UK-Based Artists Gaudi, Soom T To Headline Bass Camp 2015 in Mumbai & Delhi

[Krunk’s been getting busy bringing you the latest edition of the 4-city festival, so stay tuned for the Pune & Bangalore Bass Camp 2015 line-ups, out this week.]

Accompanying them are heavyweight bass and electronica artists including Denmark-based Alo Wala, B.R.E.E.D.(fresh from his performances at Coachella and Low-End Theory festivals) and Nerm (of Shiva Soundsystem), to name just a few.

Not to mention — Mumbai, we’ve got a brand-new venue, The Pier, Radio Club, Colaba for you. Here’s the date to mark:

[Krunk’s been getting busy bringing you the latest edition of the 4-city festival, so stay tuned for the Pune & Bangalore Bass Camp 2015 line-ups, out this week.]

Bass Camp 2015 is back in its latest edition with two UK-based dubmasters in tow: London-based Gaudi and Glasgow-based artist of Indian origin, Soom T, are going to be headlining the festival in Mumbai and Delhi. Accompanying them are heavyweight bass and electronica artists including Denmark-based Alo Wala, B.R.E.E.D.(fresh from his performances at Coachella and Low-End Theory festivals) and Nerm (of Shiva Soundsystem), to name just a few. Not to mention — Mumbai, we’ve got a brand-new venue, The Pier, Radio Club, Colaba for you. Here’s the date to mark:

Dub, worldbeat and bass music producer at large, London-based Gaudi‘s extensive travels around the world will have him checking into both Mumbai and Delhi in the festival’s latest edition. Having released his last two albums with the legendary. Six Degrees Records, fans can expect his trademark atmospheric beats and mindbending dub at Bass Camp this year.Indian-Scottish rapper Soom T‘s inclination towards the experimental, on the other hand, has become a defining quality for her as an artist. Her recent video and single release ‘Broken Robots‘ had her doing an interesting ‘Indian Elvis impression’ that surprisingly grows on you, and her new album ‘Free As A Bird‘ is up for pre-order.With such a mixed bag of international and Indian artists, including younger players including

KumailProfound, we must admit we’re excited to approach Bass Camp Edition XIV this year, with artists who all have their unique takes on the sub-genres we love artists around the world since its first edition in February, 2010. Past editions have featured legends of bass music including, and as well as those pushing progressive sounds closer home such as Bandish Projekt, DJ Uri, and Nucleya

Charles Shaw 222 subscribers Gaudi – Live at Envision 2012 (Costa Rica) Come celebrate with us as BASS CAMP turns a ripe 5 years old, a breeding ground for an experiment that continues to push the progressive electronic, future bass, drum and bass sounds it has always been dedicated to. [Krunk’s been getting busy bringing you the latest edition of the 4-city festival, so stay tuned for the Pune & Bangalore >Bass Camp2015 line-ups, out this week.]

In Conversation with Gaudi On His Dub/Reggae Roots & The Power of Collaborations

UK-based artist of Italian origin, Gaudi is the epitome of world electronic music — Indian ragas, tradition Italian sounds and African chanting have laced themselves through his dub-influenced music with equal ease, underpinned with fat basslines. His Interchill Recordsalbum ‘Bass, Sweat and Tears’ back in 2004 made waves with its global sounds and brought together a range of talented artists around the world, and 10 years later, it was re-released by Six Degrees Records, alongwith the mindbending ‘Dub, Sweat and Tears’. More than anything else, it’s his appreciation for a mind-boggling range of music (and as we find out, the silence in between the notes) that makes him such a milestone in dub/reggae and bass music.

We’re stoked to have him headlining Bass Camp 2015 in Delhi and Mumbai, and caught up with him to find out more:

I.) Tell us a little bit about how you first discovered reggae, the ethos behind Gaudi and your unique dub/world electronica sound. What are the other genres you’ve dabbled in?

I discovered reggae music in 1977, I was 14 years old at that time — and strangely enough, it wasn’t through Bob Marley. I still remember it as though it was yesterday, I was inside a local records store in my hometown Bologna (Italy) and a song started playing: ‘Chase The Devil‘ by Max Romeo; I literally fell in love with it straightaway, my devotion to reggae and dub music started from there… I was hooked for life! With relation of other genres of music I dabbled in, the reason why I was inside that record store is because 5 minutes earlier, I had bought an album that influenced my life forever: The Man Machine, by

German electronica pioneers Kraftverk. That was a very good day!

II.) Who are some of your primary musical influences? What is it about them that inspires you the most?

I started making music professionally in 1981, and my inspirations were founded in experimental electronic music. I’ve always worked with electronica, and I’ve always had a subtle ‘offbeat’ groove when it came to reggae music. In all my music compositions, those two elements always went hand-in-hand with each other. My major source of influences were: The Residents, Can, Devo,Tuxedomoon, Bauhaus, Talking Heads, Kraftwerk, NEU, King Crimson, Throbbling Gristle, Third World, King Tubby, Steel Pulse, Black Uhuru, Lee Scratch Perry, Jimmy Cliff, Scientist, Burning Spear and, of course, Bob Marley. What’s about them that inspires me the most? Every of those artists created their own unique sounds, not copying something that already existed but pursuing what they believed was right, this — for me — represented the highest form of ‘artistic freedom’, freedom of expressing yourself without boundaries. This is the reason why I make music.

III.) What is your favourite part of having such a busy touring schedule? Any observations when it comes to audiences from different parts of the world you’d like to share?

I like the diversity of every single gig I do, relating with a difference audience, different ambientation, different sound system, different energy… everything changes every concert I play, every city I play,

every country I play and every continent I play, but there’s only one thing that stays the same: my music, which is the main reason why those people are there, the catalyst that keeps us all together under the same roof. I find it extremely fascinating!

IV.) What are some of your favourite venues/festivals to have played at, and what are the elements that come together to make for these?

In my career, I’ve been lucky enough to play in some stellar venues around the globe, I have to admit. But there are two particularly that are absolutely unbeatable: in 2012, I played at The Pyramids of Egypt, and in 2004, I played at The Colosseum in Rome (Italy) with an audience of 350,000 people! Both places are considered ‘Wonders of the World’, I really need to visit all seven! (laughs)

Bringing my music to those locations made feel extremely happy but also extremely natural, as if it was normal for my music to be there at that moment in time! Another favourite spot where I played my concerts was The Burning Man, a 70,000 people gathering that happens every year in the Black Rocks Desert in Nevada (USA), an amazing experience!

V.) Tell us a little bit about your creative process. [How was ‘Bass, Sweat and Tears’ back in 2004 conceptualised? Please also tell us a little bit about your collaboration with Nusrat Fateh Ali Khan.]

I am happy to see that there is still so much interest around that milestone album composed in between 1999-2003 and released in

2004 by Interchill Records. Yes, making that album was an amazing and complicated process that took me 4 years, recording incredibly talented artists and musicians from all over the world. I’ve been to Africa for that, recording djembe players, singers, drummers and everything I could with my portable DAT machine, voices from markets, ambient sounds, kids playing etc. Then I went back to my studio in London, and assembled everything, composing new music around those recordings, adapting my ‘sonic vision’ to the material I recorded, which is exactly the formula that I adopt in all my production.

VI.) What are some of your favourite venues/festivals to have played at, and what are the elements that come together to make for these?

In my career, I’ve been lucky enough to play in some stellar venues around the globe, I have to admit. But there are two particularly that

are absolutely unbeatable: in 2012, I played at The Pyramids of Egypt, and in 2004, I played at The Colosseum in Rome (Italy) with an audience of 350,000 people! Both places are considered ‘Wonders of the World’, I really need to visit all seven! (laughs) bringing my music to those locations made feel extremely happy but also extremely natural, as if it was normal for my music to be there at that moment in time! Another favourite spot where I played my concerts was The Burning Man, a 70,000 people gathering that happens every year in the Black Rocks Desert in Nevada (USA), an amazing experience!I don’t particularly like when artists adapt their own sound to my music, I rather prefer adapting my music to artists that I chose to work with. If I liked their ‘essence’ I want to keep it intact, if that was what initially captured me — it has to stay pure, as it was. The reflection of all I just said is strongly imprinted in my album ‘Dub Qawwali’ in collaboration with the greatest qawwali singer Nusrat Fateh Ali Khan.

VII.) As a producer who has worked with so many artists from across the globe — in your opinion, what is the power of collaboration? What is the process like for you, and how do you generally find collaborators?

I personally don’t have any rules or formulas when I collaborate with other artists. Sometimes it has happened spontaneously, like in the backstage of a music festival for example. You socialise with another artist and you realise that you have many things in common, so a music collaboration can start — it has happened! Or maybe just getting in touch with someone you would like to share a music adventure with, or vice versa… It’s all extremely spontaneous.

VIII.) A lot of your music reflects roots in dub, where does that originate from?

Yes it does, I think it is for the hypnotic factor that dub music has in it, those repetitive basslines, those rhythm sections, those cyclical patterns of suspended echo flavours. But especially the emptiness in between notes. Yes, it is the importance that this type of music gives to the silence in between the notes, that is as important as the sound itself! I love sound and I love the silence in between. In my 12 years of classical piano training, my favourite and most intriguing part in the music score was exactly the silence, written in the music score of course, with the name of ‘Tacet’. I loved it, maybe one day I will call an

album ‘Tacet’…. hmm, thanks for the inspiration, Krunk!

IX) Your music’s social conscience is something that really stands out, please tell us about some of the causes you feel strongly about. How can music be a tool for social change?

Music doesn’t have more value than other mediums of communication in increasing awareness or expanding minds, it does have an enormous power, though. It can filter through your skin without you even noticing it, differently from any forms of communication, where you need to pay attention to what you see or read. Music has a more subtle way to impact you: frequencies, vibrations, movements, our planet resonates constantly with other planets, stars and galaxies. All the universe is in constant vibrational mode! The message within music doesn’t need to be necessarily ‘verbal’ (for example, a voice that tells you what to do etc.) but it is based on emotions. Most of the music pieces that influenced me, and humanity in general, are instrumental: one of my favourite composers is Erik Satie, who has never used vocals in his music compositions, Beethoven, Debussy, Mozart… they never had vocals in their pieces but the message came

through! Music can hit you, can shake you, can transmit you an input, but the way you emotionally feel is unique, the way you ‘decode’ those sonic particles is absolutely individual. “One good thing about music, when it hits you, you feel no pain,” — Robert Nesta Marley

IX.) Have you visited India before/are you familiar with the electronic music scene here? What can fans expect from Gaudi at Bass Camp?

This is my fourth tour in India in the last 5 years, and yes, I have played many times and in many cities of this beautiful country. I am familiar with the electronic music scene, I was so impressed the first time I discovered the fast-expanding electronic scene, very vibrant and very fresh!

I have worked with several artists in the scene, very inspiring. What can fans expect from me at Bass Camp? Well, I’d say… the unexpected!

X.) What’s in the cards for you next?

A good player never reveals his cards (laughs) Just stay tuned. ONE LOVE.

Kumail Releases His New LP ‘Links’ At Magnetic Fields Festival Tonight

“This is definitely one of the darker tracks on the LP,” Kumail says. “It’s a lot more electronic, while the rest of the songs on the LP are more organic and I’d say earthy, featuring samples of the sitar, acoustic guitars and live vocals.”

When we last caught up with Kumail, he’d mentioned that a lot of sounds he’s used in this LP have been recorded from different places he’d travelled to. He tells us a little bit about working with organic sounds. “There are endless possibilities with sound, you can make

anything sound like that which you want it to, and it’s fascinating. You can manipulate water drops to sound like hi-hats, for instance…I’ve really enjoy working with sounds from nature for this LP.”

As for the artwork, which is a collaboration between Nirvair Nath and Dheer Kaku, he explains, “This is actually the third artwork that was drawn up before we went ahead and finalised it. ‘Links’ is a very colourful album, and Nirvair had made something initially which he later realised doesn’t fit the ethos of the album. He was going through his sketchbook one day when he hit upon this one, and sent it to me — I gave him the go ahead right away, and Dheer and him edited it to what it is right now; the actual original sketch is very different from the final product.”

If you’re headed to, or are just getting in to Magnetic Fields, you already know the scores of things to look forward to at the most intriguing festival in the country. Adding to the growing list is 22-year-old producer Kumail‘s release of his next LP ‘Links’, which launches today at the festival with an online release in January next year. Just to whet your appetite, check out his first single ‘D R K‘ off the new LP; a dark, brooding treat with some deft soundwork:“This is definitely one of the darker tracks on the LP,” Kumail says. “It’s a lot more electronic, while the rest of the songs on the LP are more organic and I’d say earthy, featuring samples of the sitar, acoustic guitars and live vocals.”When we last caught up with Kumail, he’d mentioned that a lot of sounds he’s used in this LP have been recorded from different places he’d travelled to. He tells us a little bit about working with organic sounds. “There are endless possibilities with sound, you can make anything sound like that which you want it to, and it’s fascinating.

You can manipulate water drops to sound like hi-hats, for instance…I’ve really enjoy working with sounds from nature for this LP.”As for the artwork, which is a collaboration between Nirvair Nath and Dheer Kaku, he explains, “This is actually the third artwork that was drawn up before we went ahead and finalised it. ‘Links’ is a very colourful album, and Nirvair had made something initially which he later realised doesn’t fit the ethos of the album. He was going through his sketchbook one day when he hit upon this one, and sent it to me — I gave him the go ahead right away, and Dheer and him edited it to what it is right now; the actual original sketch is very different from the final product.”

“Working with San was really great,” he shares his experience of working with Sandunes on ‘Let Me’. “She’s really, really talented; I gave her the song, and she had all the synths layered on it in under 20 minutes. There was a lot of space to be filled in the track, which she managed to do so perfectly.” Having worked on the album for almost a year now, Kumail’s raring to get it out there, and when it comes to releasing the album at Magnetic Fields Festival this year, he shares, “I’m really excited about the release, I really believe there’s nothing else like it in the scene right now. This album has a lot more to offer to a more varied audience than my previous work, I’d say. It’s very different from what I’ve done before, it’s got beats and it’s groovy, and not just experimental work.

I want to take people by surprise with this one.” With the online release coming up in January next year for those who aren’t going to be at Magnetic Fields Festival, Kumail also hints at a multi-city tour with a visual show following the release, and a music video release for his personal favourite track from the album ‘Fields’. Definitely something to look forward to in the new year for fans of left-of-field electronic music with an inclination for the subtler inflections.

Exclusive Album Launch: Twerkistan – Su Real

New Delhi bass producer and trapmaster Su Real is back with ‘Twerkistan,’ his second full-length album, packed with desi bass bangers and catchy dance beats. Growing organically as a follow-up to his debut album ‘Trapistan’, this album charts a journey into a different mythical land, featuring collaborations with a range of artists including Tanya Nambiar, P-Man and Ritviz. While Su Real‘s DJ set has always been about bringing the latest Western dance music into a homegrown context, his music production has consistently gone on to reflect this as well. “With this album, we shift focus from trap music and onto the booties shaking on the dancefloor,” the producer tells us about his latest release, which he has been working on for the past year. The head-turning artwork by Kunal Lodhia of Grime Riot Disco

Tune in right here:

/Magnetic Fields) evokes the legendary temples of Khajuraho, and speaks boldly of a land ruled by women. “I enlisted him as early as July 2015, actually, with just two reference points — Nicki Minaj’s ‘Anaconda‘ cover and Savita Bhabi. He drew multiple versions by hand over many months, in intricate detail, until he got it just right. He then scanned it in and coloured it digitally to give it his trademark effect. We definitely wanted something daring, yet at the same time something that young desi women could identify with and appreciate. For example, I was insistent that my Twerkistani rani have chocolate brown skin, rather than some fair and lovely monstrosity. This cover is a tribute to all the strong, independent desi women I have known, and their beautiful round and brown booties.” “The Twerkistan video made in collaboration with Tanya

Nambiar and Lights on Films was my most involved video to date,” Su Real elaborates on the process. “For me, it was an epic feat of DIY film-making, largely thanks to Lights On Films. While the single’s music evokes the desert, the lyrics depict the Sultan of Twerkistan, who is on a quest to reclaim his rightful throne that had been usurped by an imposter. “It was important to get some dancers involved, and to try to portray twerking in a TV-friendly manner for Indian audiences.

Dancer/choreographers Nishi Joshi and Shambhavee Sharma rose to the challenge – I was ecstatic to find them as they seem to be at the forefront of an underground dance scene in Delhi that even I was unaware of.” A crew of 10 from Delhi and Mumbai set out on a two-day quest of D.I.Y. filming in the sun and sand of Jodhpur to chart the terrains of Twerkistan. As for hiccups with the censor board, “Ironically, once the video was ready, it wasn’t the twerking or empowered females that irked the censor board but the camels. Fortunately, we still have the Internet, and the Internet is cool with camels.” With a range of collaborations on the album with the likes of Ritviz, Mr Doss and P-Man, Su Real tells us, “The collaborators on the album are all

people whose work I respect, and friends who supported the Twerkistan effort. I think it was important to be clear up front on the release plans, and purpose of the track, after which we could get on a same page with the track regarding concept and style etc. What worked best was when collaborators sent me a few raw tracks to work with and develop.“Ritviz sent me a few killer synth lines for example, that I then built the track around; whereas Mr. Doss sent me a superhit beat, that I then added the topline vocals and synths on top of. With the more lyrical tracks like Soldiers, Jhook Gyal, Pakis in Paris, I definitely wanted something specific when it came to the lyrics. I learnt it’s important to remember that part of the reason for collaborating is – division of labour to save time, while still combining everyone’s unique strengths to develop a superior product.

”Having spent the past year working on his production technique and developing formulae and templates that work for him, Su Real has also been working on a feedback loop from his his favourite producers like Nucleya, Frame/Frame, Arsh Sharma of Fuzzculture and Sid Vashi. “My biggest takeaway from all this time in the game is ‘less talk, more rock’. You have got to put in the work, and don’t get it twisted — the music business is hard work and it can be unrewarding for the longest time before you start to see returns. You have to stay humble, and be grateful for what you have.”After mapping the worlds of ‘Trapistan’ and ‘Twerkistan’, Su Real plans to focus on putting out as much quality music as possible, besides clearing up the backlog of pending collabs unfinished tracks on the docket.“In dance music, trends change daily and I’ve got to stay on top of that. I hope to finish a couple of EP’s in slightly different genres, before focusing on the finale to the Trapistan/Twerkistan trilogy, tentatively titled Murdabad.”

Delhi Sultanate Is Building India’s First Mobile Reggae Sound System. Here’s How You Can Help.

[Log in to the campaign page on Indiegogo to contribute and be a part of this exciting journey.]

Delhi Sultanate‘s (AKA Taru Dalmia) new crowdfunding project on Indiegogo promises to take the music out of clubs, and straight to the people. Launched just two days ago, the idea is to bring to India a mobile, Jamaican-style sound system with powerful, handbuilt speaker stacks, with an emphasis on the bass so that the music is not just heard, but physically felt. Whether it’s as a part of New Delhi

-based BASSFoundation Roots, the lead singer of India’s first ska, reggae and rocksteady band The Ska Vengers, or his solo moniker Delhi Sultanate, he’s been pushing the sound system culture for years now. Also the founder of the not-for-profit organization Word Sound Power that creates films and musical collaborations around issues of social justice in India, he hopes to bring the unique sonic culture of sound systems to people in various cities and villages across the country.

[Log in to the campaign page on Indiegogo to contribute and be a part of this exciting journey.]

Delhi Sultanate‘s (AKA Taru Dalmia) new crowdfunding project on Indiegogo promises to take the music out of clubs, and straight to the people. Launched just two days ago, the idea is to bring to India a mobile, Jamaican-style sound system with powerful, handbuilt speaker stacks, with an emphasis on the bass so that the music is not just heard, but physically felt. Whether it’s as a part of New Delhi – based BASSFoundation Roots, the lead singer of India’s first ska, reggae and rocksteady band The Ska Vengers, or his solo moniker Delhi Sultanate, he’s been pushing the sound system culture for years now. Also the founder of the not-for-profit organization Word Sound Power that creates films and musical collaborations around issues of social justice in India, he hopes to bring the unique sonic culture of sound systems to people in various cities and villages across the country.

How The Idea Came About

“The idea came from a few different places,” Delhi Sultanate explains. “Ever since I first felt bass music back at my first reggae dances in Europe, I dreamt of being able to bring this extraordinary experience to India. When a lot of KRUNK artists from India travelled to perform at Outlook Festival (one of the biggest bass music festivals in the world) in Croatia a few years ago, we began to think more seriously about how to achieve this goal. “Another strong inspiration behind this project has been Janam, a street theatre group founded by Safdar Hashmi, which I joined in 2000 when I returned to India. Apart from street plays, Janam had also constructed a mobile stage, with the understanding that only certain people come to auditoriums to watch plays. He wanted to be able to take the stage to the people, and in a way, the sound system idea is not much different.”

What Is Sound System Culture?

A worldwide phenomenon today, the sound system concept traces its roots back to the ghettos of Kingston, Jamaica, in the 1950’s, when DJs would load up a truck with a generator, turntables, and huge speakers and set up street parties for the community, and sound system culture quickly became an integral part of Reggae music. It became a means to relay news, understand the hardships and suffering of those in Jamaica and to learn about Rastafari.

Why India Needs a Sound System

Delhi Sultanate makes a strong case, “I feel that independent music culture has suffered not from a dearth of talent in the country, but mainly two things — the scarcity of venues where non-commercial music is played, and secondly, the dependence on sponsors.”While music has the ability to bring people of different backgrounds together, the fact remains that India is a very socially segregated country; and not everyone can afford to frequent exclusive venues like clubs.

I also like the idea of collaborating with artists and performers from other fields,” he explains. “Dancers or performance artists for instance could benefit from having a powerful sound system at their shows that will impact people physically.” Having a sound system could lift the limitations to make for a much more inclusive context.

Gear Talk

The scoops and kick bass speakers have already been built at personal cost, and while the sound speakers are built and painted by hand, for amps and pre-amps, the idea is to source only the best components. The equipment needs to be able to withstand rugged touring, and also re-produce the sound optimally, to give people the real, amazing experience of a Jamaican sound system.

The details of the components are listed on the campaign page, and any additional funds will be put towards a car (A FORCE delivery Van 7.7 L — US$11000) to store the sound system (as well as to hit the road with), and other requirements like speaker paint and cables. As for the challenges of the endeavour,

“Owning one’s own system is the only way around the high cost of hiring a sound system; we need to gain experience running the whole thing.” With crowdfunding, Delhi Sultanate hopes that fans of reggae music, as well as those with a healthy appreciation for music and the arts, can come together and contribute towards this vision and help get it off the ground.

The First Few Stops

“The first few dances will probably be in Delhi — maybe in JNU — in a low-key way, so that we can learn the ropes of handling the speakers and amps,” he explains his future plans. “After that, the North East is probably going to be one of the first places where we will tour. A friend of mine from Shillong suggested basing the system there for a season,

renting a community or wedding halls. We could also tour villages in the surrounding areas.”. In addition to being part of a pioneering project like this, there are also several exciting perkslined up for campaign backers ranging from tunes, dubplates and a vinyl mixed by legendary dub pioneer Scientist (recorded on Delhi Sultanate and Begum X’s 2014 trip to Kabul, Afghanistan), to hoodie gift sets and backers’ names inscribed on the speakers.

[Log in to the campaign page on Indiegogo to contribute and be a part of this exciting journey.]

Interview: Exploring Echofloat’s Deeper Realities

Playing and producing under the monikerEchofloat, Jeff Nelson is no stranger to the abstract, regardless of whether it’s his immersive music we’re talking about, his designs or the elusive space he tries to gain access to through both. Krunk managed to catch Jeff just as he was plugging in his new monitors, ready to get down to work. We talk influences, inter-disciplinary art and teleportation:

1. Tell us a little bit about how you approach your music, personally. I tend to be more inclined towards tracks without vocals. They definitely have their own charms, but as a personal choice, I think I try to avoid them. Sounds, or vibrations, are universal — something that’s intimate while still being shared by a roomful of people. It’s more instinctive and animated when it’s just that one element.

2. Who are some of your biggest musical influences?

I think Eskmo is one artist I really admire, because I’ve seen him grow over time — his work really resonates with me.

We talk influences, inter-disciplinary art and teleportation:

1. Tell us a little bit about how you approach your music, personally.

I tend to be more inclined towards tracks without vocals. They definitely have their own charms, but as a personal choice, I think I try to avoid them. Sounds, or vibrations, are universal — something that’s intimate while still being shared by a roomful of people. It’s more instinctive and animated when it’s just that one element.

2. Who are some of your biggest musical influences?

I’ve been listening to Eskmo, Amon Tobin… all the Brainfeeder guys. Every part of the day is perfect for a different kind of music, and musical influences also change over time. Anything new you might listen to tomorrow might just change your whole direction.I think Eskmo is one artist I really admire, because I’ve seen him grow over time — his work really resonates with me.

3. What are the different elements that you draw inspiration from, outside of music?

A lot of different interactions — whether they’re good or bad — affect you in some way or the other, and if they’re really potent, they’re able to move you.Whatever I experience musically or visually creates a memory map that I draw from, and reinterpret. Creatively, you don’t go

out hunting for inspiration with preconceived notions, it’s spontaneous and you have to surrender to a moment; I think that’s something I really enjoy about creative work.

4. Tell us about how you started designing.

Back in the day, I used to follow Glitch Mob and Eskmo on Instagram, and these guys had started using this app called Mirrorgram. It’s very simple: the app lets you mirror photographs that you take. I started clicking buildings and then editing them initially, and since then, I’ve been exploring different aspects of design on iOS. It’s been two years since I started. A couple of years ago, I realised there was this space that had always existed but that I’d been unaware of; I’ve been fascinated by it since. I try to reach this space through different ways — it could be art, meditation, music… whatever gets me there.

5. How do your art and music intersect?

I feel like I approach both my musical and visual work in a similar manner. When it comes to designing, I’ll probably take one picture and layer things over it and figure out how it all fits in. It’s mostly self-taught, and my process is very organic. Musically, I’d have a few recordings — sounds from nature, and other raw material from the real world. I then take things into the digital realm and synthesise them. Filtering things out, making picture collages or sound collages… I’ve realised there’s a structure, more or less, that I follow creatively.

6. Your thoughts on inter-disciplinary art and its potential / future?

I feel like a lot of the music scene currently is club-based or built around being dancefloor-friendly. Luckily, there’s some people who

are trying to change that today. I feel like the whole experience can be much more immersive. Projection mapping is really changing the game as far as that is concerned, and the future is going to be next-level, especially because of the kind of access to technology we have today and the reach the internet has given us.

7. Any artists experimenting with different disciplines of art that you really look up to?
There’s this guy called Rob Clouth, who releases under the label Leisure System. He does music which is code-based, somewhere between techno and bass. It’s really intriguing. He also started doing visuals recently which are also code-based, and the whole thing’s really fascinating; code-generated art gives way to creative output.
Mostly, it’s just trial and error, and it’s a very unique idea.

8. You just played your first few gigs recently, how’s the experience been?

It’s been really great! The crowd is so open and responsive, and it’s exciting as an artist to connect with like-minded people over these sounds. I had a selection of tracks that I’d been wanting to play for a while, and the gig at The Drawing Room was fantastic and empowering.

9. Any new sounds/genres that you’re really keen on experimenting with?

I’m open to all genres, and I plan on playing it by ear. But deep, textural stuff is definitely a favourite.

10. One track that’s on the loop?

Malvo – Blond Aria

11. If there was one festival you could play at, which one would it be?

No other festival like >Magnetic Fields — whether it’s a sunriser set or after-dark, it’d be great to do something in that space. Those guys really, really know how to do it right.Internationally, it would be the Low-End Theory Festival. It’s a small scale festival which focuses on quality; that would be a dream.

12. Of the new crop of Indian electronic music artists, whose work do you find exciting?

Kumailis definitely up there, especially based on his new EP ‘Shift’ that came out earlier this year. Profound is amazing, he does some interesting stuff that really creates an atmosphere, and there’s Ujjwal Agarwal who’s doing the Kala Project, which is glitchy and bass-heavy, and Kala Musical Theatre.

13. Dream artist — dead or alive — to collaborate with?

Brian Eno — he’s old and wise, he seems like a character who’d make for a great mentor, and also a great life-coach. (laughs)

14. What is the next thing you’re excited for?

Legalization of psychedelics and possibly renaming it to something else, detached from all the taboo. Also, teleportation would be cool.

15. And what’s in the cards next for you as a producer?

I’ve been making sketches here and there, and I’ve been experimenting, but I blew out my monitors a couple of months ago and there hasn’t been much creative output since. I incidentally just plugged them in, so the next few months should be exciting. I definitely want to release an EP soon, one that reflects my current sensibilities.

Interview: Kumail On Downtempo Music & His Next LP

Bombay-based Kumail is a 21-year-old music producer who’s been pushing atmospheric beats and future electronic sounds actively for four years now.

For the sake of simplicity, let’s say his music falls into the ambiguous realm of ‘electronic music’, but it’s probably the sheer range of sub-genres that he’s experimented with within that vast label that sets his work apart. This is someone who has as much appreciation for the quietest sounds in nature to the most badass bass drop on the dancefloor, and this kind of versatility is hard to come by.

We talk to him about his early days of rap, the influence travel has on his music and what’s in store next with his new LP, out in Jan, 2016.

1. Tell us a little bit about how you got into production.

I actually started off with a lot of hip-hop music, and I tried rapping for a while. I’d listen to Skepta and Professor Green… I went to New Zealand for two months, and when I came back, my direction had changed. I started working with chillstep, and got some pretty positive response from my friends and the people around me. I think it was at this time that I heard Cloudlight by Eskmo, and that is really what got me into sound manipulation and exploring different sounds in the more ambient, downtempo space — which is what I’m currently in, I guess.

2. Would you say you’re a self-taught producer?

I started making chillstep about 4 years ago and yeah, most of it is self-taught. I did a 3 month course in London, in Logic Pro. I was

supposed to be there for 2 years but while I was there, they lost their license to sponsor international students. Transferring to another institute was a whole other story, so I decided to come back and make music from here instead.

3. Some of your biggest musical and non-musical inspirations?

Shlohmo, Shigeto, Taylor and Bobby McFerrin. I’ve also been listening to a lot of Nina Simone.. just a mixture of different sounds.

I feel like travelling really, really changes things a lot. Every time I come back from somewhere, I feel like my music is different. Even the LP I’m working on right now is based on connections — not just with people, but with objects and space as well… Different things inspire different tracks.

I travelled to Sri Lanka with a couple of friends recently, and we went to this place called White Monkey, which is in the mountains. That was possibly one of my favourite places, I recorded a bunch of sounds from there; I carried my equipment and was working on them there. So there’s a track on my next LP that constitutes of only those sounds, I haven’t used any synthesisers or anything, and it’s all organic. So yeah, that was something that was born out of a connection with a space.

Bombay-based Kumail is a 21-year-old music producer who’s been pushing atmospheric beats and future electronic sounds actively for four years now.For the sake of simplicity, let’s say his music falls into the ambiguous realm of ‘electronic music’, but it’s probably the sheer range of sub-genres that he’s experimented with within that vast label that sets his work apart. This is someone who has as much appreciation for the quietest sounds in nature to the most badass bass drop on the dancefloor, and this kind of versatility is hard to come by.We talk to him about his early days of rap, the influence travel has on his music and what’s in store next with his new LP, out in Jan, 2016.

1. Tell us a little bit about how you got into production.

2. Would you say you’re a self-taught producer?

I started making chillstep about 4 years ago and yeah, most of it is self-taught. I did a 3 month course in London, in Logic Pro. I was

3. Some of your biggest musical and non-musical inspirations?

Shlohmo, Shigeto, Taylor and Bobby McFerrin. I’ve also been listening to a lot of Nina Simone.. just a mixture of different sounds.I feel like travelling really, really changes things a lot. Every time I come back from somewhere, I feel like my music is different. Even the LP I’m working on right now is based on connections — not just with people, but with objects and space as well… Different things inspire different tracks.I travelled to Sri Lanka with a couple of friends recently, and we went to this place called White Monkey, which is in the mountains. That was possibly one of my favourite places, I recorded a bunch of sounds from there; I carried my equipment and was working on them there. So there’s a track on my next LP that constitutes of only those sounds, I haven’t used any synthesisers or anything, and it’s all organic. So yeah, that was something that was born out of a connection with a space.

4. What was the process behind conceptualising your EP ‘Shift’?

I went to Goa with a friend for a month, to make music and didn’t really end up making any. I just went to beaches and recorded sounds and stuff, but when I came back to Bombay, I started working on it. I call it

‘Shift’ because it seemed like a shift in consciousness for me personally, and that’s why it opens with Alan Watts saying what he’s saying — his words best describe what I realised during my trip.

5. Do you feel like downtemp music is under-represented/underrated in ‘the scene’ ?

To a certain extent but things are changing, and it’s definitely picking up. Krunk recently signed Profound, and Echofloat and I are going to continue working with them — and we’re all downtempo artists. Even Wild City promotes so much downtempo, the lineup for Magnetic Fields is looking incredible. There’s Sid Vashi, there’s _RHL…there’s a lot of exciting sounds coming out of India in that realm. If you’d asked me this question one year ago, though, the answer then would’ve made me very sad. (laughs)

6. Other genres that you’d like to see more of, in India?

I’d like to see more jazz, honestly. I’d also love to see some quality fusion — you know, like Indian classical mixed with electronic or any other genre. I’d like to see people experiment more with music.

7. You have another LP coming up in Jan, what was the experience of working on that like? What are you like when you’re producing music?

I have about 11 tracks ready, and I’d like to add a couple more collaborations. I’m working with Sandunes and with OX7GEN, and Zoya Khan from Krunk is singing over a track for me. Also planning out how

Echofloat and I can work together in the future. Last year has been a lot of travelling — I’ve been to Rajasthan, Sri Lanka, Pondicherry, Goa, a couple of times. A lot of the sounds I’ve recorded are from there. I’m trying a lot of new things, especially with instruments — guitar, harmonica, my own vocals – so I’ve been working with a lot of raw, organic sounds as opposed to electronic sounds. I’ve been working on it for 8 months now. I love being at home, I don’t get out too much. I’m generally working when I’m home, and I really like my space. I like my room, and my silence.

8. How do you ‘read’ the crowd during gigs?

Depends a lot on the venue. If I’m performing at Blue Frog, where people come out to watch the artist perform, then I’d play a live set. If I’m playing at Bonobo, where people are just looking to dance, then I tend to play a DJ set. A lot of times, I have a set prepared but also have my bank of sets so there’ve been times when I’ve ended up taking a look at the crowd and switching to one that I think would work better, at the last minute.

9. If you had to choose a film genre/director that best reflected your music, what would it be?

I think… Gaspar Noé, who directed Enter the Void. It’s a trippy, atmospheric movie. And then there’s Wes Anderson; I’m getting into a lot of soundscape stuff now and I feel like it would work. Music for movies is something I definitely have in mind.

10. One track that’s on the loop?

Taylor McFerrin – Invisible / Visible Feat. Bobby McFerrin

11. Dream artist — dead or alive — to collaborate with?

higeto. He’s the master of working with textures, layers and soundwork, which is something I’m really into.

12. An instrument/tool that you keep coming back to?

I think it would be the guitar. I don’t really know how to play it (laughs).but I’ll play a note or two and record it and loop it, and incorporate it into my music.

Download Kumail’s ‘Shift’ EP here, and follow him on Facebook.

Interview: Trapmaster Su Real on his ‘Brown Folks’ EP

Known for producing India’s first trap EP, his debut 11-track ‘Trapistan’, blends trap and Indian influences to make for sounds that are always going to get you moving. We catch up with the man who pulls the strings on the dancefloor to find out a little about his thoughts on cannabis culture, commercial electronic music and the release of his ‘Brown Folks’ EP.

I. What is the story behind the desi twang to your music?

To represent where I’m from… and get a broader audience for my music in India. I’m at a point where, if both your mom and your sister are both grooving to my music, then I know I’m doing something right.

II. What are your views on commercial electronic music?

I’ve been listening to electronic music for a very long-time and it’s been crazy seeing the global scene grow, evolve, and explode –

churning out millions of new sub-genres. Whatever the label you associate with it, I think commercial EDM is great to draw more people into the realms of electronic music. Hopefully, they can then go discover the various flavours for themselves.

III. How different was the music when you were growing up as compared to the music we hear today?

Other than that, at the risk of sounding like an old fogie, music today is definitely much louder and well-produced, with digital technology making speakers come to life, bleed and burn.

Trapmaster Su Real‘s music’s always gone heavy on the bass, and since we were getting so impatient for his upcoming album ‘Twerkistan’, he decided to appease fans with a little glimpse of what his current sounds are like.Known for producing India’s first trap EP, his debut 11-track ‘Trapistan’, blends trap and Indian influences to make for sounds that are always going to get you moving. We catch up with the man who pulls the strings on the dancefloor to find out a little about his thoughts on cannabis culture, commercial electronic music and the release of his ‘Brown Folks’ EP.

I. What is the story behind the desi twang to your music?

II. What are your views on commercial electronic music?

I’ve been listening to electronic music for a very long-time and it’s been crazy seeing the global scene grow, evolve, and explode –

III. How different was the music when you were growing up as compared to the music we hear today?

In many ways, I feel there was more artistic freedom in the ‘80s and ‘90s. Without the Internet, the scenes were pretty fragmented and you kind of had to figure out your own way around and how you fit in. Nowadays, every genre has a particular formula and style associated with it and if you veer away from that even slightly, it can be tougher to attract a wider audience.Other than that, at the risk of sounding like an old fogie, music today is definitely much louder and well-produced, with digital technology making speakers come to life, bleed and burn.

IV. If you could collaborate with any artist you wanted, who would that be? What would your project be like?

I’d do a star-studded concept album called Rap Ghosts featuring all the ghosts of dead rappers on it. We’d have Tupac and Biggie on one, Eazy-E gets a solo for sure, and Kurt Cobain makes a guest appearance.

V. If you could rule one country, which place would it be and why?

I already rule a country, it’s called Trapistan. Soon we’ll expand our borders to include Twerkistan.

VI. What’s your magic formula for success?

Do more, talk less.

VII. What are you views on the growing cannabis culture?

You grow it, I’ll smoke it. Don’t bust me.

VIII. Which are the most memorable concerts you’ve attended and why?

This list is too long to get into. One that comes to mind right now is BASSFoundation’s 3rd party at Café Morrison in New Delhi, because it was a watershed moment for many of us in the underground scene. This was where the BASS boys demonstrated that if you promote hard and develop a unique night of well-performed music, you can have a packed house of urban ravers, even in Delhi.

IX. Do you have any crazy fan/groupie stories?

Yes. But for fear of losing other crazy fans and groupies, I’d rather not discuss them!

X. Tell us about ‘Brown Folks’. Your inspiration & thoughts.

Well…. Really, I’ve been working on the Twerkistan album, and it’s taking a while getting all the bangers in place! So I gathered up some

of the tracks I had ready into this little placeholder EP. Let people hear the evolution of my sound since Trapistan, with a flavour of what my live sets are more like these days.

[Featured Image Credit: Polina Schapova]

Decoding The Electric NYC/Mumbai-Based Rock Band Ranjit & The Ambassadors

Ranjit’s mother was his first piano teacher, and once he got the hang of the instrument, coupled with some Music Theory he picked up in church, he was able to teach himself the guitar. There’s been no looking back since; he’s played in various bands since his first jam session in the summer before his ninth grade. Citing hometown-bands Spin Doctors and Blues Traveler as favourites, he is also a

Music Educator, a champion of early childhood music education, and is involved with art education in schools in general. We catch up with the main man to decode the myriad influences behind the band and more:

I. Tell us a little bit about how Ranjit & the Ambassadors was formed, and how you collaborate.

R&TA came about at a time in my life when I was getting tired of the solo singer-songwriter scene. I started writing more songs for electric guitar, and the need to add drums and bass was born as a result. I write all the songs, but when an Ambassador adds his own flavour to a part, making it his own, is when the music is at its best.

Born in Kerala, Ranjit is self-admittedly a diehard rock n roll fan. On vocals, guitars and keys for his NYC-based band today, his musical inclinations surfaced pretty early on; he moved to the USA as a small child, and grew up in New Jersey, singing in the church choir. “That’s probably where I got most of my early music education,” he recalls.Ranjit’s mother was his first piano teacher, and once he got the hang of the instrument, coupled with some Music Theory he picked up in church, he was able to teach himself the guitar. There’s been no looking back since; he’s played in various bands since his first jam session in the summer before his ninth grade. Citing hometown-bands Spin Doctors and Blues Traveler as favourites, he is also a Music Educator, a champion of early childhood music education, and is involved with art education in schools in general. We catch up with the main man to decode the myriad influences behind the band and more:

I. Tell us a little bit about how Ranjit & the Ambassadors was formed, and how you collaborate.

II. What are your biggest musical influences, as a band?

Thin Lizzie, Motörhead, The Pixies, The Smiths, Iggy Pop, The Stooges.

III. Ranjit – tell us a little bit about growing up in a musical household, and whether/how that shaped your outlook to music.

We had a Piano and a Veena in the house growing up. Access to instruments is vital to a young musician. I was certainly also exposed to a variety of music by my Father, from The Beatles to The Beach Boys, Bach to Chopin. And my folks sent me to church choir three times a week, from the age of 7, which was where I learned Music Theory for the first time, as well as classical vocal technique.

IV.What are some of the other genres you enjoy, besides rock?

I’m one of those musicians who likes a little of all genres, but is an aficionado of none. If I had to choose a favourite genre — even above rock — it would be funk. I’m talking about Parliament Funkadelic, Sly and the Family Stone, James Brown, The Meters, Tower of Power kind of Funk. It’s dirty and naughty and subversive and at the same time, it’s very demanding musically. I mean, anyone can play funk music, but it’s one genre which gives so much breadth for excellence in musicianship. You can play funk like a virtuoso, but you can also play the Funk on one note, with a rotten look on your face.

V. How has performing in India been like, and what is it about it that appeals to you the most?

India is my motherland. I was born here, so I can’t even tell you how much it means to me to be able to perform here. What appeals to me most about India is this energy, this thing that’s going on right now. You could call it an awakening, a renaissance, or a youth movement. There’s a sexual revolution, a women’s rights’ movement, a gay rights’ movement, a counter-culture, and the emergence of new technologies, all going on at once. Audiences are informed and know what they want. Parties are pumping. Young people are starting to realize that the future is in their hands, and they are shaping it into something beautiful. I am attracted to that kind of energy. That’s why I’m here.

VI. What was your Blue Frog launch like?

The show was great fun! They always have such great sound at Blue Frog. I’m looking forward to playing at their other locations soon!

VII. What is the kind of energy you want to create at a gig of Ranjit & the Ambassadors, and how do you prepare for this?

The energy we are trying to create is wild and electric, but full of love. I want people to dance and mosh and break a sweat, but also to see the divinity in one another, and perhaps leave the show with a heightened awareness about one or another of the issues that I sing about in songs like Refugee and The Polar Bear Song.

VII. An artist it’d be a dream to collaborate with?

Prince.

VIII. Three words that describe the personality of your band.

Black eye-liner.

IX. One track that’s on loop in your headphones.

Really Love, from D’Angelo’s new album, Black Messiah.

X. What are your future plans for Ranjit and the Ambassadors?

Ranjit and the Ambassadors is my full band project. My next plans are to recruit and assemble a band of Ambassadors from the local talent pool and tour with them all around India. I’m preparing to release our new album, “Pianofortissimo!” in the Indian market, followed by touring, touring, touring. I’ve also got some music videos in editing which were shot recently in Goa. I’m so excited to get those on TV in India.

10 Rising Independent Record Labels of South Asia To Watch Out For

From veteran music labels to more recent, DIY crop ups, it’s always raining releases when you know just the collectives to watch out for. Krunk’s sifted through the offerings and rounded up the 10 record labels in recent times that have been making waves with sounds from genres ranging from indie electronic to punk/rock.Here’s a look at them:

I. Qilla Records

Set up by Madhav Shorey (aka Kohra) and Gaurav Malekar (of BLOT) in 2011, New Delhi-based Qilla Records has been paving the way for underground dance music with a commitment since its inception. With ‘over 30 releases from around 50 producers from across over the world’ the roster is diverse with a penchant for quality minimal techno and house, including Lucas Monge, SHFT, Jayant | Jitter, Folic State and Midnight Traffic.Madhav explains, ‘The master plan of the label is to showcase (very) promising Indian talent along with some of the mostcutting edge music globally,and definitely label showcases in India and internationally.

”[Check out the label’s Soundcloud and Facebook.]

II. Lowlit Records

Run by Vishnu PS (aka Soulspace) and Nikhil Kaul (aka Frame/Frame) Lowlit Records is one of the most promising gifts of 2015. Describing it as ‘an artist collective, record label, and a multi-platform cultural curator’ Vishnu shares, “Lowlit is all about uncompromising, forward-thinking, genre-less music.”Their first release ‘Flutter’ recently made it to our Krunk picks of last year and we’re going to be keeping our ears to the ground for more releases on this one.[Follow them on Facebook & Soundcloud.]

III. ennui.BOMB

Ennui.bomb has been an instrumental part of the burgeoning independent scene in India, set up in 2004 by Rishu Singh. The DIY label is behind the 9-edition strong crowdfunded venture ‘Control ALT Delete’ that has cultivated audiences for their punk/rock sound across the country. They also come out with their ‘Stupiditties’ compilations ever year, featuring the freshest talent from across the country. Check out the label’s entire roster of artists here.“I started ennui.BOMB in 2004 for a simple selfish reason: to listen to music I like.

All around me was gigs and CDs full of sounds that did not appeal to me and I wanted to change that. If labels and promoters were not going to give me what I wanted to hear, I decided to do it myself. Eleven years later I am happy that ennui.BOMB is known for a niche kind of sound in the Indian indie scene,” says Rishu. [Check out their website & Facebook.]

IV. Consolidate

Bangalore-based electronic producer _RHL (also one half of Sulk Station) has not only succeeded in creating a platform for artists in the city, their latest release ‘Peach Tea Since July’ officially launched their label in a feat of collaboration including Disco Puppets, Skippy and Machli. (Check it on Bandcamp here.).Consolidate also recently made waves at the Magnetic Fields Festivals with its collaboration with Pakistan-based Forever South at a secret party presented by THUMP and Border Movement. [Here are Consolidate’s Tumblr & Facebook.]

V. Maktub Music Records

Techno veteran Arjun Vagale’s sound has been described as “intense, driven and atmospheric” and his experimental inclinations have seen him go on to tour all over the world. His global record label has a similar penchant for ‘high-quality dancefloor tunes’.

“In addition to releasing their own productions, the cosmopolitan duo aim to give a voice to fresh new talent from around the world. The innovative label focuses on underground sounds rather than being defined by any one genre.”With a roster comprising of Alex Dolby, Fiord, Jay Haze, Kosmas Epsilon, Pawas, Dave Ellesmere, Ray Kajioka, Dale Anderson, MOS, Peter Horrevorts, George Delkos, Fog, Dheeraj Sareen, Danny Beggs, Arjun Vagale has also co-founded UnMute Agency, which has been tirelessly pushing India’s underground talent.
[Follow Maktub on Facebook.]

VI. High Chai Recordings

Pushing ‘left-field Asian-tinged electronica’ since 2001 via Ethnotechno.com to ‘take the sounds of the diaspora back to its source: South Asia’, dimmSummer is also the co-founder of the New York-based High Chai Recordings. Cultivating audiences for a solid 15 years now, we’ve featured two of High Chai’s releases before as one of our 2015 Krunk picks because this label’s contribution to the electronic scene in India has been as steady as their allegiance to finding the freshest of dub, dubstep drum and bass sounds from the region.

“I feel that artists and audiences in India are more open to a larger array of musical experiences than other places, simply due to their size and geography,” he tells Homegrown. “For the most part, India is a tropical country, so it’s warm year-round and that lends to a party atmosphere better than the cold concrete jungles of NYC,for example. India is starting to mimic the West Coast of the US because of this shared climate. So this kind of openness to go out and explore sounds, coupled with the sheer size of demographics promotes growth, variation and experimentation more than usual.” Featuring artists like Pippin, Sandunes, Bastik Legion and most recently, When Pandas Attack, follow High Chai on Facebook right here to keep up.

VII. Dualism Records

Indie electronic music in the subcontinent carves its own niche with Dualism Records, managed by Sahej Bakshi (aka Dualist Inquiry) and Tej Brar. “My objective with this is to help Indian fans and music lovers discover their next favourite artist, and to also help these incredibly talented artists (some of who are less than a year into gigging) reach out to a larger audience more quickly,” Sahej explained in an NH7 interview.

While the latest release off the label is Dualist Inquiry’s ‘Natural Disasters’ EP, the most memorable release by these guys has no doubt been the collaborative tapestry ‘Subterra’ featuring artists including Frame/Frame, Nanok, Big City Harmonics and Su Real. [Follow Dualism Records on Soundcloud.]

VIII. Kadak Apple Records

“All good music and musicians have one thing in common. They all sound Kadak.”

Describing themselves as a ‘not-for-profit and ambitious’ record label, Kadak Apple was started by singer-songwriter Tejas Menon and Krish Makhija. Not only has the label featured some very interesting singer – songwriters in their acoustic ‘Kadak Sessions’ on Youtube, its debut release was Tejas’ own 5-track pop-rock EP ‘Small Victories’.

With artists like Warren Mendonsa, Prateek Kuhad and Meera Shenoy performing in their sessions, we’re keen on hearing more sounds from this promising Bombay-based label soon. [Follow them on Facebook, Soundcloud & Youtube.]

IX.Forever South

Brainchild of Haamid Rahim (aka Dynoman) and Bilal Nasir Khan (aka Rudoh) Forever South is all about backing the live electronic music in Karachi. Some of the label’s releases include Dynoman’s ‘Naubahar’, as well as singles from Rudoh, Friedi and Alien Panda Jury.

“The electronic and music scene in Pakistan is amazing,” Forever South told Wild City. “We have a lot of beat makers up here in Karachi and hopefully some other all around the country as well. Our beat makers here keep creating beats and fresh sounds that amaze us. But aside from beat makers we have amazing sounds coming out of Pakistan! There are bands like Basheer and the Pied Pipers, Mole, and Orange – noise constantly pushing the boundaries with sound design and effects.“There are other artists in the genre of ambient and post rock like Asfandyar Khan and 6LA8 who too are making amazing sounds and modelling effects so brilliantly! So we have a whole bunch of awesomeness coming out of the scene!”[Follow FXS on Facebook & Soundcloud.]

X.Pagal Haina Records

Representing New Delhi-based moody waltz act Run It’s The Kid, Shantanu Pandit, Rounak Maitie and Prateek Kuhad, there’s been a slew of gigs by the roster lately leaving a rapidly growing audience in their wake. Prateek Kuhad’s ‘In Tokens & Charms’ was picked by Apple Music as the ‘Best Indian Indie Album of #2015’, and Run It’s the Kid’s first single is bound to whet your appetite for the February release to come.

“Independent labels in India barely make any money from traditional sources. And to survive, you can’t solely be a label. At Pagal Haina, we provide a 360-degree solution to our artistes – from managing them and booking shows to helping them release their music and working on their branding,” he says.

Monthly Archives: February 2020