Gigi – their greatest moments   

Ya Ya Ya
The video for their single ‘Ya Ya Ya' has attracted around 1 million hits in YouTube. It illustrates their perfect blend of hard-edged guitars and fluid melodies. The film itself is very arresting, featuring the band playing live on the banks of some suitably industrial-looking docks. The typical ‘band being filmed' scenario is counterbalanced with a short film, containing unnerving images of a mysterious woman, her first appearance a striking high heel and slender ankle slithering out of a car door.
Gigi run through their infectious melodies against a backdrop of towering cranes. The track is powered by strong riffs, a solid rhythm section, and an extremely catchy chorus, and it pounds towards its climax, leaving the listener in no doubt they have been thoroughly entertained.
Gigi live at Java Rockin' Land 2013
Gigi's appearance at the open-air festival is captured here in its sun-soaked brilliance. Armand Maulana demonstrates his impressive vocal range, giving a heartfelt performance over Gigi's customary power rock base. The opening track benefits from a mix of solid Marshall stack-driven rhythm guitar, which allows Dewa Budjana to alternate between raucous chords and more delicate flanger-inspired melodies. Like many of their tracks, it slowly builds to a thundering climax. At various points the vocals dip out, leaving the crowd to supply the words they know so well.
The second track starts as more of a soft ballad, capturing Gigi's ability to create beautiful soundscapes, as well as gritty rock n' roll. However, it soon begins to gather momentum, keeping those thousands of expectant feet tapping. Dewa Budjana provides one of his memorable guitar solos, to give the tune a pleasant high point, before all the instruments come in to collide as the track accelerates to its powerful finale, stopping dead on one note.
Track three is more of an upbeat rocker, and if anyone in the crowd isn't bopping along by that point, they must have serious taste issues! The entire gig last for just under an hour, all faithfully captured here in the official Rockin' Land video. The concert has already gathered 81,000 hits and counting.
This song has been a sizeable hit for the Indonesian rockers. The video weaves images of the band performing the insanely catchy tune, featuring strident acoustic guitar and layers of strings, with suitably shots of seriously attractive young women who appear either seductive or threatening – sometimes both! When the guitar solo kicks in two-thirds of the way through, rather than a standard electric guitar job, we are treated to some sublte mandolin-style plucking by the maestro Dewa Budjana. This YouTube clip has inspired over a quarter of a million hits.
Bisa Saja
Sultry models in monochrome outfits strutting along a catwalk introduce Gigi's Bisa Saja number. As champagne flows into slick glasses and some playboy tempts his targets with trinkets and jewellery, Gigi play their ultra-catchy up-tempo rock classic, grooving to the sounds from a catwalk. Bassist Thomas Ramdhan is clearly relishing being back in the Gigi fold after a short three-year hiatus when the founding member departed. He bops to the groove in a white t-shirt emblazoned with ‘Stayin' Alive', which is exactly what this brilliant Indonesian band have been doing, despite various ups and downs, since their inception in 1994. So far Bisa Saja has accumulated half a million hits.


Afgan Syahreza  

Afgan Syahreza has won many plaudits for his talents. Amongst the various awards that already clutter the shelves are Best Male Vocalist (at the 2009 Indonesian Music Awards) and Best Male Artist (at the 2009 Planet Muzik Wards, celebrating engaging artists in Malaysia, Indonesia and Singapore). As well as his immense musical talents, he is currently looking to gain some exam success while he studies at the Monash University, Malaysia.
One thing about Afgan is that he is no ‘one-trick pony'. He consistently demonstrates his versatility in various musical genres. As well as pop, he excels in R&B, soul and jazz.
Malaysians like to identify with the young singer because, unlike some Far Eastern performers who have found fame in reality shows or cheesy talent-spotting contests, his talent is natural. This makes his meteoric rise to international fame all the more surprising. Afghan never received any formal vocal training as he was growing up. The second of four children, Afgan's family was of Minangkabau extraction. They describe themselves as reasonably musical, but when it came to exercising his vocal chords it seems Afgan was self-taught.
He set out on his artistic journey after getting together with a bunch of friends to record a private album. This was performed at the appropriately titled WannaB Instant Recording Studio. As soon as the resident studio producers heard him singing, they offered him a contract on the spot.
This led to his debut album, Confession #1. Amongst the eclectic range of tracks recorded for this smooth meld of jazz and pop were ‘Terima Kasih Cinta', ‘Sadis', ‘Tanpa Batas Waktu' and ‘Klise'. A music video of the former was recorded, produced by Thalita Latief, and directed by Jose Purnomo. His performance on this album led to his award at the 2009 Indonesian Music Awards. That same year he cemented his arrival in the Indonesian public eye by acting in the movie Bukan Cinta Biasa, alongside Olivia Lubis Jensen. As well as performing before the cameras, he sang the title track for the film's soundtrack album.
In 2010 Afgan made another acting appearance, this time in the film Cinta 2 Hati, as well as providing vocals for the soundtrack. Following on from the critical and audience acclaim for Confession #1, his second album was released the same year. Entitled The One, this was received with equal enthusiasm. Afgan performed the theme for the 2011 Southeast Asian Games, the biennial sporting event involving 11 Asian participant nations. That year it was held in Bangkok, Thailand.
One of the keys to Afgan's enduring success has been the way he can dip between different sounds. Check out his single ‘Sadis', from his first album. This allows him to spread his range over a soft piano refrain, which soon builds up with full-blown orchestration and a strident guitar solo. This song has the same vocal hooks and bombastic delivery that would fit extremely well into theatre productions, or even a Disney musical.
Known for his cheeky grin, handsome features and slightly ‘nerdy' image, Afgan is no dumb pop performer: far from it. As well as possessing an excellent vocal range, we hear he was studying Economics at the Monash University Malaysia. He is obviously aware that fame and success can be incredibly fickle concepts, especially where pop music is concerned.
God Bless – greatest YouTube moments  

God Bless, one of Indonesia's most consistent and influential rock bands, have accumulated an army of followers – over different generations, too. Founding member Ahmad Albar has presided over a band that first formed in 1973, and has released several popular albums since their eponymous debut in 1975.
To save you the trouble of sifting through piles of 70s progressive rock in dusty second-hand shops we've compiled some of the band's most eye-catching moments which can be easily tapped into via the wonders of YouTube.
Semut Hitam
A total of 606k viewers have tapped into this video, the title track of their third album, released in 1988. There are no actual visuals, but the music is strong enough to speak volumes. The riffing guitars punch out a strident melody, while the echoing vocals, together with backing harmonies, take the song to new heights. There is excellent keyboard accompaniment as well. At 3:11 the lead guitar hits some fluent licks – typical with a lot of 80s guitar music elsewhere in the world, it was aimed as much at pop audiences as the ‘serious rock fan'.
Ahmad Albar, Godbless, Gong 2000
This video showcase the music's trademark blend of dynamic instrumentation with upbeat, melodic rock. The driving guitars and full-on vocals carry the song along nicely, while the keyboard in the background, especially at 3:00, produces some menacingly deep bass chords. The chorus is infectiously catchy, and no-one could possibly listen to this joyous music without feeling their feet starting to tap along.
This is a slightly more progressive track than the former two videos. It is heavily keyboard and guitar-orientated, with some powerful licks and hammer-ons bursting through the Marshall stacks within the first two minutes. At 2:11 the song breaks down into an instrumental ‘middle eight' where the guitarist really gets to showcase his perfect command of his fretboard, as he scales up and down, reaching screeching high notes that carry the rest of the song. The longer the melody progresses, the more insistent these breaks become, until a key change launches the tune towards a powerful climax.
Maret 89/ayat setan romika
This features a montage of stills of the band, set against a particularly grinding hard rock tune. The guitar skills are exemplary – around 2:20 a solo kicks in, that by 2:40 merges with a dexterous keyboard solo. The main riff that keeps recurring in the song puts the listener in mind of some stadium band like Guns n' Roses at the peak of their swaggering fame. Indeed, the choruses are just crying out to be repeated back at the band by an arena packed with adoring fans.
Accompanying the music are various stills of gigs, ranging from close-ups of the Marshall stacks that produce such a fabulous rock n'roll noise, to shots of the many festivals the band have played at.
Syair kehidupan
Over 1m YouTube viewers have tuned in to this piece. It is a slow, heartfelt ballad, full of flowing acoustic guitar lines and plaintive lead guitar carrying the tuneful melody, before splitting into harmonizing parts. The vocals are particularly strong, with choir-like multi voices being applied during the powerful choruses.


Indonesian music to cement diplomatic ties  

With the imminent arrival of the 40th anniversary of the moment when diplomatic ties were established between Indonesia and Korea, music has rightly become centre-stage. More than any other form of artistic expression, music is capable of crossing international borders and creating harmony. For that reason, music is going to be used has enhanced the relationship between the Indonesian and Korean people.
Last November, a concert took place at the Ansan Sangnosku Gymnasium in Gyeonggi-do, South Korea. Under the title ‘Woorinen Hana Kita Bersatu!' which translates as “we are one” in the respective languages of Korean and Indonesian. The event drew large audiences together, both in person and via digital images. Amongst the artists featured in the show were Indonesia's Ridho Rhoma and Amir, and the Korean singers Wheesung, Ailee, Koyote, Tae Jin-ah and Eru.
The US-born Korean singer Ailee was a particular favourite with the bustling crowds. A mere 24-years old, she has been wowing audiences in Korean and beyond for some time, ever since her debut single Heaven was released in February 2012. When her second mini album A's Doll House was released last July, nearly all music stores in South Korea were sold out of physical copies within 24 hours. Her management company clearly had other markets in their sights, too. A version of Heaven was released by Warner Music Japan, propelling her into the spotlight of the potentially vast music devouring Japanese youth market.
Ailee's music, which typically blends a wonderfully irresistible pop vocal technique with some harder rock balladry, was an easy choice for an invitee for those organizing the special anniversary gig.
Eru Entertainment, a Korean agency and the Indonesian national broadcaster Trans TV, co-hosted the event. It was also sponsored by South Korean Ministry of culture, sports and tourism, and the Indonesian Embassy in Seoul, as well as Ansan City Hall.
Amongst the audience who packed into the gymnasium to listen to the music there were many Indonesians. The organisers have specifically invited visitors from that country currently residing in Korea to attend, in particular those who happened to travel northwards for economic reasons.
As the music one particularly arresting moment came right in the middle of the proceedings. Five workers from Indonesia, who had been specially selected by the Indonesian Embassy, got to be re-united with the families they have not actually seen for a considerable period of time. As the Korean singer and event co-host Eru stated: “I thought that now was the time to give back to my Indonesian fans who have given me so much love and support. I hope this will give at least a small but heartwarming present to all of them who have long been here in Korea, far away from their families back home”.


Indonesian pop sensations Noah  
Of the most phenomenal successes in the field of popular music in Indonesia has been the band Noah. They were formerly known as Peterpan (in fact, when they renamed themselves in 2012, the some of the promotional material stated ‘Noah Known as Peterpan Band').
What Noah have always done is excel in a particularly ear-friendly stream of alternative pop and rock. They formed back in 1997, in the way of so many bands, as schoolmates. Hailing from Bandung, the line-up at that time consisted of Uki (Mohammed Kautsar Hikmat) on guitar, Andika (Andika Naliputra Wirahardja) on keyboards, Abel on bass, Ari on drums and Ariel (Nazril Irham) on lead vocals. They called themselves Topi. To become more proficient with their instruments, they tended to play cover versions of their favourite British rock acts. When the drummer left Topi, they disbanded.
Fast-forward to 2000. The keyboard virtuoso Andika found himself inspired to regroup his former colleagues from Topi. Two new members were introduced, a new drummer, called Reza (Ilsyah Ryan Reza) and a lead guitarist, Loekman Hakim. It was also Andika who came up with the name of the band Peterpan. It was a reference to Peter Pan, a fictional character from the children's stories of J M Barrie. He was the boy who never grew up.
Peterpan had a fairly low-key start, busking on the streets of Bandung, and playing unplugged gigs in cafes. Their setlist consisted of a cross-section of the most popular British, Irish or American alternative rock acts, such as Nirvana, Coldplay, Pearl Jam or U2. They were spotted during one session, at the Sapu Lidi café, by Noey. He was a producer who was planning a compilation album that would reflect up-and-coming Indonesian artists. Peterpan, having used other people's songs to master their guitar playing and song-writing skills, performed three self-penned numbers for him: ‘Mimpi yang Sempurna', ‘Taman Langit' and ‘Sahabat'.
The album was a reasonable success when it was released, shifting a respectable 150,000 copies. On the back of this exposure, Peterpan were offered a contract by Indonesia's foremost major label, Musica. Their debut album ‘Taman Langit' was released in June 2003, with a follow-up, ‘Bintang Di Surga', following a year later. The latter sold some 350,000 copies in the first fortnight, and by the end of 2005 the sales figures had ramped up to over 2.5 million.
Album number three was a movie soundtrack, for the Indonesian romance, Alexandria. Entitled ‘Menunggu Pagi', the album's release was covered by Indonesia's six largest national TV networks in parallel.
Alas, that old rock n' roll bugbear ‘artistic differences' reared its ugly head in 2006. Founder member Andika and his colleague Indra departed (the latter having also just lost a child, adding to his need for a new direction). The duo had made an agreement about allowing the remaining members to continue using Peterpan. They did so until the name change to Noah in 2012.
Noah continue to write music which has a legion of devoted fans in Indonesia. Rock audiences remember their record-breaking tour of 2003-2004, when, as Peterpan, they performed in six Indonesian cities in a day (Medan, Pekanbaru, Lampung, Semarang, Padang, culminating at Surabaya.
Noah broke this record between 15 and 16 September 2012, when they wowed audiences in Melbourne, Hong Kong, Kuala Lumpur, Singapore, then finally Jakarta. This basically took them between five countries and two continents, all in the space of 24 hours.
Indonesians and Miley Cyrus  
There is a popular saying that equates taste with marmite, a sticky brown food spread that is widely used in Australasia, the Pacific and beyond. Because it has such a distinctive taste, it is known to polarize opinion – you either love it or hate it. Well the same could well be said about the young American pop singer, Miley Cyrus. Her increasingly provocative stage antics have certainly got tongues wagging and excitable fingers tweeting right across the planet.
Nowhere has taste been so divided than Indonesia. While many Indonesians have taken to social media to decry her attention-seeking outbursts, not to mention her formulaic pop singing, there are obviously droves of fans out there who can see beyond her shameless publicity stunts. After all, her most recent single, Wrecking Ball, has soared up the Indonesian Singles Charts.
Awards and Achievements
She can now be seen as one of the most successful artists who began their careers with the Disney Channel. Amongst her plaudits she has had no fewer than five consecutive number one albums in the US Billboard 100 (two being soundtracks to the series where she played the titular teenage character Hannah Montana). She recently ranked number 13 on Forbes Celebrity 100 – the annual compilation of most powerful celebrities, based on several factors, including total Google hits. The 2011 Guinness Book of Records named her ‘Most Charted Teenager', with 29 Billboard Hot 100 entries. MTV named her ‘Artist of the Year' in 2013.
Has often proved to be very difficult making the transition from child star to adult entertainer. But Miley Cyrus has managed to pull this off with some headline-grabbing stage performances. There is nothing new about overtly sexual acts being used to entertain audiences and, more importantly, sell records (check out Madonna!) But where Miley has really made an impact is in employing the modern phenomenon of viral advertising. Put it this way, until fairly recently, very few people were aware of the definition of the strange sounding verb ‘twerking'. Perhaps more than anyone else, Miley has been responsible for this word entering lexicography right across the globe.
This term basically covers any type of dance that is designed to provoke with a series of thrusting hip movements. It has been suggested that the word itself is a combination of twist and jerk, originating in New Orleans street-dancing. But the craze really hit the public eye when Miley Cyrus ‘twerked' while performing with Robin Thicke at the 2013 MTV awards. Images of her gyrating on-stage were beamed to television viewers across the globe, and then tweeted and re-tweeted ad infinitum on Twitter, and discussed and debated in blogs and forums right across the information super highway.
One of the reasons why Miley has been going to such lengths to get noticed is undoubtedly a desire to put distance between herself and the sweet, wholesome, Southern-accented Hannah Montana, the archetypal Disney star. But at the end of the day, the Indonesians who have been downloading ‘Wrecking Ball' by the thousands haven't been doing so because of some daft dance craze. It is because Miley does sing some very catchy pop songs. Like them or hate them, you'll find yourself humming her songs on your way to work in the morning!
Kotak – from talent shows to MTV fame  

It was Indonesia's TV7 2004 ‘The Dream Band' competition that set this band on the road to fame and fortune. At that event, vocalist Julia Angelia Lepar (aka Pare), guitarist Mario Marcella (aka Cella), drummer Haposan Haryanto Tobing (aka Posan) and bassist Prinzes Amanda (aka Icez) impressed the talent-spotting panel to scoop the competition prize. Following on from their success, not to mention the widespread exposure on the popular TV show, the so-called ‘dream band' began working on their debut album. This was eponymously titled Kotak and was released by Warner Music Indonesia in 2005.
There are 10 songs on this album, which capture the band's trademark sound of pop-orientated rock music, or rock-tinged pop, depending on which side of the musical spectrum you happen to be on!
As appears to be the case for a great number of rock bands, phenomenal chart success and fan acclaim was balanced with some turbulent internal politics. The line-up of the band seldom remained stable for any lengthy period of time. Pare and Icez departed in 2007, with the vacant lead vocalist spot being assumed by Tantri Syalindri (aka Tantri), and the bass guitar role going to Swasti Sabdastantri (aka Chua). Shortly afterwards drummer Posan took his sticks elsewhere.
The follow-up to the acclaimed first album was released in 2008 and entitled Kodak Kedua. A sample from this album, ‘Energi: Tendangan Dari Langit' or ‘Energy: kicks from the sky', was converted into a ring-back tone. As of 2013 this musical snippet has been downloaded in excess of one million times.
Two years later their third album, Energi, was followed by Energi Repackage. Prolific songwriters and recording artists, Kotak followed this with a further two albums over 2012 and 2013: Terbaik and KFC Adu Bintang.
Amongst the many accolades earned by the band was the title of ‘Favorite Breakthrough Artist' at the MTV (Indonesia) awards in 2009. Their vocalist, Tantri, accepted Best Rock Band/Group and Best Rock Album awards at AMI the same year. Kotak were also voted ‘Best Newcomer Group' by Anugerah Planet Music.
As well as being appreciated in their native Indonesia, the band has spread their wings, playing in Singapore after being personally invited there to perform at Muzik FM. This concert was arranged by Superstar and Legends, in conjunction with Raistar Entertainment.
There are many reasons for the enduring success of this young band. Having a strong female vocalist is always a plus in the rock world. Tantri can certainly belt out a rock song, coping well with being heard above the shrieking rock guitar and thunderous rhythm section. If you want to get an excellent idea of what Kotak are capable of, there are many exciting links available on YouTube. One of these is entitled ‘The Biggest Indonesian Rock Concert Performance by Kotak'. This shows a full-blooded clip of the band playing before thousands of adoring fans. The stage-set projects into the audience, allowing Tantri to strut across the stage, then march right into the crowd. You sense that the adoring fans closest to the front are more than delighted to receive such a fabulous ring-side view of their heroes – well, hero and heroines!

Kotak’s greatest moments  
Ever since Kotak's members were first spotted on an Indonesian TV talent show and named ‘The Dream Band' they have made its their sole purpose to entertain. Since that moment in 2004 they have recorded increasingly catchy and commercially successful records.
If you want to check them out, a great place to start is to look their videos posted on the web sensation that is YouTube. Here is our selection of their most recommended video recordings.
Kecuali Kamu
Posted in October 2012, this four minutes 44 seconds video has gained a massive audience, accumulating 1.2 million hits. It commences with a swirling string section, setting the tone for the sophisticated music about to unfold. The camera pans in on singer Tantri, seductively lounging in a white dress against dark flooring inside a starkly decorated, contemporary-looking apartment.
As her sultry vocals continue, a vase shatters in reverse, and superimposed smoke effects drift across the action. In the background there are further images that seem to completely contrast with the steady melody of the song – smashed furniture floats around the room behind her. As she strolls past, a domestic scene is freeze-framed: a female apparently in the process of tipping a drink over her partner.
As she leaves the apartment, the music begins to build dramatically. We see that although she is dressed in virginal white, she is sporting large boots with stacked heels that look fairly imposing. The backdrop consists of a car, covered in autumn leaves and with a smashed windscreen, and various other objects captured in free-fall and frozen by the lens: cars, a random pedestrian and a grand piano.
When Tantri casually rests against the damaged car, it restores to its gleaming factory condition, as if she possesses some kind of magical touch. Likewise, with the same deft touch of her fingers, she reassembles the band's bassist, Chua.
The single itself is a strident example of Kotak's fiendishly clever way of splicing pure pop melodies with the dynamics of guitar and keyboard-driven rock music. The video itself as a cunning example of how a storyboard can be vividly brought to life via the imagination of a creative director. The theme of frozen aspects becoming animated continues, with Tantri strolling along past a house, saving groceries that suddenly tumble from an upended bag.
As Cella's guitars build up momentum, the song dramatically shifts key. The camera tracks through various fleeting images of fluid action that have been stopped dead, almost as if some unseen hand has been stabbing the ‘pause button' on a remote control.
This works extremely well with the narrative of this video. The images of people frozen in mid-air achieve an unnerving atmosphere. We don't know why this is happening. Sometime the effect is made doubly disturbing given the unnatural poses some of the protagonists are left in. At one point an attractive female is caught half-way through a dramatic backwards flip. Her serene expression could be one of bliss; or equally plausibly, death.
The vision of the guitar falling neatly into Cella's hands in time to perform the big solo in particularly effective. By the conclusion all the inanimate poses seem to have undergone a miraculous thaw, and the camera pans upwards, finishing on a high.
Maudy Ayunda - Indonesian popstar  
Not that many people are aware of Maudy Ayunda outside of her native Indonesia, but this is sure to change over the next few years. Born in 1994, this actress and singer is still a teenager (until December this year at any rate). Yet at the tender age of 19 she has demonstrated ample evidence of her outstanding talent.
Born Faza Ayunda Maudia in Jakarta, she made her 2006 film debut in Rena, the eponymous story of an 11-year old orphan. Her next project was in The Dreamer in 2009, which went on to become the opening film in the Jakarta International Film Festival on 2009 – the first Indonesian feature to hold this honour since the first ever festival 10 years previously. The Dreamer has the accolade of being the second highest-grossing Indonesian movie ever, with a total audience of 1.9 million.
Now a firmly-established movie star, even at such a young age, Maudy went on to perform in several roles throughout 2011 and 2012. She played the part of Mura in Angel Without Wings, a dramatic departure after some of her earlier parts.
What audiences can really identify with Maudy are her gutsy down-to-earth performances and characters. She herself states, that in terms of appearance, she regards herself as being girly but not overtly feminine. This is in contrast to many of her roles, where the characters love wearing jeans and baggy tops. In real life Maudy prefers wearing shorter dresses and matching heels. This, of course, makes sense. After all, any actor is merely playing a character, and very few are identical no matter what side of the camera they are on.
Maudy never takes her stardom for granted – in fact, you get the sense that she would baulk at that very notion of being referred to as a star. She once stated: “I feel very lucky. Every opportunity can just slip away if we do not take it. I believe that an opportunity may not come around twice, so I will definitely snatch it”.
She certainly takes her roles very seriously. In preparing for her character in her acclaimed performances in Paper Boat and Paper Boat 2, she was accompanied on Jakarta's public transport by the films' assistant director, in order to build an understanding of the character she would be playing. While doing this research she gained first hand experience of how frustrating the daily commute can be for the ordinary Indonesian public. She said “I was a bit shocked. I took the Kopaja public bus but it did not move for 15 minutes. This waiting may reduce productivity in the country as it makes the passengers tired and in a bad mood, affecting their performance at work”.
This did not affect her own performance in front of the cameras as she proved to be a consummate professional on set at all times. Like many actors before her, Maudy's critical and audience claim has inspired her to expand her horizons. She is now pursuing a career in music, having sung on two albums: Call Me, from 2011, and on the soundtrack to the aforementioned film, Paper Boat, from 2012. With her single By My Side currently setting the Indonesian charts alight, it seems as if there is no end to her talent.
Netral YouTube highlights: Haru Biru  

Just under four minutes in duration, it showcases the Indonesian cult band Netral, as they perform Haru Biru. The video kicks off with a menacing synth rhythm counting down to the actual performance that gets going at 0:30. There are shots of street scenes in urban Indonesia, with crowds of motorbikes roaring along to convey a chaotic atmosphere. Against this backdrop we see the individual band members appearing to be suitably angst-ridden.
Netral's performance starts with a slightly discordant, jerky guitar riff, building up to a refrain consisting of bellowed shouts. You could imagine them performing this in a sweaty club somewhere, with their devoted fans inspired to punch the air in time with the song!
The band themselves are spotted chasing manically along city streets and alleys, sometimes stopping to wrap their arms despairingly around their heads. This footage is interspersed with clips from a live performance, where the drummer is sporting a severe Mohican haircut - which is appropriate for the grinding punk rock being played.
But at 1:18 the melodrama fades slightly, and Netral burst into a pleasant melody. This contrasts very well with the more aggressive verses and their ‘shoutalong' parts. At the same time as these sections of the song are being played, with various band members tearing along the road, an animated graphic of lurid red graffiti follows them closely. This is a particularly effective image. Graffiti is obviously, by its very nature, a type of artwork that is static. But the director's idea of animating the bold aerosol lines and have them pursuing the guys from the band is extremely creative. It is particularly effective when the vocalist raises his head to laugh scornfully towards the skies, while the red ‘ink' flows up around his face, almost as if he is being wreathed by flames.
This use of brightly-coloured red lines is enhanced by the musicians also being spotted wearing red t-shirts. While they dash along streets, under subways or through bustling street markets, they always stand out boldly, as the background tone is kept deliberately drab. Most of the backdrop appears to be awash in tones of grey.
An interesting break kicks in at 2:34. As a light swings above the trio, the music spirals off into a discordant middle-eight, with ringing minor key organ notes being driven along by furiously percussive drumming. This eventually cuts to a more melodic bass part. Again, the red graffiti trails after the protagonists in the video, snaking across the grey landscape, while the guitar eventually comes back to play harmonics that create a suitably eerie atmosphere. If the guys aren't running down alleyways in the video, they're performing some very agile urban gymnastics, filmed in slow motion.
The outro consists of the punchy chorus being repeated to terrific effect, while the solitary spotlight swinging above the band seems to increase in momentum in synchronization with the song. As special mention is due to the drummer, who keeps the jaunty track's momentum going along right to the end, with some furious rhythm punctuated by deftly-performed drum rolls.
The directing credits for this film go to Slim F and Sunu.

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