In the bustling streets of Bandung, Jalan Otto Iskandar
Dinata is now synonymous with textile trading and household goods. However, for
Richard Mutter, drummer of the alternative rock band PAS, this street holds a
special place in his heart. It is where his journey into the independent music
scene began—a journey that would shape the trajectory of alternative rock in
Indonesia.
In a YouTube talk show on 40124 Mixroom, Richard reminisces
about the early days of PAS, when the band pioneered a bold experiment:
producing and distributing their music independently. At the time, major record
labels dominated the music industry, and signing with one seemed like the only
way for bands to get their music out. However, PAS would change this narrative.
According to music historian Denny Sakrie in 100 Years of
Indonesian Music, PAS played a pivotal role in popularizing the ethos of
independent music production in the country. The band’s debut album, 4
Through The Sap, released in 1994, inspired many young musicians in Bandung
to follow their example. Bands like Puppen and Pure Saturday would later
release their albums independently, directly influenced by PAS’s DIY approach.
The ripple effect of PAS’s success in the indie scene would contribute to a
vibrant music community in Bandung throughout the 1990s.
Richard shared that PAS’s decision to go independent stemmed
from frustration. Record labels frequently rejected or interfered with their
demo tapes, pushing the band to seek alternative routes. Fortunately, Samuel
Marudut, the band’s manager, came up with a solution—starting their own label,
SAP Music Management, to produce and distribute their albums.
Marudut found inspiration in Seattle’s Sub Pop Records, a
small, independent label that had famously released Nirvana’s debut album Bleach.
Sub Pop’s success in empowering local musicians resonated with PAS’s vision,
fueling their determination to create an independent music scene in Indonesia.
However, producing and distributing music independently in
Indonesia during the 1990s was no easy task. Legal hurdles, such as the
requirement for record labels to be registered businesses with production and
distribution permits, made it difficult for independent artists to get their
albums into music stores. This obstacle was further complicated by financial
constraints.
But Richard and Marudut had a lifeline: their work as music
directors at GMR (Generasi Muda Rock) radio station gave them connections
within the industry. It was through this network that they met Teddy Djauhari,
the owner of CV Tropic, a major music distributor in West Java.
CV Tropic, headquartered at Jalan Otto Iskandar Dinata 153,
played a critical role in PAS’s breakthrough. While most distributors demanded
large-scale production runs, Teddy offered PAS a more flexible arrangement,
agreeing to duplicate only 1,000 copies of 4 Through The Sap. To
navigate the legal complexities of the music business, Teddy also allowed SAP
Music Management to use CV Tropic’s label, Nova, to meet distribution
requirements.
This partnership marked a turning point. With 4 Through
The Sap available in local music stores, PAS sold an impressive 5,000
copies within a month. The album’s success proved that independent production
and distribution could work, inspiring other Bandung-based bands like Puppen
and Pure Saturday to follow suit. Teddy continued to support these bands,
helping them release their own albums through CV Tropic.
As the indie music scene grew, CV Tropic expanded its
services, offering affordable duplication and distribution to more bands with
minimal resources. According to Helvi Sjarifuddin, a photographer and
co-founder of the indie label 4012, CV Tropic’s role in supporting Bandung’s
underground music scene was crucial throughout the 1990s.
Teddy’s contributions to the independent music scene didn’t
start with PAS. Since the 1970s, CV Tropic had been involved in the unofficial
production and distribution of Western pop music in Indonesia. Although
controversial, this practice made popular Western music more accessible to
Indonesian youth, fostering a deep appreciation for rock and pop genres.
By the mid-1990s, Teddy’s focus had shifted towards
independent Indonesian artists, providing them with the infrastructure to
produce and distribute their music without relying on major labels. This new
business model helped transform the indie music landscape in Bandung, offering
opportunities for emerging bands to reach audiences and build their careers.
Today, the legacy of PAS and CV Tropic lives on. The rise of
independent music production in Bandung during the 1990s continues to inspire
musicians across Indonesia, shaping the country’s vibrant and diverse music
scene. For Richard Mutter and those who lived through this era, Jalan Otto
Iskandar Dinata will forever be more than just a commercial hub—it is a symbol
of artistic freedom and the birthplace of a musical revolution.
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