Di Hatiku

Ermy Kullit does an extra safe play in her latest album, at least unlike what she used to be in her previous albums. However Di Hatiku is fully supported by impeccable musicians who get in the way arranging the music. I think this is what they have planned before. On one hand, the singer objects to gain much freedom to improvise, on the other hand the music gets an abundant spotlight, resulting an even greater project for the band. Listeners can see it clearly by themselves the very moment they begin playing the CD. A cold atmosphere dominates the opening scene, with the song Kemana. Followed by Ermy’s seemed aloof voice after seconds the intro breaks, Kemana directly binds a low mood on a constant fashion. The implementation of rigid backdrops such as bass and cymbal, alongside piano as ornaments determine the particular feeling right until the song begins to fade away accompanied by a set of piano improvisation. The mood stays there. 

Ermy obviously maintains the particular ambience in the second track, Sesal. She apparently still hovers around not letting go the situation that has been built so far. The placement of the first two songs is absolutely correct. The major power in this album resides in this scene. Leaving it, the tracks scene changes to more lightweight, including simple composition like in Masih Ada. The old song has not transformed much from its original version, therefore it comes up lightly. Subsequently, Yang Ada di Hatiku(Kau) places the checkpoint of the album. Stealing the phrase for the album title, the song resurfaces with a heavy bass thumping and upbeat tempo, half dance half pop jazz. In the middle of the song a dynamic electric strings takes part, which shows more the playful music style. On the contrary, Ermy and the band fail to hold the sight, for the next two songs, Citra and Disini, has little to say, few to leave good memories behind. Thus, they form a less meaningful pair up. The boring session fortunately does not last forever, because Ermy comes back to impress her listeners with fresh experience. Aku Ini Punya Siapa is brought with a strong impression of salsa, and Keraguan has a touch of bossa nova. The latter has a sort of sophistication, in terms of the expectation of Keraguan fits properly with the value common bossas require. Every key flow in the song, every tone sung, especially in the riffs, is able to adapt beautifully into the rhythm of bossa nova. As a result, the album has one advantage in common, a fine opening and perfect closing. For acknowledgement, all tracks in Di Hatiku derive from earlier local jazz hits.