PHOBIA is a new collective movie that features 15 international directors developing an unusual theme: phobias.
This film delves into the horrors of phobias in each segment about one phobia and the bloody twist of it.
Main titles themes by Antriksh Bali
A handicapped college student tries to win the heart of a beautiful girl who unbeknownst to him is deaf.
Original Score by Antriksh Bali
'Figure A' (2016), is a short animated artist film predominantly in black and white, based on footage captured during an artist residency in Cappadocia, Turkey. The artist director Karin Gunnarsson poetically experiments with modularity, symmetry and rythm through an imaginative network of references to mineralogy, alchemy, Pythagoras and the fugues of JS Bach and the Turkish maqam.
An interplanetary explorer crashlands on a barren planet where it confidently familiarises itself with the surroundings. Through special categorizing and analytical powers, the visitor learns to appropriate the environment and the cultural remnants and allow them to transform and transport it towards new horizons.
Sound Design / Sound FX by Antriksh Bali
Waiting for Paint to Dry
After Levi Ward's attempt to painting a fresh coat of gray paint over the walls of a seemingly empty nursery, tension ensues on the behalf of his wife, Camilla Ward.
Through great push back of what was to be a joint task, the couple must face the underlying cause that led to the dissolve of their marriage.
Original Score by Antriksh Bali
A homage to Eurohorror classics, three friends succumb to fear and frenzy in the woods as they fall under the spell of Bacchus.
Original Score by Antriksh Bali
Chintamani tells the tale of a demon who steals the souls of young children in order to survive, using nursery rhymes to trick children into the darkness.
Our story follows young Amoria, an innocent young girl in a destructive environment, who places her trust in the one person who promises her happiness. What will happen when her trust is betrayed?
Original Score by Antriksh Bali
Created 14 tracks of original music for the game Einlanzer. Taking influence from game franchises like Final Fantasy and Chrono Trigger, the game delivers a massive story and breath-taking epic music experience that takes you on a fascinating journey.
Einlanzer is a full-scale, epic fantasy role-playing game. The story of Einlanzer was written by a professional fantasy novelist, and has 28 original music tracks. Einlanzer has a highly strategic battle system, massive scope, and difficult moral decisions that permanently affect the storyline.
Original Game Score by Antriksh Bali
Created the music for a video game being developed by a collective of game development students in Finland.
Music took influences from genres like Chiptune, ambient and Rock.
Original Music by Antriksh Bali
WAV Audio Player
In 2016, I was approached by a game developer to collaborate with them on an exciting video game that utilised C++ to create an interactive experience that would be cross-platform and I was asked to develop a stable audio framework for this experience.
This led me to eventually create an basic audio player that would be able play WAV files as well as record, store and process them with the help of various audio effects like pitch-shifting, equalization and a number of filters.
Varitis for u-he Zebra2 - Demo
Starting from late 2014, I have been working on several art projects that are as steeped in software development just as much as they are related to the creation of visual / audio art.
The result of these projects are many creations that are a hybrid of interaction design and audio/video synthesis. Most of these creations are standalone applications that focused on solving multimedia-based creative problems.
Hopefully, they can be successfully integrated into a larger ecosystem in the future. There are links to the repositories of two of these applications below.
Undertale as a video game has music that is incredibly diverse in terms of music styles it offers and the music has had a seminal impact on me as a music composer. The first time I heard Mysterious Place, I felt an element of otherworldliness and isolation in the music, which reminded me of the reasons I started playing video games in the first place. It's not surprising that these were the very same reasons I started playing music.
Growing up, I listened to a lot of hip-hop and heavy metal to cope with different issues when I was a teenager. In a lot of ways, it shaped the way I create my music and produce it. I saw in this track the unique opportunity to go back to where my roots lied as an artist and a musician and to pay homage to those genres. Thanks to Materia for giving me the opportunity to share this hip-hop influenced interpretation of the original track with you. I hope that it brings about the rebellious teen in you just as much as it makes you bounce!
Reimaginations from A Different Universe
Reimaginations from A Different Universe contains a collection of remixes of songs by several bands and artists from India.
These are more of re-workings rather than actual remixes. Explore the vibrance and soak it all in.
We Don't Need War, We Need More Satellites
This is a remix of Daze Blue that analyses the context of the song from a different perspective and explores the fact that there's a lot of conflict happening currently throughout the world.
An important aesthetic principle of the software I work on, as well as develop is the idea that the simpler the solution to a problem, the easier it is to maintain as time passes by and older codebases become redundant in exchange for newer, more efficient ways of maintaining code.
It is this particular principle, that led me to the idea of simple text-manipulation using Python. Even something as basic as this has applications in a wide variety of fields that range from image-glitching algorithms to cryptography and narrative building for immersive experiences.
In the links below, I have created several short programs in Python, the biggest of which is a program that converts text of any size into binary format, and vice-versa if need be.
Trouble Comes Home
'Trouble Comes Home' is an orchestral track that that I wrote & composed for String Quartet & Harp. The music was inspired from a short story by Uruguayan writer Juan Carlos Onetti called 'The Piggy Bank'. Juan draws heavily from Faulkner and existentialism.
Synths / Live
During the past few years, I have written, composed, co-produced and collaborated on music with artists from a wide variety of genres ranging from full-blown progressive rock and metal acts to solo artists working on live DJ sets, independent electronic artists and pop singer-songwriters.
My live performances take a lot of influence from composers like Bernard Herrmann, Mica Levi and Trent Reznor. My live sets usually involve some form of real-time modulation/sound design. Below is a summary of bands/artists I have previously worked with -
Production & Mixing for Nikita Sailesh (2014-present)
Sound Design for Thrash/Progressive Metal band Heisenberg (2014)
Synths / Sound Design for Progressive Rock act Ebonix (2012-2014)
Hounds of War
Reimagined & reworked version of a field recording taken at a sacred war memorial in Asiago, Italy
What pulled me to this recording was the fact that while most other spaces / sounds seemed to be based more towards closed spaces (however big they might have been), I imagined this place to be more ‘open’. That was one factor. Another factor was the audio had these bass under-tones to them and it just painted a bleak picture, something that I thought could really work with from the perspective of how I look at sounds. The audio in particular was more mechanical / industrial in nature and I feel more comfortable working with sounds of that nature.
What struck me as prominent throughout the recording was this undertone of a sound throughout that sounded like a nearby airplane. I started trying to model some of the sounds I could hear in the recording using software analog synths. While initially, the idea was to model everything with analog synths, due to certain limitations I had to get a bit creative. I approached the entire reimagining in the form of layers. Having started with a realistic bass sound that was somehow similar to the plane in the distance,
I decided to imagine what things would sound like from the perspective of the distant plane. Furthermore, on doing a bit more research about where this was recorded, I realised that it was something like a war memorial. I felt that this setting was perfect to demonstrate with sounds, the horrors and destruction that often accompanies war. As I added more layers, I added in more elements that were new and more dissonant and eventually ended up with a track that is more “fantastical” in nature, rather than realistic. To sum up, my idea was to depict what a fighter plane going into war hears (if not realistically or externally, you could also assume some of those sounds could be things soldiers might hear internally or in the world around them during a war).
IDM track released on Volterock Records for Distant Dozings II compilation
Score for a comedy short film where lens flares take over the world.
The music in this film skips between a lot of different genres. There is dubstep, 80s guitar music, ambient and orchestral just to name a few.
This project was an interesting one to work on, primarily due to drastically different music influences needed on every single scene. It gave room to experiment with, and understand what kind of music primarily could, or could not work under the guise of comedy.
A lot of the music in this film is inherently supposed to be playful, and constantly shifting. Something, which brought with it some challenges, but at the same time gave an interesting opportunity to work on newer more contemporary styles of music.
'Digital Experience' is a suite of tracks I worked on during the period of 2012-13 while I was writing music for a website. I was given a number of visual cues to try and understand the idea behind it. I tried to follow a more traditional 'scoring' approach.
'Daze Blue' is an expression of inner turmoil and conflict that one faces when they're trying to get out of a 'daze' or sometimes a loss of the need to create art, a creative roadblock.
Written, Recorded and Performed by Antriksh Bali and Nikita Sailesh. Produced, Mixed and Mastered by Antriksh Bali
Released August 1, 2014
Over the period of 6-8 months in 2013-14, I worked on music and sound design for another in-development game that was supposed to be interactive, knowledge-based and encouraged the player to to think more progressively and out-of the-box.
During the process of coming up with an interesting sound and a musical structure that would stimulate the user, I decided to write a score that consisted of five one-minute loops that moved from organic in nature to more electronic.
The score went through several drastic revisions before the game eventually got scrapped. The idea was instead turned into a bare-bone structured social network that would eventually grow to form what is known as Smartican now.
Remix of field recordings captured in Turin, Italy as part of 'A Great Symphony' project (2017)
Bad Blood for Xfer Serum - Demo
Sleaze (Circus Freako Remix)
This track was a long-standing work in progress which I was working on since 2014. I eventually managed to finish it in October 2015.
This remix was heavily influenced by the sound of Marilyn Manson and Trent Reznor. The original song is by a band based in London called The Courtesans.
Makers Marks: Glass in Translation
The project premise was to extract sounds of glass-making to isolate them for examination and manipulation, and then to put these sounds back into glass forms.
The recording engineer captured sounds of the glass-making process by glass artists. He cleaned and isolated the sounds, formatting them digitally. These were offered as a library for the composer/sound designer team to develop.
They transformed these source sounds into working virtual instruments for use in musical compositions, soundscapes, and sound effects. The composers then chose some of the new virtual instrument sounds and described them to the glass designers.
Based on their written descriptions and her own experience listening to the new sounds, the glass designer created sketches for new glass pieces and later worked with a team of glass artists to realize the sketches in glass.
Team members on "Glass in Translation" include Lisa Naas, David Faleris, Ingrid Phillips, Meg McGregor, Alessandro Mastroianni, Antriksh Bali, and Marcin Pietruszewski
I worked on music and sound design for a mobile game Candy Catch that got released on Android & iOS. I composed a total of three tracks consisting of two tracks for the levels and one for the start screen of the game.
I also designed, composed and created all of the sound effects in the game. I kept a proper document detailing the work and progress on all the sounds and coordinated with the game-development team so that all the sound could be implemented and efficiently used within the game.
Mac Studio Nail Lacquer Commercial
A 15-second music track was commissioned for a nail lacquer commercial by MAC. The music requirements / references were indie rock, EDM and high-energy music.
Discovery Series: India
Preset Design / QA / Documentation for sample library Discovery Series: India for Native Instruments Kontakt
Inside The Palau
'Inside the Palau' is a suspense/horror-themed music composition composed, written, conducted and recorded by Antriksh Bali at Abbey Road Studios, London in June 2015 as part of his studies at Berklee College of Music, Valencia.
The music was inspired by a short story outline written I wrote myself. You can find the story here
Artwork by Vanessa Jertschewske
Mysterium for Native Instruments Kontakt - Demo
Little Black Spider
Little Black Spider as it seems to clearly convey is a game about chasing around a bug in your room and eventually stomping it.
Originally created for a Ludum Dare jam (LD 37), the two tracks that I created for this game followed a pretty simple and minimal choice of instruments, much like the game itself.
I strongly believe that music usually closely follows game design, a form-follows-function sort of mantra is what I've always believed in. This is precisely the reason I chose a handful of instruments for Chasing Spiders I & II.
I wrote two different arrangements of the same piece of music with different instruments. I later on interchanged some of the instruments from both the arrangements, which gave the music it's somewhat quirky nature at the same time maintaining musical coherency to the compositions.
The Expat's Diaries
Expat Diaries is music exclusively created for a radio show broadcast on World Radio Paris. The radio show talks about the experience of a 'stranger in a strange land' and the experience of somebody living in a foreign country.
The sound of the music borrows from underground genres like Chiptune and Ambient just as much as it takes from classical genres like Orchestral and World Music. What results is an interesting combination of music with a global perspective and a lot of sonic experimentation.
Custom music for a promo for a fashion show / clothing line
Combined atmospheric / ambient music with a progressively industrial sound
Currently under development.
Music composed for the game NAVIS as part of Ludum Dare 36.
Music produced, written and performed by Antriksh Bali
Original Music for short film 'Wolf Trap'
Demo for Z3bramatic by Origins of Audio
Demo for a new preset pack by Origins of Audio for u-he Zebra2 called Z3bramatic which was primarily aimed at the horror and sci-fi genres.
The track Climbing Down was specifically created using various different presets and patches in this pack. The general vibe of the track ended up becoming hallucinatory and dark.
Life in A Kilt Podcast
Theme music for an internet podcast
Quad Vector vs the Quantum Cats
'Quad Vector vs The Quantum Cats' are a set of three tracks that I composed for a game created during Ludum Dare 35 with the same name. The theme of this particular game jam was Shapeshift. I decided to use the theme as a means of inspiration and tried dabbling with new genres of music, essentially 'shape-shifting' my composition techniques to fit new styles of music and trying new perspectives.
The setting of the game, which was an inside-perspective of a car driving towards the city, worked as a visual cue that I used to try and imagine what people would normally like to listen driving in a car. The general idea was to make the music in such a way that the music stays interesting even if it is constantly looped.
The style of the music throughout the three tracks borrows influences from 80s synth pop, Downtempo, vaporwave and Dubstep.
Written, Produced, Recorded and Performed by Antriksh Bali