IF YOU’VE EVER caught Mumbai instrumental/progressive metal band Letterz live, you know that there’s plenty to soak in while they are on stage. The band – comprising guitarists Tejas Narayan, Asxem Dlean, Shannon George, bassist Adil Kurwa and drummer Aritra Basu – have perfected a seamless live set over the last two years filled with complexity and grit. “It’s been a learning process with constant tweaking with each time we play. Using a backing track and a click is very integral to the sound of the band,” says Kurwa.
Two years on since the release of their emphatic single “Toad,” Letterz are now out with their debut six-track EP titled Imagine Salt. In between opening for Canadian prog band Intervals for their Mumbai show last year as well as putting on an energetic display at Control Alt Delete this past February, the band spent most of the last 24 months polishing and tracking the record. Kurwa says, “We also changed our band name to ‘Letterz’ [from Letters] due to some clashes with another music catalog.”
Diese Geschichte stammt aus der August 2020-Ausgabe von RollingStone India.
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Diese Geschichte stammt aus der August 2020-Ausgabe von RollingStone India.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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