SELECTED INTERVIEWS AND REVIEWS

THE QUIETUS

​by John Doran

The astoundingly inventive vocalist was called Rully Shabara Herman (frontman of Indonesian math rock group Zoo) and it seemed clear that he was performing a kind of audio balancing act: that no matter how diverse Suryadi's instrument was, he was determined to be able to create as many - if not more - sounds using his voice alone.

AUDITION RECORDS

​by Julian Bonequi

Zoo is a metaphor for modern civilization, and that is the big theme which underlies every aspect of the band. Modern world serves the purpose of creating more advanced, systematic, human-centered civilization while detaching themselves from nature, traditions, and anything ‘wild’ and ‘chaotic’ but on the other hand it's leading them toward new kind of chaos, disorder, and worse, destruction.

THE ATTIC

​by Dragos Rusu

“How much do we need to lose out knowledge, to forget our books, to disconnect our technologies to dive again in the incomprehensible? What are the limits of perceptions?”

MAGREB

The relationship between human and nature is always the big theme in Senyawa`s songs, with lyrics or energy wise. The dynamics of this relationship is interesting; strong, destructive, beautiful, and at the same time can be really fragile.

BRAINWASHED

​by Duncan Edwards

This all lasts about 40 minutes during which Zoo range from cathartic bass and drum blasts, fierce howling and jabbering, to heavy riffing, deep but abrasive melodies, pseudo-operatic bombast and peaceful acoustic ballads.

PITCHFORK

​by Philip Sherburne

He sounds like a synthesizer; he sounds like a pterodactyl. Yet, despite the obvious, formidable power of his voice, he never feels the need to fully unleash it; 

REDBULL MUSIC ACADEMY

​by Kat Leinhart

“A lot of Indonesian bands, they say ‘I want to make songs that are real Indonesian,’” Rully says. “We don’t do that, it will sound fake. And we don’t have to, because we are Indonesian. So do what you want to do. If you do it honestly, it will be authentic. As long as no one calls us ‘world music,’ we don’t care how we’re classified.”

ELECTRONIC BEATS

​by Mark Smith

His arms twist and twine like searching snakes, while he traverses a broad range of vocal moods. Keiji Haino gets you in the ballpark, but Shabara’s octave-jumping gymnastics can’t be described by influences. His baritone projects the types of harmonics you’d associate with throat singing. 

KNIK

​by OCCII

When you sense that energy being thrown back at you, you will give back even greater energy. And so on. That’s what makes a great performance. Many failed performances are due to a lack of understanding this concept.

THE JAKARTA POST

​by Andreas D. Arditya

Rully’s vocal exploration is definitely the prominent element of Zoo’s music. Throughout the songs, Rully keeps transforming into tribal war chiefs, shamans and crooners, presenting us with a variety of possible uses of vocal chords and vocal tracks.

THE JAKARTA POST

​by Stanley Widianto

Menjadi is some heavy music. It'€™s not concerned with brevity, but the seven minutes Senyawa takes to make a point, it does so in a wildly engaging manner. Particularly Shabara'€™s vocals. He'€™s not exactly singing, as Shabara elastically uses his voice as an instrument from throat-chanting, muffled screams, theatrical whispers and countless other stuff. 

FREQ

​by David Solomons

It is magnificent to behold. Once or twice, I feel a smile break out unbidden across my face, just because what they do is so bloody wonderful. The sweet is all the sweeter after a mouthful of sour.

FREQ

​by David Solomos

It is magnificent to behold. Once or twice, I feel a smile break out unbidden across my face, just because what they do is so bloody wonderful. The sweet is all the sweeter after a mouthful of sour.