The highly anticipated debut album from Amsterdam-based Indonesian psych-folk ensemble Nusantara Beat, has finally arrived. Having built a rapidly rising reputation through captivating live performances and a string of acclaimed 7" singles (Bongo Joe Records), this self-titled album powerfully extends an already potent musical vision. A mesmerizing collection of eleven original tracks, Nusantara Beat delves deep into the group’s Indonesian ancestral roots, and thrillingly weaves together hypnotic folk melodies, vintage Indo-pop, pulsating psychedelic grooves and contemporary sonic textures.

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That word Nusantara is important. As the group’s vocalist, Megan de Klerk, explains:

“Nusantara means all the islands that make up Indonesia. It’s an old word from when the kings wanted to unite the whole archipelago. Today, it still means unity, many cultures coming together as one. So, when we say Nusantara Beat, we mean the rhythm and music from the Indonesian archipelago, mixed into one sound.”

The group is uniquely equipped to explore this fascinating idea. Bassist Michael Joshua was born in the Indonesian province of West Java, settling permanently in the Netherlands at the age of 15. All of the group’s other members – Megan, guitarist Jordy Sanger, guitarist/keyboardist Rouzy Portier, drummer Sonny Groeneveld and percussionist Gino Groeneveld – were all born and raised in the Netherlands but hail from Indonesian heritage.

Nusantara Beat grew out of Amsterdam’s vibrant music scene, with several of its members previously playing in Dutch groups including EUT, Jungle by Night and the Turkish psych ensemble Altin Gün.

But it was the allure of exploring Indonesian sounds that cemented their alliance. “The band came together via our shared Indonesian roots and curiosity to discover these roots further through music,” says Gino.

“Sonny and Jordy had been playing with the idea for years about someday starting a [traditional Indonesian] krontjong band and for fun playing for elderly,” he continues. “Rouzy and Michael, who were studying together at the time, were also fantasizing about starting an Indonesian band for a while. Eventually, in 2021, these two worlds combined when Rouzy and Jordy were hanging out a lot and discussing these ideas.”

Sonny recruited his younger brother, Gino, who had just left Altin Gün, to add extra percussion. All that was needed was a singer. First choice was Megan, then working with EUT. Once she was persuaded to join – and to take the bold step of singing in Indonesian for the first time – the magic was undeniable.

“From the first rehearsal with Megan, we knew the band was complete,” Gino remembers. Nusantara Beat played their first gig in Amsterdam in summer 2022, and a trio of acclaimed singles on Bongo Joe records followed soon after, each reinterpreting a well-known 20th century Indonesian tune.

Released in 2023, “Djanger” is a beloved song describing the movements of a Balinese dancer. “Kota Bandung,” also released in 2023, is a 1970s classic describing the capital city of West Java. And 2024’s “Mang Becak” is another 70s pop track based around a conversation between a woman and a becak [bicycle rickshaw] driver, delivered in Sundanese, the local language of West Java.

Across these three singles, Nusantara Beat paid heartfelt tribute to the tradition of Sunda Pop – the Indonesian pop sensation that, from the 1960s onwards, blended traditional Sundanese music with contemporary pop sounds such as psychedelia, surf music and funk.

“Bands and artists from that time were heavily influenced by the western pop music scene,” explains Rouzy. “They wanted to sound like their heroes and bought equipment similar to them like guitars and effects. These styles and blends still sound awesome to us as a band.”

Nusantara Beat have staked out a daring place in modern music, paying homage to the tradition of Sunda Pop, while reinvigorating it for the 21st century with pristine production techniques, modern synthesizers and deep grooves.

Now, with their self-titled debut album, Nusantara Beat have gone one step further, writing, recording and producing eleven scintillating original songs that have their roots deep in tradition while stretching out into bold new worlds.

“For this album, we still mainly focus on the Sundanese musical tradition,” says Michael, “and the gamelan scale pelog.” The ethereal mood of the traditional Javanese and Balinese gamelan percussion ensemble can be heard to striking effect on tunes like “Ke Masa Lalu,” underpinning the heavy twang of a surf guitar and whooshing synth sirens. And, throughout the album, samples of Balinese gamelan instruments add extra depth, along with the sounds of traditional instruments such as the kecapi zither, the kendang drum and Balinese gongs.

But there’s a gleaming – almost futuristic – sheen to many tracks too. “Bakar” is a propulsive electro groove, delirious with luxuriant synth textures and a sense of nocturnal adventure. And “Di Pantai” is a soporific funk-soul groove with lush, sunshiney keyboards and a vibe of sweet longing accentuated by a subliminal gamelan tinkle.

Most of the lyrics – written in English by Megan and translated into Indonesian by Michael – deal with the complexities of modern love, with a bittersweet pop sensibility perfectly suited to Megan’s gorgeously delicate vocal style.

The exception is “Kalankang.” With lyrics written by Michael, and translated into Sundanese by Rouzy, it’s a creepy tale of a person haunted by a ghostly figure only they can see, and the album’s only example of, according to Michael, “lyrics that tap into Sundanese language and Indonesian myths. It’s a reference to how supernatural sightings were normalised when I lived there for 15 years.”

This tantalising slice of folklore is presented through a mysterious musical theme reminiscent of a quirky 60s TV show and leaning heavily on the guitar’s whammy bar. Atmospheric, mesmerising and timeless, it’s a perfect example of the magic Nusantara Beat weave.

Nusantara Beat is the sound of an utterly unique musical collective, forging new ground with a breathtaking freshness and a seductive sense of folk history that echoes through the decades