Let’s face it, 2025 was the year of  India’s great concert boom. At this point, if you’ve lost a friend while navigating your way to the main stage, fuelled purely by vibes and no internet connection, then congratulations: you’ve passively contributed to the country’s GDP. Apart from bolstering the economy and bringing a stellar lineup of global headliners, music festivals have also paved the way for some slang words and phrases that have now been absorbed into the pop culture and entertainment landscape. 

Powered by circumstantial occurrences, subculture references, and euphoric instances, these terms are like secret codes to describe that indescribable feeling concerts and festivals tend to leave you with. Be it the wicked “bassface” you and your friend bust out as your favorite track drops, or getting a “pit rash” from moshing too hard, there’s an entire live music vocabulary that continues to evolve across eras, cultures, and fandoms. From mainstages and fan pits to dance floors and bad porta-potties, Rolling Stone India spotlights the ultimate live music and concert vocabulary guide. 

Trustafarians

The final boss of cultural appropriation, trustafarians are obnoxiously rich trust fund kids who whittle down cultural movements like punk rock or neo-hippie, into a flattened Instagram “aesthetic.” A combination of “trust fund” and “rastafarian,” this term, that can be traced back to the Seventies,  applies to the kind of concert-goer who treats counterculture like a costume, and will probably tell you where the nearest bathroom is with an unsolicited namaste.
Usage: “The trustafarian I met at the gig last week told me he ‘found himself’ during soundcheck.” 

Marinate

The highest form of sonic surrender at a gig, to marinate is to sync with the music, soak in the vibes, and be fully present as the beats drive you to parallel dimensions, all without moving an inch from your hard-earned spot in the crowd. You’re neither tempted to record a video nor bothered by the constant shuffling of people around you.
Usage: “I marinated at Kaytranada’s set till the very last track.”

Wooks

Riddled with their own set of side quests and lore, wooks are a subset of the rave and EDM community who embody a nomadic lifestyle by traveling and camping onsite at music festivals. Presently, they’ve gained quite a reputation, mainly due to negative stereotypes surrounding their poor hygiene. Nevertheless, they’re the designated wanderlings at a concert who are easily identifiable by their eccentric yet warm nature.
Usage: “Echoes Of Earth had such an elf-like Wook this year.”

Turbo Mode

The personification of “God is the DJ and life is the dance floor.” Cranking the barometer of fun, you’re basically a human confetti canon. More than the idea of letting loose, it’s about maximizing your individual lore, leaving you with a night to remember (even if it’s not for the best reasons).
Usage: “This weekend I’m activating Turbo mode for the Indian Sneaker Festival.”

Bang-over

Probably a by-product of hitting “turbo” extremes, a bang-over is nothing but the soreness you feel post a night of headbanging too hard at metal and rock concerts.
Usage: “I am still recovering from the bang-over from the Guns N’ Roses concert.”

Post Concert Depression (PCD)

That feeling of melancholic dread you get the day after a concert? Yes, it has a name. Before you roll your eyes, yes, this is an actual condition. Although it is not officially recorded as a formal medical diagnosis, Post Concert Depression is characterized by an emotional lull caused by endorphin crashouts, leading to prolonged periods of emptiness and disconnectedness. 
Usage: “Bro, my PCD flared up so badly after the Coldplay concert weekend.”

Ground-score

Music festivals also function as unofficial scavenger hunts, thanks to the boatload of paraphernalia that you’d find onsite. From drug stashes to funky accessories, the range is as wide as a concert lineup.
Usage: “Yo I ground-scored a digi cam at Lollapalooza!”

Front of House (FOH)

Undoubtedly the best “seats” one could have, FOH is where the true magicians of the festival, i.e, lighting and sound engineers, operate from, usually 100 ft away from the main stage. All those gram-worthy concert moments, where the lighting hits just right, and the venue acoustics that make you transcend time? Yeah, it’s all thanks to the crew working tirelessly in real time to give you the experience of a lifetime. 
Usage: “My friend is working FOH at Post Malone’s concert!” 

Throwdown

Originally borrowed from the idiom “throw down the gauntlet,” the term is synonymous with all the shenanigans that go down in a mosh pit. Think epic full-body collisions and endless windmilling, all while your favorite artist scores the core memory in making.
Usage: “I can already tell that the throwdown at Bandland 2026 is going to be epic.”

Idiot Zone

A synonym for mosh pit, wherein “pit rashes,” or injuries sustained in the idiot zone, occur.
Usage: “The idiot zone at Carti’s set was wild. My pit rash is the size of a golfball.”

Excitement pie

Essentially embodying the same rush that you felt before school picnics, the term accounts for the anticipatory euphoria before attending a music festival/concert. Outfits decided, storage cleared, travel routes finalized, all while exhilaration courses through your veins as the thought of seeing your favorite artists live plays like a mental loop.
Usage: “I’m already prepping to chomp my slice of excitement pie for Linkin Park.”

Driftwood

The most hated people at a concert are always the patrons who walk at a snail’s pace, creating human traffic as everyone tries to leave. There’s nothing more annoying than that post-concert walkout when the crowd is buzzing, the energy is high, and yet the people in front of you take their own sweet time, already possessed by the ghost of PCD’s future, while the rest of us just want to get to the exit.
Usage: “The crowd moved like driftwood post the concert.”

Vamp

 Before the musician even steps on stage, concertgoers often drift into the kind of pre-concert banter that can feel more interesting than the show itself. You mentally note the couple arguing nearby, casually befriend strangers, and join in on collective complaints about the evening heat. In those moments, the crowd transforms into a real-life mingling pit, and the shared chatter leaves you with an unexpected sense of solidarity.
Usage: “I added that guy I vamped with before Don Toliver’s set on Snapchat.” 

Muggy

Sigh. We’ve all been there, sandwiched between bodies in a near-stampede situation while the notorious odor of sweat engulfs the air. A bonus, of course, is the near-death humidity, all while somebody’s elbow continues to egg on your face. “Muggy” captures the overall suffocation, tiredness, and dampness of the atmosphere at jam-packed shows.
Usage: “Even the VIP section was muggy, can you imagine?”

Edgewatcher

The silent protectors of the fallen, these are the people who circle the outer circle or wall of a mosh pit, helping out those who’ve been brutally tackled or pushed away.
Usage: “The edgewatcher at the Guns N’ Roses concert was incredibly sweet.”

Bouncer Bait

That one defunct person who eats social anxiety for breakfast and pulls off a little bit of everything that would alert the security at a concert, almost asking to be escorted away. A walking safety hazard to everyone, they are a combination of all the annoying festival attendee tropes, from lacking spatial awareness to violating concert rules.
Usage: “That guy was straight-up bouncer-baiting the crowd to be honest.”

The post The Ultimate Concert Slang Playbook appeared first on Rolling Stone India.

Live music is the closest one can get to experiencing magic. Time warps gently as light beams bounce off playfully, while the artist controls the crowd with sonic sleight of hand.  

But beyond the glow of dream headliners and specially curated showcases, the real machinery of it all is being powered by an army of on-ground creatives and operators working tirelessly behind the scenes.  

Responsible for the magic we witness on stage, they silently absorb the shocks, fix the gaps, and hold down the fort. Here, chaos is close to second nature: Stylists would be dressing artists minutes before showtime, while production teams are solving last-minute logistical hiccups. Photographers, running on caffeine and adrenaline, are capturing fleeting moments amid the madness, while stage designers respond to client demands.  

Behind every sold-out show and viral festival reel, these are the people driving forward the architecture of live music.  

Aaquib Wani, the Artistic Innovator

While other kids his age were playing with toys, Aaquib Wani was trying to create his own using thermocol and DIY crafts. Being exposed to artisanal intricacies, whether it was his father’s Kashmiri art business or drawing lessons at school, Wani became increasingly fluent in the language of craft. Away from lectures and exams, he was charting his own course, using self-taught techniques to learn the fundamentals of design, craft, and even music for that matter. “I knew early on that I loved creating and completely hated studying. I failed 11th standard twice, and art was always the one place I kept returning to, even though I had no idea it could become a profession. 12th standard was pretty much the last time I properly held a book,” he cheekily added.  
Cut to the present: Wani is one of the country’s most versatile Indian Creative Directors and designers, who has not just set the visual foundation for festivals like Lollapalooza India, but also designed jerseys for the Indian Cricket team.   

Wani’s artistic journey, too, rests on sonic foundations. Surprisingly, he landed his first gig through his own metal band, Phobia. In typical indie artist fashion, he started designing his own gig posters. After that, there was no going back. Graphic design snowballed into spearheading editorial and design projects for large-scale festivals and publications, such as Rock Street Journal. “The energy of that world shaped how I see things; my taste, and my instinct for storytelling, and that influence is still at the core of my work today,” he added.  

Instinct, along with the mystic combination of “right place, right time,” became a driving force in fortifying Wani’s artistic trajectory. More than anything, he was looking to not just helm projects but build worlds along the way. A leap of faith landed him in the larger-than-life field of spatial design. “The scale was overwhelming in the best way. It felt like a playground where ideas could take physical form, where your work could surround people instead of just sitting in front of them. I loved the scale, the chaos, the adrenaline.”  

Building Worlds, Not Festivals

Wani’s style boils down to uncovering the overarching narrative. “Every festival has a world hidden inside it; the trick is uncovering it. I’m obsessed with finding the emotional spine of a space before touching aesthetics,” he reflected. The initial process is almost meditative, where he and his team enter the client’s psyche. “Whys” and “hows” are stripped to their core essence. Visual cues, ranging from typography, motifs, and graphic vernacular, begin to take shape.  

While global music festivals shuttle between clichéd futuristic, chromatic, and glitchy iconographies, Wani and his team look inward into India’s rich cultural tapestry. Built with maximalist hues, craft-laden textures, complex compositions, and geometric motifs, the work makes you pause with intent. Even with its innate grandness, it doesn’t overwhelm but rather invites you to take a closer look. “Design should build a world, not borrow one that already exists,” Wani firmly stated. Bound by the invisible thread of coherence, all the assets are fashioned as jigsaw pieces that complete the main puzzle —the music festival. “The poster, the online ticketing banner, the walkway tunnel, the map, even the reusable cup should feel like pieces of the same universe.” 

Experiential Ecosystems

An avid observer of contemporary festival standards, Wani also noted the evolution of concert production. What used to be just a mainstage with flashing lights has now transformed into an expansive playground of experimentation, integration, and innovation. Think modular designs, tech-infused gear, and sustainable equipment, while theatrics like lighting, visuals, and performances further elevate the mood. Behind the tectonic shift lie brands and sponsors, who, along with designers and artists, are curating culture-first, experiential activations.“India is catching up fast. Audiences here are far more aware and demanding now. The old formula of lights and a big stage is no longer enough. Everyone is participating to give audiences an experience of a lifetime, and that’s what makes this moment genuinely exciting.”  Wani added.  

Backstage Madness 

or the audience, concerts are a momentary spectacle, but what they don’t see is the months of permissions, vendor negotiations, design iterations, last-minute delays, and prolonged onsite work hours that go into it. “People think this field is glamorous because they only see the final output. Spatial design isn’t just about having ideas. It’s about understanding structure, fabrication, safety, sound, lighting, crowd movement, and still making it feel intuitive.” From dealing with last-minute cancellations to learning things beyond your skillset, production is not for the faint-hearted. “When things fall apart, you don’t wait for solutions; you become the solution. You get your hands dirty, take responsibility for things that aren’t technically yours, and make sure the experience still happens,” Wani stated.  

While he has been at the forefront of the Indian music festival surge, Wani urges the system to revisit the basics. Apart from treating staff and crew members well, he also wishes to see infrastructural changes implemented, along with healthier timelines and budgets to be set in place. “The industry is growing at a rapid pace, but the systems around it haven’t caught up. I’d love to see the ecosystem become smoother, more collaborative, and more future-focused. India’s live entertainment scene is bursting with potential; it just needs the right support to truly thrive.”  

Nikhil Udupa, The Festival Orchestrator 

Nikhil Udupa’s journey did not begin in boardrooms or client meetings, but on festival grounds. Former marine engineer, full-time fan, Udupa savored the adrenaline surge while headbanging to underground metal and punk gigs from the audience. He also made lifelong friends through festivals and online forums along the way, who continue to thrive in the music industry even today. An avid admirer of the scene primarily, he still carries that unbridled passion with him. “We were all kind of outcasts and misfits. We were fans before the internet, social media era, or, you know, everything.  I think that’s what kind of drives us.” Switching from PR and marketing to finally entering events, Udupa is the director and co-founder at 4/4 experiences, an entertainment think tank that focuses on building music and subculture-led IPs for brands, along with production and show running services for live music experiences. 

Building Visions from the Ground Up 

Primarily driven by a community-first approach, Udupa laid out the arduous process sans the frills and hype. “It’s actually a mammoth logistical exercise which needs to be held together tightly; it takes a fucking village,” he said. Booking an artist is just the tip of the iceberg. It’s only after the date and venue are locked that the real grind begins. Like levels in a video game, each expedition comes with its own challenges. Client expectations are scattered across spreadsheets and endless vendor calls, while design elements, standard stage builds, and tech packs are finalized in parallel. As festival formats continue to evolve, so does the thinking around how audiences move through, engage with, and visually experience these spaces. “People have started preferring open designs (i.e., different positions, multiple smaller stages), where there’s a lot more focus on visibility. We see the artists using the stage mostly as a backdrop.” Side by side, on-ground operations, consisting of housekeeping, ticketing, security, and F&B, are also laid out in detail, while marketing and communications keep the seamless flow of information going across channels.  

Being a silent witness to live music’s transformation into a lucrative ground for content creation, he reflected upon the cyclical, short-lived nature of such trend cycles. “This is the sign of our times,” he stated.” In our age, we pirated, but we are freaking proud about it. Each generation has its own thing. Social validation is what drives people right now; there is no right or wrong thing about it. As long as it leads to a better concert and experience, I’m good.” 

Community Over Clout 

Undeterred by the gloss of hype-driven markets, he urged a serious shift in focus for delivering well-rounded audience experiences. Highlighting his personal observations, he stressed certain infrastructural loopholes, such as overcrowded fan pits, long queues, compromised safety, and more, that have become recurrent bottlenecks in the Indian context. “I think that our infrastructure needs to catch up with our ambition. We take people who work on events for granted far too easily,” he reflected.  

Unfazed yet passionate, Udupa rarely sugarcoats. “The event business is merciless and heartless; I’m going to tell you point-blank.” Despite the ups and downs of on-ground chaos, Udupa says his commitment towards his crew remains consistent. “Where we come from, our first philosophy is to protect those people and do as much right by them as possible. In terms of security and how our people are treated, we try to stay off the hype wagon. We are not promoters. We are more of a head down and work and not compromise on that work.”  

Crew Code

Udupa also points out how the ground staff are the underlying backbone, working without recognition or applause. “The stage guys are the last to leave and first to come in, always,” he pointed out. Amidst multi-stage scenarios, Front of House management and artist well-being, an orchestral symphony of chaos unfurls, one that is silently absorbed by the crew. “Human interaction between crews is something that people don’t really understand. Communication is often overlooked, and that’s actually the most key part of most of the festivals.” Building on that sentiment, Udupa vouches for execution over exasperation, stating: “Never get enamored by the artist, be enamored by the art.”  

Kartik Kher, The Eagle-Eyed Snapper 

One look at Kartik Kher’s feed, and you’re immediately envious. Right from international heavyweights like Central Cee and Travis Scott, to I-Pop icons like King and Armaan Malik, he’s captured them all, up close and personal. One of the country’s most sought-after photographers, Kher is no stranger to the media pit. The founder of XO Visuals, his team has redefined visual imagery not just for the Indian live music scene, but also sports, lifestyle, and fashion. 

Accidental Pathways

Even with all the flashy accolades, however, his actual journey began casually with a borrowed DSLR, on a family vacation. “I actually was rejected from my school photography society; they thought I wasn’t qualified enough,” he chuckled. Things took a turn for the better once he began college. 

Joining Delhi University’s photography club, he not only found other equally passionate creatives but also learnt the facets of videography. “With video, you can tell a story,” Kher said. “You have more creative freedom.” Armed with a humble, ₹2,000 flash external flash bought from Chandini Chowk, he became a regular at campus events, slowly making his way into locking paid gigs at local clubs, DJ gigs, and student parties. Side by side, he was also covering events for the coveted student publication, DU Beat. It was also here that he photographed a music concert, featuring Armaan Malik, for the first time. The chaos of light and sound, all while the crowd surrendered to the music in unison; it was Kher’s first taste of festival frenzy. Amongst the many firsts was also his breakthrough moment: getting recognized by Armaan Malik, who not only dropped him a message of appreciation, but also credited Kher on his official account “I freaked out,” Kher admitted. Having his work get recognized, even amidst a sea of professionals shooting that event, flipped the switch for Kher.  

Behind The Lens 

From shooting club gigs to visually chronicling artists like Badshah, Kher was slowly finding his musical footing, one capture at a time. What followed was a life of touring, shooting, and crafting visuals not just for musicians, but even for global stand-up tours. Aside from location scouting and sound checks, he stressed the importance of developing a rapport with the artist, “They have called me into their world; they need to be comfortable with me shooting them.” 

Like a chameleon, he adapts. Studying the artist, venue, and setlist thoroughly, he charts out all the onstage possibilities, right from–beat drops, confetti fires, and crowd interactions, to signature moves, mic drop ragers, and more, developing an almost telepathic camaraderie with the stage along the way. “It’s like a muscle memory thing of sorts. With King (Indian artist), I think I can shoot him blindly,” he laughs.  

Beyond The Fan Pit 

Not to be swayed by the allure of live music, he candidly opened up about the unspoken realities of touring. “It’s a tough life; there’s no routine to it.” Behind those money shots lie endless rounds of hectic tour schedules, erratic sleep, adrenaline-fuelled work hours, and an unhealthy diet that contributes to poor mental and physical health. It’s the readjusting to the stillness post a gig, however, that’s most jarring. “Once you go on tour, it’s very hard to connect back with reality,” he added. 

The current live music scene is also a cut-throat battleground, with job insecurity embedded into the system. Yet, Kher possesses a certain tranquility that is almost admirable. Having seen both sides of the coin, be it shooting for free or finally setting up charges that justify your craft, he chooses to let his visuals cut through the noise. “This industry is going to poach you pretty badly,” Kher reflected, “someone else is going to come do a better job than you, charge less, and then you’re gone; nobody is going to hire you.”  
Along the way, however, he’s created a loyal clientele that seeks his specific vision; a potent blend of the artist’s iconography and onstage theatrics. Unfazed by industry gatekeepers and naysayers, he remains committed to the long game: “I don’t need to be called Rory Kramer part two. Everyone has their own identity in the industry. You should know your worth and what you’re capable of. Don’t hold back if someone tries to get you down.” 

Rushi Honmore, The Sartorial Conjurer

There’s never a dull moment when Rushi is on set. With his all-time classic black boots and eclectic silk scarf, the Mumbai-based stylist and art director looks straight like he popped out of a Tyler, The Creator music video. A sartorial visionary, Honmore has styled onstage ensembles of sonic bigwigs like Aditya Rikhari, KR$NA, NAV, Reble, and Yung Raja. Best known for his boundary-pushing combinations, he goes for subtle eccentricities —textured patterns, disproportionate sleeves, asymmetrical cuts, and more.  

Dressing the Sound 

Having grown up in Miraj, Maharashtra, beside his dad, a tailor, stepping into the world of fashion felt almost instinctive. A fashion design dropout, Honmore chose to step away from theory and dive into the industry guns blazing. Aside from cultivating homegrown aesthetics driven by vintage sensibilities, what sets Honmore apart is his stylistic intuition. Although traditional celebrity styling gave him room to grow, he finds solace in putting together looks for musicians. “Most of my clients are from the music industry. Indian musicians, especially, are pushing the bar that nobody else has so far. Rather than looking polished, they want to try new things,” he reflected.  A self-proclaimed “music gatherer,” his playlist, consisting of hip-hop tunes, also becomes a reference point. Think baggy silhouettes, 90s R&B swagger, and accessories that scream “drip.”  

Substance Over Microtrends 

Breaking down his process, Honmore takes his homework quite seriously. Everything, from head to toe, is accounted for. By the same token, his team also deconstructs the artists’ taste, setting aside outfit combos along with backup options. “I always try to push the artist a little out of their comfort zone,” he said. Research is another integral cog. “People think styling is just sourcing from a Zara or an H&M, it’s quite the opposite.” Glued to his phone most of the time, Honmore is always on the lookout for Indian brands that are breaking the patterns of conventionality. “Rkive City, Almost Gods, and Aesthetic of Résistance are my top picks at the moment,” he added.  

As the looks take shape, fittings and courier coordination are added to the mix. Improvisation is a part of the job. Amidst rejections and last-minute revisions, Honmore recalled how it’s important to maintain composure. “There have been times when I’ve had to think of an ‘option 2’ on the spot. Yeah, it’s glamorous. You can attend the concerts and award shows. But it’s hectic work,” he admits. 
 

Stage Stories 

Among his standout projects, styling NAV, the Canadian hip-hop heavyweight of Indian origin, in a Chrome Hearts ensemble for Rolling Loud India stood out by a mile. “I used to listen to his songs in 2019, and this year, I got to work with him,” he cheerfully mentioned. While the rapper had certain preferences in mind, Honmore managed to convince him to take fashion risks. The trick? Kindness, patience, and dressing for the job: “My usual trick is to make the artist comfortable, be nice, and show them multiple options. And as I always say, if you’re a stylist, dress like one on set too. Your clothes speak to the artist before you do.” 

Another highlight was working with KR$NA for Rolling Stone India’s cover, where Honmore handled both editorial styling and art direction, as well as projects with King, including a sold-out Mumbai show that required three rapid outfit changes backstage. “King was coming offstage, changing outfits, going back out—it was chaos,” Honmore recalls. “But it was a dream.” 

Despite his growing résumé, Honmore is candid about the industry’s long-standing nepotistic roots. For people coming with zero connections, it’s a difficult ladder to climb. But he refuses to give up without a fight. “These people are running a monopoly, and you have to break that by continuing to do good work.” Community is also a close second. “You need to be surrounded by crazy, creative hustlers–photographers, stylists, models, art directors, designers, and more– to grow, and I’m thankful to have my circle.”  

On the ground, Honmore has watched festival fashion evolve in real time. Cowboy boots, statement belts, experimental denim, stone-studded pieces; microtrends, albeit ephemeral, move at breakneck speed thanks to social media. Still, he hopes to see 2026 as the year of coloring outside the lines. As for what’s next, his wish list remains unapologetically ambitious: NBA YoungBoy, Central Cee, Drake.  

The post Front Of House: The Backbone of Indian Concert Culture  appeared first on Rolling Stone India.

Singer-songwriter Lyla has emerged with a four-song EP, Heart on Rent, which immediately makes you notice the titles of the songs — “Pomegranate Lips”, “Second Draft”, “If I Die Today”, and “Heart on Rent” — are almost hints of the intimacy and warmth within the music.

Hailing from Nashik, Lyla studied Hindustani classical music as a young girl and has done jingles and other commercial work, but was drawn to the music of Janis Joplin, Bob Dylan, and Jimi Hendrix. Her journey into blues and jazz deepened after she heard and met Tipriti Kharbangar from the Shillong blues band Soulmate, an experience that left a lasting impression. Immersing herself in the voices of Bessie Smith, Alberta Hunter, Ella Fitzgerald, Billie Holiday, and Betty Carter, she felt the pain and resilience in their singing. “That’s where my unapologetic storytelling comes from,” Lyla tells Rolling Stone India. “There’s no going back once you hear jazz and the blues.” Her singing conveys much of the pain she feels in her songs.

Those influences and experiences surface clearly on her Heart on Rent EP. The lyrics are creative and imaginative throughout, and we singled out “Second Draft” as best representing the artist’s voice and the effect of the accompaniment in a jazz setting. 

While Lyla is the vocalist and lyricist on the EP, piano and arrangements are the work of Surel Ingale and I.D. Rao plays the saxophone on “Pomegranate Lips.”The title track, “Heart on Rent,” has the potential to become a standard if it gets the exposure it deserves. Its lyrics and mood remind us of the very popular jazz tune “Love for Sale,” sung extensively by jazz vocalists. “Heart on Rent” could be a sequel.

“Pomegranate Lips” is catchy, but we found the percussion throughout to be a bit excessive and in need of tempering to give the vocals proper justice.

“Second Draft” gives us a glimpse of Lyla as a jazz crooner. Her lyrics create a mood essential for a jazz performance, and the accompanying trumpet complements the atmosphere nicely.

“If I Die Today” is a good vehicle for a jazz song, even if the lyrics are a little melodramatic. The song has the potential to be molded into several interpretations and styles.

If there is a young jazz musician today deserving greater recognition and exposure, it would have to be Lyla. She has demonstrated a fine feeling for jazz, both in her lyrics and singing, and will only get better with time.

Lyla has places to go. And we think she will get there.

The post Jazz Radar: Lyla’s ‘Heart on Rent’ EP Makes Her a Promising Jazz Voice to Watch appeared first on Rolling Stone India.

Picture this, you’re back home from school, as the warmth of Summertime nostalgia wafts in the air. The soft static of the TV underscores the afternoon, while you browse through the channels, landing on the prime time slot, and your favorite musical drama film or TV show is on. As the character sets up their mic onstage for a soundcheck, thousands holler their name, and you chant along with them. The opening riff of the electric guitar not just fills the stadium onscreen, but also the confines of your room. You sing along to the barrage of bangers, syncing with the audience as they sway along to the tunes of the protagonist. 

Seems too familiar an experience? Well, that’s the beauty of Indian musical dramas. Be it wanting to get the same Quawwal jacket as Jordan from Rockstar, or write razor-sharp bars like Murad in Gully Boy, these films and TV shows have not only served as audio-visual fodder for music lovers across the country, but also inspired many to dig deeper into the world of independent music. Going beyond inspiration, these fictional personalities also oscillate on the spectrum of archetypes, from tortured artists and hip-hop underdogs to prodigal perfectionists, which closely mirror zodiacal personality traits. Wondering which fictional character would fit your astrological energy best? Read below to find out.

Capricorn: Aditya Shroff (Rock On!!)

 If you’ve nurtured the maniacal dream of being in a rock band with your best friends, you’ve Aditya Shroff to blame. A concoction of creativity and passion, Shroff is the charismatic, multi-talented lead vocalist of the band Magik. In typical Capricorn fashion, ambition functions as a double-edged sword in his life. On one hand, it’s his opiate; be it conquering stages, locking label agreements, or serenading audiences, there’s no plan B. On the other hand, pragmatism, coupled with his workaholic nature, blinds him from prioritizing things and people that truly matter. Vulnerability is a foreign, nightmarish concept, one that he struggles to embrace until the very end. Surviving the artist to finance bro pipeline, his soullessness is mistaken for callousness. However, beneath that icy exterior lies a heart that relentlessly yearns for reconciliation and basks in the nostalgia of his glory days.

Aquarius: Priyanka Sethi (Dhoom Machao Dhoom)

A sonic idealist, rules and stereotypes for Priyanka Sethi are like water off a duck’s back. The leader of the fictional “Pink Band,” Sethi is an eccentric Aquarian, comfortably reveling in her imaginative bubble of ideas and melodies as she shapes her next song. 

Pisces: Rahul Jaykar (Aashiqui 2)

The signature electric riff from “Sun Raha Hai Na Tu” instantly reminds you of Rahul Jaykar from Aashiqui 2, the personification of the wounded artist archetype. A supremely talented musician afflicted by the evils of fame, Jaykar is like an empty vessel, in search of a boundless reserve to give him meaning. Charming yet sincere, he covers up his fallacies with an outpouring of unconditional love. High-strung and elusive, Jaykar embodies the Piscean quintessence of hopeless romance, one that catalyzes his self-expressive, artistic nature. Marching to the tunes of his own ebbs and flows, he harnesses his intuition to identify potential and lend a hand to those in need. 

Aries: Krish Kapoor (Saiyaara)

Unfiltered and impassioned, Krish Kapoor is the poster child of fire signs. Tenacious and competitive, he’s relentless in his pursuit of shaping his own trajectory. Rarely one to sugarcoat, Kapoor is criminally aware of his self-worth. This fiery intensity also extends emotionally in the form of warmth and ingenuity that soothes his loved ones. A serial rule-breaker, he is often an authoritarian nightmare. Yet his raw temperament either manages to captivate or intimidate those around him. 

Taurus: Joseph Mascarenhas (Rock On!!)

A man of few words who lets the guitar do the talking, Joe is a reliable and grounded peson, displaying unfailing loyalty towards his loved ones. A classic Taurus, he thrives in predictive situations, marinating in the comfort of routines far more than normal. His stubbornness and incessant need to go all-in or all-out cost him at times, compelling him to put his authenticity on the back burner. Yet it is that very bullishness that eventually leads him back to music, his one true calling.

Gemini: Ishaan (Ishaan: Sapno Ko Awaaz De)

A quirky high school student with a hidden musical talent, Ishaan shuttles between fulfilling his class clown duties and being the lead vocalist of his band. A self-proclaimed butterfly, he uses humor as a crutch to deflect difficult situations. Leading a double life, both as a musician and student, he juggles a myriad of dilemmatic situations, right from exploring intercollegiate band culture and record deals to balancing friendships, all while being tested at every step of his journey. But he wades through courageously, thanks to his adaptable nature. His added comedic timing and melodic musings help him win over the most sour-faced individuals. 

Cancer: Qala Manjushree (Qala)

Cancerian sensitivity remains embedded in Qala’s artistry. Her voice is her arsenal, but also her Achilles heel. To the world, she’s the golden songbird, but behind closed doors lies an emotionally turbulent yet intelligent individual who yearns for approval. Is it her own or the world’s? The lines forever remain blurred. Nevertheless, she’s a successful, self-made woman who uses her agency to bolster other female artists, while also rightfully demanding what is hers. Honing her craft with dedication and consistency, Qala is the tragic equivalent of the water sign prototype.

Leo: Rosie Noronha (Bombay Velvet)

Born to perform, Rosie possesses an intrinsic theatrical flair, with gritty Leo ambition acting as her primary fuel. She wears her heart on her sleeve, and when the show lights turn on, it’s going to be the performance of a lifetime. A grandiose personality emboldened by warmth, she remains in charge of her own destiny, driven by an insatiable appetite for wanting more from life.

Virgo: Radhe (Bandish Bandits)

A zodiacal perfectionist, Radhe is an analytical, detail-oriented, and thoroughbred disciplinarian who will push himself to musical extremes. With an undying love for his craft, which is sometimes powered by intense self-criticism, his quest to seek purpose and fulfillment even after being a classical music prodigy never stops.

Libra: Insia (Secret Superstar)

Using her voice not just for expression, but also for familial harmony, Insia strives to create balance between her extreme, dwindling parallels. While wanting to free her family from the clutches of her abusive father, she also strives towards setting up her dream career as a singer. An inherent diplomat guided by empathy, she relies on herself as a moral compass to chart a unique course shaped by her ambitions.

Scorpio: Jordan (Rockstar)

Whether he’s the nonchalant Jordan or the gullible Janardhan, a sense of secrecy creates a fog over his true identity. There’s something poetic about Jordan’s rage; it comes in layers, masked as anarchy, but in reality, there’s a visceral purity to his pain. Defiant and outlandish, he’s willing to bite back with equal ruthlessness against society’s cruel intentions, using his words and tunes to express the unsaid. However, like the typical Scorpio, when it comes to love, he’s unabashed and unapologetic. It becomes his all-encompassing sanctuary, a utopian middle ground where everything plays out like a fairytale. Willing to go to extreme lengths to protect his prized possessions, Jordan lives in an eternal tussle between self-sabotage and acceptance, chasing any modicum of normalcy with added intensity. 

Sagittarius: Murad (Gully Boy)

A dynamite explosion of talent powered by fiery grit, Murad lets temperament guide his quill in a constant “me against the world” rhythm. A true explorer at heart, the gully underdog is driven by Sagittarian impulsivity and the unflinching bravery to face the unknown. Turning every thought, wound, and wonder into cutting bars, Murad looks his setbacks in the eye, welcoming them for another battle round.

The post Which Indian Music Protagonist Are You, According to Your Zodiac Sign? appeared first on Rolling Stone India.

It’s no surprise that many people associate South Korea primarily with their prolific K-Idol culture. And why wouldn’t they? The country is revered for its versatile cultural exports, ranging from K-pop to K-dramas. However, back in the Nineties, while Seo Taiji and Boys were laying the foundation for the K-pop landscape we’re familiar with today, an alternative movement was emerging beyond the mainstage in Hongdae, South Korea. A countercultural epicenter, it wasn’t just home to artistic renegades from the streets of Hongdae, but also to Drug, the live music club that became the mecca of Korean rock and indie music history. Here, young Koreans were carving their own, unsanitized sound, one that carried resistance against the wave of conservative culture in the country.

Consequently, in 1995, a band by the name of Crying Nut made its debut at the very same venue, forever altering the course of Korean punk music, also known as “Chosun Punk,” forever. Second-generation bands like No Brain and RUX also became poignant voices in the underground scene. But, owing to the gradual gentrification, the subcultural hub was dampened.

Nevertheless, the new wave of Korean alt acts is now carrying the baton, be it by performing at local music festivals like Zandari Fiesta by Hongik University, Seoul, or revered global ones like Rebellion Festival in the UK. By adding a modern spin to the long-standing movement, these artists are making their own rules along the way.

From hardcore punk to broody shoegaze, Rolling Stone India spotlights indie Korean alt acts that are headbanger-worthy. 

Cultgazer: “Mido”

Deftones-esque and ambient, “Mido,” the debut track of  South Korean independent collective Cultgazer, sounds like a hypnagogic loop, with feathery vocals floating over reverb-drenched, distorted riffs. Made in a basement studio in Dobong-bu, the song is a by-product of the band shuttling between cramped spaces and school rehearsals. The track sounds intentionally delayed, allowing the listener to savor the dissonance in their own time. Framed in Wong Kar-Wai cinematography with a teal and green dreamscape palette, the music video adds a futuristic dimension to their alt-rock-band-next-door vibe. As a band, Cultgazer is an exercise in DIY ethos; no fancy lyrics, equipment, or video — just a couple of friends, who met at a university freshman party,  chasing the fleeting facets of identity through their music.

PCR: “Pessoa”

“Pessoa” by PCR is purposeful with its cacophony. A lovechild of 2HOLLIS’s underground aesthetic, 2000s indie-sleaze Hedi Slimane-coded outfits, and Joji’s distorted instrumentals, the analogue, home-movie-esque music video, which was shot on an iPhone, mirrors the maximalist editing style of Japanese-American filmmaker Justin Kaminuma. Interlaced with deconstructive chaos, the genre-bending track is as intriguing as it is discordant. A Seoul-based art punk collective, PCR’s provocative ethos starts right with their name, which is an abbreviation for the Korean syllables of “Pachung-ryu,” or reptilian creature. The members Hwang Young-won (drummer), Lee Min-jae (guitarist), and Kim Ki-min (vocalist) were all part of different bands and came together for the sole love of creating a wave of “genreless music.”

Wah Wah Wah: “Dirty”

With barely any lyrics, the seven-minute track “Dirty” by Wah Wah Wah manages to hold your attention. Fit for the soundtrack of an Eighties coming-of-age film, it also throws you off with its instrumental choices. Who would have thought that the most punk-rock thing would be a lengthy flute solo? However, that is just a ploy for what comes next — a high-octane segment fit for the dance floor. Giving pure older-brother-jamming-in-the-garage energy, Wah Wah Wah is a South Korean quartet known for its authentic sound and immersive live experiences. Its members have previously led iconic Korean rock bands such as Silica Gel and DTSQ. Melding 1960s animated liquid psychedelic visuals with their characteristic garage-rock songs, the band offers an unmatched experience to its niche audience. 

Rumkicks: “Fuck You”

Female punk trio Rumkicks looks like they popped straight out of an Ai Yazawa manga. Their track, “Fuck You,” is a flippant feminist anthem. With a high-voltage tempo and raging guitar solo, the song carries a simple message of resistance. With lyrics, such as “but I don’t have to nod my head even when I disagree”// “I don’t have to be beautiful”// “I don’t have to be in good shape” the song refuses to bow down to partiarchal ideals of femininity, cementing it with the looping chorus “Fuck you I won’t do.” Sporting mohawks, liberty spikes, kilted skirts, studded collars, and smudged eyeliner, the band not only raises a middle finger to claustrophobic Korean beauty standards but also amplifies female voices in punk through their own discography.

18Fevers: “Never Fall”

Channelling the angst levels of Meteora by Linkin Park, “Never Fall” by 18Fevers is unfailingly gritty. With ragged vocals complementing a wicked bassline, the song is a collage of contradictions. The verses, such as “When everyone wants us to fail”// “Everything tries to bring me down,” mirror a charged, anti-establishment sentiment, one that is predominantly provocative. Carving out a sound that the band calls “death-punk-disco,” the Seoul-based band creates confrontational genre-bending tracks that carry the essence of Eighties hardcore punk, metal, pop punk, and more. 

Cherryfilter: “Sweet Little Kitty”

Infused with nostalgia, “Sweet Little Kitty” is like a dash of euphoria. Amid its hardcore counterparts, the track is pop-forward, with lead vocalist Chou Youjeen’s signature spunky voice taking charge. Cherryfilter was one of the original “Chosun Punk” bands that emerged out of the Hongdae underground club scene in the Nineties. The band’s eclectic riffs, pop arrangements, and dynamic vocals instill a sense of hope, leaving the listener wanting more.

Idiots: “Pureunae”

Ever seen a punk band where a member plays with a plushie charm attached to her guitar? Unapologetically whimsical,  “Pureunae” by Idiots cuts through the noise with their refreshing, mellow sound, allowing you to take those momentary pauses without guilt. The Seoul-based quartet, which met through university jam sessions, melds the best of both worlds, combining refreshing audiovisual alternative elements with their signature playful aesthetics. With illustrated, Studio Ghibli-esque album covers and slice-of-life music videos, they are the real hopecore punk rockers, celebrating the indomitable spirit of joy. Contrary to their stage name, their music is anything but idiotic.

Drinking Boys And Girls Choir: “There Is No Spring”

Right from the first listen, “There Is No Spring” does not hold back. Even with the simplest English lyrics (“There is no spring”// “Nothing is enough to live”), the song still carries emotional weight, offering a sliver of reassurance, just like how winter always turns into spring. Hailed as one of the most iconic independent hardcore punk trios from South Korea, Drinking Boys And Girls Choir (DBGC) is known for its LGBTQIA+ allyship and constant defiance of rigid societal norms of its hometown, Daegu. Also a by-product of the Nineties Korean punk movement, the three-piece is famously known for its Japanese and Korean cover of “Linda Linda” by the Japanese band Blue Hearts, which was featured in the 2005 Japanese comedy musical, Linda Linda Linda.

Sweet Gasoline: “Rainbow Prism”

Fit for a sports anime opening, “Rainbow Prism” by Sweet Gasoline sounds like a more angsty, speedy cousin of “Fly High!!!” by Japanese rock band Burnout Syndromes. Despite the energetic instrumentals and screamo vocals, the track injects a glimmer of hope. Born out of a dream in junior high school, members Lee-Do Cheon and Lee-Dong Hyun carried their adolescent friendship forward through a four-part band, which remains at the forefront of South Korea’s burgeoning youth punk scene. 

The post Alternative Korean Bands To Add to Your Playlist appeared first on Rolling Stone India.

Sitting at the intersection of resistance, queer culture, and self-expression, the goth subculture is as prolific as it is misunderstood. Extending into fashion, music, and lifestyle, it emerged from the U.K.’s underground post-punk scene during the 1970s and 1980s. Defined by its signature makeup and all-black macabre ensembles, it evolved into a music-based movement that amplified melancholia, dark romanticism, and pertinent shades of gloom. Ethereal sounds, heavy basslines, synthesized loops, and reverb-heavy guitars dominated the various strands of the genre (dark wave, gothic rock, Death Rock, Ethereal Wave, and more). Be it The Cure or Cocteau Twins, this distinct music subculture became the soundtrack of non-conformity, a reverence for everything that exists within the many shades of darkness.

Closer home, South Asian goths, while underrepresented compared to their “pale-skinned” counterparts, are carving an identity that’s entirely their own. Melding tribalistic and cultural influences with signature aspects of the subculture, their sound shifts away from westernized markers of “goth,” shaping a new language of expression. From Shamanic metal to ambient darkwave, Rolling Stone India spotlights South Asian goth and alternative artists who are deservedly taking up space.

Gurpreet Singh Matharoo: “Subsong Of The Night”

A tune that instantly transports you to a 1980s underground dive bar, brimming with rhythm and post-punk grit. A sped-up, adjacent to “Smalltown Boy” by Bronski Beat, with an electric guitar solo that blends goth and rock, this modern Indian post-punk track is bound to evoke your inner Batman.

Willow Scarlet: “Saaya”

With polyrhythmic tones and an energizing drum loop, Saaya, by Willow Scarlet, a desi gender-fluid goth musician and artist, is reminiscent of “Udi” from Guzaarish. It’s equal parts sultry and catchy; a perfect background score for female villains in early 2000s psychological mystery thrillers. The instrumentals, infused with desi production elements like the sitar, conjure the image of an ominous, wintry forest engulfed in a blanket of silence. Apart from music, Scarlet, whose real name is Bhumi, constantly champions artists and creators from the desi goth scene.

Aurat: “Nasha”

There’s no way you can resist headbanging to this. In the start, “Nasha” creeps up on you slowly, like the calm before the storm in post-apocalyptic films. Then, a sickening, synth-bassline loop builds anticipation, while the repetitive verses and loaded production take over your soul. Aurat is an LA-based post-punk band, led by the killer voice of Pakistani-American vocalist Azeka Kamal. The band incorporates Urdu lyrics, an inherently complex language, into its lyrics, offering its global listeners a linguistically nuanced experience. 

Android Lust: “Stained”

Layering drawling atmospheric echoes atop gritty electronic beats, Android Lust’s “Stained” is an introspective yet enigmatic track. The brainchild of Shikee D’iorna, a musician of Bangladeshi origin, Android Lust is a fusion of various sonic influences, including electropop and darkwave. From 1995 to the present, D’iorna continues to put out music via platforms like Bandcamp, creating post-industrial dance tunes with electro-rock undertones.

Arogya: “Misery’s Lair”

With each listen, Arogya’s music reveals something visceral. India’s first Assamese Dark Synth rock band combines metal, folk, and dark electronic elements into a cohesive, head-banging whole. That too, while curating a KISS-esque visual-kei-coded onstage look with elaborate headgears, Northeastern tribal patterns, intricate jewelry, face paint, and more. “Misery’s Lair,” with its high-octane instrumentals, reveals a tragic love story simmering in melancholy. Oneiric yet angsty, their versatility extends to both their sound and creative ethos.

Echo Eudora: ‘Kali”

Intoxicatingly ambient, “Kali” by Indian darkwave artist Echo Eudora is as defiant as it is catchy. With lyrics like “My Brown Skin Has The Blood Of Gods In It,” and “This Is My Identity//Fuck Your Fascist ‘Democracy’,” it’s a youth-infused anthem that channels frustration and reverence through contrasting elements of dreamy production and hard-hitting verses.

Hellish: “Angels Don’t Live In Hell”

This would be the type of song that would roll on the end credits of an eerie psychological thriller. With a vocal fry resembling Born To Die era Lana Del Rey and Crybaby era Melanie Martinez, Hellish — the stage name of Delhi-based artist Astha — “Angels Don’t Live In Hell” is a somber, alluring sojourn, like moonlight illuminating waves at sea. Siren-esque and airy, the New Delhi-based artist’s soundscape is a heady mix of dark pop, shoegaze, and hyperpop that leaves a murky aftertaste.

Serpents Of Pakhangba: “Invocation Of Pakhangba”

A prayer song so power-packed that it would put your gym playlists to shame, “Invocation Of Pakhangba” by Manipur-based Shamanic art metal band Serpents Of Pakhangba, takes you on a multi-sensorial journey. Inculcating Meitei mythos, sizzling electric guitar solos, airy Toudri flute tunes, and guttural vocal belts, the song pays homage to the ancient Meitei serpent deity, Pakhangba. A symphony of controlled chaos, the band’s discography is not for the faint of heart. 

Long Distances: “Delicate Surrender”

If you’ve been craving an Eighties-inspired, high-school prom-esque song, “Delicate Surrender” fulfills it all. Hailing from India, Long Distances channels all the present worldly anxieties into a reverb-laden, nostalgia-inducing soundscape. With production choices drawing parallels with The Cure and The Wallows, it hits the sweet spot between post-punk and indie rock.

The post Indie Unpacked: South Asian Goth Music That Should Be On Your Radar appeared first on Rolling Stone India.

Even before I entered the venue of K-Town 3.0, a one-stop celebration of Korean culture, the energy at the box office was electric. The fans were buzzing, cheering loudly every time a snippet leaked from the afternoon’s soundchecks. The queue was a lively mix of 10-year-old kids and their parents, working millennials, and Gen Z adults — a testament to the ever-evolving demographic of the desi K-pop fanbase. 

As soon as I stepped inside, I found myself swept up in this unspoken bond, as people handed out photo cards and custom banners to support the headliners — no introductions needed. Before I knew it, I was scrambling to stash all the freebies in my tiny bag (Mental note: carry a tote next time). 

Despite the sweltering Mumbai heat, fans were looking their best, emulating the essence of their idols. While Taemin fans were repping turquoise, or “Aqua-pearl” — the official color of the Shinee fandom — others were sporting looks from different K-pop eras, with styles inspired by the 2000s and 2016 both making an appearance, complete with lightsticks and fan-made merch, of course.

Beyond the drama, chaos, and fan wars, K-fandoms have this incredibly underrated yet endearing side, one that offers a sense of community and belonging.

At K-Town 3.0, strangers became one as fans from across the country gathered, dancing their hearts out in a parking lot-turned-K-pop-hotspot. While some were queuing up at merchandise stalls, others were rehearsing their poses before entering the themed photo booths. The scent of ramen, fried corn dogs, and sweet treats wafted in the air, perfectly harmonizing with the K-classics blasting through the speakers. My shoulders couldn’t stop grooving to the infectious beat of TWICE’s “This Is For.” Some were still recovering from the photo-ops with their chosen idols. “Jey just touched my hand!” a girl shrieked as she ran towards her friends. 

As the sun set, the audience geared up for the much-awaited performances, featuring a multi-genre, back-to-back lineup of Jey, Bang Ye-dam, Onewe, Taemin, and SUPER JUNIOR-D&E. Queues had already begun forming towards the stage as early as 4 PM, with fans patiently saving their spots for what was to come. 

As the evening drew closer, Korean-Australian rapper and singer Jey opened the stage, serenading the audience with songs like “How To Love” and “24 Hour.” Unabashedly flirtatious, he let his moves do the talking, controlling the tempo of emotions with a setlist of slow and fast-paced tracks. A former YG member, Jey is part of the FA crew, a South Korean record label consisting of artists ranging from musicians to graphic designers and stylists.

Next up, Bang Ye-dam, with his boy-next-door charm, wooed the audience with tracks like “Fallin,” “We Good,” and “TMB,” never once breaking eye contact with a few lucky fans (I wonder how they’re recovering). Amping up the crowd by encouraging them to sing along to his complex riffs and runs, he successfully garnered some laughs along the way. Ye-dam’s infectious energy extended beyond his onstage presence and theatrics, concluding the event on a high note. Spraying a bottle of water during “Come To Me,” he momentarily relieved viewers from the Mumbai heat.

Taking a sharp turn from the gushy R&B, Onewe, a five-member alternative band, began setting up their stage for the soundcheck. The mix had Yonghoon (lead vocalist), along with Giuk (lead rapper), Dongmyeong (vocals and piano), Kanghyun (guitarist), and Harin (drummer). Everything about them, from Giuk’s baby-pink electric guitar to Dongmyeong’s kilt-esque wrap-around skirt, exuded “punk-rock band jamming after high school.”

I had never seen a Korean rock band perform in my hometown before, so my expectations were extremely high. And boy, did they deliver. 

With tracks that could kill in a slice-of-life Japanese anime, their energy radiated across the venue, reviving even the most exhausted fans. With a tempered setlist, ranging from popular hits like “UFO” (whose intro made me ascend) to my personal pick, “Regulus,” they had people waving with their flashlights on. Never would I have thought that I’d be headbanging at a Korean showcase.

From vocalists switching between falsettos and belts to guitarists rapping while simultaneously shredding their electric accompaniment, the versatility of the members shone through the dim night sky. It’s difficult to get an unfamiliar crowd to jump on command, especially on your debut live performance — all while sweating profusely thanks to the gruelling Mumbai weather. As they ended their last song, a series of “encores” ensued. I might have lost my voice from hollering as well. 

With the final headliners approaching, tension was at its peak. Taemin was about to take the stage at any moment. Fans were seen adjusting their banners, double-checking their lightsticks, and shouting out fanchants, eagerly awaiting his arrival.

As his background dancers took their positions, the lights dimmed, revealing the idol striking a majestic pose smack in the center. Opening with “Advice,” the K-pop icon performed each move with surgical precision, like it was second nature, leaving the arena awash in opalescent blue.

Taking a breather, the artist charmingly engaged with fans onstage, encouraging them to cheer based on how long they had been a “Taemate” (the name of the fanbase). The loudest cries came from the crowd when he said “15 years,” highlighting the idol’s long-standing connection to his massive fan base. Smoothly segueing back to the performance, the artist gave back-to-back hits, ranging from “Move” and “Guilty” to the sensual “Déja Vu.” 

Suddenly, Taemin vanished from sight, leaving the fans yearning for more. But after a quick break, the stage was erupting with hip-hop madness, as SUPER JUNIOR-D&E made their explosive entrance with “Danger.” And what would their set be without their coveted track “Oppa Oppa”? Combining dance, rap, and vocals, the duo, consisting of Lee Dong-Hae and Eunhyuk, gave their Indian ANNIE’s enough fodder to last a lifetime.

All in all, K-town 3.0, barring its weather-based and logistical hiccups, showed once again the unfailing passion of desi K-pop fans, who, aside from being multi-talented, are every artist’s dream audience. What’s more, with Hybe finally setting up an Indian base and BTS’s much-awaited world tour lineup on the slate, K-pop is finally making significant inroads in South Asia, resonating with fans like never before.

It all comes down to being a fan — a labor of love. Although the term may be subjective, it embodies a universal sense of belonging, dedication, and celebration. What would artists be without their fandoms? These devoted supporters meticulously document their artists’ successes and setbacks, cheering them on from the sidelines, all while knowing that they are just one small part of a much larger community. And at K-Town 3.0, that spirit came alive as a testatement to the power of culture, community and rhythms that blur borders and languages.

The post K-Town 3.0 Shows The Power Of Desi K-Pop Fandoms appeared first on Rolling Stone India.

With Halloween creeping up around the corner, all the monsters hiding under your bed, in your closet, are dusting their haunting grounds. Any good ghost knows that setting the mood is what really scares the daylights out of the living, and what’s a better mood setter than music? While most hapless mortals will prefer to listen to Halloween classics like “The Great Pumpkin Waltz”, “Spooky Scary Skeletons” or break a tibia in the process of dancing along to “Monster Mash,” the more discerning listener might prefer something more…macabre. 

 The Haunted Jukebox is Rolling Stone India’s collection of the most unsettling songs that crawl up your ear canal and inject terror directly into your veins. Listener beware: as is the norm with subject matter as dark as this, there is a strong trigger warning advisory for most of the tracks on this list. If any of the songs make you uncomfortable, please take a break. Featuring voices from Pink Floyd to Steely Dan to Billie Holiday to VOCALOID —without further ado, slot your coin in the Haunted Jukebox. 

Steely Dan: “Everyone’s Gone to the Movies” (1975) 

Steely Dan is one of those bands that have intricately precise tracks paired with obscure lyrics full of hidden meanings, each telling a story laced with equal parts irony and cynicism. “Everyone’s Gone to the Movies” is no exception. What we have here is a sort of musical version of Vladimir Nabokov’s “Lolita”. Everyone’s gone to the movies except Mr. LaPage who’s busy luring teenagers to his basement to watch 8mm pornographic films. It’s a cautionary tale featuring dark, unnerving, sleazy subject matter hidden beneath the bright upbeat tempo of Victor Feldman’s vibraphone. The oddly spooky triumphant percussive fadeout heralds the grim success of Mr. LaPage. Sometimes it’s the mundane that’s truly terrifying, and horror works best when you least expect it, which is exactly what this song does.  

Suicide: “Frankie Teardrop” (1977)  

This song should come with a strong content advisory warning that’s big, red and bright. It tells the story of a man driven to the brink of insanity by his circumstances, a helplessness fuelled by sheer desolation and desperation. Frankie slaves away at his gruelling ten-hour shift in the factory, supporting his wife and six-month-old child. But the fates are cruel, and often unfair because sometimes, no matter how much one struggles, there’s no light at the end of the tunnel. An eviction notice is the nail in Frankie’s coffin.  

At the 2:42 mark of this 10-and-a-half-minute long song, Frankie’s despair reaches a tragic conclusion. What follows is his arrival in hell, because not even in death does he find peace. The hushed erratic narration, distorted and put through a digital delay, interspersed with vocalist Alan Vega’s bloodcurdling screams and choked sobs, puts the listener in the scene with startling clarity. The waves of the Styx crashing against the shore, the screaming of the damned, all framed by the mechanical droning of an industrial hell, ends on a chilling note —“We’re all Frankies, We’re all lying in hell”. The simple end to this disturbing sound makes you realise that the machine that’s life, continues to turn, manufacturing more Frankies on the conveyer belt. What’s more chilling is that Frankie’s story is real and inspired by a murder committed by a factory worker, who killed his wife and child when he was laid off.  

Ethel Cain: “Ptolemaea” (2022)  

Another song that requires a trigger warning due to its heavy themes. The concept album Preacher’s Daughter falls into the genre of Southern gothic horror. The album follows Ethel Cain (a fictional character who shares the same name as the artist) who escapes her abusive household, only to find herself in even more troubling circumstances. Within the dark tapestry of Preacher’s Daughter, “Ptolemaea’s” threads are dyed vantablack. The title derives its name from the third round of the ninth circle of Hell in Dante Alighieri’s Inferno, where the betrayers are trapped in the lake of Cocytus with frozen tears. The condemned share a common denominator they’ve all invited guests in, only to stab them in their back — a fitting parallel for the ninth song on the album.  

The track opens with the buzzing sound of bees as Ethel slips into a drug-induced hallucination, while her captor speaks, eerily calm, about how he invited her in. It signals the start of one of the most disturbing songs on this list. Set in the Locrian mode, the most unnerving of the diatonic minor modes, and paced with a deliberately slow tempo, the song feels as heavy as the subject matter. It envelopes the listener in a suffocating embrace.  To say that “Ptolemaea” is hauntingly disturbing is a vast understatement. 

The Black Dahlia Murder: “Unhallowed” (2003)  

If the name of this band doesn’t leave you feeling at least a little unsettled, then the opening track of their debut album, “Unhallowed,” certainly will. Named after the 1947 unsolved brutal murder of Elizabeth Short, aka Black Dahlia, The Black Dahlia Murder is a melodic death metal band. The self-titled opening for the album takes its lyrics from the ‘Gutting’ section from “Butchering the Human Carcass for Human Consumption” by the Church of Euthanasia. Fun fact: the Church of Euthanasia is reportedly the only anti-human religion in the world, so one can guess by their credo that their views on humanity are extreme to say the least. Listening to this song makes you feel as though you’re strapped to a dissection table in a dark murder basement while your killer gives an explicit play-by-play of what he’s going to do to you. The lyrics starting suddenly half-a-minute in to the two minute song, is meant to shock the victim (the listener). The echoey drone set against a backdrop of industrial static, ebbs and rises as though the victim fades in and out of consciousness.   

Rezső Seress: “Gloomy Sunday (Szomorú Vasárnap)” (1933)  

The antithesis to “Easy Like Sunday Morning,” this song often goes by a more sinister name — “The Hungarian Suicide Song”. Originally titled “Vége a világnak” or  “The World is Ending”, it was written during the Great Depression (1932) by Hungarian pianist and composer Rezső Seress. The song, set in the C minor key, explored the sheer hopelessness and dejection brought about by war. Seress faced difficulty in getting the song out due to it being seeped to the bone in melancholy. Publishers felt that no one would enjoy listening to something this dreary. Later in 1933, poet László Jávor, changed the lyrics to the despair faced by a man following his lover’s demise, and his yearning to be with her in death. Many musicians have since covered this song, but it gained notable traction after Billie Holiday covered it in 1941.  

But there’s a reason this song is called the “Hungarian Suicide Song”. If urban legends are to be believed, this song was allegedly behind a string of suicides in Hungary in the 1930s. BBC radio had at one point even banned Billie Holiday’s cover, choosing only to air the instrumental track  (this was lifted in 2002). While there is insufficient evidence for this dirge- like song to be cause for the suicides in Hungary, there is one death that is explicitly linked to the sombre song. In 1968, Seress himself died by suicide in Budapest, reportedly convinced he would never again compose anything as powerful, or as haunting, as “Gloomy Sunday.”  

 Black Sabbath: “Black Sabbath” (1969)  

Prince of Darkness, Ozzy Osbourne himself admitted that “Black Sabbath,” from their debut 1970 album “Black Sabbath” is Black Sabbath’s scariest song. The lyrics speaks of an unsettling “figure in black”, inspired by an eerie encounter that the bassist and lyricist, Geezer Butler had. 

At the time of writing the song, Butler had developed a fascination with the occult, moving into an apartment which he promptly painted black, and even adorning his walls with inverted crosses. Osbourne gifted Butler a 16^th century occult book and the latter put it in his airing cupboard because something about the tome was unsettling. At night, Butler woke up to find a frightening shadowy presence at the foot of his bed. Figuring that the book was the culprit, Butler rushed to the cupboard to throw it out, only to find that it had mysteriously disappeared. This incident led to the creation of “Black Sabbath”. The main riff, inspired by “Mars, the Bringer of War” from Gustav Holst’s “The Planet’s Suite”, is followed by a dark tritone known as diabolus in musica (devil in music). This harmonic progression is what gives the song such an ominous and dark tone.  

 The Velvet Underground: “The Gift” (1968) 

This is a morbidly funny short story in song form. “The Gift” was written by Lou Reed for a creative writing class while in college. Perhaps the best word to describe the song would be tart, and if this song were to be categorised as a fruit it would undoubtedly be a cantaloupe. For all those who’ve been afflicted with a certain malady called love, and those who enjoy performance poetry, this is a masterclass in storytelling. Waldo Jeffers longs to see his girlfriend Marsha. He fears their long-distance relationship could risk her fidelity and the thought of her with another man fills Waldo with great distress. Broke and paranoid, he makes a perfectly reasonable decision to mail himself to Marsha and surprise her. There’s a gory end to this story — Frank Zappa suggested they use a cantaloupe to add the effect of a knife slicing through a head. John Cale narrates this story in a deadpan Welsh accent in the left audio channel, while the instrumental track plays in the right. The idea was that if the listener got tired of the story, the instrumental could be heard in isolation. “The Gift” features one of the band’s grooviest tracks: – motorik drumming and a strong baseline remain steadfast and resolute throughout, with the guitar holding them together much like the tape sealing Waldo’s box (and his fate). One of the only songs where a fruit is credited as an instrument, “The Gift” has one of the most graphic, well-executed punchlines in any short story, meriting a place on this list. It hits you so hard because you don’t see it coming (lost as you are, listening to the funky backing track). The main lesson is probably that if you want to surprise your significant other, it might be prudent to place a ‘fragile do not pierce’ sticker on the package. 

Billie Holiday: “Strange Fruit” (1939) 

It might seem strange to have this song on the list, but it is an excellent example of how lyrics can be used to conjure the most vivid imagery. It is powerful, unsettling and oddly poetic. Abel Meeropol, a white Jewish high school teacher, initially wrote the poem “Bitter Fruit” as a response to the brutal racism faced by the African American minorities in 1930s America. In particular, the lynching of Thomas Shipp and Abram Smith. Colombia gave Holiday a one-session release from her contract to record the song at the label Commodore. “Strange Fruit” was Holiday’s biggest hit and had a negative impact on her career, but Holiday remained brave in her decision to sing it. Haunting would be the accurate adjective to describe this song. Chilling, horrifying and shocking would be some ways to describe the lyrics — “The bulging eyes and the twisted mouth/ Here is fruit for the crows to pluck.” While not scary in the traditional sense, the hauntingly evocative lyrics stay with you long after the final note lingers in the air. 

Pink Floyd: “Careful With That Axe Eugene” (1969)  

“We often pick titles that have nothing really to do with the songs” was Richard Wright’s explanation when asked about the song’s unnerving title. Nevertheless, it is most fitting. This was written during the height of Pink Floyd’s psych-rock era and can be considered one of the band’s quintessential songs. Mostly instrumental, the song builds up slow dread as you  progress through it. In the beginning, it is quiet with Wright on the organ taking centre stage along with Nick Mason softly hitting the cymbals. This dread culminates in a hushed whisper of the only lyric in the song — the title — before Roger Waters unleashes a horrific scream. That’s the cue for David Gilmore’s guitar to cement the hysteria, signalling that something has gone terribly wrong. Then, the sound ebbs to its previous softly ominous tone. Implied dread is a powerful thing compared to in-your-face horror. There’s much debate about which version is better, the “Ummagumma” or the “Live at Pompeii” (the latter features additional hushed lyrics shedding more light on the situation). Regardless of which version is superior, both are equally unsettling. The fact remains: don’t let Eugene near an axe.     

Tom Waits: “What’s He Building?” (1999)  

The anthem of every nosy neighbour. Listening to this will either make you close your blinds permanently or eye the one next door with suspicion. This is a song straight out of a snuff film — if it were directed by Renfield from Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula (who Tom Waits played in the film). Waits’ very distinct gravelly voice is what really makes this song unsettling. “What’s he building in there?” asks the narrator as he outlines everything he knows about his neighbour.  The question is an eerie refrain giving way to paranoia, the tone of voice becoming increasingly unhinged. It’s not without reason that this question is posed to the listener. In the background, we hear the mechanical rumbling and strange suspicious sounds of a man pottering about his home. “What is he building in there?” you ask yourself as the same tendrils of paranoia sink into your skin. Who is more terrifying? The suspicious neighbour or the overly nosey, increasingly schizophrenic narrator?   

Leonard Cohen: “Dress Rehearsal Rag” (1971)  

Trigger warning once more for mentions of suicide. “Songs of Love and Hate” is one of Leonard Cohen’s darkest works, and “Dress Rehearsal Rag” is one of its most emotionally devastating tracks. It captures a moment of despair with aching precision. 

Cohen’s voice takes on a darkly mocking tone, accompanied by dirge-like strumming as he outlines a day in the life of the unnamed protagonist of the song. Throughout the song, Cohen juxtaposes bleak imagery with flashes of bitter self-awareness. One chilling line — “That’s a funeral in the mirror and it’s stopping at your face” — distils the song’s sense of reckoning. By the final verse, Cohen lists the small, ordinary reasons one might cling to life, only to close with a haunting refrain: “It’s just a dress rehearsal rag.” The final performance, as he implies, is yet to come. 

Steampianist, morbid-morsel: Secrets of Wysteria (2014) 

Another very strong trigger warning for this song, the strongest on this list. VOCALOIDS have been used to create some pretty disturbing songs, thanks to artificial vocal cords that let them hit inhuman notes. There are any number of terrifying songs with pitch dark subject matter, but “Secrets of Wysteria” is the one that truly makes the listener sick to the stomach. Based on a real-life serial killer, it features Oliver, a British VOCALOID whose soprano voice is that of a 12-year-old, making this song even more terrifying. “Secrets of Wysteria” plays like a disturbing music box with a rhythm akin to a school-yard rhyme. Oliver’s childlike vocals paired with the disturbing lyrics is what really makes this song a nightmare, considering the subject of the song —  The brutal murder of ten-year old Grace Budd, who was cannibalised by one of America’s most horrifying serial killers, Albert Fish (whose long list of crimes require a separate warning of their own). “Secrets of Wysteria” is not a song for the faint hearted. 

The Doors: “The End” (1967)  

The Doors may not be strictly goth, but it is undeniable that “The End” is gothic rock. Jim Morrison is a poet, and “The End” is his epic. Nihilistic, dark and moody, it bids adieu to childhood innocence. Robby Krieger made use of open guitar tuning to make his guitar sound like a sitar, adding an otherworldly sound quality to the song. It isn’t scary in the way the others on this list are, but it is haunting. It also concerns a subject that most people are often frightened about: death. According to Morrison, “Sometimes the pain is too much to examine, or even tolerate … That doesn’t make it evil, though – or necessarily dangerous. But people fear death even more than pain. It’s strange that they fear death. Life hurts a lot more than death. At the point of death, the pain is over. Yeah – I guess it is a friend.” A modern Orpheus, Morrison takes the listener on a stygian journey after bidding farewell to his only friend — Death. The song then takes on the form of spoken word poetry before delving into a rock and roll retelling of “Oedipus Rex,” finally culminating in a violent burst of “fuck”s and “kill”s.  

The post Haunted Jukebox: 13 Spine-Chilling Songs To Keep You up at Night This Halloween  appeared first on Rolling Stone India.

Scorpio season is here. Known for their undying loyalty and lust for life, they are as endearing as they are acerbic. Not one to be bound by rules, they’re defiant, armed with a razor-sharp tongue, and as ambitious as they come. But beneath the tough exterior are passionate, hopeless romantics, looking for their Jane Austen-esque fairytale in an era of situationships. 

Like their personalities, a Scorpio’s music taste is just as moody. These zodiacal badasses are tough to gauge at first. A concoction of contradictions, it has a little bit of everything, from alternative rock to soft shoegaze. Although they shy away from vulnerability, their playlists reflect otherwise.

In our monthly series Astrobeats, we’re dishing out the perfect playlist for the zodiac sign ruling each month. From heart-wrenching tracks to electronic ragers, this month’s Scorpio mix reflects their inner complexities. As you hunt for the perfect leather jacket for a revenge outfit, press play, and let this playlist be the soundtrack to all your illicit fantasies.

Adéla: “SexOnTheBeat“

A sensual rager with beats that make it hard to sit still, this track feels like a time portal to the indie sleaze aughts party scene. Equal parts tantalizing and groovy, each section builds towards a riveting climax. The song effortlessly scores your main character moment anytime of the day, from showers to house parties. Curating a rebrand that could rival Addison Rae, the twenty-one-year-old Slovak singer-songwriter is breaking away from the Popstar Academy mold and carving a distinct sonic identity.

The Weekend, Lana Del Rey: “Stargirl Interlude“

A slow-burning, two-minute track that is as intense as it is intimate. Del Rey’s signature wispy vocals serenade softly while Tesfaye’s loop echoes like a tape recorder on repeat. Unapologetically lustful, the song simmers with tension, building anticipation as it unfolds.

Fakemink: “Shampoodle” 

“Shampoodle” by Fakemink is a hyperpop relic built for long drives or grocery runs with friends as you yap your worries away. Built upon a hypnotic loop, its dreamy production stands in contrast to the Scorpio god complex-coded lyrics.

Rudy Mukta, Kalmi: “Love And Limerence“

A tug of war between longing and abandonment, “Love and Limerence” embodies the many layers behind a Scorpio’s emotions. The track’s soothing properties make it the perfect antidote to heartache — especially apt for nights of solitude, where you replay every part of the relationship that went awry.

Raye: “WHERE IS MY HUSBAND?“

“WHERE IS MY HUSBAND?” by Raye is a multi-sensory treat that combines orchestral elements with an irresistible R&B groove. Raye’s effortless runs and riffs, carried by a syncopated rhythm, act as instant earworms that keep you hooked. Perfect for those pre-event hype sessions or before stepping out on a big date, the track serves as a reminder of your innate BDE.

Sufr, Arpit Bala & Toojro Dey: “Bargad“

Intoxicating in just the first listen, this is for those scenarios where you can let your imagination run wild. Poetic and indulgent, it doesn’t hold back. With lyrics like “Rani Teri Ek Jhalak Se Mai Pagal,” even the coldest ones are bound to blush. Melding syrupy vocals with desi beats, the production miraculously ties all the various elements into one harmonious track.

Beyoncé ft. Jay-Z: “Drunk in Love“

“Drunk in Love” by Beyoncé is the ultimate off-duty anthem for unwinding after carrying the weight of ambition on your back. Trippy but peppy, it’s the kind of track that gets even better with every listen. The song’s signature energy comes from the thumping 808 beats, while Beyoncé masterfully restrains and releases the word “Love”, creating a slumberous yet magnetic mood.

Naam Sujal: “CUT THAT BITCH OUT!“

Sharp, slick, and straight to the point, Naam Sujal’s “CUT THAT BITCH OUT!” is your cue to ditch the fake ones and ride with the real. With cutting lyrics and a beat that bites, it’s cold, confident, and clean as hell. 

Charli XCX: “Von Dutch A.G. Cook Remix Featuring Addison Rae“

An eternal Scorpio anthem, the racy track summons your inner diva. Bold and electrifying, it’s a blend of angst, energy, and ambition, transporting you to a three-minute cinematic music video where you’re crafting the ultimate comebacks for imaginary arguments. It’s a middle finger to every nemesis still lurking on your Instagram, with Rae’s iconic scream serving as the cherry on top.

Ayesha Erotica: “Yummy (Righteous Remix)”

Your GRWMs need a soundtrack that mirrors your magnetism, and “Yummy” does more than that. Just one listen and you’re strutting across the room, like the “first lady of Juicy Couture” that you are. Apart from the brain-tingling production, it’s a timeless queer anthem that transcends time and place.

Cigarettes After Sex: “The Crystal Ship“

A sultry track laden with gothic romance, “Crystal Ship” is a Frankensteinian fantasy that would put modern dating to shame. With CAS’s distinct lullaby-esque voice and heavenly instrumentals, it leaves space for the unsaid, untold, and unheard.

Som: “Haseena“

Straight out of a Y2K Bollywood movie, “Haseena” is a synth-laden vibe-changer from the get-go. Cheeky and romantic, there is a calculated intent to sweep you off your feet; a sonic declaration that is like music to a Scorpio’s ears.

Abhinsane, Aprit Bala, Sihie, Bhappa: “Pink Plastic Kiss“

A desi bubble-gum pop with production reminiscent of Uzi’s “20 Minutes,” it’s an amalgamation of Punjabi verses, coupled with Sihie’s lucid vocals. Part Barbie-core, part hip-hop, it’s the best of both worlds; desperation masked in restraint.

The post Astrobeats: The Ultimate Scorpio Playlist  appeared first on Rolling Stone India.

 In 1938, 23-year-old Alex Steinweiss designed the first-ever album cover for Smash Song Hits by Rodgers & Hart, replacing the paper brown vinyl record sleeves with a striking photo of New York’s Imperial Theatre. That simple act turned album covers into cultural artifacts. From bedroom posters to vinyl collections, they’ve become a graphic extension of the artist’s sonic vision. 

Over the decades, cover art has become more than just packaging. From The Dark Side of the Moon and Abbey Road to Nevermind, iconic album covers have shaped subcultures, sparked debates, and stayed etched in memory long after the penultimate track. Today, they extend their influence to marketing and business strategies too. For instance, the global impact of Charli XCX’s BRAT went beyond pop culture iconography, becoming a masterclass in music marketing. Who knew the lime-green, blurry typeface-laden cover would be used as a visual aesthetic for US Vice President Kamala Harris’s social media campaigns, or hailed as “word of the year” by Collins dictionary? In the age of extensive rollouts, a simple, verdant visual became a global phenomenon, igniting the everlasting spark of BRAT summer. On the flipside, covers are also serving as social media triggers or hotspots of controversy (we tip our hat to you, Ms. Carpenter). From sparking lawsuits to dividing the internet, they’re now a consumerist specimen, immortalized through digital art, collector’s editions, and alternate versions. 

India, too, is witnessing artists creating boundary-pushing visual identities. From the radioactive tones in Chaar Diwaari’s  Jhaag to Hanumankind’s lore-laden Monsoon Season and Yashraj’s Meri Jaan Pehele Naach, the first Indian album to be featured on Cover Art Matters, musicians are leaning towards developing distinct visual narratives. 

While we idolize the voice onscreen, the talent offscreen—photographers, artists, illustrators, and designers— seals the deal visually. At the forefront of the country’s audio-visual landscape, designers GOJI, Vaishnav, Aryan Singh, and Sahil Singh are rewriting the rules of design, one album cover at a time. 

The Art of Digital Alchemy 

Bengaluru-based “Serotonin Director,” Goji, and animator Vaishnav Menon don’t let themselves be bound by labels. Creating stunning visuals using  AI, 3D assets, and animation, they’ve carved a niche for themselves amidst a slew of mundanity. Having designed South Side Big Dawg Hanumankind’s album Monsoon Season, they strive for boundlessness. 

Growing up, magic fuelled Goji’s fascination with grand reveals. From watching David Blaine’s sleight of hand on TV to breathing life into static visuals, wonder, movement, and whimsy have become a part of his creative arsenal. Comparing his creative process to that of old internet alchemy games, the thrill of mixing traditional and new tools brought him that euphoric high. “The game right now is about remixing, and I feel agile is the best way to go right now,” he tells Rolling Stone India. 

Method To The Algorithmic Madness  

However, he was quick to discredit the labels. “I feel like I’m not really like an AI artist. That’s why I have this ‘Serotonin Director’ tag on my ID.  I feel it’s the antithesis of the art or creative director; maybe just the way of seeing differently,” he explained. Developing a distinct eye for curation also spilled into music and art, leading him to pursue UX design in college. But the world of 2D, with expensive software and applications, simply wasn’t as invigorating. Luckily, a dysfunctional hard drive propelled him to shed his corporate skin and dive headfirst into AI and 3D. 

In a world clogged with algorithmic madness, Goji has seemingly cracked the code. “There’s no excuse for not doing something now. It’s a very non-linear process, too, in terms of making your work extend forward or backward. It all ties back to a magic trick, right?” 

In the same breath, he has created his IP “The Daydreaming Series,” which brings static pieces to life. These visual escapades have landed him projects with graffiti and mural artists, such as his childhood hero Tona, a self-taught German stencil artist. Converting his street art into kinetic visual treats, he gleefully mentioned the full-circle moment. Inspired by art history, desi maximalism, and John Berger’s “Ways of Seeing,” he has developed a distinct visual toolkit that guides his inner vision. 

Likewise, Menon, who sees himself as a solutions expert, specializes in all things kinetic—motion graphics, 3D, and now AI too. “Initially, I remember wanting to be a comic book artist,” he reminisced. Pivoting from science to art opened novel avenues in the field of animation for the designer. “It gave me great joy in figuring out how to make things move.” Thriving on creative communities, he believes in the multiple dimensions that exist within one artwork. “A piece of artwork can be so multifaceted, larger than life. If you’ve a friend who can animate your 2D piece, or say convert it to 3D, it’s bringing the piece to its fullest potential.” 

Crafting The Perfect Storm 

Working as creative partners, they’ve cultivated a collaborative system. This was visible on the cover of Hanumankind’s Monsoon Season.  The cover holds your gaze using four elements: the bank separating land and water, the brooding storm, the protagonist, and the large wave splashing across the bank. 

An amalgamation of VFX and manual error, it captured the raw variety of emotions the mixtape had to offer, much like the menacing pluralities of torrential downpour. Director Bijoy Shetty pitched the initial idea of a son and his father standing next to a wave. While the father fearfully yanks the son away, his son waywardly gazes away. Menon, who worked on the compositing, spotlighted the dilemmatic aspects of the reference point: “It expressed that dilemma of whether you want to play with the view or run away from it.” 

Even micro-details, such as the consistency of the water, were fine-tuned across countless iterations. “It was like a scrapbook approach, where you could swap out different elements,” added Menon. “Overall, the process was unique for all of us. There has been a lot of photoshopping that has gone into this.”  Highlighting the importance of collaboration and curation, Goji added how such tools help channel creative focus, freeing them from the technical baggage of applications or heavy workload.  “You can concentrate on the idea and feeling more, saving your energy for different things. In this case, the ‘why’ behind picking one iteration over the other becomes the more creative part of the game.” 

While he ensures his creative process is untainted, Goji pointed out the identifiers of “lazy” AI. “You can tell when someone hasn’t put time into prompting, such as setting the focal length or the aperture of the image right. It’s also to do with the engine you’re using— a lot of keener-eyed artists have switched up to other image generators.” 

Coloring Outside The Lines 

Up north, Sahil Singh, the creative force behind many of Desi Hip Hop’s recognizable covers, including Chaar Diwari’s Farebi and Karun’s Quabool Hai, is currently also building his fashion brand “Medallion.” While he’s best known for his design work, Singh’s artistic roots run deeper. A lifelong artist and singer, Singh found solace in art from the age of two. “I would win state-wide and national competitions. My mom, who’s also artistically inclined, was supportive of my craft.” 

However, a tiff with his parents—who’d rather have him wear a stethoscope than pick up a paintbrush—led to him getting kicked out. He spent a year in Canada with a relative. Yet, Singh contemplatively decided to drop out, return to India, and stick to his creative calling, leading him to take the most rewarding gambles of his career. At 16, unbeknownst to his parents, he started designing album art for the who’s who of the DHH scene. His breakthrough? Karun’s iconic Qabool Hai, for which he spearheaded the entire rollout. “Even though Karun and I have our differences now, at that time, he and his team trusted me fully. I was just 16 and they were happy to work with me,” he stated. “I never keep favorite covers, but if I had to choose, it would be that,” he coyly stated. 

Concocting Creative Visions 

Singh’s distinct style comes from deliberate choices. Whether it is using his friends as reference points for character-based projects or using the endless tonalities of the color red. “To keep faces consistent for a realistic character with detailed elements is hard, unless you’re drawing it a little more two-dimensionally. As for the color, any time I want to pour an emotion, strength, or warmth into an image, I’m immediately drawn to red.” Even though his works vary stylistically, be it through tribal art, surrealistic illustrations, or abstract forms, his work remains unmistakably identifiable. Aware yet grounded, he credits that to his innate adaptability. “I minimize the use of background elements, eliminating as many details as possible, keeping it solely subject-based.” This passion for building narratives is embedded in his process. “Everyone wants to be understood in unconventional ways. It feels satisfying when someone gets the message behind a piece of my art.” Likewise, with clients, he ensures that the discussions are as authentic and raw as possible. “It’s a very child-like feeling, you know, expressing your story or vision behind your craft.” 

Process Over Product 

A stickler for perfectionism, Singh is known to scrap full-fledged projects in an effort to draw out better ideas in the process of rebuilding. “I once made an artist cancel his release and delay it, because I had a better idea for the album cover. It did well; everybody loved it. The fact that people now trust me enough with their covers that they are ready to delay their release is really gratifying as well.” 

A DHH fan himself, he’s seen it evolve from its early days. “People have started putting more respect on Desi Hip Hop; they’re proud to represent their favorite artists.” 

Physical Media’s Comeback 

Singh also acknowledged the ingenuity of today’s artists, who continue to create marvels sans equipment or software. “I started with a broken laptop myself, but I had the hunger to bring out an idea. It’s about the skill and your ability to translate your creative direction.” 

Likewise, he’s seen the scene evolve from a promotional standpoint, too. Having designed Quabool Hai’s physical packaging, such as CD covers and displays, he remained hopeful of the re-surfacing of physical media in music. “Earlier, Indian Hip Hop albums would have merch just as promotional material; it was the bare minimum. But slowly, we artists started pitching ideas like physical media packaging to certain clients. When they grew hungry for more, even we started crafting more seriously. It’s so exciting to see physical media resurfacing.” 

Setting New Rules 

Being a young artist, it’s often easy to get swept away in the power dynamics of client relations. However, Singh is blunt about his philosophy: “Earlier, for bigger clients, I used to be inhibitive about speaking up. With time, I realized that these works go under my name. Now, I listen to the artist and their story wholeheartedly, adding my opinions on how I can re-interpret their craft, vision, or symbolism better.” He also stated how younger artists perceive him as a “spoilt” brat, yet he’s quick to refute: “They don’t know how hard I worked to get where I’m at today. Grow a pair of balls, stop fawning over the client’s ideas, and start communicating on an equal footing.” 

Similarly, Singh has also seen the murky sides of dealing with clients. “If an artist behaves rudely, I straight up leave the project,” he firmly stated. There have been times when he was asked by bigwig musicians to copy existing artworks, Bollywood posters, and cookie-cutter templates surrounding metallic typefaces with little or no personality. Throughout this ordeal, he’s learnt to truly cherish the process rather than the outcome. “I’ve learnt to respect and love my craft more; I don’t fear losing projects anymore.” 

Aryan Singh, AKA YungWuz, laughingly revealed the origin story behind the moniker. “It’s sort of weird that there’s no story,” he shrugs. “My name is Aryan Singh, the most default Indian name that you could think of. I needed something to stand out on Instagram, something without underscores or dots.” 

Albeit laidback, 21-year-old Singh’s artistic anthology speaks otherwise. A realm of controlled chaos, his Basquiat-esque visuals have featured on the covers of artists like DRV and Central Cee. “At first glance, my work can look chaotic—bold colors, scribbles, all that. But there’s always structure beneath it.” His earliest memory of making art goes back to his childhood in Dehradun: That early spark translated to photography, too, one of Singh’s starting points. Eventually, his dad noticed the interest and got him a camera, which also led him down a rabbit hole of post-production and editing. A corporate stint at a German agency landed him his first tablet, and from then on, it snowballed into making fan art of his favorite rappers. “I was that kid who’d made rap and hip-hop his whole personality,” he mentioned. From a listener to a designer, Singh eventually landed commissioned gigs with Indian hip-hop artists for album covers. With no formal art background, he was on the precipice of getting accepted into Germany’s Bauhaus University. But he decided to stay put in India. “I was also building this here, and I realized if I left for four years, no one would remember. So I stayed.” 

Between the Lines of Chaos and Control 

Through local and global collaborations, Singh has struck a sweet spot between the client’s needs and his distinct style. “The goal is that the artist should feel like the artwork is personal to them, but people on the outside should also recognize that it’s my style,” he points out, referencing the cover art of Nakshatra, by Delhi-based rapper Dhruv Rajpal. “That was the first one that really took off. I was a fan of Rajpal before I worked with him, so for him to trust me with that was huge. It got traction because of him, but also because people really resonated with the artwork.”   

Even projects like The Siege’s Bhaagna, Chupna, Doobna cover and recent campaigns with House of Hashbass and Misfits pushed Singh to capture nuanced emotions while embracing complete creative freedom. 

DHH’s Emerging Visual Landscape 

On the design trends shaping the current wave, he acknowledged how the DHH scene has grown more visually experimental. “We’ve come a long way from those typical trap music visuals. Everything has so much personality to it, an homage to their cultural influences. From Nineties nostalgia to video games and Memphis rap, there’s a raw-DIY appeal. It’s not as polished, but it gets the job done.” 

Singh himself was at the forefront of mixed-media style, with his animation stint for  KR$NA’s “Hola Amigo” emerging as an instant hit. “I don’t want to brag, but ever since that dropped, every third music video has some mixed media stuff in it. It’s not that I invented it or anything—it’s often low-effort, like a sasti copy. But I guess everyone has to go through their cringe phase and eventually embrace it.” 

The Price Of Potential 

Not one to romanticize anything, he emphasized how important it is not to undersell your inherent worth for instant gratification or clout.“Everyone undervalues themselves in the beginning. I charged ₹2000 for my first cover when I was 16. At that time, I was like, ‘What do I need more money for?’ The issue is, it’s hard to raise your rates later.” He adds that while he’s noticed new artists often hesitate to talk money, especially when they admire the artist commissioning them, their contribution is equally important. “In a good way, it’s really not that deep,” he signs off.  

The post Under Cover Agents: The Designers Behind India’s Iconic Hip-Hop Album Covers  appeared first on Rolling Stone India.