Posts Tagged ‘bangalore

Ironic Reversal Interview

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Ironic Reversal are a metal band from Bangalore. I discovered them through a facebook post by my friend Abbas (Skrypt) and was impressed with what I heard. The band released their 2nd album ‘Dysgenic‘ in October. I spoke to the band about the album, the concept behind it and more.

Ironic Reversal

Madhur Murli (guitars), Kaushal LS (vocals), Rahul Kini (drums)

Ironic Reversal has been around for just over a year now. How did the project start?

Madhur: Ironic Reversal started off as a bedroom project when I was studying in Manipal. By December 2013, I had written most of the songs for Clonus and was looking to record and release it. Around the same time, I was introduced to Rahul Kini by our producer Narayanan. All of us were playing together as a part of an instrumental prog metal band called Analyzed Consequences. Narayanan—after watching a couple of Orchid’s shows—suggested that I approach their vocalist Kaushal to perform the vocals on Clonus. Kaushal was interested and we started working on the album immediately. Rahul had helped me out with the drum programming during Clonus and I was really happy with the result. So, when it came to the drums for Dysgenic, I was absolutely sure that I wanted him to do it. I asked him to officially come on board and he agreed.

What is Dysgenic about? Tell us a bit about it.

Kaushal: Dysgenic speaks of a bleak, dystopian future where genetic experimentation has spiraled completely out of control. GMO mega-corporations have seized power and have replaced the democratic governments of the world with a corporate republic. As a result, all privately-owned mass media is criminalized, protests of any kind are banned, propaganda is rampant, farmers live in perpetual debt slavery, all organic food is outlawed and radical environmentalists have resorted to terrorism.

And that’s just the premise. It’s a tale that spans the five songs of Dysgenic. You can check out the lyrics and the extended synopsis here


What was the songwriting process for the album? How long have you been working on it?

Madhur: The songwriting process began in January 2015, a few months after we released our debut album Clonus. It took me about three months to write all the five songs in Dysgenic. After finalizing the guitar parts, our drummer Rahul spent a month on the drum lines. Since we decided to program drums rather than go to a studio, we spent more time trying to humanize the drums as much as possible. Rahul literally mapped note-per-note of what he was playing on the drums to MIDI. Once the drum lines were written, I borrowed a friend’s bass and spent about a couple of weeks writing the bass parts.

After hearing how the whole thing was sounding, I felt that there was a certain flow amongst the songs. I thought of making the record a concept album which our vocalist/lyricist Kaushal seemed pretty interested in. Kaushal started making notes of possible ideas and storylines that would fit the music. It took some time to narrow down the final theme of Dysgenic—we wanted to get it right. Once we did that, the lyric-writing process began.

All in all, the entire songwriting process took about six months.

How was the recording process? How long did it take?

Madhur: Considering the fact that I had moved to Delhi when we decided to go ahead with the album, I had to make a schedule of how we were going to go about recording the album. The first step was to freeze the guitar parts, which I did and tracked each song as I finalized the parts. This took about two weeks after which I sent the guitar tracks to our producer Narayanan in Manipal.

Since we programmed the drums, we didn’t have to spend time recording them in the studio. Although, as I’d mentioned earlier, Rahul spent quite some time humanizing the drums as much as possible.

The next step was to record the bass, for which I went to a friend’s (who’s bass I’d borrowed) house to record. Recording the bass took only three days since all the parts were pretty much written.

On Narayanan’s advice, we headed to Manipal to record the vocals. We spent three days recording. During the free time, I sat with Narayanan to figure out guitar, bass and drum tones.

How does it compare to your previous album, Clonus?

Madhur: From the writing perspective, the biggest difference would be that the tracks in Dysgenic are linked to each other. I had written Clonus over nine months and all the songs are kind of disconnected. Dysgenic was written over three months and a certain amount of continuity was maintained. Clonus was our first album and I feel we were still looking for our style and sound but with Dysgenic, I think we finally have a distinct style and sound.

Kaushal: Lyrically as well, all the songs on Clonus have individual themes; some were inspired by a few ’70s sci-fi/dystopian films. But for Dysgenic, the lyrics were written as a whole with a specific concept and storyline in mind. It’s meant to be heard/read from start to finish

Do you plan on playing live anytime soon?

Madhur: I don’t think we will go live anytime soon, mainly due to the fact that I’m currently in the USA for a master’s degree.

Listen to ‘Dysgenic‘ below

Photo Credit: Photo 1 – Khalid Saquib,photo 2 & 3 – Neerav Nagumantri

Written by trendcrusher

December 2, 2015 at 2:49 pm

Introducing: Deadstar

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Who: Deadstar is the instrumental project of Nihal Anand.

Where: Bangalore, India

What:  Last month, Deadstar released his debut album “In Between Dreams“. “Well its quite varied for the different songs on the album. A lot of the mood is based on travel and places I was lucky enough to see during the time I was writing the album.” said Nihal about the album. “Other songs are based off of TV shows, other bands, people that I know well and people I’ve never met. So it’s basically anything that really pushed me to feel something over the last 4 months. I think most of the songs are quite happy on the surface, but they all make me a tiny bit sad, so I think that’s the perfect vibe for this album.”

How:  “I’ve been writing songs for the album since May this year so its been about 3 months of writing, I usually finish writing/recording a song in a day so its still fresh, so I guess its 10 days of those 3 months that I actively spent writing songs.” said Nihal about how he went about writing the album. “A lot of times I didn’t feel like I could come up with anything nice if I forced it so I just picked up the guitar when I felt like. I probably spent more time travelling and collecting ideas in those months. Since I play and record alone, the songwriting process is completely linked to the recording. I’ll start off recording the riffs I have in mind, then add in second guitar and whatever drums I have in mind and from there it just keeps going. I rarely I have complete songs written when I start recording, because I need to know how all the parts sound together.”

“So that way, the actual recording was about 10 days and then I sat and obsessively mixed it for a few weeks, adding in keys, electronic bits and field recordings.” said Nihal about the recording process. “I do everything at home on my own, I recently bought this really nice Focusrite sound card and since I have an amp simulator I can record at any time, but it’s usually in the wee hours of the morning.”

Listen to “In Between Dreams” below


Written by trendcrusher

September 28, 2015 at 10:00 am

Bevar Sea Interview

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Bevar Sea are doom metal band from Bangalore, India. I interviewed them 3 years ago when they release their self titled album. This weekend they release their second album ‘Invoke the Bizarre’ in India (Worldwide release 31st October). I caught up with Srikanth, guitarist of Bevar Sea and spoke to him about their new album, the different approach they took and also advice he had for bands planning to self release their music and merchandise.

Bevar Sea - 2015

Avinash Ramchander (Bass), Deepak Raghu (Drums), Rahul Chacko (Guitars), Ganesh Krishnaswamy (Vocals) and Srikanth Panaman (Guitars) (Left to Right)

Congrats on the release of your second album ‘Invoke the Bizarre’. Tell us a bit about the album.

Srikanth Panaman: Hey Peter. Long time no see! Invoke the Bizarre has been cooking slowly since the first album came out and we finally were able to record late last year and put it out this year. It is out on September 25th in India and October 31st in the rest of the world. It’s been a labour of love from everyone involved, and we’re excited to have the fans hear it finally.  

How does the album compare to your debut album?

Srikanth Panaman: The first album was good for what it was at that time. We got the best out of what we had and knew at that time. On the second one, we went in knowing a lot more about recording and engineering, and we went in as better performers. Musically, this still stoner and doom, but it’s darker and more varied than the first one.

I remember you released a demo of ‘Sleeping Pool’ in December 2012. How long have you’ll been working on the songs for the album?

Srikanth Panaman: Sleeping Pool was written in 2011 before the first album came out, Where There’s Smoke (There’s a Pyre) was written in 2012, Bearded and Bizarre was written in 2013, The Grand Alignment, Bury Me in NOLA and Heathen were written in 2014. We are slow, much like our music. If we’re able to recover the money invested on an album sooner, and save up for the next album sooner, we will get off our asses and write more but one album every three years is not too bad. I’d ideally like us to have a smaller release between two full lengths, so let’s see how things go.


‘Invoke the Bizzare’ was recorded at Adarsh Recording Studio. How different was the recording process this time around?

Srikanth Panaman: We booked ten whole days at the studio for recording each band member separately and we wanted to use the big room and the fancy mics that the studio had at its disposal. We went in the order of drums, bass, rhythm guitars, additional guitars, acoustic guitars, lead guitars, and vocals over the course of the ten days, and spent the eleventh day listening to each track and then consolidate various takes. This was a pro approach and it was a great experience for us. We’d like to be in a real studio and not a home studio because the equipment is better, and more importantly the recording room itself is better. We also can’t afford to be lazy because time is limited, so that helps us finish what we started as per schedule. We all took time off work and got this done, so it wasn’t a weekend project for us.

You have been working with Matt Lynch (Mysterious Mammal Studios) on the album. How was the experience been?

Srikanth Panaman: Matt plays for an old timey Seattle/LA band called Snail and that’s how I got to know him. He had also worked with bands like Nebula and others, and I always liked the way his drums and the way the ‘room’ sounds in his mixes. We were more metal than his usual work, but when I told him what we’re going for on each track, he understood immediately and got the mixes the way I’d wanted. We gave him a good sounding recording, and the tones were all there. His job was mainly to remove all the mud, and to give us that big overall sound. We’re super happy with the results.

Your self titled album was released on Iron Fist records, a label started by the band. What did you’ll learn from the experience? What advice would you give other metal bands that plan on self releasing their EP/ Album?

Srikanth Panaman: That was a name we used because our then manager Salman (from Bangalore Open Air) wanted to use Kryptos’ and our releases to start a label to support and push good local bands but that never took off. We are putting this one out on our new imprint called The Mighty Riff Records, something I’ve been meaning to start for a couple of years but finally getting to. I sure do have some advice: Don’t compromise on the artwork and packaging. Don’t think of yourself as a local band. Don’t expect people to buy CDs if you don’t have a CD collection yourselves. Don’t expect to make your money back if you invested despite knowing your album had no demand to begin with. Learn everything about the workings of being in a band, including printing, pressing CDs, making merch, logistics, management, recording, video editing, designing, web designing – whatever talents you have acquired can be of use and can help you make your money back. The more skillful you are, the better it is.

Were you satisfied with the response your first album received? Are you planning anything different for the release of ‘Invoke the Bizarre’?

Srikanth Panaman:The first album far exceeded our expectations in terms of response. We’re hoping the second one will kick things up a few notches for us – especially in Europe, UK, and the US. These are the three territories where we got the most real purchases from, so we’d like to go a little deeper in those markets with this album.

What are your plans for the rest of the year?

Srikanth Panaman: We’re taking things slow this year. We just want to put this out and make sure the album reaches the right audience around the world.

Any final words?

Srikanth Panaman: Thanks for letting us talk about our new album man. Your readers can always go to the below links to follow us. [pre-orders are online here]

Listen to three songs from ‘Invoke the Bizzare’ below

Written by trendcrusher

September 25, 2015 at 10:00 am

Dying Embrace Interview

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Last July/August, Cyclopen Eye productions released “Through corridors of dead centuries“, a split between two veteran bands from the Indian subcontinent, Dusk (Pakistan) and Dying Embrace (India). I described the release as “death/doom metal recommended for those who preferred metal that sounds raw”. It was Dying Embrace first release since they got back together in 2011.

This interview was originally planned to go along with the one with Dusk however it got delayed due to various reasons. I spoke to Vikram Bhat via email about their side of the split and their future plans.


Dying Embrace

Vikram Bhat (Vocals), Jimmy Palkhivala (Guitars), Deepak Raghu (Drums) and Pritham Denzil D’Souza (Bass) (Left to Right)


Where did the idea to do the split come about? Did Sandesh from Cyclopean Eye productions have anything to do with it?

Vikram: Hello Peter , actually this split was possible only because of Sandesh of Cyclopean Eye Productions. He always spoke about this idea right from the early years, even when the band was inactive and on a hiatus at the same time even Dusk were in suspended animation and he said, if these 2 bands ever return then a split has to happen, those knowing Sandesh, he always has had it his way.

How does it feel to have your first release out in over a decade?

Vikram: It’s a very surreal feeling, a bit of deja-vu a bit of disbelief all rolled into one. We never thought the band would return back, the love and support we have got since we returned has been fantastic. It’s a great feeling to see so many fans who still remember the band even though we were gone for a good 10 years.

Tell us a bit about the songs your side of the split. What are they about?

Vikram: We have 4 original compositions and a cover on our side of the split. 3 songs and one instrumental, the songs have a very different approach and yet still retain the trademark Dying Embrace sound. A melting witches cauldron of Death and Doom Metal with several influences which the band members brought in. The songs just like our older material deal with the occult, mythology and religion.The fans will get what they have loved and liked from us over the years.

How different was the recording process this time around?

Vikram: Very different actually, recording music has seen a sea change over the past years and for us it was an all new learning experience, luckily we had Srikanth Panaman of The Doom Cave Studio producing us and he guided and showed us the newer technology we had at our disposal now. It was a great experience indeed and the band enjoyed putting the new songs together for the split CD.

What are you plans for the rest of 2014? Any plans to release a full length album soon?

Vikram: Since 2014 has passed and we are into 2015,we have a few shows lined up for the rest of the year, a 7” split vinyl EP may happen by the end of the year, we have never got down to writing a full length album ever, I don’t think that will ever happen.

Any Final words?

Vikram: 666 apologies for the delayed replies to the interview,the past year hasn’t been easy on me personally and a lot of things got pushed to the back but I still owed you this one and here it is! Thanks for the support and patience and salutes & respect to all the fans and friends who have supported us, you rule and you know who you are!

Listen to ‘Ascendance of Namtar‘ from “Through corridors of dead centuries” below


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July 21, 2015 at 10:00 am

Spiral Ascent – A look back at the debut album of Kryptos

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As a collector of CDs, there are a few that stand out and one such album is Kryptos Spiral Ascent. The Bangalore based band’s debut album was incidentally the first Indian metal album, I’ve owned. Over an email interview vocalist Ganesh discusses Kyrptos’s formative years, the Bangalore metal scene and ten years of Spiral Ascent.

Kryptos - 2004

Nolan Lewis (Guitars), Akshay Patel (Guitars), Ryan Colaco (Drums) and Ganesh K (Vocals/Bass) (Left to Right)

On Kryptos’ early years:
Kryptos started out as a college band called “8 on the Richter”. “8OTR (hated the name) was a band I had put together with a bunch of dudes in late 96/97.” said Ganesh about the band. “I met Nolan at St. Joseph College of Commerce’s admission queue. We didn’t quite take to each other, but I remember our dads talking about some shit. Next thing I knew, we were in the same class and shared common tastes in heavy music. It was in passing I asked him if he played the guitar. Not only did he say yes, he owned a guitar AND an amp. That did it. I spoke to the rest of 8OTR and he became a member. A few line-up changes followed and it was just Nolan and I – we decided to look for a drummer. We found Chinlen Singh through an ad I placed on RSJ [the now defunct magazine]. It was then that we decided 8OTR sucked. We needed a better name that would reflect what we were into and what we intended to write.”

On Bangalore:
“Bangalore, then & now (not so much), is pretty much a classic rock/metal town. It was not odd to hear Slayer, Megadeth, Dio, Black Sabbath being played at pubs – hell! I have even heard Death’s Symbolic at a bar in Bangalore. There was a legendary wall on Brigade Road where someone had spray painted SLAYER. From college benches to pub loos, it was not out-of-the-place to find AC/DC, GN’R, Slayer, Scorpions, etc. There was a healthy local metal scene with bands like Millenium, Crimson Storm, Vulcan Haze, W.A.R.D.E.N, etc gigging. There were numerous pubs and bars that played everything from heavy blues, hard rock to early metal. There was no scene, but the seeds were sown.”

Being a part of  compilations:
Headbangalore’ was a compilation of Bangalore bands Phallusy, Threinody, Myndsnare and Kryptos. Forsaken, Forgotten (land of ice) and Clandestine Elements were the 3 tracks by Kryptos that were part of the compilation. “We were siting around Threinody’s rehearsal space, which we shared with them for a while, drinking beer and shooting the breeze when we decided that we could actually go out and do a fucking compilation.The effort was great; the involvement was spot on, but the studio and the mixing engineer sucked. The release was well received though we were never really studio ready, but then what mattered back then was the DIY approach – people dug it.”

“Back then, the only gigs that were happening were college and other miscellaneous competitions. We took part in as many. We didn’t give two hoots about winning and all that; we just wanted to play live. The law of averages caught up and won a few. One of the prizes was that we could record a couple of songs at this studio called Throatlatch Studios in Navi Mumbai. The owners then released one of the songs, Descension, on a compilation called Deep Throat.”

10 years of Spiral Ascent:
“Man, that album took forever to record. I don’t remember the sequence of events but we recorded and tracked everywhere! From Warren’s [Mendonsa] place in Dadar to a few studios in Bangalore, including Ricky Kej’s – he is a Grammy winner today – w00t! Looking back, how I wish we had someone to whoop our arses and helped us save time and money, but I would do it all over again. No regrets.”
“Few Indian bands had released albums a decade ago. “How? We just did. There were quite a few Indian bands that released original music before us. From Thermal and a Quarter to Millennium, Rock Machine to Vulcan Haze. We felt we have 8 odd songs, let’s just put it out and get on with it.”

On the line-up for the album:

“Chinglen Singh had to leave Bangalore and head back to Assam due to personal reasons. Ryan Colaco was then with Angel Dust, we asked him to moonlight for a couple of gigs we had coming. And that was that. With Akshay it was a bit more complicated. I had heard of this guy who’d come to Kryptos gigs, record it and bootleg. I loved that! I am not sure how we met, if he auditioned or whatever – but before we knew he was there. A great guitar player with quite a personality.”

On Writing for the album:
“We never sat down and said, ‘hey! Enough of the beer! Let’s write an album!’ It happened over time, when we had enough material we began the recording process.”

Spiral Ascent

On Recording the album:
The album was recorded by Clay Kelton at his studio. “Took a couple of weeks, months maybe. The process was an on-the-go one – oh Ryan’s here today, eh? Let’s track the drums! Or ‘is that Tiny (Trinity D’Souza, Cryptic)? Dude, play a solo here!’ So, it was all over the place – quite a miracle we actually put something out. Those days were a bloody haze. Bet there are a few. I remember setting Akshay’s vodka on fire once, don’t know why or what happened after. But Clay didn’t like it much.”

On the album art:
“The cover art was design by Niklas Sundin (Dark Tranquillity). Being fans of DT’s early work – musically and cover art-wise, we decided to mail him for fucks sake. When he replied it was like ‘Woah! We need to pay him money now!”

If they had to change anything…
“Apart from playing to a metronome, not a bloody thing.”

Parting words:
“Eat shit, drink beer and bark at the moon! Also, buy our merch!”

This week Kryptos head to Germany on tour with Death Angel. Those in the area should definitely head to one of the show, tour dates are below.

Kryptos Europe tour poster 2015

Written by trendcrusher

July 14, 2015 at 10:00 am

Shepherd interview

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Shepherd are one of the bands I have been listening to this month. Winner of the ‘Best Emerging Act’ award at the Rolling Stone Metal Awards last year, they released their debut album ‘Stereolithic Riffalocalypse’ 2 weeks ago. I spoke to the Namit and Deepak from the band about the album, being a sludge band in India and a lot more.

Namit, Abhishek and Deepak (Left to Right)

Namit, Abhishek and Deepak (Left to Right)

“Feels great that all our work is finally set in stone so to speak! Relieved as well, because at one point it seemed that there was always something ‘round the corner that would get in the way of us releasing the album.”said Namit, guitarist and vocalist for Shepherd about the album finally being released. “Yeah it’s been a blast so far. Time to write some new shit.” said Deepak, drummer and vocalist for the band. The sludge/doom metal band is rounded up by bassist Abhishek who is also a member of Death/Thrash metal band Inner Sanctum.

The band started in 2011 and they put put 2 demos, one in November that year and the second in April 2011. “We’ve known each other since college, but it was only when Deepak moved to Bangalore that things really started to fall in place.” said Namit about how they got together.

“We started out as a band that loved to jam it up and bring in the improv element to the mix. But gradually as we started playing more shows, we also started writing more songs. It came to a point where we had enough songs to head to the studio and record – which in itself took as long as it did to write the album, due to lineup changes and whatnot.” said Namit about writing the album. “We took it pretty much one song at a time. We used to jam a lot onstage to compensate for not having enough songs. And as we wrote more songs our sets became more song oriented. It’s just been about trying to be concise and to the point.” said Deepak.

Stereolithic Riffalocalypse

Stereolithic Riffalocalypse’ was recorded at Area 51 studios in Bangalore. “Recording was good fun. A little tedious at times with the retakes. Halfway through we had to write lyrics, and sing on the songs we had written – which was a first for most of us.” said Namit about the recording process. “ Heading to the studio, and singing / listening to the vocal lines before they had been tested on a live stage was insane.

The album was masted by Brad Boatright of Audiosiege “He’s a master at what he does. Our mixing engineer Rahul Ranaganth (ex-The Bicycle Days) is also responsible for the massive sound you hear on the album.” said Deepak about working with Brad.

Stereolithic Riffalocalypse’ is probably the first ‘Sludge’ release in India. Shepherd started out as improvised band with hints of doom metal on your initial demos. “As a jam band we’re definitely more chilled out and along the lines of Earthless, Yawning Man, Truckfighters – simple groovy stuff on which you can build the jam. But we have always wanted to write songs that would fucking destroy places. Low, plodding and intense – influenced by our love for all things loud and heavy.” said Namit about their shift towards a sludge sound.

“It started with Sabbath for me. Then through Pantera I discovered Exhorder then Crowbar, Corrosion, Eyehate etc.” said Deepak about how he got into sludge and the band that have influenced them.“It’s just like how when you find something you like, it makes you want to dig deeper and find more of it.”

“Putting out ‘Stereolithic Riffalocalypse’ on vinyl. New EP release for late 2015/early 2016.” said Deepak about their plans for rest of the year. “Starting writing/recording this summer for that. Besides that, play some gigs anywhere we can. That’s about it.”

Listen to ‘Stereolithic Riffalocalypse’ below


Here is a video of Shepherd performing ‘Blog Slime’ live

Written by trendcrusher

March 23, 2015 at 1:00 pm

Escher’s Knot

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The excitement is slowly building up amongst metalheads across India, with just over 2 weeks to go for Mumbai’s only metal festival, BIG69. The headliners for the 2 day festival are legends Carcass, progressive metal act Sikth as well as Italian metallers Fleshgod Apocalypse and UK rap metallers Hacktivist. The festival taking place at the Richardson & Cruddas industrial compound in Byculla on the 17th and 18th of January, 2015 will also feature some of the biggest Indian bands such as Demonic Resurrection, Undying Inc, Zygnema, Kryptos and others.

(Left to Right) Manu Krishnan, Siddhartha Ramanathan, Abijith Rao, Madhav Ayachit, Anshuman Mishra

(Left to Right) Manu Krishnan, Siddhartha Ramanathan, Abijith Rao, Madhav Ayachit, Anshuman Mishra

One of the bands performing at the festival are Escher’s Knot from Bangalore. The band got together in July 2009 and since then they have opened for bands like Lamb of God, Lacuna Coil and Hammerfall. They were recently listed as one of the 20 best metal bands in the indian indie scene by Pepsi MTV Indies.

I spoke to their vocalist Abijith Rao about their upcoming album, the Septic Progression gigs and also playing at the BIG69 festival. Read the interview on Pepsi MTV Indies.

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January 2, 2015 at 11:51 am

Until We Last Interview

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Until we Last  are a post rock band from Bangalore. I first heard about them when I interviewed Noor from The Eternal Twilight. The band were also featured in my last post “Now Playing – August 2014” where I described their “Earthgazing” EP as “A short release of just 4 songs, I was left wanting for more’; looking forward to a full length released from them soon.”

I spoke to guitarist Ketan Bahirat about the EP, post rock in India and also their plans for rest of the year.

Until We Last

Band Photo by Myriad Hues

“I started the band as a studio project back in 2011, the current line up (Ralston D’souza on drums, Chaithanya Jade on guitars and Paul Dharamraj on bass) came together around March 2013, and we’ve been jamming ever since.”

The band released their first EP “Earthgazing” a couple of weeks ago to rave reviews from the websites like Rock Street Journal, MTV Indies and also newspapers like The Hindu. “Earthgazing is a sound we’ve been working on together as a band for over 8 months.” Ketan describing their EP. “The concept of the EP revolves around the moment or time frame that humans are going through between Creation and Destruction”.

“The songs were written probably back in July last year, apart from Water and To Space and Back (which we’ve re-recorded for this EP, I’d launched them as singles previously).” “We started recording it back in December with Rahul Ranganath (guitarist of The Bicycle Days) who engineered it and later we sent it to Keshav Dhar (Skyharbor) for mixing. It was quite a process and we learnt a lot from the whole experience. The EP was mastered at AIR Studios, London. The process took just above 8 months. We wanted to get it sounding as good as we possibly could.”

In the past couple of years, there has been a surge in post-rock bands across India. “I honestly don’t see many other bands playing genuine post-rock.”  “There are bands influenced by it, surely. I got into post-rock 5-6 years ago. In fact, only after getting into ambient music, with the likes of Sigur Ros, Hammock, etc.”

After playing gigs in Pune and Bangalore in support of their EP release, Ketan says “We plan on taking this EP out on tour, playing as many shows around the country as possible. Hopefully we can launch more material as well as start recording our full length!” The next show for the band will be in Mumbai, they are part of the line-up for Control ALT Delete 6 on 14th September. Follow their Facebook page for more show updates.

Listen to “Earthgazing” below


Written by trendcrusher

September 5, 2014 at 12:45 am

Interview With Djinn & Miskatonic

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Djinn and Miskatonic is a doom metal band from Bangalore, India. The band (Jayaprakash Satyamurthy on bass, Gautham Khandige on vocals, Siddharth Manoharan on drums and Sriram K.R on guitars) combine Doom Metal with parts of Sludge, Stoner and Death/Doom Metal. They were in Mumbai in the first week of September performing at Metal at the Tavern (Thane) in support of the release of their debut album ‘Forever in the Realm’. I caught up with them there for an exclusive interview.


“It was like the communion service where the Holy Spirit did not show up” says Jayaprakash Satyamurthy about the delay in manufacturing of the CDs. “We had a good show and we had great sound. There were even a few people moshing.”

Jayaprakash was earlier part of stoner doom metal band, Bevar Sea. “Gautam and I were jamming and writing songs even before Bevar Sea started and then in the first year when Bevar Sea starting happening we started looking for a drummer and could not find the right one, then Siddharth came along” says Jayaprakash about the origins of the band. “We started jamming regularly with Siddharth in early 2011. Then when I left Bevar Sea, it seemed like time to start doing this full time. Sriram came in initially as a guest guitarist for the Motorhead tribute and then we thought that this came off well and for some reason he seemed to like playing the songs; so we continued jamming, which was earlier this year.”


“Some of the songs have been around since 2011; I have some demos of myself playing through these songs with my cats in the background” says Jayaprakash about the songwriting of their album. “Last year was a really bad year for the band, we had just 2 or 3 show and it was looking dismal for us as a live act. So we said fuck it, lets just record our songs and put them for free download. We figured no one was going to hear us live, so let them have these good studio tracks to listen to. But as it turns out we have had a lot more shows this year, so the timing for the debut album has been really good.”

The album was recorded at Area 51 studios in Bangalore, which is run by Premik Jolly, guitarist for Threinody. “We had got most of the Motorhead cover recorded at Premick’s studio. After tracking the song we had such great chemistry with Premik that we decided to record the album there” says Sriram. “The album was completely recorded at Area 51, as we did not want substandard drum sounds and he has got the best stuff in town” added Jayaprakash about the recording process.

Bangalore is slowing becoming the “Doom metal hub of India” with bands like Dying Embrace, Bevar Sea and Shepherd all based in the city. “It initially comes from a small cluster of friends like Srikanth, Chako (Bevar Sea guitariasts), Sriram, Gautam and myself, that were all on the same internet forum 8 years back. We used to be talking about the same music and we went from talking to being in bands with each other.” says Jayaprakash about the surge of Doom metal in Bangalore. “That’s why you have a small cluster of bands that knew each other well and have similar influences. I think it’s going beyond that now; I have spoken to some younger musicians, who are not any personal friends of ours, but have heard these bands and have started to play doom, not quite the same way we do or Bevar Sea does. The small cohesive scene is expanding and now everyone is moving little to the side and doing their own thing. We are no longer all playing in each other’s footsteps and establishing our own identity. I don’t think it’s going to be a very small and close knit scene any longer; each band is going to be forging a bigger identity than a common ground. It’s like a big bang happened and now the molecules are spreading through space and time.”

Forever in the Realm‘ is the first release by the sub label of Transcending Obscurity. “Kunal kept suggesting to us this January about doing something and we kept withering about. Once we had an album recorded, it all made sense because we put in a lot of money recording the album and producing it as well. We were dreading putting in a lot of money again manufacturing the cds and marketing it. Kunal’s offer came back and we thought it was the right time, we had a product and he has a framework for manufacturing and selling it. It takes a burden off us; we are no longer a band shopping a few songs around.”

“We have one more show coming up this year and that’s all we are sure of now” says Jayaprakash about their plans for rest of the year. “We will continue jamming and write songs. Writing is a constant process with us. We want to promote the album as much as possible; we are willing to work with organisers across the country.” Signs off Sriram.

Listen to ‘Forever in the Realm‘ below

Written by trendcrusher

September 22, 2013 at 9:03 pm

Bevar Sea

with 2 comments

Bevar Sea are a stoner doom metal band from Bangalore. They were one of the opening bands for Bangalore Open Air in May. Later this month, their self titled album will be released through Iron Fist Records. I had interviewed them earlier in May.

Bevar Sea are Artist of the Month on Check out my interview with their guitarist Rahul Chacko below

Hi Rahul, you are a couple weeks away from the release of your self-titled album. How does it feel?

Rahul: Hey there. Well, at one point, it almost felt anticlimactic, since we’d had the songs for so long, and we’d even had the finished recordings with us for some time, and thanks to a number of factors, it took quite a while to get it release-ready. I’d actually done most of the artwork for the CD and booklet a long time ago, and only recently picked it up again to finish it off.
But now that the launch date is drawing nearer, it’s getting more real in our heads and we’re getting pumped again, so it’s all good.

Tell us a bit about the songs on the album, what are the themes behind it?

Rahul: Ganesh is the man behind the lyrics for all the songs. There was one point where the rest of us weren’t too sure what the lyrics were, but the audience in the concert front row all sang along without a pause. Embarrassing.
Anyway, Abishtu’s probably the most straightforward one, about a bike-riding serial killer terrorising hipsters. Universal Sleeper’s a drug fiend in limbo going on a whacked out trip, The Smiler’s about a guy who sells out his integrity to climb up the social ladder, and Mono Gnome’s a morality tale of a midget who has a fling with a witch, and ends up getting the whole world torched. At least, I think it was a morality tale. I know I’m scared off witches for good. Unless she’s like Triss from The Witcher. Wait, was she a witch or a sorceress? Gah!

You have been working on the album for a while now, what was the recording process? How long did it take?

Rahul: We just tried to be as pragmatic as possible when it came to recording. Since there weren’t enough funds to do a full-on studio recording session, we used the drum recordings from The Mighty Riff and went from there. Deepak’s usually the tightest one in the band, so that didn’t turn out too bad! The remaining instruments, we recorded at home. That collectively took about a week or so, but the sessions were spread out over quite a span. Our neighbours obviously complained a bit, since we had to crank up the tube amp to get the sound we wanted, but ultimately noise prevailed.


The album was mixed and mastered by Billy Anderson who has also produced bands like Cathedral, Orange Goblin & High on Fire. How was it working with him?

Rahul: It’s always a pleasure to work with a professional who knows what they’re doing, and with a guy with those kind of credentials, it’s no surprise that things have gone smooth. We thought our rough mixes were decent, but the tracks that Billy’s sending back now make them sound like the amateur efforts they were. Hopefully, we can learn something from his output and improve our own understanding of music production.

The album is being released by Iron Fist Records, what are your plans for the release of the album?

Rahul: Bring along the whole kitchen sink with us, basically. We’ll have the physical CD for sale, along with digital album download options, t-shirts, posters, fabric prints, stickers, patches, and some other loot if we can manage it.
There are some limited pre-order packs available which should have the bulk of these goodies included – we’re still figuring out pricing since some of these are ideas we’re trying out for the first time, and we’re still not sure how much it’s going to cost us in the end.
Other than that, tour a bit, and do some pimpage for the album to try get it featured in places that cover this kind of music.

You were one of the opening bands for Kreator at Bangalore Open Air in June. How was your experience?

Rahul: It was the biggest stage we’ve ever played on, so that in itself was a trip – lots of space to move around and pull off rockstar poses. Even though the turnout was somewhat disappointing, the crowd that did show up seemed to really be into it, which was a big plus. Oh yeah, there was some power-tripping douchebag backstage who was throwing his weight around and making a nuisance of himself, but otherwise, it was a good time being surrounded by friends and metal. Not to mention, getting to see Kreator up close and personal – they blew our faces off something fierce.

Artwork plays an important role in your band. Tell us how you go about creating the artwork for your merchandise.

Rahul: Usually I take references from the lyrics and the general vibe of the song, and adapt it to whatever format the artwork is going to use. The CD art was a little more freeform, since there wasn’t any direct lyrical theme to draw from, so I just decided to give it a nautical spin and see how it turned out. Truth be told, I’ve probably spent more time on the artwork for the CD than on my guitar parts. Anyway, the reaction’s been great, so we’ll probably keep churning out art along with the music.

What are your thoughts on the old school – new school rivalry?

Rahul: Being a predominantly atavistic band, I guess we’re supposed to trash the school of nu, but it’s not worth the effort, to be honest. For me, the important thing in music is how it makes you feel, what your gut reaction to that sound is. In contrast, a lot of the genre turf wars I come across seem too tribalistic in nature for my liking – less about the music and more about posturing. It leads to some funny face-offs now and then, but that kind of thing tends to get old fast.
I’ll admit, I have a preference for how some of the bands in the 70s did heavy music, but I don’t want to ape their style completely either. You should be free to introduce some unconventional elements in there if you think it fits; otherwise, it’s just pandering.

Do you have any shows outside Bangalore planned in the coming months?

Rahul: Indeed! We’re trying to sort out shows in Cochin, Trivandrum, Chennai, Hyderabad, Mumbai and Nasik. So far, we’ve only played Bangalore and Chennai, so it’s going to be a great time making a ruckus in the new cities.

Final words?

Rahul: Thanks for reading! Flames in the comments thread are welcome – if we’re not pissing off somebody, then we’ve gone wrong somewhere. Turn up for our gigs, buy our merch, and make us moderately wealthy bastards. Ok, just financially solvent bastards, then. Cheers!

Listen/Buy the album from the band here or from OKlisten here

Written by trendcrusher

October 6, 2012 at 2:23 am