Thee Marloes – ‘Perak’ album review: Stunningly romantic Indonesian soul
THE SKINNY: Soul music, both as a musical style and a movement, is such a broad and varied field that it is practically beyond comprehension. Today, the scene is unimaginably diverse, storied by countless artists across the globe putting their own unique spin onto the heartfelt sounds of soul. Tucked away on the Indonesian island of Java, in the city of Surabaya, a raw genre revolution has been quietly bubbling away for a number of years, spurred along by local musicians like Sinatrya Dharaka and Tommy Satwick. After recruiting a singer in the form of Natassya Sianturi, these musicians were ready to bring this local soul movement onto the global stage with the release of the debut album Perak.
Particularly for a relatively new band, Thee Marloes demonstrate an incredible sense of artistry and maturity within their songwriting. From the opening track of Perak, the trio wastes no time in establishing their own unique sound: a mixture of cinematic soundscapes, retro soul, and a healthy sprinkling of jazz influences in there, too. Particularly within the world of neo-soul, artists can often get bogged down in trying to adhere to modern sensibilities that they lose the spirited magic of soul’s 1960s golden age. In contrast, Thee Marloes are skilful in paying tribute to that period while imbuing those sounds with their own experiences and listening habits.
For instance, songs like ‘Summer’ or ‘True Love’ feature some unexpected, yet not unwelcome, influences of surf rock guitar. While that might not be the most obvious sound to blend with old-school soul, Dharaka’s innovative production and playing style means that these disparate styles fit together almost seamlessly. Elsewhere, the band embrace the brass-heavy styles of retro Motown and Northern Soul – especially on the standout track ‘Midnight Hotline’. Couple that with the pulchritudinous tones of Sianturi and you are left with an album that commands your full attention.
Perak is an incredibly diverse record, both in musical composition and lyricism. Although most songs on the album revolve around love and relationships, they are delivered in multiple ways; ranging from heartbreak and bitterness to jubilation and infatuation. The mixture of English-language and Indonesian tracks on this record, along with the ever-changing atmosphere between songs, helps to keep Perak from ever feeling stagnant or repetitive. Even the most romantic individual on the planet would struggle to find a record as expert in setting an amorous mood than Perak.
For fans of: Romantic sunsets, late-night jazz clubs, and absolutely destroying your body with whiskey sours and cigarette smoke because it fits with the aesthetic.
A concluding comment from Ben’s unfortunate housemate: “This album makes me want to do some sultry dancing at a wine bar, and I don’t even like wine nor can I dance.”
Perak track by track:
Release date: August 9th | Producer: Sinatrya Dharaka | Label: Big Crown Records
‘I Know’: Kicking off their debut album with this stunning example of cinematic soul, it seems almost unbelievable that such a compelling, colossal sound could be made by only three people. [4.5/5]
‘Logika’: Although the ethereal voice of Natassya Sianturi is hard to ignore, the musical backing – particularly on this track – is equally worthy of note. Evoking the sounds of retro, organ-driven soul, blended with a modern and diverse range of influences, Thee Marloes have landed on a truly original sound. [4/5]
‘Summer’: As the title implies, this track is much more sun-soaked and optimistic than the previous songs, speaking to the adaptability of the trio’s sound. The surf-esque guitar tones delivered by Dharaka are a particular highlight. [4/5]
‘Midnight Hotline’: Arguably the stand-out track of this record. The inclusion of old-school brass and a distinctly danceable drum beat means that it is almost impossible to listen to this song without moving your feet to the rhythm – a real soul floor filler. [5/5]
‘Beri Cinta Waktu’: Slowing down the pace of the previous song, this chilled-out track places focus almost exclusively on the voice of Sianturi. A perfect soundtrack to a romantic candlelit dinner or a summer evening stroll through the countryside. [3.5/5]
‘True Love’: The retro rockabilly-surf guitars return for another intimate, soulful tune that clearly takes a lot of cues from the disco vocal groups of the 1970s. This song feels like a natural continuation of the previous effort, only performed in English rather than Indonesian. [3/5]
‘Mungkin Saja’: A sexy, unsuspecting earworm of a song, which you will find yourself singing along to throughout the day, even if – like me – your knowledge of the Indonesian language is second to none. [4/5]
‘Not Today’: Although, at this point in the record, it is clear that many of the songs follow a similar theme and composition, the diverse instrumentation, along with Sianturi’s voice, is almost impossible to grow tired of. [3/5]
‘Over’: Distorted bass and distant brass is an unbeatable combination, especially when coupled with the kind of mysterious yet passionate romanticism that this song conveys. [3.5/5]
‘No One Else’: A stunning account of self-improvement and confidence, this song contrasts with the gushing romanticism of earlier songs to put the power back into the hands of the narrator. As such, it feels particularly impactful. [3.5/5]
‘Nona’: A stunning example of how Thee Marloes can build and diminish a sense of tension and suspense with effortless grace. This song, in particular, feels far more mature and polished to be featured on a debut album. [4/5]
‘Thank You’: Although the lyrics to this song are nothing too revolutionary, within the field of soul music, Thee Marloes leave us with yet another showcase of the trio’s incredible musical proficiency. Particularly commendable is the organic, improvisational quality of the guitar track on this song. [3.5/5]
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