Tell us about your journey as a drummer? Start at the top please!
Started out in the mid-late 80s playing in metal bands... All those bands were spread across suburban Bombay. 1988 onwards, I went through a quick succession of bands, such as Witch Hammer, Modus Operandi, Helldriver, Chakraview and Orphean Revival. That time, types of of metal, progressive rock and whatever we were tripping on, became our sound. Moved to Da Spice Tribe circa 1995. Around the same time, a new specter of pop music started opening up in
Bombay bit by bit. It didn't just have to be rock, metal or such music
anymore... As musicians, we were branching out towards new directions.
During that time I met Dinshah Sanjana and Lucky Ali, both very diverse
band leaders. I got the gig with Dinshah’s band called Divya,
consequently began touring regularly, learning the ropes, to
take on more gigs and types of music. With Lucky Ali, over countless
gigs, I forged a relationship that lasts till today.
Circa 1997, my peer group was drawn into psychedelic and acid rock and emerging jazz. Ozric Tentacles, Chic Correa and Tribal Tech to name a few. Some of us call it “jazz-fusion days” which lead to Gil Galad's Funkadelik Arcade. Those years made of new funk, acid-jazz, Nuyorican styles and early electronic music. Around 1999, a new wave appeared, a mix of all that was happening in Bombay, called Bombay Black. Initially it was seven of us, but as a collective we recorded two albums featuring many musicians from Bombay. In hindsight, it was a brilliant accident of sorts! The formation to disintegration of Bombay Black (say about 3 years) created new pathways for all of us involved...
Along with Tala (saxophonist and composer) I formed Groovesuppa, featuring T2 Vibhas Rahul on percussions, Dwight on Bass and Binay on guitar. That was 2003. We toured a fair bit with this combo for the next two years. Meanwhile I was gradually stepping into making music for commercial interests, collaborating and learning digital composition along the way. In 2007, a brand new venue called Blue Frog brought the indie scene of Mumbai together. I pulled off dozens of sessions with Shaair n Func, Shefali Alvares, Dhruv Ghanekar and Ashu, Joe Alvares, Para Vayu, Bliss Logic, Midival Punditz, Shri, Petri Dish Project, Viveck Rajagopalan. Looking back, those years (2007-2010) saw a veritable explosion of bands, indie musicians in Mumbai. Also new venues and festivals.
How did Dark Circle Factory happen?
I was doing regular sessions at Coke Studio Season 2 and 3, where I was part of the Clinton Cerejo’s entourage, and consequently we gigged together. The scene was about homogeneous ‘fusion’ music. The idea to start my own band with a specific trajectory had been buzzing in my head for a while. Something which could sound above the given hiatus in Mumbai then. After producing and releasing Bliss Logic in 2008, I was convinced that a new circle was the making. I wanted to dwell deeper, upon the roots of Hip-Hop, Drum & Bass, Jazz and Rap. But not as reproducing genres. In 2013, I released the debut album called ‘Positive’, which met with a lukewarm response.
November 2020, I was compelled to put out new music, finish a lot of tunes recorded for Dark Circle Factory. The 2nd album called Exhibit, upped by the single called ‘Good Vibes’. I decide to go with an A / B format. Two sides to the music, that inspires me. Some of my buddies like Tyrone, Abhijit Nalani, Sidu Archrekar, Paresh and Sonu feature on the tunes. The A-sides leaning more towards mainstream aesthetic - the B side more experimental and darker. For me personally, more the merrier!
DCF for me is where I get to be composer-producer - a space to imagine freely - to work/collab with whoever I want to and can. The musician in me, is not limited to a sound or instrument. I love the drums and I want to program, synthesize and sample. I’m done with genres frankly! For me, it’s utmost that I am able to create a genuine expression. Surprise myself! Some guys thought they would hear drum solos and complex chops on a DCF album, but I guess they were disappointed. I felt some listeners expected to hear me play ‘Madari’ live, but were equally shocked at the crossover of genres and improv that took place. DCF live is about submerging into the energy, based on relentless beats, improv and elements of surprise. I would encourage upcoming drummers to improvise and learn from all types of music.
How are you coping, two years into the pandemic?
The pandemic has messed up a lot of things for people. The music scene has been hit very adversely. As if a reset button pressed on the music industry. However, on the positive side, there is renewed energy for the indie scene and space for self expression. Especially online. Dark Circle Factory has released a new video titled 'Love Life /Hate Life' off a tune released in 2013. The tune has Bobkat's voice and Binay Rai on the guitar, mixed by Joseph George. The narrative is straight up. That feeling which we all have felt towards Bombay and maybe, at some point about our own lives as well. There's a sense of urgency within this mega-city of 20+million people. I hear folks often say "now or never... so just do it". Back to the music ...the indie circuit is picking up faster than the commercial side, and that the audience wants to get back into the venues and clubs... and now back to the studio! Expect new banging tunes by Dark Circle Factory.
