Credit: Magnetic Fields Festival image taken by RC Photography
Image credit: Andrew Charles Edman
There’s a conceptual design to Sasha Perera’s sound. Here, the metaphysical form transforms into an architectural sonic unit: one that sustains emerging tonal patterns and unorthodox harmonies. You can often anticipate the non-sequitur in her sound collages. There are no linear narratives in her sonic movements. “Music is a reflection of our reality. It reflects what’s happening around us. It’s a conversation,” says the London-born, Berlin-based musician, producer and songwriter who goes by the moniker Perera Elsewhere.
Image: Still of BMR film by Petra Hermanova
A cracked version of Ableton changed the game for Gowri Jayakumar. She was studying guitar and bass at the Swarnabhoomi Academy of Music in Chennai, India, back in 2012. She got the DAW so she could record herself — Jayakumar has been for over a decade, and remains, a popular singer-songwriter, often armed with an acoustic guitar and her voice. But then she found herself experimenting with the platform: “I was just making sounds,” she says. “Everything was muddy; it was shit.” A new path, however, had opened up.
Final Fieldlines performance on day 3 of Magnetic Fields Festival 2019 / Image credit – Avirat Sundra
In his exploration of Panchatattva (five elements) — fire, earth, sky, wind and water, and its concepts within a socio-cultural and folkloric context, Komal Kothari wondered how the interpretation of these elements (albeit not from a philosophical or metaphysical perspective) varied amongst folk musicians of Rajasthan. “Throughout my research, I focused on what people had to say about the elements and not what has been written about them in Sanskrit treatises,” he said in conversation to Rustom Barucha as they discussed the significance of water and drought in fables and folklore in ‘Rajasthan: An Oral History’. “On getting to know some singers of devotional music from the Bavari Tribe, I asked one of the musicians: ‘What is akash (the sky)? How do you explain it? And, he said: ‘Have you ever seen a ghara (earthen pot)? Move your hand inside it but don’t touch its periphery. That is akash: A space with no boundaries.”
Siaminium – Image Courtesy of Rishova Hayat
The last few years in Bangladesh have seen rapid economic success; the cost of which seems to drown under the voices of the people and the many problems on the ground; however artists continue to take a stance and speak through the language of music.
Image: Karkhana Collective meet at Studio 6/6 Image Credit: Siam
I ended the first part of this article with a few essential questions that shift our attention from training to the practice of audio engineers and music producers, neither of which can be understood in isolation of each other. To answer them, I have to look at the spaces that audio engineers occupy and need, and the markets that they practise in. I also focus on the need for structured programs and initiatives that understand local challenges and gaps not just in the way we produce music, but also in the way our audiences are evolving their tastes and demands as we consume music globally and digitally.
Image Credit – Cloat Gerold
“I think music creates safe spaces outside the ‘norm’ where people can be themselves and think freely. For music values individuality more than conformism. Art and music bring people from all walks of life together. In my opinion, art is leading everything farther than science. Science works on tomorrow while art shapes the day after thereby influencing scientists, politicians, designers, engineers and everyone building the world. However, art must be more open to anyone who needs to access it,” says Manuel Jesus, Berlin-based producer, composer, multi-instrumentalist, singer and songwriter who has just begun his residency in India as part of the Border Movement Residency program — a joint project conceptualized by the Goethe-Institut, Musicboard Berlin, Wild City and Ableton.
Image credit: Ali Bharmal
Is Shoumik Biswas growing old? He’s definitely growing up, if his new Disco Puppet album, ‘Aranyer Dinratri’, is anything to go by. Disco Puppet’s past works have been defined by unpredictability, perhaps even a kind of designed recklessness. In his own words, his songs have always been “disconnected” from each other, serving largely as a “collection of things put together”. Here, Biswas ditches his yo-yo tendencies in service of a unified sonic narrative, a kind of sameness tying all the songs off ‘Aranyer Dinratri’ together. …
Image credit: Nafis, no_name_face
“Here, in this land of equality, black and white are not buried in separate graveyards; nor do black and white pray in separate rooms and churches. There are no conflicting religions, no cacophony of conflicting scriptures. The priest and the padre, the mullah and the monk, drink water from the same glass here,” wrote Kazi Nazrul Islam — a Bengali poet, writer, musician and anti-colonial revolutionary in his poem ‘Samya’ (equality), “I sing the song of equality, of a country where fresh joy blossoms in every heart, and new life springs in every face. Friend, there is no king or subject here. No differences of rich and poor.”
Left – Pulpy Shilpy (image credit -Ron Bezbaruah) / right – no_name_face (image credit – Nafis Ahmed)
The Border Movement Residency project has worked with over 15 producers and musicians since its launch in 2015 – creating unique experiences tailored around the individual needs of the participating artists. The aim of the program has always been to create meaningful and relevant creative exchanges between musicians in South Asia and Germany.