Thank you SORE, So Long, Ade Paloh…
I remember the first time I played SORE.
It was in 2014, during a quiet moment in the campus secretariat. I spinned an unknown track to an old, cheap, brown speaker. From the get-go, I was immediately captivated by its “coldness,” reminiscent of the vibes I felt from “Kirana” by Dewa 19. Moreover, the familiar piano part on the bridge, borrowed from Satie’s “Gymnopedie,” only heightened my excitement.
On the contrary, I had absolutely no idea about its lyrics. “Dan aku tak bisa melangkah di antara musafirnya.” felt “too heavy” for a fourth-semester-illiterate-boy like me, at that time. It kind of reminded me of some classic poems I had encountered during my 3rd-semester Poetry class. And for such peculiarity, I simply surrendered to the experience.
That track, “Mata Berdebu,” marked the beginning of my journey with SORE’s music.
One thing led to another. Around that time, also, a wave of emerging bands like Payung Teduh, Stars & Rabbit, Silampukau and many others was sweeping through the music scene. This increasing interest in what we now refer to as “Musik Senja” coincided with the rapid development of the internet, giving rise to a new era of independent music. “Indie” has become a zeitgeist ever since.
And there I was, beginning to dwell into that kind of music. Previously, I had been more inclined towards classic & prog rock, fascinated by the music of the ’70s and ’80s. Aside from some incidental exposure, I had never delved into pioneers like White Shoes (& the Couples Company), Efek Rumah Kaca, The Adams, and other JKT:SKRG alumni before.
And yes, that first-listen on a brown, tired, worn-out Polytron speaker marked my entrance into that realm.
I know I’m not the only one.
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Moving forward. Although SORE was not initially my first choice for avid listening, I eventually delved deeper into their music in 2019, exploring albums like Centralismo (which includes the track “Mata Berdebu”), Ports of Lima, Sorealist, to Lost Skut Leboys — and their other catalog. Thanks to SORE’s albums, I discovered some of their (ex-)members’ projects. From Mondo Gascaro’s solo album, Rajakelana, to Ade Paloh’s rendition of Sajama Cut’s “Adegan Ranjang 1981–1982” — arguably the best version of the song.
Centralismo, in particular, remains my favorite.Despite having no idea about the lyrics, I’ve always been fascinated by the complexities, tight arrangements, and surprises found in its songs. (And it’s still totally pop!). I vividly remember being caught off guard by the manic laughter in “No Fruits for Today” at 2:52. They once again surprised me with “Etalase” when I realized it’s written in 5/4 (and the drummer’s singing!). We haven’t even talked about their vocal deliveries, especially Paloh’s, which suggest a distinctive melancholia in each word he sings.
This, coupled with their cold, somber music, is what we now call “Paloh-pop”. (I know some of you don’t agree but let it be for now, OK?)
Of course, I wasn’t aware of Centralismo when it first came out in 2005. (I was too Peterpan-ish at that time). Listening to it now, however, I can imagine why it became a classic. It was just so unique and different that some viewed it as “a big jab of artistry” against the flood of pop-acts dominating the TV screens. A feat further cemented by ERK’s “Cinta Melulu” later on.
Today, twenty years later, we can see SORE’s legacy endures. They helped popularizing the term “indie”, showing people across nation that it’s possible to make the music we love and actually owning it. Their exposure to the mainstream has also paved the way for other acts from ERK, Endah & Rhesa, Payung Teduh, to countless others. Perhaps even you, the one reading this text right now.
Yes, we owe SORE a great one, indeed.
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This morning, Ade Paloh, its frontman, the man who single-handedly invented a subgenre called “Paloh-pop”, has passed away.
So long, chief. Thanks for everything.
-KMPL-
