Tag: Neo-Soul

  • TRACK REVIEW: Asher – Pollen

    TRACK REVIEW: Asher – Pollen

    Written by Julia Harumi Kudo

    “Pollen,” composed by Asher, Areli, and Juicingjuicy, is a rumination on a song in which they refuse a memory to be simply remembered. Thus, they go and breathe it all over again, even when it stings. The song turns with the slow, circular logic that endings and beginnings are trick mirrors than stages of the same cycle, and where longing for someone, like pollen, is both natural and difficult to resist. Realized on a skeletal chill-hop rhythm and clad with the flexibilities of Neo-Soul, the trio somberly revels inside the Petri dish of modern R&B, with Asher and Areli’s production leaning towards texture rather than structure. With organic patience, the guitar arrives almost unbeknownst, while the synths forage underneath with velvet layers perpetually glued to the mix. And yet, for all its fawning, there’s something vaguely obscured here. The vocals are often fractionally veiled; phrases fade into texture, and you notice yourself feeling the words first before even fully understanding them. It’s a little frustrating to be able to catch the fragments of the yearning spiel enough to know there’s an intention, but not enough to withhold it fully. But when the song chooses to reveal itself—“I need, I need you so”—it does so with a startling clarity that it almost feels sacramental as if that line alone is intentionally meant to survive the haze and the rest belongs to someone else. 

    Drawing from the title alone, “Pollen” alludes to a collapse—fallen, yes, but also feathered, dispersed, made airborne. The word blushes a little and hides inside itself: to fall in love again, to have already fallen apart, and to still be suspended somewhere in between. And just like pollen, the pining in the song acts like a natural phenomenon. Our body resists even as it needs, pure animal instinct. Areli gets back to this contradiction without resolving it: desire shaking hands with dependency, tenderness going up against doom. “I don’t trust the time when you’re not around / I’m fallin’ apart again.” It sounds simple and almost childlike, but such straightforwardness is what allows us to let our human sensibilities feel, and that’s the closest we can get to being nearly transformed. We’d be neither healed nor broken, but airborne.


    Support the art and the artist:

  • SOUNDS OF THE SEA: Thee Marloes (Indonesia)

    SOUNDS OF THE SEA: Thee Marloes (Indonesia)

    A close look at Indonesia’s rich history reveals specific moments in its music deemed significant in the past. The Pop Kreatif scene in the 70s – 80s, the existence of bands and musicians like Koes Plus and Chrisye, and the distribution of bootleg tapes of foreign music that influenced so much of Indonesian music, are big examples of that. Despite the negative economic effects that came from the harsh political climate throughout the Old Order and New Order regimes as well as shaky record label deals that stifled the proper archival of older Indonesian music, the modern methods of compilations and online uploads of records and songs released in the 60s – 70s still gave them their spot to echo. Once a figment of the past, it is now slowly being brought to the present once more.

    In the city of Surabaya, Indonesia – a home to significant names of the Indonesian music scene such as Ervinna and Dara Puspita – lies the band Thee Marloes, signed under the Big Crown Records label. Comprised of Natassya Sianturi (vocalist & keyboardist), Tommy Satwick (drummer), and Sinatrya “Raka” Dharaka (guitarist & producer), the members crossed paths through their passion for music, Natassya’s performances in local shows and Tommy and Sinatrya’s constant band & DJ pursuits have allowed their paths to meet. Natassya’s love for retro soul and pop has established what Thee Marloes will eventually become: classic soul with the city of Surabaya filling its identity.

    ‘Perak’, their debut album, becomes the band’s firm statement of who they are and what they bring to Indonesia’s musical landscape. Lush soul with scoops of jazz rhythms and pop hookiness, all tied by the fragments of love-driven stories that light up the streets of Surabaya’s cityscape. A combination of local and universal elements held together through warmly cushioned production and especially Natassya’s serene singing. Her voice deftly weaves across English and Malay, bringing such kindling flair to songs like ‘Over’ and ‘Nona’ where she soars around pretty backing vocals, and ‘True Love’ where she opts for an alluring voice that effectively pulls you into the song’s humid atmosphere.

    But, of course, the band’s instrumental chemistry is also something to behold. Their flexibility allows more supple charm to be embossed in these compositions. Whether that be the shuffling rhythms shown off in the drum and bass rumbles of ‘Midnight Hotline’ and ‘I Know’, the psychedelic dazzle of ‘Logika’ coming through the organ sounding keys and simmering grooves, and the relaxing affirmation of ‘Not Today’ with the soulful layers of bright keys, simple drum patterns, and gentle guitars. Their melodic variations add more elegance, leaving more color to stew within the record.

    The album title, when translated, means ‘silver’. An apt word for what Thee Marloes has displayed with their debut album thus far, approaching the spirit of the city of Sarubaya and the familiar beauty of soul and R&B with malleability, further shaping themselves in the process. ‘Perak’ only adds another page to Indonesia’s vibrant music history. A reminder of soul, disco, and funk music that once permeated their past, giving life for those genres to breathe with excitement today.