A while ago, our team had the chance to attend the third installment of the rock festival Paguyuban Crowdsurf at Rossi Musik Fatmawati, Jakarta. Presenting diverse local indie rock acts including Rekah, Dental Surf Kombat, Cumloud, Piston, .Feast, and Tarrkam, the show gathered rock enthusiasts from all over Jakarta to crowdsurf all night long – a move that is both special to the rock music movement and of course, authorities. But what is it that makes the act of crowdsurfing so iconic yet often banned at the same time?
When it comes to the Icelandic music scene, people would instantly associate it with Björk and Sigur Rós. But actually, there’s so much more than those two names in the Icelandic music scene, as it consists of a tremendous diversity that would blow your mind. This article written by co-editor Ralka Skjerseth will unravel many sides of the Icelandic music scene that you all should check out.
With a lot of recent deaths because of suicide among musicians in the past few years, mental health in the music industry has been a major talking point, with a lot of artists being open about their mental health and also advocating it at the same time. Efforts to accommodate musicians’ mental health have also risen in recent times.
One of Indonesia’s leading figures in music and performing arts, Djaduk Ferianto, passed away last week. With a career spanning for decades, he has contributed to Indonesia’s arts and music scene in a way that is indelible for years to come.
“Soto Ayam Bu Karti” has been in our staff members’ conversations for the past few weeks. This absurd short parody by Mamang Kesbor references the style of trap hip hop artists (most obviously Playboi Carti) to tell a story about a chicken soto street food stall. Speed of Sound Mag’s editors and staff writers collaborated on an editorial reviewing the song and the extent of which “Soto Ayam Bu Karti” impacts Indonesian culture, however niche it could be.
The Hallyu wave has introduced us to Korean drama (K-drama) and its OSTs (original soundtracks). Yet some OSTs became forgotten in a few years, despite deserving more recognition from the general public.
In a scene originated and also dominated by African-American artists, there are some good shout outs for artists of Asian descent who are starting to make a scene in contemporary R&B, including 88rising’s Joji and NIKI, Malaysian singer Yuna, and Indian-American singer Raveena.