Orkes Sinten Remen

Orkes (orchestra) Sinten Remen was formed in 1997 by Djaduk Ferianto and a group of keroncong musicians who felt that keroncong could be better developed and (re)introduced to the younger generation. Their music is incredibly unique and creative - keroncong with a touch of traditional and satirical humor through percussion sounds. Through their music, the group aims to illustrate the reality of Indonesian life in a humorous way. Why does the group name not include the obvious word keroncong?  Because the group intends to continue developing the music multi-dimensionally by allowing other musical genres to be part of their music arrangements. This is also to allow wider audiences to appreciate the keroncong music. Sinten Remen is often perceived as being “rowdy” and often noted as mad or crazy. They may be seen as old fashioned music but it is their way of preserving the traditional Indonesian culture while transforming it to “follow” the current modern life. Through this approach, Sinten Remen hopes that keroncong music is capable of finding ways to be “revitalized”.


Their albums Parodi Iklan, Komedi Putar, Maling Budiman and Kumpulan Parodi have been successfully released and are widely accepted by people of all ages because of the humorous lyrics that are relevant to their current life situation. They also have uniquely assimilated keroncong with modern genre of music (reggae, jazz, country, and even samba) in their albums in order to attract the younger generations.

Sinten Remen’s efforts in restructuring keroncong, whose origins come from the Portuguese then assimilated in Indonesia during the colonial era, has transpired a musical form that is more progressive. The progressiveness nuance is most apparent in the beats, the rhythm, and in the lyrics that are no longer slow and romantic only, but rather more contextual with today’s realities and circumstances.

Sinten Remen’s approach celebrates freedom and accommodates the synchronization of all aesthetic possibilities. They have the ability to absorb any genre of music such as dangdut, jazz, pop, and blues. The result: a delectable “puree” of musical sounds while maintaining keroncong as its signature identity.