#svvanantaka

[drondskaath]

Djiwo |  Svvanantaka | 2023

Indonesian Avant Garde Black Metal

Artwork by Oka Subayu Art

https://thetrvedjiwo.bandcamp.com/album/svvanantaka

[djiwongkara]

Inilah magi musikal Black Metal!

Meleburkan diri dalam Kuasa Gelap, Bersuara dalam Keheningan, Hadir dan ber-Ada dalam Ketiadaan.

Terimakasih atas apresiasi yg tersurat untuk melihat kembali tentang apa yg kami suarakan dalam album kedua ini.

Kami terima selayaknya pujian.

[djiwongkara]

Bala Maut Sang Asu Ajag Djiwo - SVVANANTAKA 💀 album 2023

Inspirasi awal dari penyusunan materi karya musikal SVVANANTAKA bermula dari penglihatan di candi Jabung, Probolinggo di awal tahun 2018. Pengalaman spiritual pada umumnya cenderung membekas secara personal seperti kejadian berikutnya yang berlokasi di Ubud, seolah bersambut pengalaman serupa kembali terjadi dengan tingkat ketegangan yang lebih mendalam disertai jatuhnya korban jiwa. Waktu berlalu, masa pandemi dua tahun memberangus ingatan dan memisahkan jarak jangkauan untuk sementara waktu. Hingga pada akhirnya di penghujung 2022, ingatan yang menghantui pikiran tersebut muncul kembali, namun hadir dalam perspektif yang berbeda. Ada dorongan dari sesuatu yang liyan untuk mengabadikan pengalaman tersebut ke dalam tulisan. Meski demikian, ada kesadaran dari keinginan yang menyeruak bahwa membawa konsep ini ke dalam perspektif Black Metal wajib diperlukan proses 'redefining' yang panjang untuk mengupas intisari serta menyusun kembali struktur nilai pesan yang akan di sampaikan sekaligus menentukan "jalan tengah" guna menghindari persinggungan yang tidak diperlukan. Sebab selaku penghayat masyarakat adat kami terikat sumpah untuk tetap berada dalam nilai-nilai tradisi dan simbol kesakralan yang wajib dijunjung tinggi keluhurannya. Falsafah kearifan negeri ini terletak pada kesadaran mardhika di wilayah kehidupan yang abu-abu. Tidak ada yang sepenuhnya hitam dan juga tidak selalu berada putih. Dualitas gelap terang, baik buruk sama-sama digunakan dan diubah daya kuasanya untuk selanjutnya dimanfaatkan secara utuh sebagai titian menuju kesempurnaan. Oleh karenanya cara berikut ini yang kami gunakan sebagai landasan dalam penyusunan. Sebab, nantinya sesaat setelah karya musikal berhaluan black metal yang dikondisikan sebagai wahana penyuaraan diluncurkan, sesungguhnya ia telah mardhika dengan sendirinya dan keberadaannya terbebaskan dari segala hal keterikatan. Tiada (lagi) penjelasan yang dirasa perlu untuk dibicarakan.

Dalam tradisi "oldskool typography" Black Metal, ada kecenderungan penulisan istilah yang digayakan; seperti pengalihan aksara "C" menjadi "K" serta penggunaan aksara "V" menjadi pengganti huruf "U". Penulisan yang digayakan tersebut dimaksudkan sebagai entitas baru, sebuah hasil akhir dari olah kreasi pemaknaan yang menyerupai dalam kesan tetapi berbeda bentuk, arti serta tujuan. Kata Śvāna mempunyai makna binatang anjing, sementara Antáka berarti maut. Jika merujuk pada penulisan aksara Nusantara yang telah disempurnakan maka penyebutan yang lazim digunakan berbunyi "Sona". Maka, pada penyusunan awal materi album ini ditulis "Sonawana Antaka". Memperhatikan pertimbangan peringkasan ucap dan pelafalan maka melebur bunyinya menjadi "Sonawanantaka". Pada akhirnya guna kepentingan "sandi reka" titel album ditulis "SVVANANTAKA" beserta seluruh judul lagu di dalamnya yang dirasa perlu untuk digayakan. Ada kesadaran bahwa konsep album ini bersinggungan dengan prinsip okultisme yang (masih) terjaga keluhurannya sebagai disiplin keilmuan spiritual kawisesan yang dirahasiakan. Oleh karenanya, untuk menghindari penyalahgunaan, mis-intepretasi simbol tradisi sekaligus dimaksudkan sebagai upaya akhir untuk mempresentasikan "kegelapan". Maka disusunlah cara pembawaan yang diproyeksikan sebagai bagian dari "kuasa gelap" itu sendiri lewat bahasa 'Kabhirawan' dan ditulis dalam aksara 'Diuwyanjana' hingga selanjutnya divisualisasikan dalam gaya 'rerajahan'. Bahasa dan aksara yang konon digunakan untuk berkomunikasi dengan roh dan dunia bawah.

Album SVVANANTAKA berisi adaptasi mitologi pemujaan wahana sang Bhirawa yang berwujud Sonawana, anjing ajag. Bhirawa adalah representasi nilai keutamaan dari tiga makna yang diambil dengan cara yang berbeda; Bha berarti Bharana (pemeliharaan), Ra dimaksudkan dari kata Rahwana (penarikan) dan Wa berarti Wamana (penciptaan alam). Dalam puja bakta, Bhirawa digambarkan dalam kondisi "nglegena". Ketelanjangan dimaknai sebagai simbol penguasaan ruang dan waktu. Sosok gelapnya digambarkan dalam segala bentuk kengerian. Dari tangan kanannya ia memegang Katwanga, kadga, tali tambang dan juga trisula. Tangan kirinya memegang mangkuk kranium 'kapala', rebana damaru yang berhiaskan untaian tulang dan lilitan ular berbisa penanda cakra tubuh. Sosok perwujudannya dalam rupa anjing hutan berwarna hitam, Sonawana. Seolah sebagai penanda, kehadirannya acapkali bersamaan dengan suara riuhnya rebana damuru bertalu disertai gemerincing instrumen mistik yang membahana. Menjadi bhirawa adalah totalitas bakti pamungkas dari rasa takut yang kontemplatif dan syarat utama untuk meleburkan diri dalam jalan-nya adalah dengan menyediakan diri untuk menghadapi sumber ketakutan itu sendiri secara luar biasa. Siklus legenda yang melatarbelakangi naskah ini adalah kisah pertemuan antara sang Bhirawa dengan sekelompok penghayat kawisesan dalam pengembaraan gunung dan belantara. Diceritakan pada mulanya, Kapalika adalah seorang penguasa gunung yang memberontak. Atas perbuatannya yang telah membunuh seorang pemuka agama ia dijatuhi hukuman. Penitensi dijatuhkan melalui cara penelanjangan di muka umum lalu dilanjutkan prosesi pengasingan di dalam hutan. Dicerabut hak dan status sosial dari padanya. Dikucilkan dan terbuang dari lingkar kemasyarakatan. Jika kembali kedapatan berkelindan di ruang-ruang publik, maka diwajibkan kepada siapapun untuk mengusirnya dan menempatkannya di luar pemukiman hingga batas tanah ksetra. Dan demikianlah hukuman ini diberlakukan sebagaimana semestinya agar sepanjang masa hidupnya ia hanya bergantung dengan meminta sedekah kepada kemurahan semesta alam. Inilah kisah penghakiman bagi seorang Drubiksa Kapalikas selama dalam pengasingan. Berbekal mangkuk tempurung kepala manusia ia akan dipaksa menengadahkan tangan mohon belas kasihan di jalanan. Dari mangkuk kapala yang sama itu pula ia akan mengisi perut dan membasahi dahaganya. Hanya tulang belulang sisa makhluk yang berpulang yang pantas melekat di tubuhnya sebagai hiasan. Hanya kelantang kulit binatang yang layak membalutnya sebagai sandang. Sang Kapalika menjelajahi dinginnya pegunungan spiritual yang gelap nan terjal dalam untaian rambut tebal bergimbal dengan raga berlumur abu jenazah yang mengering. Kelak di peziarahan selanjutnya pada masanya, laku Bomacara si Drubiksa ini merubah tatanan dunia baru. Sebab, hanya yang berhasil meretas belenggu kehidupan lewat kuasa gelap ia terbebaskan dari segala kelekatan duniawi. Melebur dalam keluhuran Aji Sombro Berêg, Pengembaraan Siluman Sang Asu Ajag dimulai.

I.      KSETRA * II.     D R V B I K S A III.    VGRA KAPALIKAS IV.    SWANANTAKA  ** V.     SHRAMANA  *** VI.    SARPARVDRA VII.   KHATWANGGA VIII.  KRODHA BOMACARA IX.    WIRAMA ****

Album SVVANANTAKA ini didedikasikan untuk mengiringi penjelajahan spiritual para penikmat dengar dimanapun mereka berada. Di dalamnya terdapat seni dan pengetahuan okultisme yang ditahtakan  bersama keilmuan kawisesan nusantara kuno, Sanghyang Aji Sombro Berêg yang memiliki ciri khas kemampuan merubah bentuk raga dirinya dari manusia menjadi sosok berkepala asu ajag. Satya Sonawana Jayantaka!

Ilustrasi ©wiki jabung temple

[djiwongkara]

Satya Sonawana Jayantaka

A review of Djiwo's 2nd album SVVANANTAKA 2023

by Lord of the Shadows 666

SVVANANTAKA

KSETRA 01:24 

DRVBIKSA 05:47 

VGRA KAPALIKAS 06:12 

SVVANANTAKA 04:20 

SHRAMANA 01:03 

SARPARVDRA 05:00 

KHATVVANGGA 04:03 

KRODHA BOMACARA 07:52 

VVIRAMA 00:44

In my time writing for my label boss Death Prayer, my passion for penning reviews has taken me everywhere. To some far-flung places but nothing prepared me for this journey. As I sit in my underground lair trying to find not only the will to live and somewhere to escape this retched heat but for some divine inspiration to write. It would seem this stupidly over 30° heat is making even this skeletal entity sweat buckets. Just as I seem to find a darkened corner away from streaming sunlight there's a knock at the door. As I haul my boney ass up the stairs to my hollow entrance I greet the postman who looks even worse than I in this heat. Honestly, we're becoming quite firm friends so we just literally pop each other a glance and shout to one another its too fucking hot. He tosses me my package and walks on. As I set to return down my stairs to the cool dark and dank shadows, I start to open my package. As I peer in there a brightly coloured cassette stares back up at me. The cover whilst vivid is decorated with either an oriental wolf or dragon. Either way, it's stunning yet ferocious and dark at the same time. So as I grab my robes and ready myself to leave, I know I'm about to leave one already hot country for another. This is outta the frying pan and into the fire. Damn it.

As I grab my new recently purchased cassette Walkman and Bluetooth headphones that's right your boy has upgraded. However, there is still only so much tech I can deal with. So as I grab my satchel, scrolls, quill, ink etc I'm on my way to Indonesia 🇮🇩  more importantly Surakarta, Central Java. As I drift across the summer skies on my quest to my destination I look down at the deep dark oceans, wondering just what lurks in their depths and shadows. Slowly I arrive at my destination. As I touch down the intense heat hits me. I try to take in my surroundings. The mix of contemporary and classic buildings conjoin together to create a cohesive yet striking combination of styles. There is a lot of stuff to see and take in but I'm here for one reason and one reason only. As I slide down a side street to look for somewhere to hide away. As I find a little alcove I sit with my scrolls and my cassette player. As I roll a cigarette and inhale deep I ready myself to press play and immerse myself into Djiwo's second full-length release.

Track one: "Ksetra" which roughly translates as "field" or "tract of land" opens with an almost dungeon synth/instrumental style opening. This is mixed with an Indonesian twist the use of native instruments and more modern Western instruments can be heard. This all culminates in a fantastic and truly atmospheric opening track. When a band has worldly influences I feel it opens the dynamic of black metal further. Sometimes for unduly criticism but I feel that these things need to change. Especially when an act is trying to incorporate new and redefining layers. The fact that they've been able to shape and infuse this into a unique genre has certainly made for a stunning opening track.

Track two: "Drvbiksa" which I sadly do not have a translation for opens in a much more black metal style. The guitars are icy and the use of tremolo-picked parts is certainly used throughout. However, there is a subtle classical vibe to the lead section. It is subtle while the rhythm is on full attack. However, the little breaks in the intense blast beats and shredding rhythm section allow this stunning classical lead part to flow through and act like a beacon of light to this already razor-sharp track. The drumming is intense and the use of blast beats permeates throughout the track. The subtle classical moments hark back to early 80's thrash elements some clear Iron Maiden influence not to mention a handful of other iconic thrash and black metal icons.

Track three: "Vgra Kapalikas" which roughly translates as "The Skullmen" I think. Adapts a similar stance as that of its predecessor, the mix of folk and synth in the intro to this makes for a whole new sound to the band. Creating a distinct separation from that of many black metal bands. These beautiful light synth and native instrument sections here definitely separate them from the pact. However, the brutality is never lost at all. The ferocity remains in the main bulk of the track. These little interludes that intersect the sheer blistering rawness almost lend a dungeon synth feel. Throughout the tracks so far the band has literally taken me on a journey. The vocals are a mix of rasping hateful verses with a classic black metal delivery venomous and cold. Yet when the folk elements intersect the track the vocals lend themselves to a more spoken word section. This is a great mix and almost provides a background story to the track. Certain moments are delivered with both conviction and some softness too. This is not before the hate comes tearing back through. The tracks are seeming to get a beautiful flow to them and I can see a pattern appearing. I'm starting to feel there is more to this than just hateful black metal. There is a story brewing beneath the tracks and the possibility of a concept to it all and the album sadly with their native tongue being used in all the tracks makes it a little hard to work out the story. Still, that doesn't make it any less enjoyable.

Track four: "Svvanantaka" also the title track of the album starts with dogs or wolves and their young crying and howling. This certainly solidifies the image on the Cover being either a dog or wolf rather than a dragon. After this little intro and the slow yet progressive guitar work comes in slow, the scene is being set and the story is in full swing. The guitars sore on sections really lift the track to elevated heights and I fuse that rich and opulent dungeon synth feel. It also shows a great contrast in musicianship from both members. The levels this album is reaching are one of the imense proportions and introduce you to the landscape around them. While there are moments of sheer hatred in the vocals it could easily be mistaken for passion. Either way, it makes the title track stand out and sings.

Track five: "Shramana" is the midpoint of the album where the band draws down on their cultural roots. This track Screams heritage and draws down on the use of Cultural instruments and their sound. This light midsection elevates and shapes the album a subtle break if you will. The band still manage to fuse the Dungeon sound within their culture and it works seamlessly. "Shramana" meaning "Seeeker" I believe from the translation I got fits the musical feel to it. There is an air of mystery and spirituality to this track. It is both for the enlightened ones and for those to be enlightened.

Track six: "Sarparvdra" is sadly another track I am unable to translate, however, its sound speaks enough volumes for the lack of translation. The intro feels very reminiscent of sections of Metallica's "To Live Is To Die" whether an influence or not it certainly holds weight next to the likes of this song. The mix of soft acoustic moments and then heavy and low-end sounding riffs takes you back to that era of Metallica when they still produced top-tier music. Whilst this track takes it to a more extreme level with it being the genre it is. It's still redefining whilst paying homage to an absolute classic style and still managing to put its sound upon the black metal map.

Track seven: "Khatvvangga" from both the translation and meaning I could find is a club or staff with a skull at the top. This is considered to be the weapon of Śiva and carried by ascetics and yogis. This track once again carries the bands underlying native influence all wrapped and swathed in this black metal fuel injection tornado sound. The cold and freezing riffs this track brings are razor-sharp and pack a punch like the much-described weapon of choice. Delivering blow after blow like every beat and breakdown this track oozes finesse and ferocity like no other.

Track eight: "Krodha Bomacara" doesn't hang about and dives straight into a sheer tyrade of sound. This track is a mega one and it captures a sound my brain had almost locked away. There is a very early-sounding black metal vibe to this track and you could safely say the others too but here it truly reigns through. There is evidence of early Hellhammer and Celtic Frost. It's taken till here to truly place my finger on the inspiration of those riffs and once you hear it you're truly locked in. This coupled with that early punk influence that all the black metal bands borrowed oozes from this track. There are even glimmers of The True Mayhem in here, but as we all know those guys begged, borrowed and stole from the likes of those bands back in the day. It's all like the revolutionary wheel. It all comes back around. However, it's all about how you incorporate your sound and put your spin on it that makes the tracks stand out.

Track nine: "VVirama" which translates into "A Respite" which to some is known as a rest from something unpleasant. This follows a similar if not just slightly different chord progression of that of "Shramana" whilst a short-lived track so it is a pure break from the evil that fills the remainder of the record. This gets me wondering if like the dreamy, tranquil music that has just ended is the threat of this truly evil force still out there. Could it come back and claim your soul? Either way, the journey is over for now, but what a journey it's been.

As I sit back in the doorway, I have annexed as my hideaway I roll another cigarette. It would appear even I feel enlightened by what I have heard and witnessed. Here has been a particularly in-depth journey into what would be a seemingly spiritual and insightful album. This album has truly shown that with a lot of care and attention, you can take inspiration from bands of the past, fuse them with your sound, culture and native tongue and instruments and create a whole new genre within the Black Metal Realm, yet still retain both integrity and sheer rawness of sound. Sometimes no compromise is what's needed to separate and not pigeonhole yourself into a corner with what can be called a stereotypical sound. This is where I feel Djiwo have excelled and not only that Death Prayer have too. They've scooped a band that most probably wouldn't have given a second thought and brought something fresh and innovative to the table. This is one for not only the enlightened ones but for ones who want to hear about the wheel being reinvented and to experience a journey like no other.

Darkest Hails,

Lord Of The Shadows

🕯⛓️⚔️💀🥀

[djiwongkara]

Oleh Dimas

Djiwo - SVVANANTAKA

Grup raw black metal domestik dengan moniker Djiwo kebali dengan opus terbaru sembilan tahun pasca EP Cakra Bhirawa. Mengeksplor kearifan lokal Jawa dan Bali, saya tertarik dengan segala hal berbau pagan, animisme dan kepercayaan nenek moyang. Djiwo seakan ingin mengingatkan untuk kembali ke asal muasal dan esensi manusia terutama kepercayaan domestik. Sama seperti spirit pagan ketika black metal gelombang kedua merebak di Norwegia sana.

Sebuah album yang mungkin bisa disebut kitab kuno. Balutan raw black metal sound hampir busuk namun atmosferik sekaligus dingin dan mencekam, lirik sanskrit yang mengangkat kisah-kisah mitologi kepercayaan nenek moyang. Di trek “Vgra Kapalikas” mungkin dari kisah Adi Shankaracharya jika saya tidak salah tafsir. Terasa nuansa doom tipis-tipis di beberapa trek. Ini bukan hal kuno dan usang, bahkan beberapa orang menyebutnya ‘katro’. Persetan hal tersebut. Jilat pantat budaya barat. Makan tai!

Yang menarik bagi saya adalah trek “Krodha bomacara” yang penuh agresi dan atmosfir keji. Krodha sendiri artinya sifat marah atau amarah. Krodha merupakan salah satu bagian dari sadripu. Pengertian dari sadripu adalah enam musuh yang ada dalam diri manusia. Bagian-bagian dari sadripu antara lain kama, lobha, krodha, mada, moha, dan matsarya. Menurut saya, Svvanantaka merupakan salah satu album yang wajib diputar secara berurutan dari trek pembuka hingga akhir. Haram hukumnya jika diputar secara acak atau satu trek saja. Bakar dupa di ruang remang, jauhkan gawai, kosongkan jiwa dan berikan seutuhnya pada Svvanantaka demi pengalaman spiritual paripurna.

Author by Admin

©Extreme Moshpit

[djiwongkara]

#Repost @bakart

Kolaborasi sambung daya guna mevisualkan album #svvanantaka ke dalam cinderamata #drvbiksa

Untuk pemesanan T-shirt bisa langsung tersambung di instagram @wlfcvlt_merch

Sonawana Antaka, Jayantaka!