Bunyi Sembunyi is an instrumental symphonic rock act from Kuala Lumpur. 

Ribut Ribut Itu Menjadi Reda Dan Akhirnya EP contains four songs. 

1. Ribut Ribut Itu Menjadi Reda Dan Akhirnya 01:49 
2. Dua Utusan 05:19 
3. Lela Rentaka 05:42 
4. Bayangan Dari Kebenaran Abadi 07:03 
 

The White Eyes & White Eyes One Half
Based in Taipei, Taiwan

Bitter Party is a Los-Angeles-based ghost pop band inspired by war-era music and the melancholy of life. Immersing ourselves in the rich repertoire of folk, pop, and obscure tunes from Asia, our performance references the music in each of our pasts through dusty tapes, songbooks, vinyls, and YouTube channels. We re-animate these transmigrated sounds with megaphones, sanshin, and post-colonial chiptune aesthetics. Pinball disco, electro enka, postcolonial ethnographic pop.

At the close of 2012, DENGUE FEVER, a band widely recognized for its trademark blend of 60’s Cambodian pop and psychedelic rock, proudly announced the launch of its homegrown label, TUK TUK Records. The band’s newly established independence marks yet another chapter in the continual evolution of a group unlike many in the Los Angeles music scene. 

Currently in the studio recording tracks for their next release, DENGUE FEVER launched TUK TUK to release their back catalog, potential solo music from its band members, and previously released but long out-of-print music related to each band member. Their first two releases included their long out-of-print eponymous debut (2003) and its critically acclaimed sophomore follow-up, Escape from Dragon House (2005). Amazon.com named Dragon House the #1 int’l release for 2005, and Mojo magazine named it in their Top 10 World Music releases of 2006. Each album has been expanded into digital deluxe editions with rare and unreleased bonus tracks from the band’s archives. 

Eminent musicians from around the world took notice of the band’s rise over their first half-decade. In 2008, Real World Records Founder and musician, Peter Gabriel, licensed their third release, Venus on Earth, for the world and noted, "They're California-based but have taken '60's Cambodian pop as their main source of inspiration and it's done with style. Its spirited, impassioned." More kudos came from Metallica’s Kirk Hammett who handpicked the band’s song “One Thousand Tears of A Tarantula” from Dragon House for his Rolling Stone magazine ‘Best Music Of The Decade’ ballot - as the second best song of the entire decade. International touring transpired quickly after the release of Venus including an inspired two-song set on the BBC’s Later with Jools Holland show (2009) followed by on-air praise from Ray Davies of the Kinks. Davies likened them to “….a cross between Led Zeppelin and Blondie. And I should know, I toured with both of them.” 

DENGUE FEVER’s latest release, Cannibal Courtship (Fantasy Records/Concord Music Group), was released in April 2011. Their latest record moved the needle yet again with the band performing live for the first time ever, in France, Mexico and Brazil. Today, only two continents (Africa and Antarctica) have yet to host a DENGUE FEVER performance.

Mass media exposure arrived in many forms for DENGUE FEVER and not just on the world stage. Tracks from their catalog have appeared in films such as City of Ghosts, Jim Jarmusch’s, Broken Flowers and The Hangover 2. Television series’ such as Showtime’s, Weeds, HBO’s hit series True Blood (who named an entire episode after one of their songs) and featured the band’s music and CBS’ series CSI: Las Vegas combined with numerous independent documentaries to feature the bands music. 

Always press darlings, band profiles in the New York Times, Los Angeles Times, Mojo, Uncut, Magnet, Wired, Spin, NPR’s “Fresh Air” Radio Australia, KCRW’s “Morning Becomes Eclectic” and World Café Live all profiled the band’s unique sound. In 2013, with new music being recorded, a back catalog that is beefed up with bonus tracks and tour dates being confirmed, the time is truly ripe for at least another 10 years of breaking down more musical barriers.

https://www.facebook.com/pages/Sonic-Deadhorse 

http://www.myspace.com/sonicdeadhorse

This is a one-man band, but which also can be played around by joining many people. Because of being fascinated with “Sonic Youth,” because of having been hooked by “Guns N' Roses,” and the most main reason is because of “Sonic Death Monkey”—the band formed by Barry, the lippy clerk of a record shop in my favorite novel “High Fidelity,” I grudgingly pay a tribute to the inexistent band by having the name Sonic Deadhorse.” 
 
It’s the music for lonely urban women and men, the youths captivated by literature and art, dumb rockers, and the crazy raversIt’s the music embracing indulgency of 70s’, melancholy of 80s’, nihilism of 90s’, and isolation of the new century. It is post rock whimpers affecting 
sorrow violent electro, which is a smart-ass with poor. 

As everything faded away with the booming bass drum of TR808, those belonging to love and ignorance of youth seemed to vanish and be gone with Truffaut’s films. After these indescribable sentiments being extracted, I finally decided to play this band sincerely.

Have a long term cooperative relations with  Burma director Midi Z,and Variety said that  Midi Z's last film Poor Folk “ Have the excellent score by Sonic Deadhorse includes some terrific combinations of electronics and acoustic guitar.” 

Now Sonic Deadhorse is a  solo audio/visual controllerism artist  since 2011

Wu Fei is a classically trained composer, singer and renowned master of the guzheng — the 21-string Chinese zither. She has taken her music around the world, appearing at such venues as the Forbidden City in Beijing, Lincoln Center, the Kennedy Center for the Performing Arts, the National Gallery, MoMA (New York), the Quai Branly Museum in Paris. She has performed at the North Sea Jazz Festival in the Netherlands, Vossa Jazz in Norway, the Europalia Festival in Belgium, and Big Ears Festival in Tennessee.

Wu plays in the guzheng’s vernacular — a musical language at least 2,500 years old – mixing Western classical and Chinese traditions with a contemporary, idiosyncratic sound. She composes for choir, string quartet, chamber ensemble, Balinese gamelan, and orchestra.  

The Philadelphia Orchestra has performed her composition for chamber orchestra, Hello Gold Mountain. The work was inspired by the real stories of Jewish refugees who fled to Shanghai from Europe in World War II and built new lives in China, and features Wu Fei herself on guzheng and vocals and Shanir Ezra Blumenkranz (of the Silk Road Ensemble) on oud. Hello Gold Mountain has also been performed by the Winnipeg Symphony, Bellingham Symphony, at the National Gallery of Art with the Inscape Chamber Orchestra, and by Chatterbird Ensemble at Vanderbilt University in Nashville, Tennessee. 

Wu has appeared in concerts and workshops at numerous universities and institutions around the world, including Yale University, Princeton University, University of Chicago, the Massachusetts Institute of Technology, the Chautauqua Institution, UNC Chapel Hill, UC Irvine, Butler University, Vanderbilt University, the China Conservatory of Music, the Norwegian Academy of Music and the University of Los Andes of Colombia.

Wu’s work in television has included compositions for AMC’s Hell on Wheels and PBS’ web series The History of White People in America.

Her many commissions have ranged from a composition for Percussions Claviers de Lyon, which premiered in the Forbidden City, to live performances in Paris and Tokyo for luxury brand Hermès.  

Wu has collaborated with artists from many different disciplines and genres, ranging from Emmy-winning directors Pierce Freelon to Grammy-winning musicians Béla Fleck, Abigail Washburn and percussionist Billy Martin (Medeski-Martin-Wood) to avant-garde composers John Zorn and Fred Frith. In 2024, she launched House of Wu Fei in Ghent, Belgium with Dijf Sanders, Simon Segers and Louise van den Heuvel.

In solo programs, Wu Fei presents a rich combination of contemporary guzheng compositions and music from the traditional guzheng repertory from the ancient schools of Shandong, Henan, Chaozhou and others. As a singer, she also presents Kunqu opera, Peking opera and Chinese folk music. As a composer, Wu Fei plays her original guzheng solo works inspired by traveling the world while missing her old traditions. As an improviser, she draws on her classical training, the riches of global music of the last decades, and American folk music. Her solo concerts are pure magic, spellbinding the public with her sensitivity, charisma, and virtuosity.

Wu has released two solo recordings and two collaborative albums — one with classical guitarist Gyan Riley, and the other with singer-songwriter Abigail Washburn, released on Smithsonian Folkways Recordings and listed among the “Best Albums of 2020” by The Times’ culture section. Each of Wu’s recordings exhibits her unique solo improvisational vocabulary, her knowledge of Chinese traditional and folk music, and the craft of her compositions for Western classical chamber orchestras.

She received her early musical education at the China Conservatory of Music and earned a master’s in composition at Mills College in California before immersing herself in New York’s downtown improvisation scene at venues including The Stone, where she has frequently performed and curated. A native of Beijing, Wu currently resides in Nashville, Tennessee.

Elephant House is Shenggy Shen on drums and vocals and Christos Fanaras on synths.
http://www.adaadat.co.uk/
https://elephanthouse.bandcamp.com/album/chollima

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