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