During those months, I realised that the way a human interacts and plays an instrument determines what sound comes from it." “What I was essentially practicing in that class was instrument design philosophy and the whole world of sound synthesis.
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“I took a class at the Centre for Computer Research in Music and Acoustics called Laptop Orchestra where you code a software-based instrument on your laptop using audio programming language,” she explains. One fateful class proved to be a game-changer for her career. During this period, she stopped performing due to the intensity of her coursework but after taking a year off to work at technical non-profits in Kenya and Palestine among other countries, she returned to Stanford for her senior year with a desire to combine music and coding. As part of the Mozart Choir of India, a collaboration between the Austrian embassy, the Ravi Shankar Institute and the Vienna Boys Choir, she was also exposed to Western classical music whilst touring India and Austria.Īfter moving to California to attend Stanford University, she dived into the field of engineering and studied coding. As a child, she began intensive Hindustani vocal training that eventually took her to the prestigious Ravi Shankar Institute for Music and Performing Arts in her hometown of New Delhi. Jain's ability to reimagine traditional sonics on modular machinery comes after years of studies in classical music and computer science.
In addition to hosting regular radio shows on NTS and India’s boxout.fm, she’s also collaborated with a contemporary dance troupe and opened for legendary synthesizer artist Suzanne Ciani.Ī tale of two educations: Hindustani music and coding Over the past year and a half, her work has already made waves in the international community. “I don’t expect everyone to love my music but I want as many people as possible to hear it,” says the up-and-coming producer, who is in the middle of relocating from San Francisco to New York. Her forthcoming album due in May, Under The Lilac Sky, is mostly influenced by evening raags. This one is made for “afternoons sitting outside in the heat and watching animals roaming around,” says Jain. That’s followed by “Drown Out The Noise With Your Silence,” a more dynamic cut that takes its cues from the afternoon raag Bhimpalasi. The album’s opener, “I Feel Incomplete Without Sound'' channels a morning raag, known as Raag Bhairavi, with its meditative and gentle tone. Raags have different moods depending on the time of day and context they’re played in – an idea reflected in her 2019 debut album With/Without. "I’m not a Western classical musician or an Indian classical musician, I’m the space in between,” she describes over a video chat. Released on her own label Ghungru, her richly-hued rhythms and gossamer vocals are as absorbing as they are dense. These soundscapes are both experimental and deeply rooted in the spirit of Hindustani music – a classical idiom specific to northern India and distinct from the Carnatic classical tradition of southern India. “The more time you spend with it, the more you start to identify their behaviors, habits, and unique characteristics.”Īrmed with a modular synthesiser, her voice and Ableton Live, Jain produces lengthy raags that float between glistening ambient, moody drone and minimal glitch.
“My teachers have described getting to know a raag as similar to getting to know a human,” describes the Indian artist Arushi Jain, formerly known as OSE. Depending on how a musician uses a raag’s properties, an endless number of melodies can be created. There are countless raags, each of which contain a collection of notes, motifs and patterns that artists use to compose music in that raag’s framework. The tradition revolves around a complex melodic matrix known as a raag, or raga, that has no real translation in the Western classical system. Indian classical music may date back centuries but it’s in a perpetual state of flux.
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