Hello, and welcome to a brand-new feature here at Top Five Records! Today, we wanted to dive into five great songs that we’ve heard from new artists who have submitted music to us from all over the world. Without further ado, here’s our inaugural New Artist Roundup from Top Five Records!
EIN SAM is a young electronic musician based out of Bristol, UK with three songs so far under his belt. The second of these tracks, “Stuck Pig”, was released at the start of the year. The track features a meandering bassline and slow-paced drums that form a great foundation for EIN SAM’s deliberate vocal style. The song itself is, in the artist’s own words, “about inner and outer divisions”, and he does well in portraying that through his lyrics about being neither here nor there (see lyric video above). The song’s fuzzy psychedelic rock gives us vibes of Mazzy Star, so if that’s your cup of tea, be sure to give this a listen.
Metro is a young four-piece band hailing from Palo Alto, California. “Letters”, the band’s second song so far, starts off with dreamy instrumentals that are joined by singer Marina Buendia’s folksy, quivering vocals. The entire song is built on a concept of personified Winter and Summer writing letters to each other, and kudos to Metro for making that seem much more quaint than you’d expect. The band’s dream-pop vibes sound like a sweeter, stripped down version of Tame Impala – not bad for a bunch of teenagers. If you liked this track, you can check out their first song “Her”.
Washington D.C.-based Gede makes music that defies neat little genre boxes. Gede describes his own music as a combination of big beats, distorted guitars, bass and much more, and cites artists as diverse as Tame Impala and Gary Clark Jr. as his inspirations. “Sinners”, from his 2021 album Forward, is a great example of that. The track features Gede’s contemporary rap bars set against electric blues-rock – with jazzier interplays that could easily feature on, say, a heist movie montage. If you liked this track, you should definitely give the rest of the new album a spin.
British musician Gallery 47 (real name Jack Peachey) makes introspective, acoustic guitar-driven music reminiscent of folky artists such as Elliott Smith or Nick Drake. His latest track, “Angel Follows Me Out”, is a two-and-a-half minute ditty with pretty acoustics that play well with the quiet, melancholic vocals. The song really focuses on the deft guitar work with not more than four to five sentences of actual lyrics; but the end result is a clean, simple but haunting piece of music. If you liked that track, then you’re in luck: Gallery 47 is a highly prolific musician with four (!) albums in 2020 alone.
Canadian singer-songwriter Nuela Charles has been slowly making a name for herself since her debut album Aware (2012). Her sophomore album, The Grand Hustle (2016), featuring the slow-burning pop track “Crumbling Down”, was even nominated for the JUNOs (the Canadian equivalent of the GRAMMYs), and she’s garnered numerous awards and charting positions in her native Canada over the years. Charles’ signature sound seems to be contrasting her silky-smooth vocals – think Ariana Grande or our new fav Celeste – against a big-band bass, horns and drums type of production. Her latest single “Space” (created with Juice WRLD producer her Don Mills) falls squarely in this niche. Much like Grande’s “NASA”, space here refers to the physical and emotional distance between Charles and her lover, except as a twist, it seems like Charles is the one trying to pull the other person back in (“I don’t need space / you told me you needed space”). Great entry point into a singer that is bound to break big very soon.
If you’ve been paying attention to the music coming out of Kolkata for the past few years, you’d have heard of Suyasha Sengupta. She was the lead singer for the Ganesh Talkies – a rare frontwoman / guitarist – and went on to form her own electronic solo act called Plastic Parvati.
Last month, the reputed Toto Awards chose Plastic Parvati as the winner of their Music award for 2019, from among a formidable list of upcoming musicians. Recently, we caught up with Suyasha for a long-ranging interview covering the prestigious award, new music, artistic influences, and so much more. Read on below:
Top Five Records: Hi Suyasha!
Suyasha Sengupta: Hey!
TFR: Thank you so much for doing this! Just to give you a little bit of an introduction – we are Top Five Records, an independent review website that’s been online for about six years now. You may not remember, but we actually featured one of your songs a long time ago.
SS: Oh, yeah, was it before the album or something?
TFR: Yeah, it was literally like in 2013.
SS: Oh yeah, had to be one of the first ones.
TFR: Yeah, we’re really big fans of you and Ganesh Talkies, so we’re really glad that we could take the time to speak. So let’s get started, from the beginning. When did you start to get interested in music?
SS: Well, I come from a very Bengali household, so there was always some kind of music on when I was growing up. The stereotype is, you know, that Bengalis always have Rabindra sangeet on somewhere in the background, and that was quite true. There was a lot of folk music, traditional Bengali music, and there was also a lot of Elvis, the Beatles, Nat King Cole and all of that. Even before I started playing music, I would say that since I grew up with music, it helped the process.
I think I was about 10 or 12
years old when I realized I wanted to start singing and writing music. I
started taking guitar lessons when I was about 14. And then of course, I
discovered Nirvana and Alice in Chains and Stone Temple Pilots – the whole
grunge scene. I think I always knew that I would pursue something in the arts,
but music was always my release, my go-to. It was a very natural process.
TFR: Right. And so, do your parents like the fact that you’re a musician?
SS:(Laughs) Well, I’ve been doing this for a while, so they’ve kind of abandoned the hope of me pursuing something else. It wasn’t very smooth in the beginning, but since I’m an only child, I played that to my advantage. For Indian parents, to let their children go into a creative field, it’s a little bit scary, because the future is always uncertain, and it’s an unstable profession. It doesn’t have the comfort of a steady 9-to-5. My parents were obviously apprehensive.
I started singing professionally
at 18; this was when I was still in school, playing a gig on the weekends,
going back to school the next day – for pocket money. They figured out that I
would pursue something in the arts, but they encouraged me to at least get a
bachelor’s degree. After graduation, they were like, “If you can manage both,
then go ahead”. I actually ended up quitting my Master’s program after a
semester and moving back to Kolkata, and that’s when I had a more serious
conversation with them. Initially, they weren’t happy but I think they’ve
gotten around to it.
TFR: Yeah, especially if you’ve always had music in your home, they would be semi-okay with the idea anyway.
SS: Yeah, and they were happy that I was doing my own thing and taking care of myself. And unlike the sex drugs and rock ‘n’ roll stereotype, she hasn’t turned up in a ditch somewhere yet (laughs).
TFR: Haha, right. So at what point did the whole Ganesh Talkies thing start, and when did you decide that you wanted to start the Plastic Parvati project on your own?
SS: Going back to the band when I was 18, we were primarily a covers band, and we used to play at this place in Kolkata called Someplace Else. The bass player, Roheet, and I eventually wanted to play our own music, from our own set of influences. One of the things we bonded over was ‘90s Bollywood. Not the music necessarily, but like a certain Govinda movie or some dance step. That’s how Ganesh Talkies started, and then the guitarist and drummer joined in. We came from different sets of influences, but the common love for – I wouldn’t say trashy – but the over-the-top Bollywood helped us.
TFR: Yeah, that ostentatious element.
SS: Exactly. Unreal, gaudy. So that’s how we started Ganesh Talkies. We focused on making our own music rather than covers. When I was in the band, I started experimented with production. I was the primary songwriter for the band, and sometimes I’d have a keyboard or drum idea in my head, but I couldn’t always explain it to them. So I was like, okay, if I could map it out on a software, then maybe they can understand.
At the same time, I also realized
that some of the stuff that I was writing was a little bit too intimate for the
band. It was just my stuff and my moods. So Plastic Parvati started off as a
passion project – and a learning project. I would use it to learn how to
produce and how to write music personally.
TFR: For sure. Earlier on, you were mentioning that Nirvana and grunge is a very big influence for you. Does that carry on to Plastic Parvati?
SS: Nirvana for sure, that’s going to have an influence on everything I do. I think grunge in general has had a huge impact too. Apart from Nirvana, I was discovering a lot of female artists – musicians, directors, poets. I stumbled upon Hole, Garbage and Bikini Kill. These women have left a deep influence on me – because of their music, I don’t feel inhibited to say how I feel with Plastic Parvati. I’ve always been attracted to the fringes, the left-of-center artists.
TFR: That actually reminds me of this VH1 show called Left-of-Center.
SS: Exactly! I remember watching Nine Inch Nails and Marilyn Manson videos, and I thought it was so cool. I’m a sucker for commercial pop too, but I really related to that. And that was the only good thing on TV around that time, and I feel privileged because they actually used to play music on TV back then. Now it’s just reality shows.
TFR: Yeah, now it’s just trash.
SS: Yeah. I don’t even own a TV anymore.
TFR: Same here. Going back to your album [Songs About Lovers, 2017], what was going on through your mind when you were putting that together?
SS: So with the album, we – by we, I mean me and my mentor Miti Adhikari [noted Kolkata-based producer] – we were putting together these snippets when the Ganesh Talkies was having an off-season period. I played him a bunch of unfinished scratches, about 20 of them, because I had all of these clips but I didn’t know what to do with it. There were some that we rejected outright and some that we picked out to work on more. That’s when the idea for the album came about. Miti is someone that I feel extremely comfortable with, so it was a very collaborative process. While I was songwriting, he gave me all of these ideas in terms of instrumentation or production. We’d worked together on Ganesh Talkies but that was as a producer; this was a more intimate process. I’d share the ideas and record the vocals at his place.
I didn’t initially plan on releasing it – it was originally for my mental health, that I could finish the project, because I was trying to tell these stories through my songs. The theme in my head was essentially a chronicle of my experiences as a woman in India, and an exploration of my sexuality.
TFR: Right. We’ve heard great things about Miti from Nischay Parekh as well, about how he was instrumental in developing his sound, too.
SS: Yeah, he’s really one of the key figures in the music that comes out of Kolkata. It’s a small city, and we’re all friends with each other.
TFR: Yeah. So I wanted to ask you about your experiences as a female Indian musician. What kind of changes would you like to see as a performer, for indie musicians to really get the recognition they deserve?
SS: It’s still a tiny bubble. For Indian musicians to get the recognition they deserve, we have to break out of the bubble. We all play gigs in the major metros or the tier-2 cities, but it’s not enough. How many people actually hear anything indie? Firstly, we need a scene which is not just, like, 10 people from Bombay; more inclusive of other people, other voices. And we need more female, trans, LGBTQ voices – moving away from the straight, upper-caste Hindu, male thing. We just need more involvement.
In fact, I was recently looking
at some of the American festivals – there’s always one or two women headliners,
but we don’t have that here. Like, last year, there was this festival on
Women’s Day, that had an all-women lineup, but it was organized by men! The
point is not to have an all-women line-up. The point is to normalize the role
of women or other communities amongst what exists now.
TFR: Exactly. They essentially didn’t do much except filter by gender.
SS: Yeah, like there’s a “genre” called “girl-band”. For other bands, there’s genres like rock, hip-hop, whatever, but for these girls, there’s a genre called “girl-band”. That doesn’t make sense! The conditioning needs to change, basically.
And another aspect is that I’m
basically in the black-hole of the country [musically]; we in Kolkata don’t
always get the push we deserve. But I love Kolkata, it’s very comfortable.
TFR: Yeah, this is what we hear from the Chennai bands, too: “No one really cares what we do in Chennai, so we just have a lot of fun by ourselves”.
SS: Exactly. If you look at the music that’s coming out of these two cities, it’s extremely different and diverse. We have to work harder, and we don’t get the kind of recognition in other cities, so we have to focus on our craft more. We have no infrastructure, just us musicians. We have to travel to Bombay or Bangalore just to play a gig.
TFR: Speaking of gigs – what’s on the radar for Plastic Parvati?
SS: The next gig I’m playing is Control Alt Delete. It’s actually my first as Plastic Parvati in Bombay. I’ve consciously stayed away from club gigs because I’ve done that extensively with Ganesh Talkies. I also want to put out some music by the end of the year, because there’s been a change in my musicality. I want to see how that works, in the context of an EP.
TFR: Nice! So do you have anything down already?
SS: I’m still writing, so it’ll take some time. I don’t like giving myself a deadline, because I feel pressured, but I have some scratches down.
TFR: Cool! So the last thing we wanted to ask you is about the Toto Award, which you won recently for Music. That’s a great achievement, congratulations! What does the award mean to you?
SS: Honestly I didn’t expect it at all! Although I’ve been playing music for a while, Plastic Parvati has just been a year of me seriously trying to do something. In terms of independent arts in India, this has been one of the groups that has been supporting artists for a long time. And the previous winners are all artists I deeply admire – it’s great to be one of them now! Toto has always been great at selecting the non-mainstream, slightly underdog artists – there’s some pressure on me now to live up to their support. It’s also encouraging to know that there’s an organization like that that appreciates artists like me. I’m hoping that it’s a message to younger girls, too: there’s people out there who do support you.
TFR: Well, that’s all the longer questions we had. We just want to do a quickfire round now, cool?
SS: Sure, yeah!
TFR: Who would be your favorite Indian artist, apart from yourself and Ganesh Talkies?
SS: Fuck. This is hard. I can’t pick one! I’ll go with Parekh & Singh, and Peter Cat (and LIFAFA and Begum).
TFR: Awesome! I guess our tastes match exactly, because the last two interviews we had were with Parekh & Singh and LIFAFA.
SS: Nice! Yeah, I feel like they’re very representative of Indian indie. They’re not trying to do like weird raga type things with Western instruments, but they are writing their amazing songs, and their sound is incredible.
TFR: It’s very desi.
SS:Desi, but perfectly balanced. Oh, I actually really like Disco Puppet as well. But that’s a personal bias! And… can I name one more? I’ll say Pulpy Shilpy [Gowri Jayakumar’s solo project]. Spoken-word, hip-hop, R&B. And she’s doing everything by herself, so I’m a deep admirer of that aspect.
TFR: Right, ties in with who you are as well. So moving on, which musician, dead or alive, would you most love to work with?
SS: Definitely Sandunes. I love everything that she does, her music, who she is as a person. Her music is very calm, thoughtful. I’m the opposite, like a hurricane – would be very interesting to see what a collaboration would be like.
TFR: Third question. What’s your drink of choice?
SS: Royal Stag, with water.
TFR: Nice. Classic. What’s one track or album on constant rotation lately?
SS: An LP that I found recently – Yellow Magic Orchestra. It’s these three Japanese dudes who made weird stuff in the ‘70s. All analog stuff.
TFR: Very left-of-center, as we were talking about. Final question – what’s been your favorite gig so far as Plastic Parvati?
SS: This is also a little difficult, all gigs are so different. I did this one REProduce session in Varanasi. We were on the roof of a hostel overlooking the Ganges, full-moon night. The crowd was an interesting mix of foreigner tourists and some locals, who were listening to non-Bollywood Indian music for probably the first time in their lives. It was super interesting, and the lineup was great, too. Fun gig.
TFR: Absolutely. So, that’s all from our side. Thank you so much for speaking with us! We’ll keep an eye out for the new EP, and it was a blast speaking with you!
SS: You, too. This was so fun.
You can listen to Plastic Parvati on SoundCloud,Spotify, and iTunes. And keep an eye out for her new music!
LIFAFA
is the solo electronic project from Suryakant Sawhney, the lead singer of famed
New Delhi indie / jazz outfit Peter Cat Recording Co. While Peter Cat’s music
is often a dizzying mishmash of influences ranging from cabaret to psychedelia,
LIFAFA is more focused in its palette: desi,
electronic, nostalgic, intimate – yet danceable, too.
After a well-received debut EP (In Hi Ko) in 2014, Sawhney released a follow-up EP, Jaago, this month. Our favorite song from the album is the title track. With its harmonium-based intro and Sawhney’s wistful vocals, the listener is immediately pulled back into a Technicolor yesteryear. About halfway through, however, the song melds seamlessly into a dance track that references the same old-timey tones – cinematic swirls, dramatic embellishments – but in a fresh, modern way.
We recently
sat down with LIFAFA for a quick chat about the new music, artistic influences,
and much more. Read on:
Top Five Records: On Soundcloud, you describe your new track “Jaago” as Bhajan EDM, and honestly we could not put it any other way. How would you describe the LIFAFA sound overall?
LIFAFA: It’s a place where I’d like to imagine I have a completely blank infinitely large canvas to try whatever I like, however niche an idea and attempt to refine it till its limit before wiping it all clean and starting again on something else. So I guess right now what I’m working on is the sort of Hindi music I wish I heard playing around me. I’ve been driven insane by the fucking awful shit I hear playing outside on radios and giant tower speakers and I hope people steal or buy my music just so some of those speakers are tranquilized.
TFR: Where does Peter Cat end and LIFAFA begin? For example, are there some snippets that you shelve away because they have a more “LIFAFA” sound to them?
LIFAFA: For one, I’ve generally tried to steer those songs which require the precision of dance music production towards LIFAFA. I don’t necessarily separate on the basis of language or quality. But most importantly I’m never in both mind frames simultaneously anyway. It’s a switch I have tried to build slowly which allows me oscillate between a human who thinks and feels in English and one who thinks and feels in Hindi. It takes a bit of time to turn into either person again and everybody must suffer.
TFR:As with Peter Cat, your solo music has a dreamscape kind of feel – it’s often like listening to a lucid dream. How would you describe your creative process? Do you land on the mood of the track first, or is it something else?
LIFAFA: My music all hinges on there being one definite moment where the initial melody, beat or combination struck home. It’s important to remember why you fell in love with a song or were attracted to it and then later down the road, the real test is in trying to recreate that moment in time while upgrading its general production (without losing what give it that soul). I can generally remember the exact moment a song was born. That’s a large reason I made more lo-fi music, because I also felt that, during the process of cleaning it up or re-recording, something vanishes.
TFR: Your music references so many types of art – other genres of music, the Technicolor drama of old Hindi films, and so on. What would you say are your key influences as a musician?
LIFAFA: It’s an ever growing list, starting from my childhood or my memories and tragedies, to neoclassical American music, to jazz, to Vrindavan, to physics, to YouTube, to Jordan Peterson and the Internet. Ultimately in time, I’d like to reference reality and not other art which is just somebody else’s reference to reality. There is no key influence, just the desire to keep re-informing myself and constantly changing.
TFR: You just had your new album launch in early January. Congratulations! Tell us a little about the album. What’s different this time around? What inspired you on this one?
LIFAFA: Well, for one, it’s better produced than my older work. It’s all in Hindi or Hindustani. It’s hard for me to answer this. I think a lot of what I said in the first question is relevant here. I was certainly driven by the idea of attempting to push Indian culture forward, in its own way, and ingest global ideas without become one. Blah, blah, blah. Also, I grew tired of making deeply personal music which I do in English and attempted to find a place where I responded more to my external environment, being Delhi and India, rather than just my own inner psyche.
TFR: Very interesting, thank you. Before we wrap up this interview, we have a few quick-fire questions for you. Here goes!
TFR: What are some album(s) on constant rotation recently?
LIFAFA:Pavilion of Dreams by Harold Budd (can’t get enough). However, I generally listen to tracks and not albums. I’m obsessed with “After the Rain” by John Coltrane these days. “Jamuna Kinare Mora gaon” by Prabha Atre has become a favorite, thanks to a friend.
TFR:What’s your favorite Hindi movie of all time?
LIFAFA:Muqaddar ka Sikander for its music, dialogue and beautiful approach to morality and tragedy. Everything about it is sublime and it never ceases to be accessible, which is the real achievement.
TFR: Drink of choice?
LIFAFA: Bourbon. Bailey’s.
TFR: What’s been your best gig so far?
LIFAFA: So far – at a particular show at the Serralves festival in Portugal, a couple decided to get married while I played “Irradon” and asked me to announce it for them.
TFR: And finally, who would you say is an Indian artist you love? (Not necessarily a musician)
LIFAFA: Amit Dutta, a filmmaker. I only saw fragments of his work and instantly knew he was on a another level. Yet to watch anything by him completely because I keep forgetting to. Some people just frighten me.
The Kid is an astonishing album across a whole slew of axes. The most striking thing about it is just how much of nature is present in an electronic synth album. At points, it evokes the stillness of a Walden-like lake and the movement of a brook. Mostly though, it evokes more active organisms. A point in “Who I Am and Why I Am Where I Am” brings a strong image of a jungle waking up to mind. Like the world it draws from, the result is an ever-fascinating panorama filled with things worth examining. You should try it out.
Top Five Records 