Spin To Win #20: Trusting Your Gut With Agung Mango
The Naarm MC speaks about Bali, his belly, and versatility.
I’m working away in the background on what I’m hoping the future of Spin To Win will look like, but I’m saving that for the next edition (I believe this is called building anticipation). If there’s anything you’d like to see (written-through artist profiles, recipes, photos of the dirt pile I mentioned in my last newsletter), then get in touch, and I’ll see what I can do.
Instead, I wanted to share an interview I did with Naarm MC Agung Mango, following the release of his debut album IN BELLY WE TRUST. Agung Mango’s always had an endless bag of tricks, which he’s shown both through his own music and on posse cuts alongside the rest of Naarm collective Picked Last. Alongside artists like MAMMOTH., A81yann and CD, Agung Mango’s helped pushed hip-hop culture in Burn City forward, with a relentless work ethic and the ability to meld together elements of rock, R&B, rap and more.
I spoke to Agung Mango about IN BELLY WE TRUST, bringing together a band in Bali, and how to block out outside noise when focusing on your art. This is actually my second time interviewing Agung Mango — I first spoke to him back in 2022, around the release of his wonderful EP MAN ON THE GO. I often struggle reading my old pieces, but after going back and reading this one, I think it still holds up.
Also — before getting into the chat, I wanted to highlight the work of another publication. Joe Hardy from SydneyMusic reached out recently and shared some slides from a discussion he facilitated at the Sydney University Conservatorium. I found these really interesting, and I think you will too. You can download them via the button below, as well as check out a clip from 1300’s Nerdie. SydneyMusic is about to kick off a major fundraiser so they can continue to deliver their gig guide, so whether you can become a supporter, make a one-off donation, or share the site with a fellow lover of Australian music, then I encourage you to do so.
Now, onto the interview!
Ben Madden: Firstly, congratulations on the release of IN BELLY WE TRUST! How are you feeling now it’s been out in the world for a few weeks?
Agung Mango: Thank you! It’s been a hectic journey, but we made it. It’s been such a relief that everything is out for the world to hear. This is a big milestone for me so I’m glad to share it with everyone. I’m also excited to have a blank slate again and be able to birth something new.
BM: The project kicks off with your uncle’s voice, talking about the concept of taksu, which pays tribute to your Balinese ancestry, while also weaving in that familial link. Meanwhile, ‘Pemecutan Napoletana’ highlights your Italian ancestry. What are you hoping people learn about both you and your heritage when listening to the album?
AM: ‘Pemecutan Napoletana’ actually highlights both sides! Pemecutan is the family that my dad is from in Bali and Napoletana represents where my mum is from in Italy. Having the influence of two rich cultures makes me multidimensional, taking a lot from both sides. The two feel almost opposite. I’m hoping people can learn and understand more about my perspective on that.
BM: Sam Varghese primarily produced the album, but it also features contributions from Hatch, Nikodimos, Eric Spice, Ajanaya and more. The album blends together elements of R&B, rock, and of course hip-hop — can you talk me through your overall vision for the album’s production, and how you presented that to the collaborators on the album?
AM: The entire soundscape for the album was meant to be very versatile. From the start, we wanted to give the audience a taste of everything. Some say it can jeopardise cohesiveness, but I disagree. I think things can still be in harmony with so much chaos— that's how I live, and I’ve noticed my music is a reflection of that. I wanted the music to make you feel like you were somewhere else, so when working with the collaborators, we started a lot of the music away from home, either by going away or working out of a space that didn’t feel familiar to us all to inspire new ideas.
BM: You’ve spent a fair bit of time overseas this year, even supporting Kevin Parker when he was DJing. Can you tell me a bit about what it’s like playing shows in South-East Asia, as many artists reading this may not have considered it as an option before?
AM: Playing shows in South-East Asia was amazing. Everyone was so welcoming, I felt at home. The people there show immense love and appreciation for the art, the weather’s beautiful and there are so many cool connections waiting to be made. It’s probably the easiest place for Australians to travel to and just like playing shows anywhere, it’s going to be beneficial to the artist’s growth, so why not consider it as an option?
BM: Do you feel like it’s a sustainable touring circuit for Australian artists, or has the potential to become one in the future?
AM: It definitely has the potential in the future. Indonesia itself is one of the fastest-growing digital cities in the world, so over time the circuit will be more common to consider when touring near Australia.
BM: On that note — I know parts of the album were recorded in both Bali and Australia. Correct me if I’m wrong, but I believe some of the arranging and extra instrumentation was recorded in Bali. I’m curious — can you talk me through how you went about sourcing both musicians and studios in Bali, for artists that may be looking to do something similar for their own projects?
AM: I got lucky, to be honest. I was fortunate enough to work with, in my opinion, the best drummer in the country (Indonesia), so everything was much easier because I’d use his studio and stay at his house. In terms of meeting new musicians, the Balinese way is to always hang first, which usually consists of smoking darts, sipping coffee, or simply partying together before going back to the studio and creating naturally.
BM: It’s been a big year for Picked Last — for example, CD just supported Erika De Casier, while MAMMOTH. released The Westside Junkie alongside Eric Spice. As a collective, how do you feel PL’s evolved in 2024?
AM: I feel like PL’s evolved in so many ways. The team has been going crazy this year. We’ve been striving towards consistency all year and working to keep the momentum going. We’re all starting to understand how to play this music game as a collective. We’ve got so much more in store.
BM: And on that note — how do you feel you’ve grown, both as a musician and as a person, throughout the creation of IN BELLY WE TRUST?
AM: I think every project is so mandatory for growth as a person and as a musician. Finishing a project is not an easy task. Creating IN BELLY WE TRUST taught me patience, persistence and of course to trust my own GUT. It ended up giving me more insight about myself than any other project in the past, and throughout the process of making it I learnt more about how I want to approach creating the next one.
BM: Is there a moment on the album — a bar, a sample, an instrumental choice etc. — that you’re particularly proud of and want to highlight so people don’t miss it?
AM: ‘PRAY4TAKSU’ — the intro of the album. It speaks volumes if you attempt to understand it.
BM: With increased popularity comes increased scrutiny, and the album’s title, as well as your lyrics, talk about the importance of backing in your gut. How do you stay grounded amongst the outside noise that’s always swirling around, especially when it comes to crafting your debut album?
AM: I always say “practice pollutes performance” if you’re practising the wrong things. I tried to stay focused on the intended goals I had for the project. To be honest, the way I stayed grounded and away from outside noise was by being by myself for long periods of time and not allowing other influences to guide me through other paths. I even moved an hour away from where I’d been living my whole life to really learn the process of trusting myself.
BM: Is there anything that you’re dying to get off your chest, music-related or otherwise, that hasn’t come up in an interview yet?
AM: Damn, my belly’s grown twice the size since I made the album, so I must’ve manifested something.
BM: Finally, where are you hoping to be musically in 12 months?
AM: In 12 months, I want to have as many projects out as possible, purely for the joy of creating without limitations. I’m learning to be more self-sufficient so that I can have more freedom when it comes to releasing music. I’m also hoping that in the next 12 months, I can start and finish a project entirely in the mountains of Bali.
Music Recommendation
‘EVERYDAYS A BLESSING ON THIS BITCHASS EARTH’ - Photographic Memory, Darcy Baylis
Following the release of his excellent album More Again Forever, Darcy Baylis has jumped on a track with LA musician Photographic Memory, and it truly is a reminder that every day is a blessing. I’m finishing off this newsletter while trying to keep a new puppy (we got a puppy) away from my keyboard. In the words of AJ and Big Justice, life gets a BOOM from me.
Grant Recommendations
Instead of article recommendations, which I try to do in most newsletters, here are a couple of grants that I think music journalists reading this should apply for, especially if you’ve got an idea brewing.
The Music Writer’s Lab Commissioning Fund — “Music media outlets are able to apply for $1,000 to commission content that covers live reviews, artist profiles or other unique content features that highlight Australian music. Applications for The Music Writer’s Lab Commissioning Fund close 5pm, Friday 4 October.”
The UNIFIED Grant — “The UNIFIED Grant offers $5,000 to five creative projects that enhance the Australian independent music community. The initiative is open to anyone who is running a business that positively impacts the local music industry, whether it be through delivering creative services, helping artists grow fans, or developing new technology. UNIFIED Music Group wants to help foster new business ideas and empower founders to propel their projects forward. Applications for the $5,000 Grant are open from 13 September and close at 5:00pm (AEDT) on 22 October.”
Speaking of grants — if anyone wants to speak to me about grants/grant writing for a future edition of the newsletter, let’s chat!