On June 10, Jakarta-based jazz now-trio Batavia Collective released its second single, “Propulsion”, through R&S Records, an independent label operating in London. A near-departure from their debut single, the band’s latest instrumental single is a more explorative output, eschewing more-conventional structures and productional decorum in pursuit of the song’s momentum. 

The “imperfect track”, as phrased by the band, however, was selected by the label over a dozen more polished written and recorded demo songs, imploring them to move toward a more impromptu approach to songwriting and prioritize live recording over conventional tracking.

What's in the name: 'If we're talking about Batavia, then we should look back to the olden times. We're actually a group of old souls. Just kidding,' said Zulham, jokingly. (Courtesy of Irfandhia Anshari) (Courtesy of Irfandhia Anshari/Courtesy of Irfandhia Anshari)

The gathered and the gatherer

“The idea came from Daniel. He contacted us for a 'Mixtape Session’,” said Elfa Zulham, the band's drummer, when asked about how the band first came together. 

Mixtape Session was a project set up by Daniel’s music collective GOODNWS and Berita Angkasa, where musicians were invited to collaborate live, performing medleys of hip-hop samples or skits that they consider as prolific. 

“But the beginning formation [that performed at Mixtape Session] was different. Doni Joesran was there, myself, J Mono, Randy MP and Leno, right? Leno Rei,” said Zulham. 

“Yes, Leno,” confirmed Daniel. 

“It was intentional, how we were formed originally. I was very enthusiastic when learning that the [project’s] direction would be toward hip-hop. I really like the genre, and I’ve known the others for quite some time, even being involved in a couple of projects together in the past. We decided to move forward as a band after that,” Zulham continued.

“Well, the band itself was not intended to be, but the [Mixtape Session] project itself was intentional,” Daniel added. 

Kamga’s involvement early on in the band’s formative phase was not far from unplanned as well. Daniel had contacted Kamga to pop in during their studio time, “then they just jammed all of a sudden and did one song together. Affirmation.” 

They did not include the song in the Mixtape Session but then played it during a live event, at which they received quite an enthusiastic response from the audience. 

“Then I said to them, ‘So, should we go for it? Should we release the song?’,” Daniel said, reminiscing about the moment.

Heavy hitting trio: Batavia Collective —consisting of Kenny Gabriel (left), Doni Joesran (center) and Elfa Zulham —strives to search for new sounds through an impromptu, jam-based approach to songwriting. (Courtesy of Denny Novikar) (Courtesy of Denny Novikar/Courtesy of Denny Novikar)

Fall into place

Their debut single, “Affirmation”, was sent to R&S Records’ artists and repertoire by one of their colleagues, Reza Ecilo, a Jakarta-based techno DJ. The label, which has also released seminal works from acts such as Aphex Twin and James Blake, among other big names, took notice of Batavia Collective and got in touch not long after. 

“I was surprised. ‘Are you being serious?’, I thought. ‘R&S?’. I’d known about them for quite some time back then,” Daniel noted their first contact with the London-based label. “The guys went for it.” 

They then signed with the label for a three-record deal — two EPs (extended play or mini album) and one album.

After the release of “Propulsion”, they were astonished by the feedback given by the label’s public relations representative, as it included feedback from prominent names such as French producer and DJ Laurent Garnier, DJ Bone and Antal, the cofounder of Amsterdam-based label Rush Hour Records. 

“We were not expecting it. It started as a jam band, but everything seemed to come together nicely,” said Daniel. 

“We’re still a jam band, basically,” Kenny Gabriel pitched in. Kenny joined the band as the synth bass player after J Mono and Leno Rei left, not long after they wrote “Affirmation”. 

“Honestly, we rehearse only when we have a show coming,” Daniel pitched in. 

Similar to how it approaches its live performances, the band’s creative process in songwriting ultimately omits any preparations before entering the recording session. 

“We work on the songs in the studio on the same day that we’re recording it,” Kenny remarked.

Part of the rationale was due to the fact that all the members of the now-trio are seasoned musicians with considerable influences. 

“Conventionally, a songwriting session should be in place, but that kind of pattern would just end up with us wanting too many things. We’d end up being lost,” said Kenny as Daniel snickered.

Pre-pandemic: Batavia Collective performs at The Other Festival, Hotel Monopoli, Jakarta, on Dec. 28, 2019, which was their last show before the COVID-19 pandemic. (Courtesy of Rakha Syahreza) (Courtesy of Rakha Syahreza/Courtesy of Rakha Syahreza)

The silver lining

R&S, as their label, also gave a more-than-considerable push for the band in moving toward their current approach. 

“We gave Renaat [Vandepapeliere, owner-slash-artist-and-repertoire of the R&S Records] 15 demo songs, or maybe 12,” Daniel said. “None of [the demo songs] suited him. He didn’t like it. No. No.” 

The demo songs in question were prepared with a more conventional approach to songwriting. 

“What he liked, instead, was a track from a video we made with Friday League [a clothing brand from Jakarta] where Batavia Collective was performing live. The song was actually rejected before, but when the band played live, he liked it.” 

It was “Propulsion”.

“We did [‘Propulsion’] in two recording takes, right?” Daniel said.

“We played it once,” Zulham replied.

“Two takes. [pauses] On second thought, I think it was only once,” said Kenny.

“Yeah it was only once,” Zulham confirmed.

The band offered Vandepapeliere a “more proper” recording for “Propulsion” but he firmly asked for the already-recorded live version. 

“It ‘clicked’ for us at that time. We reckoned that he preferred live recordings,” Daniel noted. Afterward, the band applied the live recording approach and gave Vandepapeliere six songs. All of which were approved and to be released as an EP.

“I don’t know, I might be standing in the polar opposite [to Vandepapeliere, in terms of production]. Everything that was approved made me pretty much like ‘oh man, why did he pick these ones.’ I was not yet pleased by what we did. I mean, we’re going through a pandemic and I wanted it to be perfect. But I don’t know. Different preferences, I guess. They prefer raw, live sounds,” Zulham commented.

“The recordings really contain mistakes, like, proper mistakes,” Kenny said, chuckling while shaking his head. 

“And my snare drum cracked nearing the end of the [recording] take. It sounded horrible”, Zulham added. 

“But he didn’t complain. ‘All good,’ he said,” Kenny said, imitating Vandepapeliere.

The challenges

Zulham noted that Batavia Collective, among his other musical projects, counts as a distinctive one, in which he explores his interest in finding new sounds. 

“I think that there’s really no limit here,” Zulham said. “It’s different from my other projects, I find a certain freedom [in Batavia Collective]. It’s my home band in search of new sounds.”

In defining Batavia Collective’s sound, Kenny has his own perspective where he, as he phrased it, empties himself in order to create something in Batavia Collective. 

“Everything I know, everything I have learned, must be poured with a fresh perspective, or it won’t sound like Batavia Collective,” Kenny said. 

“This is my most challenging project. I need to be a little more abstract, I think. It can’t be just ‘normal’, I need to be a bit ‘outlandish’. We often forget our own songs.”

“Oh, here’s Doni,” Daniel said as Doni Joesran, the keyboardist of the band, logged into the room and turned on his video, showing a close-up shot of the upper half of his face. 

“Sorry I was in the middle of […], I couldn’t just stop”, Doni said, his voice crackling over poor reception.

“We did a show in Potato Head Bali and Doni asked for his [return plane] ticket to be refunded,” Daniel chimed in. “He hasn't come back ever since.” Daniel laughed.

“That’s called a bonus. It’s like 3 Hari Untuk Selamanya [3 Days to Forever],” said Doni, referring to the 2007 Indonesian film.

“The name Batavia Collective does not relate to him anymore. It should be ‘Canggu Collective’,” Kenny teased.

“Canggu Collective, yeah,” Doni responded.

“I think that my challenge in being in Batavia Collective is keeping up my musicality. All the more because I am now based in Bali. Also, R&S is quite bizarre in a way, it kept me half-praying all the time,” Doni said as he offered a humble perspective on being in the band. 

“You’re not sounding very confident Mas [Brother] Doni. You’re the most senior one here,” Kenny followed.

“You guys might not realize it but that’s true. Take the last Java Jazz Festival for example, we only rehearsed once. You’re all crazy,” Doni said with a dry laugh.