remixes

Pre-12AM Set

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Ambient set, 60 minutes.

Come along for the ride, and experience new sounds

Start your March, stranger than before.

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28th Feb, Ham & Eggs, 11 pm - Experimental / Ambient

Event Link

Remixes, Aliases & The Future

The past couple of months have been a combination of exciting, busy punctuated with bursts of idleness and happy news. What's great is I've somehow kept myself busy through all of this. So here's a few tidbits of news and general going-ons:

 

Tinker Quarry

I have been working on the soundtrack for the game Tinker Quarry over the past few months, and I'm glad to say that I'm at a place where the soundtrack for the game is somewhat at the end of completion, hopefully more news will follow about it in the coming months, about the game and the music.

In the meanwhile, you can find the game on Steam , it's currently in early access

 

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As the aftermath of working on some pretty cool things on the Tinker Quarry Soundtrack, I've found myself dabbling with more genres like Industrial, Chiptune and Synthwave . Going to be working on a few remixes of music by other artists, as well as some of my own original stuff under a new alias I've invented for myself called Meta HTML

To start off, I remixed the absolute banger of a tune by Karan Kanchan called 'Kendo' and you can find it below

 

 
 
 

What's Next?

In the works: Hopefully, another video game soundtrack release in 2019, scores for a couple of films, an animated short and maybe even more. Drama, comedy and mysterious magicians punctuated with the odd dissonant, screaming violin. 

Stay tuned, folks!

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Breaking the Wall

The past few weeks have been unexpectedly more busy than I planned. I took some time to sit and mull over what I wanted to do as an artist and where I wanted to go with my work as a music composer / producer and I found myself tugged in several different directions, albeit very unrelated ones. This gave me the chance to explore the idea of breaking a wall. 

What do I mean by breaking a wall? I thought about the idea creatively and analytically. And the more I thought about it, the more it seemed to make sense. I feel that we're living in an increasingly isolated society where more and more people would prefer to do things on their phone and produce their music by their own in their own little home studios and setups. I realise to a large extent that the majority of my work consists of music I create and put out on the web single-handedly hoping for it to reach the right people and an audience that would appreciate it. As we move towards a more heavily 'curated' society, it becomes more and more difficult for me to maintain a coherent identity as an artist. For me, art is super-personal and every time I create some music, it stems out of a personal experience that had an impact on me. To expect somebody to have similar experiences in their life, seems slightly outrageous. I would rather write a 70s synth horror score one day, and a hip-hop banger with metal guitars the next. I don't care about stereotypes or what an 'artist image' is supposed to be. On one level, that for me is breaking a wall.

On another level, I really feel the need now more than ever to collaborate with new artists with unheard-of ideas and un-talked-about stories, because at the end of the day we're all storytellers. We love telling stories and we love hearing them. It gives us something real to relate with and comfort. Comfort, that in the wide universe spanning over a billion galaxies and a gazillion miles, we're not alone. Have you ever tried speaking with someone that never understood your language or somebody that you would never ever meet, if it were not for the internet? It's mind-boggling - the possibilities we have in this time and age and what we make of it.

It is this strange, but revelatory idea that struck my head about a few weeks ago when I discovered an interesting music producer perhaps, much like myself that liked a couple of my tracks on Soundcloud. Doing the customary honours (and being curious) I went over to their Soundcloud to check out the music. This eventually led me to the Bandcamp page of a producer that goes by the name Nea. This album in particular is something that I really digged for its sound as well as visual aesthetic.

 
 

We eventually collaborated on a track which turned out to be an interesting combination of psychedelic and trip-hop music. It fascinates me that sometimes, being where you are and having the surroundings around you that you have growing up, greatly influences how you think about music, rhythm and melody. And then suddenly, you throw it at somebody on the other side of the globe and you're never sure what turns up. The uncertainty and the thrill of it and how unpredictable results can be, still makes me think about every single notion we have about everything. Questioning everything is a gift. And as a musician, I only hope that I can do that every single day. It's literally what makes me excited to open my eyes to a new morning.

 
 

Moving on, I worked on several projects these days. One of them was actually a score for a short horror / experimental film that was inspired by the visual / audio aesthetic of the 70s and 80s. Seeing that Stranger Things is such a big deal everywhere just a few days after I started working on this film, I wouldn't go as far as saying that the style of music in Stranger Things is something I took inspiration from. But it fascinates me how sometimes one film / good tv show comes out following a certain music style and suddenly everyone wants to hop on to the bandwagon. It's sad seeing trends being given more leverage than actual hardcore creativity sometimes.

I would perhaps place the music I made for this particular short film as more inspired by the work of Wendy Carlos than, say music that is so to speak textbook 80s. Being a dissonant composer and somehow always having that Bernard Herrmann DNA running through the music I make for horror, I feel like it made for an interesting combination of sounds. John Carpenter is also another composer I deeply admire and look up to, when horror film music is talked about.

Apart from all that, another topic that found my curiosity was the use of non-diegetic sounds as part of a music score for a film. The idea first hit me when I was on Twitter and found somebody asking about examples where the wall between music and sound effects was removed. There were some pretty interesting answers to the question on Twitter (I added the tweet thread below). While the usage of a combination of sound design and music in recent video games might have been the first and most obvious answer, I actually found myself trying to find out about films in particular that did this. There definitely seem to be a lot more video games than films that do this, though.

 
 
 
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The first film that I could find about that tried blurring the gap between sound design and music was a film in 1956 called Forbidden Planet (poster above) and if you go and watch the film, the sounds you hear in the film are fascinating to say the least. What's piqued my interest in Forbidden Planet is that it's electronic music score's innovation stemmed out of the need to avoid film industry music guild fees, which eventually led composer Louis Barron to construct his own electronic circuits and a ring modulator so that he could create the characteristic blips, blops and beeps that you hear all through the film. What's sad is that they never got considered for an Academy Award for their score simply because they did not belong to the Musicians Union. People didn't get whether to put their work in the "Sound Effects" category or "Music" category. If that's not hardcore sound fuckery for you, I don't know what is, honestly.

There are also an interesting paper I found that talks in depth about Diegetic / Non-diegetic music scores and how they relate with film and narrative. There are some very interesting examples there. I also think that there's a lot of things in the concept of usage of non-diegetic sounds or music as score in film that films can borrow from video games and I am surprised that more people don't try to connect these seemingly unconnected dots. This article in particular talks a lot about the subtext of non-diegetic narrative in video games - things like people finding out more about the story of the game from items they collect inside the game. In a sense it's like people are breaking the fourth wall with video-games by finding out more of the story from items. What if people could do something similar with music in films? I feel that to a large extent, a lot of inspiration could be taken from the Bioshock franchise where some of the licensed music seems to be so well thought-out that it's almost like it tells a story just with the licensed songs themselves. Almost all of them strangely enough, seem to have their context twisted and made to fit what the narrative of the game is. Last year, I wrote my master's thesis on the topic of narrative in Bioshock Infinite, and I had a section where I talked about the idea of licensed songs being used as narrative in games. If you are interested to read more in depth about that game in particular, and how it put this to use, you can check my thesis which I've uploaded here.

 
 

It is with this context that, when I started working on music for a short film, and I saw the first few scenes, I inherently realised that it seemed to somehow go well with music that a friend and a close collaborator Nikita Sailesh had recently been working on. Having reached out to her and secured her permission to use some of her work in a derivative sense, I eventually tried to shift the tone of music in a rather different direction that seemed more nightmarish, yet elusive. At first, I re-recorded the entire track through a cheaper decades-old analog tape recorder and heavily EQ'd it to give it a characteristic radio-like texture. The idea at first was to have it sound like it was coming from a nearby radio, which incidentally was not in the film. But one can always use imagination to conjure things up, and somehow in the context of the scene it seemed to make sense from the non-diegetic perspective.

Eventually, the music composer in me started taking control, and I decided to add many many new things to the slightly destructive radio-filtered track that was the new version of the music. What happened later, was that the original track by Nikita got severely pushed into the background and something you don't actually hear much of, at all in the final version. But it definitely adds something to the core feeling of the track. I added a lot of synths, percussion and some sudden extended crescendos of violins and voila, what came out seemed reminiscent of somebody who was sitting at a beach feeling great, but there was this slight undertone of things not being normal or 'right' - something that suddenly came into prominence with the percussion hits and the orchestral crescendos. A french dream about the Riviera, gone very very rogue. Nightmares abound!

 
 

Moving on, there have been plenty of failures and plenty of successes doing things. I worked on audio for an art studio promo, but it perhaps didn't go as I expected. It would perhaps end up on the Disquiet Junto, an interesting collective of audio artists and experimental music composers that come up with new compositions and works every other week on a new theme or topic. It makes for a very interesting creative process to work on tracks that have themes they think up. It's full of innovative, creative and interesting musicians. If you're a musician, I would definitely recommend looking them up and trying out some of their 'juntos' to try and see where it takes you creatively.

As for me, I shall continue to create more music, and try breaking more walls with music, art and games - just as much as I try to find news ideas, collaborators and possibilities. Also, I just finished a new experimental hip-hop joint. So more on that later. wink wink.

 
 

Create & Destroy

As with any great idea, Finishing it up is never really the end of it. After finishing my score for the game I was working on, I went and met up with the good people at Motion Punch Studios and they seemed to like the music. After finalising it and deciding upon the kinds of sounds they required for FX and in-game scenes, I went back home that day and sent them everything they needed. Things were finally done.

This was not the end, though. About one and a half month later, they got in touch with me again. Apparently, the entire game had been renovated and changed from the top-bottom completely. It was an absolutely new game. It also seemed to be much better-looking graphics-wise and interactive quotient seemed to be higher. It was time to destroy the old and come out with the new.

With a heavy heart and a sad face, I went back home and started working on the new score. I realised that life isn't always fair and things don't always turn out the way you expect them to. Nothing really seems to be coming to my mind, so I decided to write this little blog post down.

Ah, life you witty lil' bitch you.

Reimaginations: The Art

A few months ago, while I was still in the middle of recording my solo remix EP 'Reimaginations of a Different Universe', I realised the album needed some strong visuals and art to complement it. I tried getting in touch with a lot of different people who were into creating artwork and visuals for album covers. While some people were ridiculously amazing at what they did, They required much more in terms of money and time than I could have afforded, and since it was a small debut effort and not a full blown album, things were even more difficult to sort out.

I set out to look for somebody who could really create artwork the way I was imagining it in my head. One night while going through random Facebook profiles, I happened across Shrey Kathuria's profile. We had previously collaborated together when he wanted to get his vocal cover recorded, I realised it was a good time to ask for his help and aid.

 
 

Next day, I discussed some minor details with Shrey over Facebook and he seemed willing to try working on the artwork over the course of a few weeks. I gave him a few guidelines about the kind of artwork I wanted. It had to be colourful and there needed to be a giant eye smack in the centre. Even though initially, I thought a spider or an animal would have looked better, After talking and having long discussions stretching over a few days, I realised I needed something like a three-headed face.

Another interesting point to note about the artwork for Reimaginations was that the first idea I had regarding the artwork was drastically different than the one we eventually gravitated towards using. I thought a little futuristic theme could have been a little fitting as well, but that idea did not work out well in particular.

Below: Influences

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The futuristic idea came into my head from the fact that the entire album had mostly re-workings of earlier songs and giving it a futuristic avatar would be nice, primarily because I heard the 'Reanimation' album by Linkin Park when I was a kid and as much as you move away from your first influences as you grow up and change, I feel that there is always a small part of you that clings to things you liked when you were a kid regardless of how much it is frowned down upon or not taken seriously in the 'grown up' world.

There were plenty of directions and avenues the artwork could have eventually moved towards, but I'm glad it moved towards the direction it did, and for that I'm quite thankful for all the advice and help Shrey Kathuria provided me with. It's always nice when a fellow musician pitches in and helps you work out things you would otherwise have a very hard time figuring out.

Creative people are awesome. end of story.