Hip-Hop Ideology on the Capitalism World

As previously stated, it is unknown when hip-hop in Indonesia began. But many people agree that hip-hop music, especially rap, was introduced by the figure of Iwa K. Iwa Kusuma, the rapper’s real name, who began his musical career in the mid1989s. Before becoming a rapper, Iwa K was also a member of the Guest band. Iwa K’s debut album as a solo rap singer was in 1993, with the release of the album “Ku Ingin Kembali.” However, Iwa K’s turning point was when he released an album, Topeng, with the famous single,”Bebas.” The free song exploded in the market and catapulted Iwa K’s name into the national music scene.

After Iwa K became known in the Indonesian music scene, new rappers or groups were born, especially in the hip-hop music industry. This phenomenon could be seen from the release of the compilation album “Pesta Rap 1” in 1995. The album released by the Musica Studio label gave birth to new retainers such as Blakumuh, Boyz Got No Brain, Syndicate 31, and Black Skin to the hip-hop unit Yogyakarta City. G- Tribes. The album sold well in the market to dominate the charts. For the example, the song “Cewe Matre” by the Black Skin group was popular on national radio stations. Then the hip hop unit Syndikat 31 became increasingly popular with the remake of the song “Kera Sakti” soundtrack, which graced national television in that era.

The wave called hip-hop did not stop there. The spiral of escalation was followed by the release of “Pesta Rap 2”. The album “Pesta Rap 2” added legitimacy to hip-hop music and was accepted by listeners in that era. Hip-hop unit Sweet Martabak, Sound da Clain, Pumpkins Hardcore Crew, Paper Clip, and Vanda. The last name is a figure that people know as a disc Jockey. It can be assumed that the hiphop music industry in the mid-1990s had a vibrant ecosystem and was full of audiences. The release of the cassette sold well, and several Hip Hop units went viral in the mainstream media. The mid-1990s can be said to be the golden era for the country’s hip-hop music scene. However, even the generation of the hip-hop scene didn’t stop there. In the 2000s, the newest generation emerged: the Neo generation, Saykoji, 8ball, Fade 2 Black, and Young Lex and Rich Brian. However, this generation did not give birth to a compilation album but a solo career.

The guns of hip-hop music are not only due to the dominance of Malay music, but other factors undermine it. That factor was the record label industry in that era. Record labels at that time only signed groups worth ‘selling’. Sold in quotation marks, they sell well in the market and generate rupiah in the bank. Most of the country’s record labels sign bands from pop to Malay because it has been proven to create enormous profits, from physical releases to ring-back tones. The hegemony of major record labels such as Trinity Optima Production, Warner Music, Musica Studio, and Sony Music Indonesia are dominated by pop to Malay music genres. Music Studio, which has released an album with the hip hop genre, has no longer looked at the hip hop industry. As a result, there is no more room for romantic musicians, who incidentally do not “sell” the music industry market. It is undeniable that romantic musicians tend to have diverse and non-mainstream works. Not like pop musicians to Malay who only talk about the theme of love, heartbreak to infidelity. It can be said that the music industry of that era looked similar, and the premise tended to dwell on the theme of romance, seeming whiny and sad.

The hegemony of the major record labels of that era was also one of the factors supporting the erosion of the Indonesian hip-hop industry. Local rappers no longer had the space or opportunity to record their best music on major labels. Hip-hop musicians seem to be neglected and no longer a priority. Even if there are rap musicians who do the recording, his work is certainly not far from love. Investors no longer see a potential market and generate profits. It could not be lied to if the music industry was co-opted by the supremacy of capital, which thought it was only limited to rupiah with a minimal quality. It can even be said that the pop and Malay industries were the sources of the capitalists’ cash cows at that time, perhaps even today. Hip-hop is going through a dark period. Therefore, what was said by Ucok Homicide at that time was true: Hip-hop was dead. Hip-hop is flexing, bling-bling, and cling-cling. The era of hip-hop has been uprooted from its spiritual roots. Hip-hop no longer understands the social realism of its people.

Hip-Hop from Community to Label Agency

The hegemony of significant labels is undeniable in the country’s music industry. Major brands are supported by investors who make the pop and Malaysian industries massive in various lines. The supremacy of significant capital makes them dominate our music industry today. What will happen to independent musicians if mainstream investors control the music industry? We need to highlight their actions and how to live in the middle of the mainstream music world. So, what is the independent path musicians take to continue to create music and spread their work? It is interesting for us to study the existence and journey of independent musicians. The musicians who do not have space in the realm of significant labels do not just stand still. They are looking for ways to continue to work and spread their restless spirit. Independent musicians started creating movements in the underground scene. The move resulted in small gigs and wrote zines to compilation albums. The action of the scene in that era tends to be collective. They “joint” to create a campaign and grow the music scene below. The indie movement carries the spirit of do-it-yourself in every act. Collective ideology and the nature of do-it-yourself are the sparks of resistance to the mainstream world. The massive cooperative movement finally made the indie scene ogled by many people and became crowded. The underground movement that creates an independent music ecosystem is alive and well in these areas. The quality of the music created by indie musicians is also not inferior. Instead, they tend to be better and bring up new ideas. Full of a unique premise and proves that indie musicians do not care about market demands. Indie musicians have been established to date with their idealism without intervention from any party. The indie path has become the embers of a concrete enough resistance to fight the hegemony of mainstream Indonesian music.

One example of an independent record label used as a reference is Grimloc Record. It was born and grew up consistent with his idealism. Grimloc became an oasis during the dry underground music industry that seemed sluggish. Lately, Grimloc regularly releases albums from several bands under its umbrella, from hip hop and punk to hardcore genres. Grimloc can be a role model for other record labels to run the business of the indie label industry. It’s interesting to review how Grimloc was created and revived its ecosystem. Grimloc Record is an indie label formed by Ucok Homicide, a.k.a Morgue Vanguard. According to Ucok, the beginning of the journey to establish the indie label Grimloc was assisted by the figure of Gaya Eyefeelsix. The beginning of Grimloc’s work can be traced back to the era of Harder Records. Harder Records is an independent record label that existed around the 1990s. Ucok is one of the figures behind the scenes, helping to release albums from Balcony, Decay to Full of Hate. When Ucok released the Homicide album Illsurrekshun in 2007, it was the beginning of Grimloc Record. As quoted from the Superlive page, Ucok Homicide said that the main reason for establishing a label began with the need to release an album for his music group. This background continues to grow, releasing albums from his group of colleagues. Ucok, whose real name is Herry Sutresna, admitted that his desire to build a record label was based on the intention of preserving musical traditions in the city of Bandung.

In the year of 2011, Grimloc Records released their debut album, hip hop unit Eyefeelsix’s, “Pain Per Hate”. That moment was the turning point for Grimloc and they were more serious about managing the label. Grimloc Record with its idealism and their concept is to release an album that focuses on the music scene colleagues in Bandung and its surroundings. Bandung musicians make 99% of the albums released by Grimloc Record. According to him, he is not pretentiously exclusive, but he only understands and understands the music scene around Bandung. Based on these ideals, Grimloc Record has a strong concept. The primary purpose of the establishment of Grimloc is not to dominate the market but to become a place to share pleasure in the form of music. This idealism has made Grimloc produce phenomenal albums such as SSSLOTHHH – Phenomenon (2013), Taring – Nazar Palagan (2014), Morgue Vanguard x Still – Fateh (2014), Eyefeelsick – Immortality (2013), Flukeminimix – Between Spaces into Space (2015). Until now, after a decade of existence, Grimloc is concretely consistent with its silent idealism. Grimloc’s Record in turning the wheels of its business is also fascinating to discuss. Grimloc is a record label that considers a business plan from upstream to downstream. From the recording process and artwork to the distribution of their concepts as a whole. As a result, Grimloc’s music albums are always in a good quality and get good attention in the market. Grimloc albums are pretty rare, they are hunted by collectors. The album Mesin Tempur (Combat Machine), Koil to rapper Krowbar was sold in the market. In addition, Grimloc also runs a merchandising business. Income from the merchandise sector has made Grimloc more sustainable to this day. Merchandise that was released was also selling well. Grimloc Record’s business method is reasonably successful in the current underground music scene. Their merchandise is trusted and bought by Indonesian music lovers, not only the Bandung region.

Grimloc Record not only lives by its ideals but is also progressive. It is quite advanced if you look at its work practices—Grimloc Record’s journey process symbiotic relationships with communities outside the realm of music. The work practice is tied to socio-political activity, particularly for those dealing with urban issues. However, it also pays attention to the marginalized, such as laborers and the urban poor. Fundamental work practices are like initiating music gigs that intersect with the issues currently experienced by urban people—from land grabbing to eviction cases. Communalism from Grimloc and other communities is often involved in the Street Library movement, the Dago Against Movement, Wadas Melawan and is active in the Coastal Land Farmers Association (PPLP) Kulonprogo. A movement to support people whose livelihoods have been injured by the authorities.

Grimloc’s communalism belongs to musicians who are concretely involved in addressing social issues that are developing in the country. For them, community nodes are essential to building so that their existence will last a long time. They struggle to provide political understanding so that citizens can be empowered and strengthen their collective solidarity. According to Aris Setyawan, a musician and ethnomusicologist, Grimloc’s position brings fresh air to the country’s music industry; apart from releasing a music album, Grimloc dares to take a stand on socio-political issues. Grimloc’s no longer stuck in the Hip Hop pattern but has expanded into genres ranging from metal to post-rock. Grimloc Record can be a reference for Indonesian musicians to create their ecosystem and spread their political work practices.