1) Tavishi – Sitting in a circle looking for corners (Edit)
released January 4, 2019
Scientist, musician and visual artist Tavishi (Sarmistha Talukdar) explores her in-between status as a foreigner in a country which is hostile to immigrants, a queer woman from a patriarchal Bengali tradition, and an artist-scientist who finds the cold abstractions of academia removed from social reality.
„Sitting In A Circle Looking For Corners“ layers bells, intimate breaths and pitched cries to show how “the performativeness of expressing gender in a socially acceptable way can be exhausting,” Tavishi says. “ As if we have to fit something in a square box when the entity is actually circular.”
2) tidal.wav – deluge
released March 8, 2022
Saranya Murthi is a writer and audiovisual artist from Cochin, Kerala, and currently working in of Bengaluru. What began as a sound experiment as part of the video-making process is slowly evolving into a musical project and has now been compiled into Waveform. https://www.saranyamurthi.com/
3) Sir Ravana – क्रीं (KREEM) (Edit)
released June 1, 2023
Sir Ravana (New Delhi, India), named after the antagonist of Valmiki’s epic poem Ramayana, follows in these classics’ footsteps to re-imagine their music.
4) Insurrections Ensemble – Lunatics on the Border
A Musical Dialogue Between Indian & South African Artists
5) Sandesh Nagaraj – Charred
released September 7, 2023
Sandesh Nagaraj is a composer/guitarist who was born and raised in India. Sandesh is currently living in Seattle where he composes for various projects.
6) Terza Rimah – On The Ground I Stand Everything Looks Historically Uneven
released November 1, 2019
Terza Rimah is an audiovisual artist based in India whose work primarily deals with the intersectionality of sound art and internet culture.
The project ‘TMI’ deals with the uneven structure of cultural memory-history informed by the immediate contexts of social identity and the structures of liberation and approximation, overlapping sensations of belonging and withdrawal that we experience virtually through the continuous autonomous stimuli of the internet resulting in the experiential anxiety formed out of the sheer voraciousness of our appetite for the virtual which is partially determined by the need for re-imagining the ‘lost’ – the unfound horizons of our shared existence submerged beneath all the literature and metadata of immediate contexts binding and limiting imagination within the parasitic cultural framework of originality / authenticity reducing everything down to its capability to generate surplus (cultural) value which is used to further the stagnation of the dogmatic.
7) Human Harmonics – ২০১৯০৮১২ ft. TITO+ (Songtitel per automatischer Übersetzung: „20190812“)
released October 11, 2023
Kolkata based sound design outfit Human Harmonics used almost no instrumentation on this recording – comprising solely of drums and manipulated 808s ,processed, distorted or phased out of existence. With no use of synths in traditional terms used in the making, Opei paints an abstract and discomforting, yet hauntingly familiar image.
8) The Blue Raja – নীল পাহাড়ের দাবানল (Songtitel: „Nīla pāhāṛēra dābānala“, per automatischer Übersetzung Bengalisch/Deutsch „Blaues Bergfeuer“)
released June 30, 2023
9) Nilotpal Das & Bios Contrast – Harmonica D1 A1 D2 (Remodeled) (Excerpt)
released August 1, 2023
Nilotpal Das, aka BIOS CONTRAST, is a musician living in Kolkata, India.
‚Harmonium I‘ initially started as a DIY project to experiment if I could play my Harmonium for 12 Hours and also a way to escape from my own norms of working that I had set for ‚Bios Contrast‘. The project soon turned into a developmental hell when I decided to turn it into a 24-hour project so that it includes both 12 Hours of Remodeled and the Raw Recordings version of the record.
When I started questioning the entire nature of this project I discovered how sound and music can be weaponized and used as a tool for torture so I decided that this record would be the first and last of its kind there will be no Harmonium II nor a physical copy.
It is recommended that you listen to no more than two tracks a day.
‚Harmonium I‘ was recorded at my storeroom studio in two days by compiling eleven 60-minute performances, a 49-minute performance and an 11-minute performance of Harmonium (opened springs) all recorded using two Omnidirectional Microphones and pumped by switching between two hands at random intervals.
The Raw Recordings tracks uses little to no EQ whereas The Remodeled tracks uses Heavy Processing and Multilayered EQ.
The last two tracks ‚Studio Suicide, 2020‘ & ‚Studio Suicide, 2021‘ were played with two hands on Harmonium using a modified 8000 RPM CPU fan with high resistance wires connected at the back of the Bellow using screws and were recorded during the final export stage of the album. It is a way of translating how music for me has died since 2021 during the pandemic. It is also a reference to Tim Hecker’s „Studio Suicide, 1980“.
Haved Jabib – While We Play
(Compilation Social Desolation)
Poulomi Desai – The Vichitra, Queer conjurations from us
(Compi Disruptive Frequencies)
Amirtha Kidambi & Lea Bertucci – Smoldering, Seething
(Album Phase Eclipse)
Dhangsha – Germinate
(Compi Disruptive Frequencies)