Ramondo Gascaro and a Deserved Recognition of a Music Producer

Music as a form of art is something that needs a contributive, yet synergic effort by anyone involved in its creative process. Making music from scratch is more-less equivalent to making tiny drops of paint into a finished piece of painting. Both needs a visionary that ‘conducts’ how, or which way a work of art is heading. As it is the painter that conducts the collectivity between the brush, the colors, and the canvas, its the same as the work of a producer in the process of making a well-crafted piece of music.

The work of a music producer is often underestimated and only seen as a complementary detail, while it could, or should considered as the heart that pumps the blood in any musical project. Fame, might not be the right word adjacent with a music producer, as they, most of the time, work behind the exposure. For example, how many people familiar with the name George Martin or Nigel Godrich, compared to John Lennon or Thom Yorke?

Here in Indonesia, the overlooked work of a producer is no different than how it is all around the world. I guess it’s just the way music industry works globally. For example, not a lot of people realize how pivotal Ramondo Gascaro’s influence was in Sore’s production process until he left the band in 2012. At that time, he left his position as the band’s main producer, and decided to built his own music legacy as a solo artist. And by the way it’s progressing, it looks like the decision worked way better for Mondo then it is for Sore.

Before Mondo decided to do a John Frusciante and leave the other band members fucked, Sore released 2 magnificent, or should i say, legendary albums with Mondo operating as the main chef, conducting production in almost every single song that the band produced. Centralismo (2005) and Ports of Lima (2008) are a musical testament of Mondo’s majestic production that leads Sore into the top tier of Indonesia’s indie music scene.

Seven years after their last full length album, and three years after their co-founder/keyboardist/ singer/songwriter/producer’s departure, Sore released their 3rd album entitled ‘Los Skut Leboys’ in 2015. After the release of Los Skut Leboys, the band members said in an interview that in process of their newest album, they tried to keep the production simple, and they’re simply reluctant to over do things like they did in their previous albums (a little jab to Mondo: certified). In this 3rd album, they appoint Adink Permana and Sigit Pramudita from Tigapagi to operate as the ‘chef’, replacing Mondo’s spot as the main cook. As a result, that dark but luminous sound of Ade Paloh is still there, diffusing a sorrowful rendition all over the album, but that magical touch of Mondo is definitely gone, and it may never come back. Oh, and it does sounds a little bit more simple than the previous two, but was it the real intention? Or was it a cheap excuse to cover a failed attempt to keep the production quality to Mondo’s level? I guess we’ll never know (it’s definitely a failed attempt).

The realization of Mondo’s essential influence in Sore’s first two albums are even more reassured after the release of his debut album, Rajakelana (2016). Released in mid November, this album received many accolades in terms of its quality and production level. It was placed second in Rolling Stone Indonesia’s list of ‘The Best Album of 2016’, just behind Efek Rumah Kaca’s Sinestesia, and was named as the best album of 2016 by Tempo magazine and Metrotvnews.com. In this beautifully crafted album, the missing piece of Sore’s latest album are actually being excelled to a whole new level by Mondo’s quality production and sound. The alluring flute, the signature electrical piano tone, and the vigorous production sound of pre Los Skut Leboys Sore were splattered all over the songs featured in this album. So I guess the Sore sound, is the Mondo sound all along, huh?

There’s still a hint of mystery revolving around on why Mondo left Sore in the first place. Some say it’s a personal issue, some say he simply wants to try something new. But for better or worse, that decision has bring a new color in Indonesia’s music scene, as Mondo can now pour all his unfiltered talent as a soloist, gracing our lives through his music and his effortless, yet majestic touch of sound in many musical projects he’s involved in. A music producer usually spends their musical career inside a studio, out of the main spotlight. But in this case, it’s a thoroughly deserved accolade of a true genius, who paved his own way into the recognition he truly deserves as an artist. Omedetō, Ramondo!

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