Sometimes, the only way to get a seat at the table is by bringing your own. Just look at Noh Salleh and Belle Sisoski. They broke through mainstream consciousness and won over audiences with unique sounds that eschew polished pop formulas. In BURO Malaysia’s February cover story, the pair slip into their best Levi’s jeans and bond over their passion for innovative music, the long journey to recognition, and their shared Bornean heritage.

Call it self-fashioned fate or simply serendipity—either way, seeing Belle Sisoski and Noh Salleh stand shoulder to shoulder is all sorts of symbolic. Getting them to bounce off each other is as intriguing as it is intimidating. They are, after all, rebels in their own right. At a time when the music scene is plagued by oppressive homogeneity, the pair dares to carve out their own spaces on their own terms, their inimitable sounds the weapons to break away from a life in simulation.

The sprouting Belle has made a name for herself by blending electronic dance music (EDM) with the essence of traditional instruments and the seasoned Noh has reached the upper echelons of the industry with his culture-shaping contributions in alternative rock music. While the two did emerge into the spotlight at different intervals, the generation gap between them does little to disrupt their on and off-screen dynamic, thanks to their mutual admiration for each other’s innovative approach to music-making.

EASTERN STANDARD

Beyond their shared curiosity for new musical frontiers, another invisible string tying them together heaves into view as the conversation kicks into gear, one that is stitched to their Bornean heritage. Belle and Noh both carry their Sarawakian culture not as a burden but as a badge, whether or not it is immediately apparent to the masses. The former, in particular, paints a vivid picture of her connection to the Land of the Hornbills through her euphonious compositions.

“It shows up directly in my sound. I use long-forgotten Bornean ethnic instruments and bring them into my music,” she says, spreading the tunes of the tapi, sape, and the like. “I also work with indigenous musicians and use traditional songs and poems, then blend them with cinematic and EDM elements. It’s my way of honouring where I come from while bringing it into a modern space,” she adds, looking back at the footsteps she left behind.

Noh’s grounding in his roots, on the other hand, manifests in a sense of responsibility to continue the legacy of those he looks up to. “I grew up listening to Radhi of OAG. I was so proud to see a Sarawakian musician making it big in the industry. So I feel like I’m extending the path he set,” he says. While cultural elements do not necessarily translate into his music, sonically, the 41-year-old has expressed his profound devotion to his home state in his writings.

“I made a song called ‘Sarawak’ a few years ago. It was inspired by our former chief minister, Tok Nan (the late Pehin Sri Adenan Satem),” he unpacks the little gem from his discography. “When he was elected, the very first thing he did was invite the state government opposition to sit down and discuss the issues facing the people. Seeing everyone come together regardless of their ethnicities was incredible,” he recalls the event that restored his faith in the country.

Going against the tide is a daunting task even for the most skilled swimmers. A single faltering stroke and you’d risk going under—something Belle and Noh are all too aware of given their understanding of the local music palate and the commercial realities of the music industry. But none of those things has deterred their resoluteness in remaining faithful to their creative selves. Authenticity to them is not a currency that fluctuates based on supply and demand in the market.

“I never put myself in a box. I trust that if the music is genuine, the right audience that wants to feel seen, understood, connected, or simply alive will find it. I stay focused on building a world that feels true to me, not just something that feels safe commercially,” says Belle. “The same goes for me. I do it for myself. The most important part is knowing I have reached a standard I can be proud of—that I’m becoming a good musician,” Noh jumps in.

LEVELLING UP

That being said, each of these artists has had a taste of what many describe as mainstream success. Noh, for instance, has his sold-out shows and prestigious prizes to show for it. “We didn’t even notice it at first. All of a sudden, it was on us to deal with the fans and answer the media,” says the Hujan frontman. The band’s meteoric rise hit him like a ton of bricks. Before he knew it, he’d started making enemies left and right, waging wars with the Fourth Estate.

“I didn’t even bother to get along with the press whose only interest was gossip,” he says candidly. He then dredges up an unpleasant encounter that further soured that relationship. “I held a press conference for my first extended play (EP), Angin Kencang, and went out of my way to make sure they were taken care of. But all they wanted to talk about was my ex,” he scoffed. It was at that moment that he decided to shift his focus to the only thing that matters: his art.

There’s a renewed hope threaded through the year ahead as new beginnings take shape and old ambitions gently return. Belle and Noh, for one, are excited to see their thought-through plans unfold. While the former anticipates the release of her debut album, Ethnosphere, and a solo show with the Malaysian Philharmonic Orchestra, the latter is ready to open the next chapter in his musical journey with his upcoming EP, which features a collaboration with Zee Avi.

“It will be Malaysia’s first ethnic-orchestral-EDM rave concert. After that, I’m going on my Europe and Asia tours—I’m excited to bring this sound all over the world,” says Belle. To say that she’s enthusiastic would be an understatement. “My next EP is coming out midyear, and there will be a showcase to coincide with the launch. I’m also working on Hujan’s twentieth anniversary concert happening in April at the National Hockey Stadium,” Noh chimes in.

NEXT IN LINE

When asked about the long road to recognition, each of them has a unique perspective. “The main goal is for these Bornean instruments and traditions to be known. Mainstream or not is part of the journey. What matters most is keeping the culture respected,” reflects Belle. Noh then tags on, “I have been so blessed to be able to walk this path, since I have no other skills! I don’t want to sell out, but at the same time, I need to make money. So I always have to find that balance.”

This search for balance has led him to draw a line in the sand—one that has allowed him to remain free of record label constraints. “I want to preserve my creative freedom,” he offers a glimpse into his thought process. “I’ve worked with other bands before. I saw how the labels treated them. When The Changcuters signed with Sony Indonesia, their world turned upside down. Every track needed the label’s approval before it could see the light of day. They didn’t have any say in the matter,” he lets out a deep breath.

Hearing about the hoops they had to jump through to get to where they are today, the conversation naturally steers to the major challenge facing today’s creatives, which is the rise of artificial intelligence (AI) in music production. The prevailing question here is: will technology undermine the industry by slashing the need for human input? Belle and Noh, the names many associate with those who are ahead of their time, make their stance known.

“AI can’t replace real human emotion. People listen to music to feel understood, connected, and alive. I’m not really worried. The world will keep changing. We just adapt, use the tools that are given to us, and stay creative,” says Belle, brushing off the worrywarts. The same sentiment is shared by Noh. “That’s the future—you can’t stop it. We just have to find a balance. Anyway, it is the imperfections that make works of art perfect, and that’s not something AI can replicate,” he adds.

Every great artist knows that the world of music is forever intertwined with that of fashion. It is an extension that transcribes every note into a visual narrative. It was the case with Nirvana, Pearl Jam, and Soundgarden, and it certainly is with our cover stars. Belle consistently incorporates tribal elements and traditional fabrics in her stagewear. Noh always makes sure that he understands the assignment, matching the looks with the concept of the performance.

“Fashion is part of my storytelling. I can be strong, aggressive and bold, or soft, emotional and fluid. Styling can show power or vulnerability, and my style is very versatile,” says Belle. The discipline to dress the part for Noh, conversely, stems from a longstanding tradition. “Back in the day, band performers were expected to wear suits. Looking presentable was a form of respect for the stage. That ethos is why Hujan dresses the way we do,” he elaborates after taking a beat.

DREAMING IN DENIM

On the topic of the material they often return to, both Belle and Noh find themselves singing the same tune, a song in which denim reigns supreme. “It feels chill, grounded, and comfortable. On the days I want to feel cosy, I naturally go for denim,” she professes. “I wasn’t a fan initially, but my cousin told me to put these straight-fit jeans on, and they became my absolute favourite. I think they were the Levi’s 501 Original Men's Jeans,” he searches the corners of his memory.

A perfect pairing with the music these artists churn out, the rugged fabric is imbued with that devil-may-care attitude, which is synonymous with grunge style. Its rebellious nature not only resonates with them musically, but also personally, as it evokes a sense of nostalgia that takes them back to the early days of the movement when loose-fit denim and baggy t-shirts were all the rage. Those days may well be behind them, but the spirit endures, following every step that has led them to where they are today. What was once a peculiarity is now a precedent. In the words of fellow indie rock artist Lucy Dacus: sometimes you have to wear the costume before it becomes the clothes. Noh has lived it, and Belle is charting her own course to somewhere similar.