Today we’d like to introduce you to Dadi Setiadi.
Hi Dadi, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
“My journey into music began back in Bandung, Indonesia, driven by a desire to push past conventional song structures and explore what the electric guitar could do when stripped down to its barest, rawest potential.
HEUP! grew directly out of that curiosity. From the very start, the concept has been strictly focused: solo guitar instrumental work and my culture riffs and sounds, I approach the instrument like a sound sculptor, using feedback, texture, signal manipulation, and physical technique to build heavy, immersive noise.
Relocating from Bandung to Baltimore marked a major turning point for the project. Baltimore’s vibrant, uncompromising DIY art and music scene provided the perfect ecosystem for HEUP! to evolve. The city gave me a welcoming platform to connect with a incredible community of experimental artists and perform live at spaces like wax atlas, Le Mondo and dynamic festivals across the region.
Where I am today is a place of refined focus. Whether I’m crafting visceral soundscapes live on stage or preparing limited physical releases, HEUP! remains a dedicated exploration into the infinite, raw boundaries of experimental guitar noise.”
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
“It definitely hasn’t been a smooth road, but I don’t think experimental music is ever meant to be easy.
One of the biggest hurdles early on was simply finding where a project like HEUP! fits. When you play solo instrumental noise—no standard song structures—you’re immediately stepping outside traditional music venues and audience expectations. In the beginning, explaining the concept or finding spaces that truly embraced uncompromised, raw guitar feedback was a constant challenge.
Moving across the globe from Bandung to Baltimore brought its own set of adjustments, too. Relocating meant leaving behind established networks and starting completely from scratch in a new city’s music culture—building trust, finding like-minded collaborators, and figuring out the local scene step-by-step.
Beyond that, the technical side of noise music is an ongoing struggle. Working with high volumes, extreme gain, and signal chains means tone and feedback are completely alive. Controlling that balance so the music remains intentional and visceral—rather than just chaotic—takes constant refinement.
All of those struggles, though, forced HEUP! to become much sharper. Navigating those challenges is what made finding Baltimore’s receptive, supportive DIY community feel so rewarding.”
Thanks – so what else should our readers know about your work and what you’re currently focused on?
“At its core, HEUP! is a solo project where I work as an experimental noise sculptor, centering everything around the electric guitar and a heavy reliance on analog pedals. What I specialize in is pushing the instrument far beyond its traditional role. By routing signals through a extensive array of analog effects, feedback loops, physical manipulation, and spatial texture, I craft heavy, immersive, and visceral soundscapes.
What sets HEUP! apart is the absolute purity and discipline of the concept. As an experimental noise sculptor, I approach the music less like writing traditional songs and more like carving sound out of raw sonic material in real time. Playing through analog pedals gives the sound an organic, unpredictable edge—allowing me to take elements like amplifier feedback and shape them into an entire orchestra of noise, drone, and tension.
I’m most proud of building a distinct identity that bridges my roots in Bandung with my current home here in Baltimore. Navigating that transition, establishing myself in a brand-new music scene, and bringing this raw solo vision to live stages like wax atlas, Le Mondo and regional experimental festivals has been incredibly rewarding.
Beyond live performances, I’m also deeply proud of keeping the physical ethos of underground music alive—focusing on small-batch, physical releases like limited-edition vinyl pressings where every record feels like a tangible, handcrafted piece of that continuous noise journey.”
Are there any important lessons you’ve learned that you can share with us?
“The most important lesson I’ve learned is to embrace unpredictability and stay true to your singular vision, no matter where you are in the world.
When you operate as a solo experimental noise sculptor working heavily with electric guitar, feedback, and analog pedals, things are rarely completely under control—and that’s actually where the magic lives. Early on, I used to view unexpected amplifier squeals or unstable analog pedal reactions as mistakes. Over time, I learned that in experimental music, those unpredictable moments aren’t flaws; they’re raw material. Learning to listen, adapt, and sculpt those wild signals in real time taught me patience, presence, and deep trust in my own artistic process.
Moving across the globe from Bandung to Baltimore reinforced that lesson on a personal level. Starting over in a brand-new music scene can feel daunting, but staying authentic to my vision made all the difference. I learned that if you remain genuinely dedicated to your craft and push your boundaries, the right community and like-minded artists will always find you.”
Pricing:
- $3
Contact Info:
- Website: https://Heup.bandcamp.com
- Instagram: @heup.exp
- Facebook: https://www.facebook.com/share/1GcsEXCnex/?mibextid=wwXIfr
