The Brandals’ Eka Annash and BAPAK.’s Kareem Soenharjo to debut “noise punk band” on Boiler Room

For the Respect Our Elders livestream, “a celebration of the wisdom, resilience and patience” of the Asian community

Indonesian musicians Eka Annash (The Brandals) and Kareem Soenharjo (BAPAK.) are teaming up for a noise-punk collaboration for a Boiler Room livestream.

The June 20 event, titled Respect Our Elders, doubles as a fundraiser and a “celebration of the wisdom, resilience and patience” of the Asian community in the face of anti-Asian racism.

Organised with Asian-focused British label Eastern Margins, Respect Our Elders will feature collaborations from Asian artists around the world. Besides the BAPAK./Brandals collab, these tie-ups include Lorin Roser and OHYUNG from the US, Bo Ningen vocalist Taigen Kawabe with his solo project Ill Japonia (London) and Mai Nguyen Tri (Tokyo), and Liao Zilian (Liverpool) and Jaeho Hwang (Seoul).


Kareem, the multi-moniker musician also known as BAP. and yosugi, has expressed excitement about his Boiler Room set, an opportunity he’s called “fucking surreal”.

The musician told fans on social media his collaboration with The Brandals frontman is a “noise punk band”, promising new songs exclusive to the stream. “Might be the only time you’ll see us perform these songs,” he said. Eka has reaffirmed that the collaboration will be a “one-off gig”.

“The southeast has something to say and it’s fucking loud,” Kareem declared.

Respect Our Elders will raise funds for four charities in the UK and US, all of which serve underprivileged Asian communities in their respective cities: AYC (Los Angeles), CAAAV (New York), Hackney Chinese Community Services (London), and Kanlungan (UK).

Eka released new music with The Brandals in March, issuing the song ‘Belum Padam’ after the departure of founding guitarist Tony Dwi Setiaji in December 2020.


BAPAK. released their debut album ‘Miasma Tahun Asu’ in August last year. It was one of NME‘s 25 best Asian albums of 2020, with writer Azzief Khaliq calling it “a reflection on – and of – a damaged, crumbling world”.