The Mumbai-based singer-songwriter breaks down tracks from his debut LP ‘Songs From A Matchbox,’ crowdfunding the record, competing on ‘The Stage’ and more
We caught up with Mumbai-based singer-songwriter Raghav Meattle at his Bandra pad a day after he’s returned playing the Pandora Music Festival in Hyderabad. He says, “It was a great thing for me, I was feeling proud and it was the first time I took the band out.”
Meattle’s success has been gradual – from his days at the start of this decade fronting New Delhi-based prog rockers The Uncertainty Principle and later part of electro-pop duo Meattle & Malik with producer Nikhil Malik, he’s also juggled moving between his hometown to Hyderabad, Bengaluru and now in Mumbai over the last five years.
The musician’s stint on singing competition The Stage in 2016 also helped gather a few eyeballs. Meattle – who made it to the Top 6 on The Stage – says, “It got me a bit of exposure but mostly it gave me the confidence.” That confidence is what pushed the singer-songwriter to quit his job at tech startup Instamojo in Bengaluru and move to Mumbai in late 2016 to pursue music full-time. “It was literally starting from scratch and I played everything I got and slowly started getting better,” he says.
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Esta historia es de la edición January 2019 de RollingStone India.
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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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