“At the End of the Mudslide”
Will there be peace at the end of the mudslide, or will its “debris” once again pile up and cause another wave of landslides and earthquakes?
As Levi Liauw’s drumbeats crash down with lightning speed, pea-sized hailstones fall from the sky, and the stage erupts with molten lava. Mia Alexander’s saxophone roars with anguish, as if the angel’s wings have been torn from her body, and she’s plummeting into a sea of fire.
The two musicians engage in a musical improvisation, with their instruments becoming the battleground. At this point, the
“mudslide effect” becomes the
“flooding beast” in their music.
After the initial torrential flow subsides, Levi’s drumbeats stop their frenzied pounding, and the music cools down. Levi Liauw shifts into a “forest shaman” style, inspired by Rashied Ali and Milford Graves, and the drumbeats take on an earthy, primal quality. Mia Alexander’s saxophone plays a tribal-ritualistic “dance of the fire lizard.” Mia’s saxophone seems to be calling the colorful feathers of a hoopoe around the fire lizard’s totem. During the improvisation, Levi Liauw also adds a whistling sound. At this moment, it’s as if the drum-wielding Nezha is navigating the turbulent sea of instruments.
Levi Liauw and Mia Alexander aren’t satisfied with the silence that follows the “mudslide,” so they create a second, and even third, wave of destruction.
The entire album of Drawn and Quartered is
fundamentally characterized by a punk spirit and attitude. The rough, DIY sound quality, the tireless instrumental battles, and the dynamic, energetic
performances all contribute to a cohesive whole.
credits
released June 25, 2025
Mia Alexander - Sax
Levi Liauw - Drums, Voice
This music was recorded on the unceded lands of the Wurundjeri people of the Kulin Nation. Always Was Always Will Be.
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