In this interview, KI BARAK SELEM explores ritual metal as spiritual invocation, unpacking Bhairawa teachings, ego dissolution, and how sound, silence, and vision merge into a living ceremonial experience form.
1.
“Kidung Bhairawa Prabhu” is described as a spiritual offering rather than a
conventional song. At what point did you realize that this project had to go
beyond music and become a ritual medium?
From the
very beginning, I felt that this piece could not be treated as an ordinary
song. During the early stages of composing, the music naturally demanded
silence, intention, and inner focus—almost like preparing a ritual space. At
that moment, I realized that forcing it into a conventional song structure
would diminish its essence. “Kidung Bhairawa Prabhu” revealed itself as an
offering, not entertainment. Music became the vessel, but the core was ritual
consciousness.
2. The
teachings of Bhairawa focus on ego dissolution and unity with the cosmic
essence. How do these ideas personally resonate with you, and how do they
manifest in your creative process?
Bhairawa
teachings resonate deeply with my personal journey—especially the idea that
true liberation begins when the ego collapses. In my creative process, this
manifests as surrender. I don’t compose with the intention to control or
impress; instead, I allow the music to unfold naturally, often through
repetition and trance. The moment ego interferes, the ritual breaks. Bhairawa
is not about domination, but about being devoured by truth.
3. The
song is structured like a ritual invocation, moving through Balinese, English,
and Sanskrit elements. How intentional was this linguistic journey, and what
does each language represent spiritually and emotionally?
This
structure was fully intentional. Balinese represents ancestral roots and ritual
grounding—it opens the gate. English serves as a bridge for contemporary
consciousness and global listeners, allowing reflection and interpretation.
Sanskrit stands beyond intellect; it functions as vibration rather than
language. Spiritually, the journey moves from identity, to awareness, to
dissolution.
4. You
define your sound as Balinese Mysticism Ritual Metal. How challenging is it to
balance extreme metal aggression with the sacred nature of gamelan and
ancestral traditions?
The
challenge lies in intention, not technique. Extreme metal carries raw, primal
force, while gamelan holds sacred cyclical energy. When both are approached
with respect, they don’t clash—they amplify each other. Aggression becomes
invocation, distortion becomes vibration. The danger is treating tradition as
ornament; I avoid that by approaching it as living ritual, not folklore.
5. KI
BARAK SELEM is a fully solo project, with every instrument, vocal, and
production detail handled by you alone. How does this solitary process
influence the spiritual intensity of the music?
Solitude
intensifies everything. There is no compromise, no distraction, no external ego
to negotiate with. It becomes an inner dialogue—sometimes even confrontation.
This isolation allows deeper immersion into trance and intention. KI BARAK
SELEM is not loneliness; it is controlled solitude, similar to a ritual
retreat.
6. The
lyric visualization video plays a major role in extending the ritual
atmosphere. What was your vision for translating such an internal, mystical
experience into visual form?
I didn’t
want the video to explain the song; I wanted it to *resonate* with it. The
visuals function like symbolic fragments—darkness, motion, sacred
terror—inviting the viewer into the same inner space I entered during creation.
It’s not narrative, but atmospheric, just like a ritual fire that doesn’t
speak, yet transforms.
7. The
cover artwork depicts ego surrender and transformation through darkness. Do you
see visual art as another ritual tool within KI BARAK SELEM, equal in
importance to sound?
Absolutely.
Visual art is not decoration—it is a sigil. It prepares the subconscious before
sound even begins. In KI BARAK SELEM, artwork, sound, and silence are equal
ritual components. Together, they form a complete invocation.
8.
You’ve stated that KBS does not aim to preach doctrine or religion. Where do
you draw the line between spiritual expression and dogma in your work?
Dogma tells
people what to believe. Spiritual expression invites people to experience. KI
BARAK SELEM never claims authority or final truth. I share fragments, symbols,
and vibrations—what listeners do with them is their own journey. The moment I
dictate meaning, the ritual becomes ideology, and that is where I draw the
line.
9.
“Kidung Bhairawa Prabhu” marks the beginning of the journey toward your debut
full-length album. How does this single set the spiritual and sonic foundation
for what’s coming next?
This single
functions as the opening gate. It establishes the ritual language, sonic
palette, and spiritual intent of the album. What follows will go deeper—more
confrontational, more meditative, more dangerous. “Kidung Bhairawa Prabhu” is
the invocation; the album will be the transformation.
10. For
listeners encountering KI BARAK SELEM for the first time, what mindset or inner
state do you hope they bring when engaging with your music?
I don’t ask listeners to understand—only to be present. Let go of expectation, genre labels, and comfort. Approach it like entering a dark temple: with respect, openness, and willingness to be unsettled. KI BARAK SELEM does not offer answers—it opens doors.
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