A-Z Indonesia Records Label Logo Archive Issue No. 1
Indonesia's music culture had flourished since the country first gained independence in 1945, but it was limited by Sukarno's strict regulation of the arts and culture sector. Cultural purity was a priority, and the embrace of foreign influences was forbidden. Traditional Indonesian music was all that was permitted, and ambitious musicians who flirted with western pop and rock n' roll in the nineteen sixties often found themselves thrown behind bars. The arrival of the New Order changed that. Suharto's full-throated advocacy of foreign trade extended to the culture industries, and Indonesian musicians in the seventies and eighties availed themselves of a wide range of western influences including disco, funk, and even synthpop. Independent record labels sprouted up, and musical instruments and hardware imported from Japan gave the music makers of Indonesia a whole new box of toys to play with. However, record sales remained relatively weak. Even with the expansion of the Indonesian economy, the trickle of that wealth down to the mass population remained relatively tepid. Records were extremely expensive to manufacture and it was difficult to recoup those expenses when even members of the middle class could barely afford to purchase the product on a regular basis. Hence, some musicians and labels like Musica Records took advantage of the marketing opportunities provided by mass media, providing their records exclusively to local radio stations, which then broadcast these new modern sounds across entire provinces. Other labels like Jackson Records and Irama Tara Records continued to take their chances on the direct market, eventually favoring the cheaper and more easily disseminated cassette format. But between 1970 and 1973, the best place to enjoy the hottest modern music was at discotheques like Tanamur.
Peace Freedom's first book of Indonesia's records label Logo Archive starts from 1950-1990 collected by Munir Harry Septiandry
4th Print Edition
Raw & Rare logos. Approx 130x190mm 78 pages (with Inserts)
Black Risograph
HVS Colour paper
Open Stitch Binding
Indonesia's music culture had flourished since the country first gained independence in 1945, but it was limited by Sukarno's strict regulation of the arts and culture sector. Cultural purity was a priority, and the embrace of foreign influences was forbidden. Traditional Indonesian music was all that was permitted, and ambitious musicians who flirted with western pop and rock n' roll in the nineteen sixties often found themselves thrown behind bars. The arrival of the New Order changed that. Suharto's full-throated advocacy of foreign trade extended to the culture industries, and Indonesian musicians in the seventies and eighties availed themselves of a wide range of western influences including disco, funk, and even synthpop. Independent record labels sprouted up, and musical instruments and hardware imported from Japan gave the music makers of Indonesia a whole new box of toys to play with. However, record sales remained relatively weak. Even with the expansion of the Indonesian economy, the trickle of that wealth down to the mass population remained relatively tepid. Records were extremely expensive to manufacture and it was difficult to recoup those expenses when even members of the middle class could barely afford to purchase the product on a regular basis. Hence, some musicians and labels like Musica Records took advantage of the marketing opportunities provided by mass media, providing their records exclusively to local radio stations, which then broadcast these new modern sounds across entire provinces. Other labels like Jackson Records and Irama Tara Records continued to take their chances on the direct market, eventually favoring the cheaper and more easily disseminated cassette format. But between 1970 and 1973, the best place to enjoy the hottest modern music was at discotheques like Tanamur.
Peace Freedom's first book of Indonesia's records label Logo Archive starts from 1950-1990 collected by Munir Harry Septiandry
4th Print Edition
Raw & Rare logos. Approx 130x190mm 78 pages (with Inserts)
Black Risograph
HVS Colour paper
Open Stitch Binding
Indonesia's music culture had flourished since the country first gained independence in 1945, but it was limited by Sukarno's strict regulation of the arts and culture sector. Cultural purity was a priority, and the embrace of foreign influences was forbidden. Traditional Indonesian music was all that was permitted, and ambitious musicians who flirted with western pop and rock n' roll in the nineteen sixties often found themselves thrown behind bars. The arrival of the New Order changed that. Suharto's full-throated advocacy of foreign trade extended to the culture industries, and Indonesian musicians in the seventies and eighties availed themselves of a wide range of western influences including disco, funk, and even synthpop. Independent record labels sprouted up, and musical instruments and hardware imported from Japan gave the music makers of Indonesia a whole new box of toys to play with. However, record sales remained relatively weak. Even with the expansion of the Indonesian economy, the trickle of that wealth down to the mass population remained relatively tepid. Records were extremely expensive to manufacture and it was difficult to recoup those expenses when even members of the middle class could barely afford to purchase the product on a regular basis. Hence, some musicians and labels like Musica Records took advantage of the marketing opportunities provided by mass media, providing their records exclusively to local radio stations, which then broadcast these new modern sounds across entire provinces. Other labels like Jackson Records and Irama Tara Records continued to take their chances on the direct market, eventually favoring the cheaper and more easily disseminated cassette format. But between 1970 and 1973, the best place to enjoy the hottest modern music was at discotheques like Tanamur.
Peace Freedom's first book of Indonesia's records label Logo Archive starts from 1950-1990 collected by Munir Harry Septiandry
4th Print Edition
Raw & Rare logos. Approx 130x190mm 78 pages (with Inserts)
Black Risograph
HVS Colour paper
Open Stitch Binding