exactly as you hear it in the album. We often reconstruct it, rearrange it when we perform live.

W: Alrite, I guess that’s it. Thank you, guys.

Thank you.

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