Decolmuseum

RELEASED 20 JUNE 2025

“This album was born from an inner urgency in me. My heart wrenched when I entered museums and spaces that possess my ancestors’ belongings. The stories behind each belonging are yet to be told and heard. I wish I could make a museum that can tell their stories, not only for them to be exhibited. A museum that can move people in tears and joy through their stories. I believe art, especially music, is one of the most powerful tools to mobilize people physically and spiritually. It can change people’s ideas, move emotions and navigate decisions.”

~ Alfian Emir Adytia

Decolmuseum (Decolonized Museum) is a boundary-pushing, genre-defying album that blends cello, classical compositional techniques with lead vocals, progressive rock, metal and Indonesian keroncong. A bold statement of “differences are made to be celebrated, not to be competed.” This conceptual album invites listeners to reflect on colonial history and its aftermath. A past whose shadows continue to affect and cause pain to modern societies such as hypercapitalism, social injustices, inferiority complexes and entrenched nepotism.

FULL BAND CONCERT

Emir teamed up with Kaan Yazici on bass and Sander van Elferen on drums for his full set concert formation. Expanding the traditional rock formation, Emir performs lead vocals, cello and guitar on stage and enhanced by the possibilities of electronics. This formation serves the rebellious identity of musical tradition while being connected to the root firmly at the same time.

LIVE CINEMA

The Decolmuseum Live Cinema is a work in progress that combines live music performance of the album and archival films. Montaged from materials by the Japanese propaganda department during the occupation of Indonesia (1942-1945), the Nippon Eigasha, Emir created both storytelling and narration that focuses on tributing the resilience and resistance of the people of Indonesia during their crucial struggling time towards independence. The film and performance was being tried out in Zutphen, Amsterdam and Brussels, receiving wide variety of emotional receptions.

Decolmuseum Live Cinema at Luxor Theater Zutphen (part of International Cello Festival Zutphen 2025). 29 August 2025. Photo credit Quinn Osterbaan.

COMMUNITY OUTREACH

Adapted to different venues and atmosphere, the concert can take various forms—including an intimate acoustic setup that serves community outreach program. In this division, Emir goes door to door, bridging this album to serve as a communication and empowerment to those who has limited resources and access to music and concert venues.

Community outreach at De Voorkamer, Utrecht. 3 September 2025. Acoustic set with Simon Nagtegaal on guitar & sharing sessions with the neighbourhood community.

Community outreach at Ruang Melamun, Yogyakarta, Indonesia. 26 July 2025. Album listening & sharing session.

Community outreach at The Brewing Room, Yogyakarta, Indonesia. 27 July 2025. Album listening & sharing session.

Decolmuseum chamber music concert, Zutphen. 30 August 2025. With Alessandro Soccorsi on piano. Photo credit Melle Meivogel.

MUSIC ALBUM ON DIGITAL & PHYSICAL RELEASES

This 10-track album invites rock and metal enthusiasts into a new sonic realm while expanding the horizons of cello and classical music listeners. After completing his master’s degree in classical cello at the Royal Conservatoire of The Hague, Emir returned to his musical roots: rock, metal, and Indonesian folk music. Together with music producer Kaan Yazici, they set out to find the perfect balance between the raw, gritty tone of the cello and distortion effects reminiscent of guitar amplifiers. The duo spent countless hours crafting intricate chains of sonic world that would ultimately define the album’s identity.

In Decolmuseum, Emir defies mainstream song structures, opting instead for linear compositions, a form rarely explored in non-classical music. This approach reflects his vision of intertwining classical composition with the energy and edge of popular music, forging a sound that is both boundary-pushing and deeply personal.

The album is available in both digital and limited bio vinyl edition.

VINYL ORDER? PLEASE CONTACT

Limited edition 1st pressing bio vinyl. Manufactured in Copenhagen with bio recycled material, it provides the same visual and audible quality as conventional PVC. Bio vinyl is fossil-fuel free – reducing carbon emissions by 90%. The raw materials chosen for production do not impede efficiency or quality of the final product. Pressed on a marbled oyster colour (between purple and pink), the remaining oyster edition are only 70 copies left. Includes full colour credits/lyrics page and white polybag inner sleeve.

Listen ‘Decolmuseum’ on Bandcamp

Watch ‘The Fall of a Confused Empire’ archival music video👇🏻

Watch ‘Decolmuseum’ official lyric music video 👇🏻

Watch ‘Merdeka’ official lyric music video 👇🏻

Watch ‘Pseudo Oath’ archival music video 👇🏻

Watch ‘Tyranny Park’ archival music video 👇🏻

ALBUM CREDITS

Music composed and lyrics written by Alfian Emir Adytia

Produced, recording engineered, edited and mixed by Kaan Yazıcı in The Hague, The Netherlands

Mastering engineered by Acle Kahney at 4D Sounds in Oxfordshire, United Kingdom

Vocals, cellos, guitars, pianos, electronics performed by Alfian Emir Adytia

Drums in ‘Decolmuseum’, ‘The Fall of a Confused Empire’, ‘Tyranny Park’ and ‘De Stille Kracht’ performed by Koen Herfst

Drums in ‘Morning Revolt’, ‘Encrypted Algorithm’, ‘Merdeka’ and ‘Code Blue’ performed by Efraim De Nijs Latuheru

Poem for ‘De Stille Kracht’ recited by Laura Scarborough

Electric bass performed by Kaan Yazici

Choir in ‘The Fall of a Confused Empire’ performed by:
Robin Block
Cleo Ian Songono Tjitrodipo
Marlina Deasy Hartanto
Iva Khuang
Hesce Mourits
Johannes Gierl
Simon Nagtegaal
Kaan Yazici
Alfian Emir Adytia

Children’s choir in ‘Tyranny Park’ performed by Sami, Teuntje and Jan-Willemijn

Album cover artwork original charcoal painting by Timoteus Anggawan Kusno. Coloured digitally by Alfian Emir Adytia. Voted by crowdfunding campaign supporters.

This album production was financed thanks to the support by 123 individuals through a crowdfunding campaign via Voordekunst, as well as generous supports by het Cultuurfonds and Amarte Fonds.