Label Description:
●●●●●●●●●●●●
Also available in Big Cartel webshop, less charges for non-EU buyers.
●●●●●●●●●●●●
▼WV121: Jaydawn & Wukir Suryadi – Pucung, Pangkur Jeung Hujan Bedog
(Songs of Death, Retreat, and Rain of Machetes)
WV Sorcerer Productions proudly presents this collaboration with Grimloc Records, Bandung’s cornerstone of underground countercultural sound, known for championing uncompromising voices across genres. This alliance bridges Indonesia’s radical industrial hip-hop with the experimental vanguard from beyond.
A collision between two uncompromising forces in Indonesia’s underground—Jaydawn’s gritty, sample-scarred beatcraft and Wukir Suryadi’s raw, hand-built sonic rituals. Recorded between Bandung and Salatiga, this genre-breaking work fuses distorted rhythm, ancestral resonance, and industrial tension into a soundtrack of resistance. A hallucinatory dispatch from a city under siege, where displacement hides behind the language of development.
▼
This collaboration was forged not in comfort, but in contradiction. Two of Indonesia’s most uncompromising underground figures—Jaydawn, Bandung’s rogue boom-bap architect, and Wukir Suryadi, the genre-eviscerating shapeshifter behind Senyawa—collide in a visceral new project that defies category and disobeys silence. Their debut collaboration is not just an album—it is a rupture, an aural pamphlet, a ghost howl from the dance hall beneath the rubble of a city being sold. Crafted in the sacred noise labs of Studio Tingkir (Salatiga) and Cutz Chamber (Bandung), this 10-track release fractures hip-hop, ambient drone, Bambu Wukir metallurgy, and industrial echoes into a palette of resistance. One war-song, “Parancah”, features a searing verse from Bandung’s own acid-spitter, Morgue Vanguard. Titled “Pucung, Pangkur Jeung Hujan Bedog” (translated as “Songs of Death, Retreat, and Rain of Machetes”), this project is both elegy and uprising.
Jaydawn’s beatwork is carved from vinyl cracks, cassette hiss, metal clank, and turntablist ruins—echoing DJ Muggs, DJ Premier, and the political edge of The Bomb Squad, while rooted deeply in Bandung’s own lineage of sonic resistance: Homicide. His textures refuse polish. They choose grit.
Wukir Suryadi, the mystical engineer of raw tradition, conjures a language of bowed bamboo, scratch-built strings, and ancestral distortion. His instrument is never the same twice. It breathes, convulses, and testifies. With Morgue Vanguard behind the producing desk, they soundtrack a Bandung under siege—where “revitalization” is code for displacement, and “development” is a velvet glove over state violence.
Accompanied by writings that channel the ghosts of the Situationist International and the militancy of urban poor struggles, this album is an act of counter-cartography—drawing lines across erased kampungs, evicted dreams, and unauthorized prayers. It is music made with the ruins, not merely about them.
▼
Wukir Suryadi
Shape-shifter of sound, half of Senyawa — drags the ghosts of gamelan and guttural metal onto the classical stage. His hands are rituals: plucking, bowing, summoning chaos and calm in a single breath. He invents instruments the way others invent excuses. Hailing from Salatiga, Indonesia, his music walks barefoot across centuries—haunting, primal, always unfinished. He brings theatrical ruckus to the classical stage, plucking, strumming, and bowing his way from peaceful meditations to rhythmical frenzies. The evolution of his music is never complete as he utilizes the agility of his instrument to collaborate with musicians and performance artists from around the world, fluently bridging musical styles and inventing new instruments as he goes.
Jaydawn
Bandung’s beat-smith from the undercurrent began in the cipher shadows of the early 2000s. From D’Army to Eyefeelsix, he’s stayed true to the dirty reel-to-reel dream: boom-bap, dusty drums, and samples scraped from rust, vinyl cracks, and cassette hiss. Alongside his mentors, DJ Evil Cutz and Morgue Vanguard, Jaydawn forms the backbone of Napalm Squad, a production unit behind numerous influential local releases—most notably Blakumuh’s debut album, Krowbar’s Galaksi Rima Sakti, and Rand Slam’s 9051. His remix credits include genre-crossing reworks for acts like Homicide and Efek Rumah Kaca.
Jaydawn’s sound is steeped in grit and groove, echoing the spirit of DJ Muggs, DJ Lethal, early Dr. Dre, DJ Premier, and the raw political energy of The Bomb Squad. Locally, his biggest influence remains Homicide, a touchstone in his sonic language. Drawing samples from funk, rock, metal, and traditional Indonesian sounds, Jaydawn crafts a broad palette—from classic, hard-hitting boombap to the eerie minimalism of contemporary drumless hip-hop.
Also available in Big Cartel webshop, less charges for non-EU buyers.
●●●●●●●●●●●●
▼WV121: Jaydawn & Wukir Suryadi – Pucung, Pangkur Jeung Hujan Bedog
(Songs of Death, Retreat, and Rain of Machetes)
WV Sorcerer Productions proudly presents this collaboration with Grimloc Records, Bandung’s cornerstone of underground countercultural sound, known for championing uncompromising voices across genres. This alliance bridges Indonesia’s radical industrial hip-hop with the experimental vanguard from beyond.
A collision between two uncompromising forces in Indonesia’s underground—Jaydawn’s gritty, sample-scarred beatcraft and Wukir Suryadi’s raw, hand-built sonic rituals. Recorded between Bandung and Salatiga, this genre-breaking work fuses distorted rhythm, ancestral resonance, and industrial tension into a soundtrack of resistance. A hallucinatory dispatch from a city under siege, where displacement hides behind the language of development.
▼
This collaboration was forged not in comfort, but in contradiction. Two of Indonesia’s most uncompromising underground figures—Jaydawn, Bandung’s rogue boom-bap architect, and Wukir Suryadi, the genre-eviscerating shapeshifter behind Senyawa—collide in a visceral new project that defies category and disobeys silence. Their debut collaboration is not just an album—it is a rupture, an aural pamphlet, a ghost howl from the dance hall beneath the rubble of a city being sold. Crafted in the sacred noise labs of Studio Tingkir (Salatiga) and Cutz Chamber (Bandung), this 10-track release fractures hip-hop, ambient drone, Bambu Wukir metallurgy, and industrial echoes into a palette of resistance. One war-song, “Parancah”, features a searing verse from Bandung’s own acid-spitter, Morgue Vanguard. Titled “Pucung, Pangkur Jeung Hujan Bedog” (translated as “Songs of Death, Retreat, and Rain of Machetes”), this project is both elegy and uprising.
Jaydawn’s beatwork is carved from vinyl cracks, cassette hiss, metal clank, and turntablist ruins—echoing DJ Muggs, DJ Premier, and the political edge of The Bomb Squad, while rooted deeply in Bandung’s own lineage of sonic resistance: Homicide. His textures refuse polish. They choose grit.
Wukir Suryadi, the mystical engineer of raw tradition, conjures a language of bowed bamboo, scratch-built strings, and ancestral distortion. His instrument is never the same twice. It breathes, convulses, and testifies. With Morgue Vanguard behind the producing desk, they soundtrack a Bandung under siege—where “revitalization” is code for displacement, and “development” is a velvet glove over state violence.
Accompanied by writings that channel the ghosts of the Situationist International and the militancy of urban poor struggles, this album is an act of counter-cartography—drawing lines across erased kampungs, evicted dreams, and unauthorized prayers. It is music made with the ruins, not merely about them.
▼
Wukir Suryadi
Shape-shifter of sound, half of Senyawa — drags the ghosts of gamelan and guttural metal onto the classical stage. His hands are rituals: plucking, bowing, summoning chaos and calm in a single breath. He invents instruments the way others invent excuses. Hailing from Salatiga, Indonesia, his music walks barefoot across centuries—haunting, primal, always unfinished. He brings theatrical ruckus to the classical stage, plucking, strumming, and bowing his way from peaceful meditations to rhythmical frenzies. The evolution of his music is never complete as he utilizes the agility of his instrument to collaborate with musicians and performance artists from around the world, fluently bridging musical styles and inventing new instruments as he goes.
Jaydawn
Bandung’s beat-smith from the undercurrent began in the cipher shadows of the early 2000s. From D’Army to Eyefeelsix, he’s stayed true to the dirty reel-to-reel dream: boom-bap, dusty drums, and samples scraped from rust, vinyl cracks, and cassette hiss. Alongside his mentors, DJ Evil Cutz and Morgue Vanguard, Jaydawn forms the backbone of Napalm Squad, a production unit behind numerous influential local releases—most notably Blakumuh’s debut album, Krowbar’s Galaksi Rima Sakti, and Rand Slam’s 9051. His remix credits include genre-crossing reworks for acts like Homicide and Efek Rumah Kaca.
Jaydawn’s sound is steeped in grit and groove, echoing the spirit of DJ Muggs, DJ Lethal, early Dr. Dre, DJ Premier, and the raw political energy of The Bomb Squad. Locally, his biggest influence remains Homicide, a touchstone in his sonic language. Drawing samples from funk, rock, metal, and traditional Indonesian sounds, Jaydawn crafts a broad palette—from classic, hard-hitting boombap to the eerie minimalism of contemporary drumless hip-hop.
Produced by Morgue Vanguard
All music written by Jaydawn & Wukir Suryadi
Lyrics on Parancah written by Morgue Vanguard
Recorded at Wukir Suryadi’s studio in Tingkir, Salatiga, and at Cutz Chamber in Bandung
Mixed & mastered by Hamzah Kusbiyanto
Photography by Arif Danun
Design & layout by Herry Sutresna & Ruò Tán
LOC142 / WV121
Rights owned by the artists respectively
Grimloc Records & WV Sorcerer Productions 2025
www.facebook.com/wvsorcerer
www.youtube.com/c/wvsorcerer
Instagram: @wv_sorcerer_productions
巫唱片
www.grimlocrecords.com
www.grimlocstore.com
