A Quote by Sid Sriram
My idea is to take the improvisational excitement that takes place with Carnatic music and juxtapose that in different sonic contexts.
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All punk music is is rebellion, going against the grain. It takes different forms. Sometimes it's a band throwing their instruments around or making really violent and noisy sounds, but it doesn't have to take that sonic form. It can take more of an energy.
I'm happy to be associated with the Times Thyagaraja Awards, which takes Carnatic music to the young generation.
I grew up learning carnatic music but I also enjoyed english music so I always thought I could marry the two words and we tried the idea once and it was a hit.
I definitely enjoy working within different contexts, with different collaborators, and in different locations. I need to keep feeding myself as an artist by working with different people. I see continuing with that. I've also enjoyed getting to explore different kinds of music and instruments in the last couple of years.
I write my music with the idea that it will appeal to all of those people, and I want them to go in with all the history that's within all of us - all the things that they've listened to in the backs of their minds, whether it's country music or minimal techno, or classical music or whatever. I want them to bring that excitement, that love, or that hate, or whatever it might be, to my music. I feel that my music draws on so many different things.
I don't make sonic booms. I want a whip. I like the idea of walking around making sonic booms everywhere.
Something different happened to me when I started to write music to images. It was a feeling of excitement and connection and a sense of being in the right place that I never had before.
When you get new people around you, the excitement is new because they have different take on your music. They play it in a different way, and that's always exciting to be around. It elevates everybody onstage.
Sonic Youth was a collective. There's something fantastic about the idea of making music is a social activity.
Negro music and culture are intrinsically improvisational, existential. Nothing is sacred. After a decade, a musical idea, no matter how innovative, is threatened.
My basic grammar is in Indian classical music, Carnatic music, and Hindustani music, but I don't believe that that is the only form of music I will learn. I don't believe in that, because I am a very open minded person.
It's very hard to take a character out of nothing, and put a hook on it, especially because it's only sonic. Futurama is a sonic world, and everyone's attention is focused on that sound and that little cartoon image. You can change it.
There tend to be two different drives that lead young people toward music. One is that music provides an escape; it takes you away from the unhappiness or torture of where you are and makes you feel less alienated-you believe there is a place you fit in somewhere else. The other is a sort of transcendent, spiritual feeling in the purity of music.
American cities are kind of difficult contexts to work in. They are politically complex. There are a lot of different interest groups. It takes immense political skill to get anything done at all.
It's about the stories. If I write 14 stories that I love, then the next step is to get the environment of music around it to best envelop the story, and all kinds of sonic goodness - sonic goodies.
I'd like it to be a bit of everything, the kind of music you can dance to, but also something a bit more personal, that you can listen to in other contexts. I think it's very important to maintain the contrasts between the different types of music that I make.
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