Producer duo Gaurav Raina and Tapan Raj recently worked on ‘Train Song’ for Bollywood film ‘Gully Boy’
A decade is perhaps a long time for someone like Midival Punditz, considering it’s been an important one. Since the release of their seminal album Hello Hello in 2009, producers Gaurav Raina aka GRAIN and Tapan Raj solidified their place as seasoned electronic artists with a fluid approach to music. After all, prior to Hello Hello, they had already performed around the globe, began working with New York multi-instrumentalist and tabla/electronic veteran Karsh Kale and provided music for films such as Monsoon Wedding (2001).
Fast forward to 10 years later – counting yet another path-building electronic fusion album (Light) – and the Punditz have kept their sonic spectrum varied. Whether it’s live shows that involve collaborators such as singer-producer Komorebi or taking influence from rock and techno in different measures, the duo’s diversity in new material is a continuation of Light, which released in 2015. In an interview with Rolling Stone India, Midival Punditz talk about working on a song for the recently released desi hip-hop Bollywood film Gully Boy, a decade since the release of Hello Hello and their next album. Excerpts:
Over the years of scoring film work and managing Midival material, how much of it feeds into each other?
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Denne historien er fra April 2019-utgaven av 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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TINASHE 'I'VE BEEN IN THE GAME 10 YEARS.I'M NOT NEW TO THIS.I'M TRUE TO THIS'
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