Emerging from Kediri, Indonesia, IGMO have steadily carved out a distinctive identity within the contemporary Rock landscape, blending ’70s Hard Rock foundations with a modern, socially aware perspective. After the introspective urgency of their debut “Take It Over,” the quartet take a decisive step outward with “Absurd, Artificial, Potential,” a sophomore album that interrogates systems of power, manipulation, and the subtle mechanisms that shape modern life.
More than a simple continuation, the record expands IGMO’s musical and conceptual scope, balancing raw riff-driven energy with moments of reflection, irony, and unexpected stylistic detours. In this interview, the band walk us through their origins, their self-defined “Kawula-Rock” ethos, the ideas behind their latest release, and their place within Indonesia’s evolving Rock scene.
IGMO was born in Kediri, far from the traditional global Rock capitals. How did your local environment shape your early sound and your approach to being a band?
“Musically, the local environment didn’t affect us that much.
Our music’s development is fundamentally shaped by digitalization or the internet. It grants us expansive opportunities for sustainability, regardless of physical location. It offers easy access to worldwide inspiration, allowing us to create and deliver our music to everywhere. Successfully harnessing these possibilities is key to our success.
While the local environment hasn’t been a primary musical influence, it has been deeply significant socially. Our sound was initially quite alien here, but the local community has increasingly embraced and supported it. We are very grateful for this growing enthusiasm.
As expressed by Nick Drake, “for some day, our ocean will find its shore.“
You describe your music as “Kawula-Rock” or “Rock-goers.” What does this term really mean to you, beyond genre labels?
“The term ‘Kawula-Rock’ originated as the label for our band during its initial phase as newborn rockers in this town. We continue to use this label primarily as a reminder of the journey that led to the eventual formation of IGMO and the final definition of our musical style. It reminds us of who we are and where we started.“
Looking back at “Take It Over,” what do you feel that debut album represents today in IGMO’s journey?
“‘Take It Over’ was our foundational blueprint. It established our core writing, composing, and recording methods. It also became our benchmark for measuring improvements in performance, visuals, and narrative.
Remarkably, some tracks still attract new listeners today, making its ongoing reception a valuable case study for understanding how audiences might react to our latest work.“
“Absurd, Artificial, Potential” marks a clear thematic shift from the inward focus of your debut to a broader, system-oriented perspective. What triggered this change in direction?
“The transition from Take It Over to Absurd, Artificial, Potential involved significant lyrical and musical evolution, yet we view both as interconnected on a personal level.
During the Take It Over era, we were considerably younger. The lyrics were largely immediate responses to contemporary social events. Reactive, you could say. Absurd, Artificial, Potential, on the other hand, reflects a shift in perspective. We began to question, “How did this all happen?” and, crucially, “Why did we react the way we did back then?” Tracks like “Head on Fire” and “Dark Rhyme” were catalysts, pushing us into a more extensive, structured inquiry. This research revealed that our experiences weren’t isolated phenomena but rather consequences of systemic issues. We realized it is essentially a pre-arranged scenario. This new understanding is what shaped the record.“
The album revolves around flawed systems, hidden loopholes, and power plays. Was there a specific moment, event, or realization that crystallized this concept?
“Yes, absolutely. The starting point was the songs “Head on Fire” and “Dark Rhyme” from the first album, which were based on Pradio’s (singer-songwriter) personal experiences. As we delved deeper, Pradio elaborated on his time as a student. He described maddening, practical corruption—indirect criminal acts benefiting various individuals, all structurally concealed by those in power within the institution. This led us to a bigger question: if such things happen within educational institutions, what occurs in our daily lives outside of them? It must be far crazier. The output of this research manifests as an absurd “festival of living,” full of artificial games where the only goal is to win potential prizes. That is the core concept.“
Musically, the record feels more expansive and daring. How conscious was the decision to push beyond a straightforward Hard Rock framework while keeping your riff-driven core intact?
“We were very conscious of this. From the start, we pushed ourselves to expand. Building on our previous prologue, we designed the second album to be more progressive, dynamic, volatile, shocking, and puzzling. This sonic chaos reflects the nature of the “game” we are describing and aligns perfectly with the lyrics.“
“Curriculum” opens the cycle with groove-heavy chaos. Why did you choose this track as the first single, and what does it represent within the album’s narrative?
“The track ‘Curriculum’ maintains the lyrical style of our previous album. It primarily offers a critique of the education system, which served as the initial concept’s spark, although it isn’t the album’s main narrative.
Musically, it stands as our second most progressive piece, only surpassed by “Obelisk State.” It’s a technically complex track designed to introduce our evolving musical direction—a blend of rock, heavy metal, reggae, and Javanese elements, including the traditional Indonesian gamelan—without allowing the complexity to overshadow the lyrics. This seemingly disparate combination of styles perfectly embodies the album’s theme of ‘Absurd.‘”
“Hail Mister Roster” has a gritty, almost confrontational energy. Is this song aimed at a particular kind of authority or system, or is it more symbolic?
“The fictional crime story in “Hail Mister Roster” is deeply rooted in real-life experience. Pradio was previously involved in a syndicated scheme at his university, where he—along with higher-ups—profited from illicit transactions regarding educational materials. This exploitative behavior, which is sadly widespread in various forms, inspired the track. In the context of the lyrics, “Hail Mister Roster” symbolizes the “Artificial.” We also produced a short film for this track, which is available on our YouTube channel.“
One of the album’s most intriguing moments is “Randall & Goby,” with its medieval and devotional atmosphere. How did this track come together, and what role does experimentation play in IGMO’s creative process?
“The idea for “Randall & Goby” was born from a mix of childhood fairytale reading and a deep appreciation for George Orwell’s stories, particularly Animal Farm. We admire how Orwell uses engaging fiction to easily convey complex ideas about social phenomena, system hierarchies, and political dynamics. We wanted to bring that same analogical spirit to “Randall & Goby,” exploring the mutualistic relationship between the randall shrimp and the goby fish with a contemporary twist. Following the experimental spirit of “Curriculum,” we also explored unique instrumentation for this rock track. We incorporated the darbuka, an instrument more commonly heard in Islamic religious music, which, to our surprise, blended seamlessly with the rock sound. We extend our appreciation to our friend, Ahmad Zaky Al-Fikri, for his excellent darbuka recording.“
Tracks like “Winter’s Almost Gone” and “Single-Eyed Emphasis” introduce a more melancholic and reflective side. How important was emotional contrast in shaping the album’s flow?
“In a riot, the fight is intense and desperate. However, the true fuels to that fire are always injustice and the abuse of power. The very existence of a riot represents a powerful demand for fairness and resolution. Our album had to reflect that sentiment. That’s precisely why it was a crucial point for us.“
As the primary songwriter, Pradio mentioned how systems often disguise imperfection behind a façade of order. Do you see “Absurd, Artificial, Potential” as a warning, a critique, or simply an observation?
“As artists, we’d like to think of our works as an observation. We crafted these almost-surreal, fictional narratives with the intention of highlighting specific issues, problems, and social dynamics. We believe the concerns we address have resonance not just locally but universally. In the end, however, the listener holds the final interpretation. Whether they perceive the work as a warning, a critique, or a simple observation is entirely subjective; even if their understanding differs from our original intent. That’s the beauty of it, right?“
Compared to your previous work, how did the recording and production process evolve for this album?
“The key difference between the two albums’ recording processes lies in the location and time management.
For the first album, the recording was a “marathon session” requiring the band to travel to Malang and spend a full week there for tracking. This meant a fixed, intensive schedule. In sharp contrast, the recording of Absurd, Artificial, Potential offered significantly more flexibility and “breathing-space.” The band utilized the studio of their friends and fellow Kedirinese musicians, Riant Daffa and Angga “Penyu”. Crucially, these engineers offered flexible time slots, often extending a typical 4-5 hour session into an entire evening, which allowed the band continuous time to explore and refine their sonic experimentation. Despite these differences, one element remained constant: Yasa Wijaya handled the mixing and mastering for both.“
How do you translate the album’s thematic weight and dynamic shifts into a live setting?
“Honestly, that’s the main challenge. The album’s thematic depth is a significant evolution from our last one. However, the most challenging aspect is the musical presentation. We’ve moved away from the simple, 4/4 hard rock structure we were known for.
We’ve observed the contrasting reactions from the audience when we perform Take it Over versus Absurd, Artificial, Potential: it’s like they’re watching two different bands, akin to Motorhead and Pink Floyd.
Speaking of Pink Floyd, our plan is to make our live performance—especially for material from the second album—highly complex. This is because we have a very powerful story to tell, which requires a theatrical concept, magnificent visuals, and intricate lighting to fully deliver.“
What have been the most significant live experiences for IGMO so far, and how have they influenced your confidence as a band?
“We remember when we did live in Tuban by Komplotan Podo Rukun (a local creative community) in 2022.
Many things impressed us. Firstly, they didn’t negotiate our cost (a thing that rarely happens within a creative scene here). Then, we could really feel their enthusiasm with our arrival. They even watched us and did show their joy when we were still checking sound. When we were performing our songs, almost all of them sang passionately, memorizing all of our lyrics. Someone also brought fireworks when we played “Head on Fire”.
After the show, we sat together and ate traditional food on the street, just like friends, with no borders between artist and audience. It felt magical, and we felt properly loved.“
How would you describe the current Rock and Alternative scene in Indonesia, and where do you see IGMO fitting within it?
“The Indonesian rock and alternative scene is expanding, driven partly by the digital era, with some acts reaching mainstream success. However, we feel the ecosystem still heavily favors established centers like Jakarta. This “Jakarta-centrism” offers long-standing advantages: clear roadmaps, robust systems, and historical sentiment.
As a band based in Kediri, we view this as a significant challenge that demands our effort to overcome. While the internet offers opportunities, the question remains: what more can be done to bridge this geographical gap? We believe this sentiment is shared widely among bands operating outside the capital.
As our lyrics from “Winter’s Almost Gone” say: ‘We insist the equals.‘”
Now that “Absurd, Artificial, Potential” is out in the world, what do you hope listeners will take away from it, both musically and conceptually?
“To paraphrase our friend, Sam Oemar: ‘We hope our listeners find their honor while listening to the entire album.‘
Musically, we are confident that every track will evoke emotion. Lyrically, we hope they find the content relevant to their current life experiences. Ultimately, the music is a reflection of our own journey, which has shaped our thoughts and feelings. We hope these elements resonate with you. Thank you.“
With “Absurd, Artificial, Potential,” IGMO reaffirm their ability to balance instinctive Rock energy with thoughtful commentary, proving that classic influences can still speak powerfully to contemporary realities. Rooted in riffs yet unafraid of conceptual depth, the band continue to refine a voice that feels both grounded and exploratory. As Indonesia’s underground Rock scene gains increasing international attention, IGMO stand out as a band willing to question not only musical boundaries, but the very systems that surround us.
>Purchase new album “Absurd, Artificial, Potential” on Bandcamp: https://igmo.bandcamp.com/album/absurd-artificial-potential