"THE ALBUM IS STILL A WORK IN PROGRESS - THE SOUND IS BEING PLANNED AS ORGANIC WITH ELECTRONIC SOUNDSCAPES AS WELL. I WOULD WANT TO MAKE IT MORE VISUAL, THAT'S THE VISION BEHIND IT."
TO UNDERSTAND Indian music in all its uniqueness and diversity, one must pay close attention to what is happening in the south of India. Amrit Ramnath, a 25-year-old singer and composer based out of the city of Chennai, has taken the industry by storm.
Beginning his career with Tamil hits such as "Oorkuruvi" and "Nila", the young maestro has now taken to the big screens with the announcement of him being the music composer for director Vineeth Sreenivasan's 2024 film Varshangalkku Shesham. Rolling Stone India got the unique opportunity to speak with Amrit Ramnath to explore his journey as a classically trained vocalist and musician, while taking the much-needed respites to test his creativity in as many different forms as he could.
Rolling Stone India: Your earlier covers with fellow violinists really stood out, and then there's your track Manase, which seemed to mark a turning point in your career. Can you share more about the inspiration behind Manase and how it shaped your perspective on love and relationships?
Amrit Ramnath: "Manase" was one of my first independent songs and it delves into the complexities we face in our late teens and twenties, especially regarding love, friendship, and personal security. The song explores the conflicting voices in our minds and the journey of embracing and overcoming them. The music video aimed to visually represent this inner conflict and the ethereal nature of the song.
Diese Geschichte stammt aus der April 2024-Ausgabe von RollingStone India.
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Diese Geschichte stammt aus der April 2024-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.
Bereits Abonnent? Anmelden
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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