Slide 1
It Can Be A Bit Terrifying: Raul Zahir De Leon on his Return with CANANDAIGUA

By Steve Dewhurst

“Who is America for?” ponders Raul Zahir De Leon when recalling the earliest knockings of what has now become CANANDAIGUA, his first musical project since the dissolution of Stamen & Pistils in 2007.

Pete Swanson
Dissect Yellow Swans: If The World Didn't End (1998-2000)

By Steve Dewhurst

In the opening chapter of the story we join band members Pete Swanson and Gabriel Saloman at the turn of the century as their musical paths converge in Portland, Oregon. Rotating around the creative hub that was promoter Todd Patrick’s 17 Nautical Miles, Saloman and Swanson were joined on the scene by fellow luminaries such as Paul Dickow, George Chen, Ethan Swan and Paul Costuros.

Slide 2
Clean is Dirty: An Interview with Flowertown

By Lindsay Oxford

The birth of San Francisco’s Flowertown makes for a good story: longtime Bay Area scene compatriots Karina Gill (Cindy) and Mike Ramos (Tony Jay) compose a song together for an upcoming show in later winter 2020, and the day before they’re slated to play it, the world stopped.

Slide 3
Needles and Pins: Derek Piotr's Journey to the Heart of Britain's Folklands

By Steve Dewhurst

“Yorkshire is not so dissimilar to my home in the Northeast of America,” Derek Piotr tells me from York, the latest stop on his great British journey. “Connecticut is part of New England, so that makes sense.”

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Senyawa, “Alkisah”

In a deranged new nightmare of distorted Indonesian folk-metal-industrial-noise, Senyawa’s new album packs a heavy dose of evil liturgical power. A séance, dirge, praise and punishment all at once.

Melodies and rhythms help us remember words and ideas. Moods, motifs and rituals are understood through—indeed partly made up of—the stage set by sound. What are weddings and funerals, or “Love” and “Death” themselves, if not songs communities sing to each other? And do new songs create new communities, new rituals, new categories?

Yogyakartan duo Senyawa says sure, why not. String player Wukir Suyadi and percussionist/singer Rully Shabara play self-made traditional Javanese instruments drenched in completely obscene layers of blown-out distortion, sometimes in brutal industrial-rock bashes layered erratically over ritualistic chanting. Snaking around through infinitely-nuanced microtonality, Suyadi’s punk-dulcimer fugues over Shabara sounding like a zombie Tibetan Buddhist throat-singer possessed by demons in ecstatic screeches not unlike occasional collaborator Keiji Haino. It’s no wonder they jammed in 2014 with the globe-trotting reedsmith Arrington de Dyoniso and released a split record with Melt-Banana the following year. Lately they’re hot on the heels of a collaboration with Stephen O’Malley, and with this record they’re officially and indisputably the hottest shit in town if you’re into heavy music. None can deny that Senyawa completely slaps.

With self-made instruments tapping into wholly unique microtonal harmonies, and a scream-chanted multi-lingual kabuki asserting the breadth of an infinitesimally modular pan-Indonesian auter-world, Senyawa carves out a whole new cosmology, syntax, and way of life.

Unlike previous output, the album is an equally balanced mix of string-driven free-rock and percussion-heavy industrial exorcisms. But that’s not to say it’s a subdued affair. If you were struck by lightning tomorrow and plunged into a terminal coma, you would still probably not forget Alkhisa’s opening titular jam through your dying breath. The duo sounds to be under a hypnotic spell, their bodies overtaken by the animal spirits deep within the wood of their instruments. A chiming harp loop, a taiko-esque acid waltz, and insane guttural howling all just go on and on.

It’s no wonder the record label Phantom Limb likens it to the Ramayana Monkey Chant of Bali—likewise a modern tradition, asserting a post-colonial and globalised kinship in a regional community by summoning the spirits of a Pagan or pre-colonial mysticism. New ways of being, thinking, and relating to one another are always built out of the pieces of the old ones. In some cases they’re self-fashioned out of bits of bamboo, plugged into a rusty distortion pedal, and…