Indonesian-based Xin Lie, who recently released a percussive, wandering 8 track album via New York-based Dance Data, has an intriguing style that brings together punk, IDM, and chugging dynamics. Following the release of Xin Lie’s LP, we asked him some questions about his influences, his affiliation with Dance Data, the meaning behind his tracks, and more.

What elements drew you to drumming?

I wasn’t a drummer, but I was in a Reak group when in my childhood. That group and the percussion that draws my music now, I just love the sounds.

How does daily rhythm influence you as a person and as an artist?

The fact is, if daily rhythm was a music, I listen to the same music everyday. It is Daughter (If You Leave), Sharon Van Etten (Are We There, Epic, and Because I was in Love), and the whole album of KGLW. I am a boring guy and work at the office by 9 to 5, being an artist after that is my playground to ease my mind. Living in an office is impacting my boring mind to do something new, especially in writing music.

Dance Data works through a broad range of tempos whilst retaining a certain urgency and energy, how was this realised and created?

The original plan was a self-release through my own label Studio Kuantum. When I announced a news on Instagram that there will be a new single, Jesse from Dance Data asked me what is it, so I told him it was a debut album, and he asked me to get him a listen then I send him a demo mix while the album is already in the studio with Raphael Valensi to get it mixed and mastered. Somehow Jesse is showing his interests, then we have a deal. Since the artwork and graphic assets was ready, theres no such progress with Dance Data, its all ready by then.

How has your punk alignment and Indonesian heritage influenced your music?

It was more to the process of making music, there is no professional way for me to write or make a music. I just did what I can and what I need. To be punk is to be simple. 

About Indonesian heritage, it is always come back to my childhood when I was in a Reak group. More of those, I was influenced by many Indonesian myths that was glued a lot in the local society especially in West Java. I love to put a narrative of the life of Prabu Siliwangi. On this album, I choose the title of track based on what he is doing. From his birth and arrival, to his disappearance.

For non Indonesian speakers, can you give us your own personal short summary of the meanings behind each track name.

The album opens with “Dawuh” (Birth), the first composition created for this project. The second track, “Ngalengkah” (Stepping Forward), signifies the beginning of a human’s journey through life. The third, “Tumuwuh” (Growing), reflects growth and might resonate as trap or hard groove for listeners. Next is “Nyeungeut Laut” (Burning the Ocean), a paradoxical idea symbolizing confusion, intended for those wishing to “burn the sea.” Following is “Papait Nu Amis” (Bittersweet), which embodies the idea that every hardship has a silver lining, starting gently before descending into chaos. “Limpeur” (Blunder) is a sporadic and erratic track. Then comes “Mireng Leuweung” (Listening to the Forest), a soundtrack for Prabu Siliwangi’s fabled journey into the Sancang Forest. The album concludes with “Parat” (Over the Line), a standout track with heavy bass lines and a skit of Xin Lie conversing with a friend about agricultural monopolies in Garut, where farmers grow poorer as food importers thrive—”truly over the line!”

What does this album mean to you?

For me it means my progress in learning a DAW (Ableton) is in the new step. I will continue learning this and that to get new results, can be singles, EPs, and albums.