Flux vortex is a purveyor of deep, hypnotic, bass heavy electronic music with a playful streak. This is music that's meant to move the body as well as tickle the brain and all the layers of the unconscious beneath it. Have an open mind even if it all sounds a bit unfamiliar and give the music a chance.
Anatomy of the Genre
I don’t see my music as definable in a single genre or very easily pigeonholed into a single sound. Rather, I see it coming at a confluence of various influences. I discovered ambient and psychill music at the chill out zones of the first psytrance parties I ever went to. In Europe, most psy parties have this space, but in the subcontinent, sadly this isn’t given so much of an emphasis and is only found at the largest parties. This was my first initiation into underground electronic music.
Birth of the Flux Vortex
‘Flux’ is a term in physics and mathematics, to describe flow of physical phenomena such as heat or electromagnetic waves across a surface. To me it describes the dynamic nature of life and the eternal flow of processes that we are immersed in, often unaware of even their presence.
‘Vortex’ then becomes the region within which this flow is contained which becomes bigger and bigger until you cannot perceive any distinct boundaries. For me the name liberates me with a sense of eternal flow and limitlessness of definition. I hope for my music to grow and mature along with me and find it’s own definition and place in the universe, always in motion.
Tapestry of an Album
Tapestry is a collection of music I have been working on for the last 2 years. An entering into the spectrum of dub music and break-beat. The tracks contained some special collaborations, there's one with Sanyas I (Kiran) from the 10,000 Lions Sound system, which we recorded in a croaky old room at his house in Mandrem, Goa. And then there is this one with Rider Shafique which we collaborated on via the internet. I named it tapestry because the music on the release weaves through different strands of sound like a tapestry. To me it sounds like a lot of disparate elements coming together in something that feels coherent as a whole. The music is faster than anything I have done before and more dancefloor oriented, with overarching political reflections of the socially isolated, increasingly un-free world we are living in, defined by large statistical averages and aggregates replacing human connection. This album is also the first in which I have used vocals in my music. Producing the music for Tapestry has been a great exercise in coming closer to finding my sound and showing it to the world.
In the past I have mostly promoted my music on Soundcloud, with my releases on different labels showing up on their respective bandcamp pages. I have always been cynical of streaming platforms like Spotify and Apple music with their unethical practices and gatekeeper behaviour. I do realise that in the world we are living in, wider audiences will be found for my music on these platforms and so it becomes important to be present on them just to reach the majority of people that listen on these platforms.
Despite this, my primary focus is on platforms like Bandcamp, in which there exist active communities of listeners that directly purchase and support artists around the world. This is a more financially and ethically feasible medium to support my music, and a great platform to discover new music. I always encourage more people to check it out.
I have found that most purchases of my music come from international listeners, maybe because of an ingrained culture of supporting the independent arts.
There are many highlight shows to speak of, just picking one won’t do them any justice.
First there was a show at a LOCALS party at one of those semi legal bars in Gurgaon where you can bring your own alcohol. It was a techno party and I was on the experimental stage which happened to be the lounge area of the bar. I began playing and from an audience of 4-5 people the room slowly filled up. Most of the audience was unfamiliar with the music but was somehow drawn to the vibe that filled the space. I ended up playing for over 3 hours, way above my set time. It was one of those nights where the audience and I were just bouncing of each other, elevating the energy of the room.
Another highlight would be playing at Chilltop festival in Goa, at the legendary Hilltop. I was playing before Dakta Dub, who was a long time mentor of mine, and Mad Professor, a dub legend and true innovator I have always looked up to. The night progressed beautifully under the bamboo trees and the stars.
An Ode to the Roots
I grew up in and around the independent music scene in Delhi and attended gigs since I was maybe 16 or 17. Seeing artists/ labels and crews rise and fall along with trends in genre and formats gave me a lot of perspective on how transient hype can be. And a real hard look at the fact that it’s only honesty and perseverance that survives and is remembered. Delhi’s music scene has mostly been a musical wasteland that devoured everything that it could. Even so, I have also seen a more serious music infrastructure develop. This is the infrastructure that has supported me and allowed me to do what I do and showcase my sound out to a wider like minded audience, along with unearthing unconventional venues and formats for performance.
The psychological reward of making and performing music for me is my sanity. It’s the thing that keeps me grounded and keeps me in touch with myself and my intuition which is a big part of me. It also becomes my insight into spirituality and the interconnectedness of all existence.
Despite this, there have been many occasions where I have second guessed my choices in dedicating a significant amount of my time to music, especially in regard to the bleak opportunities of getting paid and sustaining a livelihood, along with the ugly mismanagement, ill treatment of artists and strong gatekeeper culture that exists in the music scene. These are systemic issues about the music industry but I still find the actual process of creating and performing to be life affirming.
The sounds I make are still a niche in India, while they have established audiences abroad. With a fresh slate, I believe there is a unique opportunity to do something new with the genres, and introduce it to people that would never be exposed to anything like it. Indians often take time to get accustomed to being challenged, but I believe the potential is there and the future is bright.