Sample Tank 2

Sample Tank Volume Two. 
1000 Plus WAV & AIFF Samples. Includes :

1. Audio Pervert Bass Definitions.
2. Modular & Analog Samples [Abstract]
3. Jungle & Classic DnB Library. Art Breaks 1994-2001.
4. Ambient & Prepared Multisynth Passages.
5. Glitch-pack library.
6. Selected Tracks.

Copyleft media. Audio Pervert Sound Library. Valencia ESP. 2017


Synth Farm 3

One of it's kind synthesizer workshop and electronic music summit, Synth-Farm, completed it's 3rd edition this March 2017, in Kolkata. The three day workshop, lecture and live sessions were held in the serene tropical surroundings within a spacious farm house in Dottopukur (6 kms outside urban Kolkata). Curated by Varun Desai (Little-i), the event saw a milieu of producers, DJs, musicians and electronic music geeks gather from allover the country. "I see this growing every year in an organic way, which nurtures the participants in more ways than we can imagine" states Varun Desai, who along with his spouse Zareen Desai and a handful of co-workers have build a very unique and D.I.Y event and residency from ground up since last year. 

The three day sessions featured Audio, Midi and Ableton basics by Audio Pervert [day one] - Modular synthesis and intelligent sound by Lionel Dentan and Varun Desai along with Audio Units [Bangalore] presenting basic Reaktor and Modular Emulations [day two] - Extensive live synthesis lessons and practices and improvised performance sessions between faculty members and artists [day three] 

Topics ranging from the future of electronic music as well existing methods synthesis to intelligent programming formed the various points of engagement between the artists and faculty. An array of synthesizers (analog, modular & digital) plus effect processors and software was wired together as steps to demystify and deconstruct complex synthesis as well basics of electronic sound design. "The outcome of such independent summits should create a ripple effect amongst the visiting artist and faculty. We would like to see more people get interested in creating and collaborating with us" claims Audio Pervert at the end of the 3rd day. "I could not imagine the level of talent and ideas amongst the visiting students. They wanted to know so much about Modular sound and music" says Lionel Dentan who has been an avid Modular artist shuttling between Switzerland and New Delhi.

Photos by Sayan Datta.

The extensive sound sessions and recorded archives of Synth-Farm will be shortly available as music, a short film and various sound-banks later this year. The release compilation tentatively titled as Synth-Birds. Currently being edited and curated by Varun Desai and Audio Pervert. 

Apply for the Next Synth-Farm.

Read About Synth-Farm Episode One.

Cap Mechant

Cap Mechant [Wave Dream] Long Format Proto Ambient Techno / 13 : 03
Written and produced by Audio Pervert. Continuos Sawtooth Signal. Generative Midi. Doepfer + Waldorf + Jomox + TCElectronic + CLA Waves + Sampled Voices. Ableton. d2A signal maximizer. Released December 21, 2016
Valencia ESP. 2016  Famous When Dead.  FWD 3#Catalog

Dark Energy [ Revised ]

Dark Energy [ Revised ] Long Format Techno/12 : 21
Written and produced by Audio Pervert. Continuos Sawtooth Signal. Generative Midi. Doepfer + Waldorf + Jomox + TCElectronic + CLA Waves + Sampled Voices. Ableton. d2A signal maximizer. Famous When Dead [FWD] 2016. Label Work#2. Valencia ESP.

Ame - Remix

Rapid Capture of Audio & Video Patterns. Max MSP Granz Graph Simulation. Live Midi Control Data Effects on Visual Patterns. Audio contains - Sampled Bootleg Live'set of Âme - Innervision.  Âme are German duo Kristian Beyer & Frank Wiedemann. Video for #Computer #Vision / Proto AV Culture 2016.

Landscape Montage

Filmed in Zurich via Freiburg, a new video Montage for Computer Vision. 
Video edit by FWD [Famous When Dead] Music - Audio Pervert.
Lo-fi Motion capture & light simulation. 
Release date- 20th December.

electronic music map 2016

This study has been conducted to acquire a macro-understanding of current electronic music generation & consumption across the world. The report serves as an indicator for existing markets as well as the potential in new regions for artists and professionals in the field of electronic music. The study is based on three sources of information - One, based on approximately 600 short interviews of electronic music professionals and generators, based in all the continents. Two, numeric information based on the activity of promoters and consumers of electronic music on Twitter. Three, average data figures released by soundcloud, i-tunes, bandcamp & beatport as of 2016. The report does not include data (or the effect) of piracy or pirated media. The demographical and economic survey of pirated music is often incorrect and biased which create a false effect. 

Key Features.

1. High Consumption 
Germany, United States, Canada, England and Holland are regions where the traffic and mass of electronic music generation is highest in the world. France and the francophone music networks span various parts of the world from India to Africa to Canada to China and mainland Europe. Japan, Switzerland, Italy and Scandinavian countries are also big consumers yet less on generators of electronic music. Brazil has emerged on this part of the map in the last ten years as massive audiences flock to electronic music festivals. From these nations, the consumption, institutional presence, marketing, changing preferences and generation of  electronic music adds up-to 70% of the world's output. A staggering share. The existing industry and consumption figures include festivals, conferences, support groups, labels and artists of massive variety and contrasting popularity. Highest sale of digital media is also a key feature within these nations. Excepting China, which has a massive media and business structure within it's own borders for Chinese speaking people only.  Digital content such as videos, promos, interviews, etc account for 75% of the world's share. These regions are indeed vital to the life and culture of electronic music. Be it popularized trends or independent institutions of electronic music these nations have clearly forged an industry of epic proportions over and around electronic music. The markets within these regions appears to be saturated, compared to the rise in 2006-2012 : yet these nations are abound with innovation and breakthrough electronic music often spurred by niche and emerging technology.

2. Emerging Regions
China, Mexico, Australia, Spain, Argentina, Russia, India, South Africa, Israel and various emerging nations in south america and east Asia contribute little in terms of global numbers, yet they contain a large untapped market and youth audience. These regions are witness to higher numbers of artists, producers and DJs who have embraced electronic music as their sound and weapon. A clear surge is now visible in the number of music festivals, digital consumption rates, start-up business models and professionals entering the business. As a comparative, in India since 2009, the number of youtube and soundcloud users has grown 1700%. The principle reason for this dispensing large areas with internet connection and mobile-phone technology. Circa 2007, there were 6 to 8 'known' youth music festivals in India which now stands at little over 70. Fact of significance, that the Chinese music industry is a humungous one, yet it remains mostly internalized. China would tie down any major european festival in terms of staggering audiences or the booking of top international artists. Mexico is currently deemed as the 'hot-bed' of progressive breakthrough electronic music culture as well as witness to highly bourgeois beach festivals. Argentina is the favorite destination and 'grab' of many big-format festivals and cartels of DJs based in Europe and the U.S. Unconnected due to distance and languages barriers, nations like New Zealand, Vietnam, Israel, Turkey, Australia, Malaysia and Russia are also witness to rise in number of localized idols, generators, promoters and fans. The case with Spain is similar with the quantic rise in branded EDM festivals on one hand, and on the other hand a clear dispersion of tiny start-up ventures and local talent. The eastern european set of nations too present new vistas for artists and promoters of electronic music culture, yet remain mostly unconnected to people in Asia, West Europe & North America. Poland , Romania and Hungary contain very niche electronic music juntas, clubs, festivals, yet mostly obscure compared to the larger volumes emitting from the west. Chile, Columbia, UAE and Pakistan are now emerging to find a spot on this massive map and emerging global sound. Very little intra-contact or institutional support exists between these emerging countries as of now. Hence the the growth remains mostly inward and depending heavily on internal paradigms and resources. The artists and professionals in these nations could harness and exploit much more if borders are open to new ideas, languages, artists exchange, collaboration and communication. The youth population of these regions accounts for 68% of the world. Approximately 40 different languages. Myriad regional cultural components that shape and give rise to local talent & sound. In these regions, empowering local talent is vital, in order to sustain and build a significant industry. As the internet grows at a quantic rate to reach out to 1 billion new people (2012-2016), these nations and the artists within emerge as strong contenders to the future of electronic music. A staggering figure and latent oppurtunity in response to the existing dominance of the high consumption regions. These regions are poised at, as  'nueva buena vistas'.

3. Open to Speculation
These regions include parts of Africa, the vast isolated span of the Pacific islands or even certain regions of the world which have been effected by war, political calamities or seen as  differences of proximity, language and culture. Difficult to imagine the penetration of electronic music in these regions as of now, it remains a wild speculation of sorts. Very little information is available about these regions and very little known about the generators and audience. To view these regions negatively would be an obvious habit, yet to pursue further connections and find a way to encompass these vastly diverse parts of the world would benefit many people including those who remain unconnected and unheard of.

The Map
The representation of electronic music generation has been quantified into a per person format, regardless of a region or a nation. The density / volume is reflective of consumption and generation of electronic music as numeric definition. It is not a cultural or social representation of electronic music culture.

Map created by matrixworld.

Document available in Spanish, Chinese & Japanese. DOWNLOAD

Technology vs. Reductionism

Reductionism is a series of related ideas yet pertaining to a distinct philosophical theory. That is "reducing" one to another, usually considered "simpler" or more "basic" in all things living or non-living in the universe. The three major fields of Reductionism cover theory, objects and meanings when applied. We attempt to apply Reductionism to the current state of mass culture and social media.

Recently Ray Kurzwiel, visionary, scientist and ex-synthesizer pioneer stated in a lecture that "technology, as we see it now, doubles it's processing power every year - and will continue to multiply (not add) at an exponential rate : forever, making it impossible to map or even rationally quantify the nature of this digital universe. Which seems forever growing like a self replicating virus, in terms of speed, size, memory and span of life i.e. information. All the information shared between the people of the earth. Via trillions of feedback loops - mirroring like neural networks inside our brains. Yet we are not virus nor a set of predictable neurons. All this information - be it personal, erratic, superficial, critical, cultural, economic, religious, political etc. etc. is finally blowing holes into the archaic theories of Sigmund Freud : A gutted philosophy, that human beings are untrustworthy - The internet has castigated the pan-american game-theories of of John Nash. The online 'world' is witness to thousands of hordes, digital juntas, shifting tribes and people connecting & confronting over what is popularly agreed as 'cyberspace. At the turn of the millennium, it was evident that the internet was the best place for those seeking interpersonal and often anarchistic independent desires and content. But that changed fast. The disturbing visions of Ayn Rand manifested itself quickly into a near totalitarian web : A virtual  world yet mostly targeted at replicating every possible aspect of reality : available for every person on earth via a phone or computer. George Orwell's [1984] political nightmare steps into real life and TV - as many leading states begin to spy on their citizens - en mass they  violate/exploit people's lives, rights and personal information. Alvin Tofler's prediction of reducing job satisfaction and a technology dependent society, too has unfolded globally.  The archetype cyber-punks inside Nueromancer by William Gibson, have become reality : As individuals can and do attempt to bend or destroy existing systems of control & authority : repeatedly allover the world.  The information revolution has gradually destroyed all theoretical differences of capitalism and communism : it has bombed talent out of the picture replacing it with hype and mediocrity - It has categorized billions of people regardless of race, language, orientation or color or region as binary maps and accounts. The internet has also been the single most significant reason for the rise of culture as a global favorite. Culture in it's myriad forms has become a tool to define identity or to destroy the opponent. Be it political, artistic or business. Online propaganda has practically busted the old value systems and even threatened verified facts & information - the order of merit has been vanquished by digits. Binary assessment would replace organic craft by sheer volume and speed of change. Millions of voiceless unsung personas across the world, would step into an arena where anything is possible yet nothing seems to make much sense after a while.  A constant state of hyper-normalization. Approx. 21 million songs are sold on every day and this staggering volume is not even 15% of all the music available online. The number of songs uploaded by pirates, labels, artists, musicians, producers, DJs, fans, bloggers and people in general is now near-impossible to track.  Why Bother ? As the same numeric logic applies for visual, cinematic, photographic and written media being posted online. Number systems control and define us as an individual or group or corporations and even regions or nations. Software makes sure we follow the protocol day in & out.

Film-maker Adam Curtis points out, with mass evidence, that "the algorithms are very strong inside the networks of social media .. rapidly we are trapped inside an echo-chamber of alike culture and ethics". Globalization and information technology would become the bane and the boon of 21st century humanoids, searching the answers to questions which may mostly be irrelevant if not utterly diabolic in nature. On social media, you or I or the distant Icelander or Kenyan is a value inside a giant system. The same value-system applied to the greek celebrity Kim Kardashian or the super-jock DJ Hardwell or Pope Francis or the president of America or ISIS Inc.  The numbers 'next' to us begin to matter way more than what we are or what we can be. Millions abide and fool each other online every day by numbers and serving the system - feeding the horrendously powerful hype machine - and the proof is everywhere, on every major social media network. 90% people using social-networking are deemed persona non-grata. The heap of global consumers. Devalued upon a continuos treadmill of hyper-normality. Be it a twitter celebrity kissing open the season's best festivals for $1000 a tweet - or a crowd-funding guru raising a million dollars for a breast-replacement tragedy album - or Mark Zuckerberg peddling fake political news on facebook - all adds upto numbers which exposes the desire to notch a million hits for another fistful of dollars. The chances of this article being read completely, are 1 : 9610, as per Google Analytics : Also telling me to monetize my blog. Why ? because the website [or me] reached approx. 905,000 hits. A point of merit ? Yet.

Approx. 1.2 Billion people might use facebook at least once a week or Google would host roughly 1 billion active users in 2016 or YouTube would reach to 8 out 10 people on earth : Approx. 210 million 'personal 'photographs were posted on tumblr, instagram and pinterest in 2016 alone. Below these oceanic patterns would be millions self styled porn-stars, celebrity magnets, pop-icons, politicians, sports stars, DJs, cat fetishists, major brands, social and scientific zealots, religious crooks and spiritual hoodwinks and a few million semi-naked women [showing ass] Dropping further fathoms down,  the mass majority of internet users comprise of hundreds of millions of shopkeepers - Vendors of what-you-may-never-need products, services, ideas bombarding away at the continuum of propaganda. Yet what overshadows all, from above, is the presence of Google, Apple, Microsoft, Verizon, Facebook, Twitter, Instagram, I-Tunes, Spotify and a few other viciously competitive monoliths. Like lofty skyscrapers and hovering zeppelins of the current online landscape : As gigantic icons of unquestionable innovation, success and profit. Yet beyond  the hype and hoopla, eventually the internet is a system. Churning endless amounts of data, predictions and numbers into vast amounts of money for a few epic monopolists. Fact, that the iphone is a 'perfect product' made of taxpayers money and perpetuating economic slavery. The Iphone contains several key components, previous developed by the US Military, using american tax-payers money.  The phone also contains metals such as ceriumeuropium and neodymium which is mined by africans under the most miserable conditions - exploited in Congo by Belgian and American cartels. Eventually assembled by Foxcon, a industrial monopoly from Taiwan which employes 600,000 people of which many commit suicide every month ]

Average americans were listening to 7 minutes of music on a given website in 2004 - which now has plummeted to give or take 55 seconds. The chances of you hearing new music has exponentially risen to approximately 1 million tunes being uploaded every-week, yet the chances of you actually remembering or even liking a new piece of music is down to 1 in 4810 attempts. Standing as quantic equations of success - Over time, it has become evident  that a clear devaluing effect is in place, inside the mechanics of the internet.  Like every new economic manifesto and free-market game-plan since WW2, the benefits of online success favor a select few, and that too for short periods of time. Post 2007, there would be no real democracy online. Young visionaries like Aron Swartz would be driven to commit suicide because of State and Corporate bullying - As Tom, your default 'first friend' on, would rake +14 million dollars a year. The age of start-ups [2003-12] would promise millions of people a chance to exploit the digital vista like never before, and in reality would favor just a handful to quickly industrialize all information technology. Just like the outcome of capitalism and communism, witness the last 100 years.

Yet, technology is not to blame. Nor are the exploitative corporations and silicon valley kids who rake in billions every year with our content, our actions, thoughts, images, music, words, art, propaganda, rants, business and selfies. 95% of the information [out there] is a result of Us. Our existence.  Our creation. [and not google, soundcloud, whatsapp or facebook or your favorite app or website] Yet it's a reductionist's game versus an alchemist's fantasy : after all the hype and individual hope has been sequestered via inhuman number systems. Billions of investment dollars dunked into cyberspace has eventually created domination, devaluation and dependence.
 We literally created (and paid) for the internet and the opposite of what was expected happened.

The internet has a peculiar yet complete seductive effect across users, telling us that the value our efforts online, will yield profits or benefits over time. To an outsider the internet is like a giant snake eating or feeding itself continuously : Growing massively. As we feed this schema and live off it via constant visibility, propaganda, information, views, love, hate, secrets, contempt or even controversy - we seem to actually achieve less and less in terms of personal growth or even satisfaction. 15 years ago the much celebrated possibility of individuality and living utopian personalities online has been crushed by uniformity : by pixel sizes, word limits, templates and by constant monitoring and increasing tariffs. You must pay to play.  The dream is (almost) over. The final frontier never arrived as them technocrats had predicted. A terrible hoax or a flaw in the system which failed to deliver the promise of digital democracy and freedom of the self. What the internet ordains us to believe is actually the opposite of what is served to it's invisible masters. The hits, the likes, the hearts, dislikes, hash-tags, the embeds, the shout-outs and every social media protocol we indulge in : accrues even more profits/control for the involved corporations : and so will be this paradigm, forever, superior than the individual. The bubble of buying the audience, listeners and followers is bust. The loudest and most mediocre of humanity have now become  the Online Champions. A truly diabolic spell of fame and suspicion caste upon human culture(s) and identity. The idea of personal information and space, has been depleted by our browsers and the digital mining corporation behind it. Repetition effects innovation in a converse way. Be it the 17th century or 2016. Be it potatoes or FM radio sets or .mp3'. Be it political or cultural propaganda.  Be it bit-coins or EDM. The same logic would apply for a large group of people or the average individual. Exceptional moments and continuos hype would guarantee the rat-race within the internet to exponentially rise every year. Quasi cultures and demagoguery thrives, yet only as tools to serve marketing and business.

The internet and information highway is a part of human evolution. Not a biological part, yet a cultural one, visible in the daily and practical consciousness of human beings, across the planet. Unlike any religion or political or cultural epoch, the internet is omnipotent now. This is evolution : or as some theorists say 'de-volution' An on-going Reductionism of human aspirations and innate values, colliding with technology. 

** The article does not concur with many existing success models on the internet. Further, it does not praise the unilateral and democratic effect of the internet felt by millions of users, across the world for the last fifteen years. It critically scans social-media systems and the future routes of human culture. Outside existing propaganda based mass culture, the internet and social media is public property and  should be open to change, to chance and even challenge. Like nations, like societies, like culture, art and ideas, the people own the internet and the space within. Not the corporations nor the State. Consumerism and current social media networks stand against such principles and ideas. We search a new paradigm : for individuals outside the maze of reductionism. A critical revision.

Dedicated to Aron Swartz : 

Aaron Hillel Swartz (November 8, 1986–January 11, 2013) He was an American computer programmer, entrepreneur, writer, political organizer and Internet 'hacktivist


BombayBlack Remixes The most warped, slamming sounds beaming out of India, this 2016 end ! 




computer vision - new album

New Album titled Computer Vision by Audio Pervert. Recorded & composed in Valencia, Spain. October 2016.
Computer Vision is a five song EP including a remix of Âme Innervisions. Release Date //1st December.

let there be synth


Babyfather, a.k.a DJ Escrow or Dean Blunt, has been recently hailed as the 'most happening sound & artist to emerge out of the sonic plethora of England. Resident Advisor announced the artist as No. 1 of 2016 in U.K. "The depiction of innercity life is vivid " - 
Released on Hyperdub Records this year - The coveted label has been instrumental in creating a landscape of future-driven dub. It is clear, that Hyperdub and it's boss man thrives with artists who are incognito. Anyone can cite the example of Burial : As a pioneer artist, who never played a single gig or festival. Yet there is no topping the incredible effect and myth of Burial on british electronic music. Less than 5 interviews till date. It's a well known fact that Hyperdub protects the anonymity of it's artists very seriously. Yet Dean Blunt is not anonymous.

The sound of Babyfather is mediocre. Yet that's not why we listen to it - Anyone who has heard and enjoyed the last 20 years of HipHop, R&B and B-Boy flavors of brit-electronica, will be bored easily at this languor of ready-made sounds. Socially and culturally speaking Dean Blunt's lyrics & voices is a reflection of the troubled times, echoing thousands of marginalized frustrated youth of England. The sound also begins to often veer towards the violent street reality of England. The celebration of marijuana is as profound as a plethora of gun-shots samples police sirens for a generation which is poor in philosophy and rich on violence. Loud & untreated and cut-short is the new paradigm of this thought stream. Given the need & persistent desire to present the truth, some artists stay totally uncompromised. Babyfather / DJ Escrow may be so. The Rapper says it clearly "Don't waste time doing a crime if it's already been done". The endless references to 'spliffs' and 'sex' and the urban conundrum  reveals the rage inside the mass decadence of an erstwhile empire, now subsumed in inter-racial paranoia & religious fault-lines.

Yet eventually, after listening to the artist's playlists, mixes and album for a few hours on - It comes across as predictable and reeking in nostalgia. There is very little listening pleasure or spontaneity in the sound and the beats. Without the poetic dribble of a nigger's nostalgia & will, this album would be near impossible to rocket to proportions of such hype and the astonishing number One status. Further introspection and online reading about the popularity and hype of this music, makes it worth wonder about the sheer vacuous status of england's electronic music scene, currently. Here in mainland Europe, the erstwhile brilliance and breakthrough music of Burial, Aphex, Squarepusher, Orb, Autechre, 808 State, UNKLE, Portishead, Orbital etc etc is almost non-existent or forgotten today. Whats going on ? Perhaps its more 'Hype' ove[r] 'Dub' now. 

Famous When Dead

Famous When Dead. FWD - A forth-coming initiative. Independent Audio-Visual Process & Participation. Future Driven Ideas & Artist Identity. A Collective. 2017. 

Planet of Puppets

Promo 1#2# Video



Planet of Puppets.
1. Song For Neus
2. Rojo
3. Spain
4. Never Notice
5 Who am i
6. Vampires
7. Sefareta [ Remix_ ThemClones ]
All tracks written. synthesized and mixed by Audio Pervert.
Mastered by Kenny Basumatari.
Featured Voices/Soul
Toni Braxton, Stevie Wonder, Mireia Mei, Prithwish Dev,
Toymob, Dinah Washington & Holly Maezers

++ Released by V.V.A

#50Minutes by Audio Pervert

#50Minutes. Techno. Ambient. FutureSteps. Analog. Session#1. Valencia. Spain.
Ableton Live+Max MSP+Various Vocal Samples+OP1+Dark Energy+Mopho+Waldorf Blofeld+Skinnerbox FM Drummer [prepared set]

Download DiRECT - -

Planet Of Puppets.

Sample Tank!

Sample Tank contains +2800 Sounds / Hi Resolution [24/48/44] # Analog Bass. Analog Kicks. Vintage Artefacts. Modular & Abstract Tones. Orchestral Stacks. + Original EMU 1998 Catalogue.▷ Copyleft media. DataSize#700MB :ZIP_Format.  All sounds have been sampled, edited & compiled by Audio Pervert. 2015ˈɑːtɪfakt. Valencia ESP.


Disco Puppet Spring

Earlier this year, Consolidate, a junta of emerging producers put out their debut showcase from Bangalore, India. Titled FRNDS & FMLY. A hiatus broken, a medusa of tunes and aspirations poured out of the urban landscape.
Disco Puppet is one such candidate emerging from Bangalore with a new EP titled Spring. A six song splash entwined within a plethora of moods, instruments, sounds and non-genres. The press release states the artist's " irreverence towards the stylistic and procedural dictates of genres and their purists. This stems partly from ideology, but mostly from a tendency to get easily bored " Shoumik Biswas a.k.a Disco Puppet exhibits rampant desires within his music. To sing, to croon, to punch-out synthesizer riffs, to stack up naive drum patterns  and over all a tendency to quickly veer away from repeating motifs. A heavy brain-feeder, post hipster vagrancy can be traced within the tunes and choice of sounds. From Whiplash snare drums to ghost bass_lines to traffic samples to droned guitars to  mellifluous [love-lorn] voices combine in short tunes - which makes this EP a very potent listen. A retro_active melodic sense lay within the latter tunes as much as a naughty, edgy, fleeting energy in the first half of the EP.  As a singer, Disco Puppet is refreshingly naive - his voice, sung, tweaked and designed carefully, contrast the lyricism upon which the songs shift shape. Via Disco Puppet, Consolidate has put out a bright  follow up to their debut and second release this October 2016. 

Shoumik as an artist, is surely a far cry from the current rise of 'dressed_up poster boys of EDM' or even the stereotypical DJ sporting the same lame plastic controller and some version of 'traktor'. Disco Puppet, is out to question and explore, not to really adhere to charts, trends and hairstyles. Track 4, titled Experiment being our favorite tune " where you going ... why you running ... just stop ... " 

Download artwork:

Bagula Bhagat

'Bagula Bhagat' literally translated from Hindi, means 'a person that one cannot trust' [a.k.a shady] The artist Bagula Bhagat is Shyam Ravindran, 40-ish, living in New Delhi and Kerala is one the most recluse producers inside the microscopic underground electronica scene of India.  Much away from the seething smack mediocrity of EDM and gelled up jocks. Miles above the commercial noise, soaring in his solo flight of dissent, confrontation, sampling and beats. His music and sound harks at the future and raises a fist to the past. Massive archives of spoken word, speech, Bollywood dialogues, songs, colloquial and philosophic rants to the dregs of folk & rural nature is the source. Mashed within dub, desi, acid, drum&bass, dupsteb, post_dub, tribal and ambient forms. Almost veering to long drawn cinematic montages. Yet his DJ sets as much unpredictable - if you can jog to Kid606 style Breakcore madness.

This review is limited to his current musical output. The past 15 years, and his work and contribution to the electronic music culture of New Delhi is deep & yet mostly covert.

It's almost impossible to nail the underlying desire in his music, as much it's evident of the raging and upfront sensation. His music, as is the case with many forms of art, is beyond the current limits of consumption and mostly opposed to conformity - In future, one might just witness a retrospective craze for the Bagula Bhagat Sound. We feel that Bagula Bhagat is the longest running rule breaker & non confirming artist in the New Delhi scene. The term artist, understood and appreciated outside the current existing chimera of copy_cat trends & frail elitism. 

Singles. 2010-2016