Track Review: Antriksh Bali- Daze Blue

Antriksh Bali

Daze Blue


Daze Blue is available at:

1st August, 2014

Nikita Sailesh

Antriksh Bali

Sulzhan Bali

Electronic, Ambient, Trip-Hop

The Indian pioneer is a fan of the likes of Hans Zimmer, Massive Attack and Morcheeba. Antriksh Bali‘s inimitable blend of soft and serene; cinematic and epic works wonderful- he has produced some of music’s most fascinating cuts. Daze Blue is another filmic and evocative number- one that looks at creative woes and blocks. Tense, emotive and nervy, the song is a stunning assault that will draw in a host of new fans


THIS will be the final review I will pen…

for a couple of weeks at least. Having already written up Jingo’s review- for their album The Art of Loving– it is exciting to witness a genuinely fascinating artist- from the subcontinent of India no less. Having been honed into three continents with my reviewing- Australia, Europe and North America- I can add a fourth (with Asia). After searching for a fiery Chilean Pop band; a cool-ass African Soul artist- Antarctica is a bit of a stretch- it is terrific to be in Asia- a continent that is overlooked with regards to music. Most people tend to train their thoughts to the U.S. and U.K.- when it comes to music- and overlook valuable and untapped markets. It has been a while since I have investigated acts from Australia and New Zealand- southern hemisphere locations that provide some terrific Rock and Indie examples. South America is a less fervent and fertile market- there are plenty of original and stunning musicians playing here. Asia is a curious and fascinating continent- most people have cliché ideals and expectations. Far beyond the notions most hold, the continent boasts a great range of music and bands- transitioning these artists to the U.K. has been a slow process. India is a nation that has produced a lot of fine musicians and artists- a lot of them reside in Britain. My featured artist is someone who calls New Dehli home- keen to keep his sounds based in his homeland- an impressive move in the modern climb. His reputation is built around consistency and quality; Antriksh Bali is ensuring critical eyes are focused on India- seeing just what the country is offering the world of music. I will investigate Bali in more depth, yet am compelled to raise one issue: the Electronic and Ambient genres. Those whom hold a rudimentary knowledge of each are aware of the qualities (both genres) possess: that mixture of pure gracefulness and scintillating energy. Being a massive fan of Massive Attack; a devotee of Poritshead and their ilk- their finest moments mix Electronic trippiness with ambient lust and grooves. In a music industry where there is still too much emphasis on guitar-led assaults; pure Pop and something more ‘traditional’; few are taking the time to proffer acts that go deeper- blending dissonant with wildly experimental. It is a hard trick to get right: fuse wide genres and shades to create something variegated and exhilarating. I am disappointed by how limited (a lot of musicians are); so few dip into a treasure chest of sounds and stir them together- get their mind spiked and tantalised. It is great if you can stagger an audience with a few notes and heady riffs; take the mind somewhere fantastic- in an age where quality is defined by imagination; it is hard to achieve this. The key to originality and success is going to be mandated by those that innovate and subsume the bare minimum. The U.K. is more impressive- when it comes to experimenting- and leads the U.S. Europe is probably the most radiant and fertile continent (for mixing a raft of varying sounds). Whether their agendas are enforced by fastidious perfectionism or a freewheelin’ approach to sounds, it is staggering to see the results- some of the new music coming through is phenomenally unexpected. Trip-Hop, Hip-Hop and Electronic artists- from around Europe- are providing some of the most colourful and immediate musicians in the world- those that go beyond normal barriers and restrictions. From the early days of Beck; through to the ’90s Trip-Hop movements- along to the modern-day kings and queens- music needs more scientists- the bold that infuse chemicals, flavours and ingredients( to form something heady and intoxicating). Bali is an artist with a huge reputation and incredible work ethic- having been producing music for years, he is one of the rising stars on the scene. I have a couple of points to raise; but let me first introduce my featured artist:

Antriksh Bali is an Alternative/Electronic musician based in New Delhi, India. His music is influenced by a wide plethora of artistic elements that range from Ambient music to unpredictable sonic experiments that constantly evolve over time. Raised and brought up in an environment where there were no restrictions on genre or styles, Antriksh boasts of a sound that is an amalgamation of urban, dissonant and atmospheric music superimposed on top of epic and over-the-top orchestral scores that sway and move to inspire, yet awe. Learning classical piano since the age of 11, He has roots in classical music which he skilfully combines with elements of modern music that encapsulate everything from soundtrack and spoken word to Glitch and Trip-Hop.”

Bali may have been raised in a country that is more overpopulated and crowded than ever; where there are more road accidents- per person- than anywhere; a nation that is crowded- it does not seem to have tarnished his ambitions and creative process. The huge population and range of people has instead compelled and inspired his mind; that incredible mixture of cultures has defined his music upbringing- led him to create sounds that are pioneering and wide-ranging. In a lot of western cultures; there is homogenisation and restrictions- a lot of communities and countries are limited and narrow. England houses a lot of nationalities and types of people; I wonder why this ethnic diversity and community does not translate musically- a lot of new acts are rigid and unadventurous right from the off. Bali’s lack of restrictions- when growing up- have been poured into his music; he ensures his music has as many different turns and movements as possible- the amount of emotion, energy and wonder he pours in is hugely inspired. When you are unconfined and free; live in an area where all forms of music are proffered- this compels your processes and ambitions. Being brought up on music from a young age, I experienced (at an early stage) the likes of T-Rex and The Rolling Stones; Glen Miller and Kate Bush; Steely Dan and Joni Mitchell- there was never a single day where I would hear the same music. Those disparate and legendary artists have inspired my music ambitions; the way I write and dream takes those wide and compelling sounds into effect- I am so glad that I had that sort of upbringing. Bali has enjoyed a similarly liberating and nourishing musical youth- soaking in the sounds and sensations of the street; the myriad genres and styles of music (from the neighbourhoods). Able to marshal concentration and focus, he has funneled his cornucopia influences and loves into his own distinct sounds- creations that are stuffed with spice, sweetness, ice-cool and sharp kicks. Before I investigate his music in-depth, I want to look at discretion and bravery. When applied to music listening, these are words that are rare and unheard-of. So many listeners refute the necessity to expand their horizons; stick to confines- they lack the ability to cherish music from other parts of the globe. If you are fascinated by Pop or Grunge- why limit your attention to this alone? Even if I didn’t review, I would seek out as many different artists and styles as I can- perhaps it is because of my upbringing or sense of curiosity. So much great music- and artists- is being passed up; snooty and stuffy music ‘lovers’ keep to themselves- happy enough to let some terrific sounds slip through their fingers. After discovering British-based acts like RKZ and Calgaris; Canadian Rap masters like The Emsee- those raw and vibrant sounds are seducing my with ease. Having been introduced to one of India’s finest musicians, I am going to explore the continent in more depth- seek out his local contemporaries; dip into a flavoursome and nuanced cuisine. The public needs to get out of their concrete-weighed boots; stop balakansing their intuition and peripheral vision- take the shades off an open their damn eyes. For every snot-nosed and pretentious kid; to the adults that diminish anything fresh and innovative, I say this: get your heads out of the sand. It is true that there’s a lot of crap and ridiculous music floating about; on the flip side there is a multitude of wonder- sounds that most are ignoring. Bali has managed to touch a lot of people; transcend geographical borders and get his name out there- there are still too many that are ignorant of his abilities. Improving and galvanising with every new release, the Indian maverick is one of the most ambitious and startling musicians around- ensure you investigate his wonderful sounds.

If you are a new listener to Antriksh Bali, then it may be worth bringing in other acts- artists that have influenced the young musician. When thinking about Bali’s hardest (and more primal side), Massive Attack spring to mind. When thinking about album comparisons- that could have compelled Bali- Protection and Mezzanine spring to mind. Protection was noted for its range of sound and technical excellence. The band’s sophomore effort- the follow-up from their emphatic debut Blues Lines– the band threw acid lines, fragmented beats and melancholic keyboards into their music. Opening the album with an emphatic duo of songs, the group spared no times in making their voices heard- it is an album that gets off to a flying start. A mixture of blunted and transcendent vocals (added myriad emotions to various numbers)- the introduction of Tracey Thorn was an inspired move; her intimate vocals brought light and vivid life (to the numbers she featured on). Instrumentals were stretched and elongated; clean-etched and thick-textured contradictions sat with one another. When Mezzanine arrived- the follow on from Protection– the reception was a lot more positive- Protection gained some mixed reviews; some noted that there were too many weak tracks. Mezzanine benefited from eerie atmospherics, fuzzed-up guitars; wealth of effects- cuts like Inertia Creeps were stone-cold classics. The team of producers that were brought in introduced fresh sounds and a sense of vibrancy. Pointed beats and stark sounds resonated; listeners were gripped by the blend of ethereal and earthy. Genius collaborations and staggering production values led to a modern-day classic- an album that has inspired legions of new acts. Bali mixes that concoction of earthy and spectral; the atmospherics and ethereal edges he fuses are wonderful- seamlessly blending without sounding forced or unnatural. Showcasing a comparable talent for welding hard and tribal beats (with jagged riffs); warm atmospherics and heady anthemics- this all comes out in his back catalogue. When the hero goes for softer and more dreamy scenarios, I hear embers of Morcheeba. The British Trip-Hop/Electronica act have had a big baring on Bali’s sound and direction- shades of Who Can You Trust?– Morcheeba’s debut album- are extrapolatable in some of his earlier work. Thoughtful soulfulness dictated the album; that mingling of technology and honest emotion sparred beautifully- the laid-back beats and smoky seduction was a riot of wonder. Occasional strings, wah-wah funk; Hammond organ and evocative vocals united- the resultant album was lauded and celebrated. Languid and looping grooves took the sound across the Indian Ocean; a strange and bizarre brew that worked- the vocals from Skye Edwards (and her sensual purr) sounded like Sade paired with Portishead. The album acted as an emissary of slow, smooth and dark tantilisation- an accessible collection of songs that sounded foreign and murky; ominous and creeping. Hauntingly atmospheric and nuanced, it stands as a remarkable debut disc. On Big Calm– the trio’s sophomore release- the Trip-Hop and Dance beats remains intact. Pop, Longue, film soundtracks and Reggae commingled and spiraled; Electronica peacefully coexists- it is a stylistic triumph that remains their finest hour. The sophisticated maturity was augmented by Edwards’ incredible and skyscraping voice- an instrument that can make anything sound compelling and gripping. When looking at lesser-known acts- that have inspired Bali- The Algorithm remain a key force. The musical project of French artist Rémi Gallego, his 2012 album Polymorphic Code impressed critical ears. Each song’s obfuscating blend of sounds created a stunning assault on the senses. The Algorithm threw in Mathcore, Trance, Drum and Bass; Djent and Dub-step into his sounds- Gallego remains one of the most innovative and daring musicians in the world. That borderless and innovative ambition has enforced Bali’s sounds and machinations. The Glitch Mob are another act that has spiked Bali’s mind- The U.S. Electronic trio stunned with their debut Drink the Sea. That album saw driven and overwhelming synth. sounds and multiple layers- that balance of layers is struck just right. Phasing and cycling through sounds and different moods; the album uses syths. as an assault weapon- tangling and threatening when needed; calm and authoritative the next moment. Ensuring songs change conjecture and style, no two numbers sound alike- the album goes from airy and flowing to heady and carnivorous. Perhaps the second half suffers from poor sequencing and the death of natural flow- that is down to some poor production decisions; the quality of the songs does not dip. Composers like Zack Hemsey and Hans Zimmer have inspired Bali. The former is an American film composer whose works have featured on Game of Thrones, Inception and Lincoln. His albums, E.P.s and singles have seen orchestral snippets fuse with Trip-Hop samples and World instrumentations- Indie and Rock lines are injected into the fold. Zimmer remains one of the most influential modern composers. Having composed the scores for Gladiator, The Lion King, and The Dark Knight– among many, many more- he is one of the most varied and stunning composers of all-time. Dramatic and magisterial sweeps integrates traditional orchestration with modern Electronica. The Dark Knight‘s score was brooding and dark; shadowy and intense. The Lion King was more light-hearted and redemptive; graceful and uplifting. Gladiator was ready for battle and fighting; pulsating and grand. Bali has been compelled by both composers- Zimmer more so. Able to contrast epic and tender- within his music- the Indian pioneer’s work could easily fit in a multitude of films and flicks- from huge blockbusters to charming and quirky Indie endeavours. Showing a love of multiple genres; eager to mix sounds together- to elicit maximum emotional resonance- Bali has the work ethic and talent of the great modern-day composers. He ensures his music is filmic, scenic and orchestral- presenting stunning moves and contrasting sounds. The last name I will bring in is The Prodigy. Music for the Jilted Generation was a dark and menacing album- from the band. Covering more ground- than their debut effort- it slammed harder and more brutally- sonic terrorism was grubby and biting. Catapulting and propulsive, the L.P. sounded like a greatest hits collection- each track seemed more stunning than the last. The scoring of vernal rave and big city ambitions, the sensationalism fireworks crackled, exploded and scolded- leaving the listener dazzled and forewarned. The Fat of the Land remains The Prodigy’s masterpiece- their defining and finest hour. Intense Hip-Hop-derived rhythms bustled with imaginatively constructed samples; shouted lyrics and depth are synonymous across the board. The phenomenal production- from Liam Howlett- joined mind-bending Neo-Psychedelia with blood-curdling assaults; funky Hip-Hop with visceral vocals. Introductions and guest spots saw performances exhort cod-mystically and inspiring hypnotisms. The album launched Electronica to the U.S.- it was a hugely influential and revolutionary piece. Bali has presented darker and raved-up moments; bellicose beats and psychosis neurosis- he tends to tone down his Prodigy visceral rage. Showing the same inventiveness, dominance and sheer authority- his songs are rife with multicoloured sounds and electioneering passion. It is worth taking the acts (above) as references- as opposed to sound-alike guides. Bali is an artist that incorporates other acts like he does sounds- they rush by and come to the fore now and then; never become too pressing, obvious and attention-seeking. Our hero is one of the most innovative cross-splicing and cross-pollinating genre-fusers out there; he has that stunning attention to detail- as fervent and stirring as any of the musicians mentioned above. If you are a fan of any of them, you will find a lot to recommend in Bali’s music- a young name that means serious business.

Bali has produced acres and multitudes of past work- expanding his horizons and experimenting with sounds. If we look back at Scoundrels of Egypt– that song was released a couple of years back; it is one of our hero’s earliest works. Starting dark and heavy, there is a definite cinematic edge. The electronics come out demented and rushing; swirling around one another- you sense danger is afoot. Scratched and stuttered electronics soon bond and fuse; they trip and fall inside one another. Skiffling and shuffling beats rush and build; there is grandeur and hard intentions- the song is alive and urgent. When orchestral strings sway and seduce, the mood intensifies- it is as though the listener is being chased by a villain. A confident and hugely impressive cut, it has the terrific sound of a film soundtrack score- something that could theme a nervy and tense thriller. Dreamscape Nightmare was as evocative as its title suggests. Eerie and haunted beginnings get the listener hooked- the piano notes are singular and punctuated; heavy and hard. When sweeter notes infuse and mingle, that mixture of sour and light blend- the resultant sound is an exciting and tantalising one. Lullaby intentions sit with spectral and groaning howls. Strings come back to play and conspire- there is a stop-start projection that keeps the song unpredictable and tense. The to-and-fro rhythm and sound is hypnotic and exciting; gripping and tender. Shades of The Cinematic Orchestra and Morcheeba sit with one another- quite a languid and sizzling commingle. Bureaucracy– released a couple of years back- has teasing and stuttering opening beats. Massive Attack and Hans Zimmer come to my mind- that hard and heavy force punches in. Slinking and cool lines weave with firm cymbal percussion- that mutates into crunches and stark judders. Soulful and mechanical sensations sound like Prince mixed inside an Electronica blender. Hypnotic and swinging swagger bursts alive- in a concise and short gem. The Truth, Denied was released a year ago- it is a track that showcases natural development and progression. Whereas the early tracks looked at a lot of dark elements, the layering effect hadn’t been fully developed- the sounds were more focused and honed. On this number, Bali started to overlap threads and different beats; pushed his experimental mindset and created a stronger and more innovative set of numbers. The Truth‘ starts slow and ghostly; dark and bubbling undercurrents glisten and burble- the rush soon becomes grand and urgent. Momentum builds and augments; the layers start to stack and weigh down. I would imagine this track could score The Bourne Identity– an early chase scene perhaps; it has that paranoia and cat-and-mouse danger to it. Perfectly able to fit around the opening credits, it is a masterclass in subtle and evocative cinematic drive. Sparks and flickers crackle; electronic rifles and staggers sparkle- the swagger and swing is at its peak here. Learn To Fly began with more soaring and epic openings. Dreaminess and serenity brought some of Morcheeba’s early work to mind. Colours crackle and burst; again there is that filmic and cinematic feel- a Breaking Bad opener that packs so much emotion and vividity into its measures. The track stops and builds; backs off and strikes again- it is frantic and insistent. Intense and visceral attacks bite and bleed; they force in- Zimmer-esque and primal, it is a stunning track. Bali’s more recent numbers are more evocative and picturesque- instilled with confidence and greater depth, they inspire the mind to dream and imagine. Scenes and sights play out; you project your own film and moments- the music is hugely gripping and atmospheric. Control (The Infinite Button) was released late last year- it is a spacey and cosmic thing. One of Bali’s longest tracks, the robots and machines are in orbit. Squelches mix with delicate tip-toe notes- they blend to create something heady and astonishing. Nice and dizzy rhythms repeat and catch the imagination- it is an addictive coda. The core sound does not deviate too much- the layers build on and the mood becomes more packed and colourful. Harsh and soft beats spoil with one another; the track breathes and expands- becoming more urgent and hard towards the end. Drawing in Massive Attack’s dreamy and insatiable epics, the serenity and semi-dangerous mood turns into a feral animal. Hard and violent Dub-step attacks are rage-filled and high on crystal meth. Chaos and Armageddon remind me of The Prodigy’s most vitriolic and visceral elements- it is the sound of carnage and explosion. The development and progression made- over the last couple of years- has led to Daze Blue. Sparring softer and more pressing elements, it has a lot in common with his later work. Over the years, Bali has developed and galvanised his music; incorporates more sounds, emotions and genres into his art- he has become more daring and unrestricted. This means his next sounds are likely to become more dramatic; filled and exhilarating- marking himself out as a potential film composing legend. Injected the same flair and wonder as the likes of Zimmer, Bali has the potential to make his way into huge films and T.V. dramas.

One of Bali’s long and epic tracks, Daze Blue promises epic proportions- before a single note has been presented. Tinny and hollow percussion sounds reverberate to begin- mixing Asian sounds with Trip-Hop elements (of the ’90s). Bubbling and dazed, the sound has an intimacy and relatable edge- there is smoothness and serenity afoot. Sublimation and passion melt into one another; the percussive smacks and primal beats start to glisten and campaign. Controlled and perambulating, the song is a travelator of sound- it moves at a brisk pace but does not get out of hand; it keeps pressing and driving forward. Showcasing elements of Massive Attack’s Mezzanine highs, that underlying tension and scintillating drama works away in the undergrowth- it once more puts me in mind of a film soundtrack. Coming across as the perfect opening scene from a thriller or anxious Indie flick, you start to conspire and imagine- scenes, chases and weather fills my mind. I imagine a Russian night: the hero is stepping off a train- into the chill and rain. Bathed in odd neon lights, he urgently walks the streets- looking into the shadows (of nearby bars and all-night stores). As the credits start to appear, strangers and taxis stop and stare; the nerves build and the rain becomes heavier. Making his way into a doorway, the muscular agent loads his gun; wipes his brow clean and makes his next move. Looking at some scrawled papers, he elicits a smile- running down an alleyway the sense of imminent atmosphere is close. Crackling and crunching beats- mixing in Kid A sounds with Massive Attack- conspire in a melange of shady and street-leveled sounds. Hip-Hop and Trip-Hop menace flexes its chest and presents a steely gaze- the night is becoming more fraught and alive. The legitimate urgency never gets out of your head; the junkie violence of the Russian streets are drenched in water and vagrants; the hero is back under the street lights- so much atmosphere and potential is presented (without a single word being sung). When the heroine comes to the fold, she is an alluring and seductive Siren- the lady in the black dress; red-lipped and come-hither, she beckons the hero forth- from the arresting glow of a vodka bar doorway. Her words see “Empty faces/Vacant stares.” In haunted places, is there anyone there? If I detach myself- briefly- from the cinematic lure of the soundtrack- I will interpret the lyrics. It seems like the heroine is caught in a miasma and heartache avenue- the emotional grip and burdenous heaviness is weighing her down. Our author explains the song is representative of a creative block- that ‘daze’ one gets when trying to climb out of the turmoil of stifled and dried-up imagination. You can hear that anxiety and hopelessness come out in the voice- the heroine floats and sighs; lost in her own pain, the performance is a stunning one. Mixed fairly low in the mix, the composition and beats are more defined and pressing- adding that sense of urgency and conviction. The mood and score become more insistent and bolstering; the layers build once more- our heroine admits that  the “flame’s losing the flare.” Defining emotional hurt and a stressful lack of ideas, you root for her- wonder whether she can climb out of the hole. Back to the movie parable; the restless and heady electronics (and beats) mix with warped and spacey notes- adding desperation and free-fall arrest. Massive Attack and The Prodigy mingle alongside one another; Bali presents his own version and interpretations (of their bellicose and prodigious mandates)- Daze Blue grows in stature as the track progresses. Our film hero has made his way to the doorway; entranced by the glare of the scarlet femme fatale; the smoky and Teutonic sensations draw the assassin forth. Our song’s heroine never loses her momentum and intentions- the vocals entwine and tangle inside one another. Surrounded by “Melancholic sounds” and “a dying drumbeat“, her soul and heart are starting to slow and die- she is floating and back in a daze. Enraptured by the stuttering and forceful beats, the heroine seems delirious and overcome- the full force of emotions are taking their hold. Not as packed and busy as numbers like Control (The Infinite Button), Daze Blue is more level-headed and focus- that depressive and aching pain is perfectly summed-up and defined. Tripping primacy see-saws with sizzling electronics (and an unending sense of pummel and spectral grip)- classic edges start to creep into the soundtrack. Tender piano notes tease with masculine beats and electronics; creating a beautiful and fascinating concoction. The tension starts to subside a little to allow the heroine’s voice to come back in- only for a moment, as stringent and rousing strings bring the song back to its peak. Our heroine asks- the world- to “Inhale me now“; lost in a “Twisted reality“, she is spiraling away from the world- desperate to gain that creative spark and sense of purpose. From the Russian bar, gunfire breaks out- screams are heard- as the camera remains on the street- framing the piece without budging and moving. With our hero making his way out of the bar, a black car makes off after him- the daylight starts to break and bathe the city. As the chorus comes into life, the vocal is more defined and clear- her daze blue is haunting the soul. Enmeshed in a myriad of shuffling beats and tense shifts, the song gets inside of your head- Bali makes sure the tension and atmosphere does not relent. Not overtly bombastic or too calmed (and revered), Daze Blue is an assault on the senses- able to tantilise and entrance; stand to attention and get under the skin. Addictive, catchy and nuanced, the song is a dazzling display of musical rhetoric- made golden by Sailesh’s sensual and demanding voice. Filled with conviction, emotion and potency, you are caught up in her plight- rooting for her. Spiked guitar stabs come into the fold towards the final moments- that insistent beat keeps pressing and pulsating. The dizzying sounds weave inside one another; the layers and components flair and sizzle- the final moments are dedicated to conclusionary electronic sweeps and darkened swathes. Back in the film piece, the hero reads his note once more- he is outside a building- it is near lunchtime now. Heading into an embassy building- gun loaded- the scene fades and the intrigue is laced. Daze Blue is a song that gets the mind working and imagining- you are hooked by the lyrics and sounds but project your own scenes and ideas. Having so much to take in, it is a track that results in repeated listens- each new encounter sees new beauties being revealed; you try to get to grips with all the different sounds, vocals and words.

Daze Blue is another stunning cut from Bali. Showing his restless and endless creativity, it is unlike anything he has produced- uniting his early day work with his more innovative later sounds. His latest testament is a symphony of dazzling sounds, fraught emotions and a feeling of dislocation- quite a heady and flavoursome brew. Before I pass plaudits to the main players, it is worth mentioning the song itself. The production allows the composition to reign and pervade- the vocal is a little lower in the mix. This does not create an imbalance and sense of disjointment- the voice is intended to be haunting and spectral. The composition itself is packed with life and different edges. Massive Attack and Prodigy’s attack and stylisations sit with Morcheeba swoon and calm. Bali injects his propriety talent and secrets into the song; those staggeringly evocative and alert sounds- that haunting-cum-hard resonance. Marrying qualitative touches of ’90s Trip-Hop with Urban elements, the song is one of his most evocative and nuanced to date- he is at the peak of his creative powers. With lyrics that look inside the mind of creativity and desert dry; it is an original and ever-relevant theme. Most of us- who write and create- have been in that position- where the mind is not as fervent and inspired as it should be. Bali represents this with some scintillatingly heady words and representations- the language is simple and economical; he manages to whip up the maximum amount of acuity with few lines. Bali himself highlights his innovative and genre-splicing qualities; Daze Blue is a riot of variable sounds and genres- the song never sounds too compacted and unfocused. Ensuring evocation and urgency dictate events, the track is capable of unifying lovers of Trip-Hop and Electronica; draw in new fans and supporters- it has a serene and passionate edge (that will appeal to Pop and Electro.-Pop devotees). Nikita Sailesh is a voice I want to hear more of- on Daze Blue she entrances and captivates. Not too overpowering and full-on, her voice is arresting and beautiful. Able to conjure up dazed and overwhelmed fatigue; striking and impassioned pleas, it is a fantastic performance. Seamlessly mixing her vocals into the heady mix- I hope the two work together in the future. Overall, you get a fantastic track that is unique as it is familiar. The likes of Massive Attack and Morcheeba would snap it up for sure- it possess shades of each; that contrast of beauty and force. As much as anything, it is Bali’s distinct voice and unparalleled ingenuity and talent (that shine). So few songs and artists resonate in the modern scene. Having investigated Bali’s cannon of work- and Daze Blue– I am compelled to keep up-to-date- watch out for new offerings and cuts. I am predicting a big 2015 (for the artist); a bumper year that will see his name be spread far and wide.


Blending elements of Morcheeba with Massive Attack is a trick few have pulled off- even fewer have attempted it. Antriksh Bali is an artist that has no limitations and boundaries- he pours his childhood and heroes into his own stunning centrifuge. What is produced are songs of the highest degree- the magnitude and excellence of the most alarming order. Daze Blue is a typically adventurous and agile cut; a song that displays the young artist’s creative ingenuity and vibrancy. In Britain there is no excuse for complacency and laziness- we are one of the most multicultural and cosmopolitan nations on earth. Our human economy not only draws diverse cultures together harmoniously- for the most part anyway- that in turn is compelling our wisest and most worthy musicians. Having such a gigantic musical history (in the annals waiting to be reappraised); combined with some pretty impressive new artists, nobody has an excuse for limiting their ambitions and music- being predictable and safe is such a boring way of life. Bali is an artist that is entrancing and captivating his native India; his music is translating across the continent- many reviewers and listeners in Europe have been tuning into his unique blend of sounds. On the evidence of his current single, it will not be too long until more nations and continents are aware and amazed- the wave of reputation and word-of-mouth is augmenting. I am not going as far to exculpate the music industry- those that do not pioneer should be scolded to an extent. With acts like Bali showing new sides and possibilities, his songs should act as references and guides- inspire newcomers to be a bit more daring and vivacious. I will leave with a thought on India and experimentation. Before you read this review- and up until a few weeks ago- you may have been unfamiliar with Asian music- I was a little naive to its charms and possibilities. The hegemony and dominance of the U.K. and U.S. needs some challenge and competition; other nations are deserving of spoils and riches- the next few years will see some transformation and diversification. I am a huge supporter of Australian music; I wonder whether its location and position- on the globe- is putting people off- whether is a little too far away from the beaten track. The same may be true of Asia and South America- the only reason North American music is appreciated is because of a rich history. Social media, the music press and journalists should be playing their part- get their mindset away from the familiar and towards far-off locations. Bali is the embodiment of the flair and bravery shown among some new musicians- the type of person not content to just stamp out the same old stuff. Sceptics and the doubting Thomases may claim there have always been ambitious and innovative musicians (around the world)- I agree; their numbers are in the minority. There are still too many boring and bland guitar bands; the heavy dose of saccharine and nauseating Pop clowns- aimless music that has no sense of longevity and inspiration. Daze Blue is a track that should inspire fresh minds and musicians (wanting to try something different). It is a slab of brilliance that highlights the purposefulness of one of the music world’s most innovative musicians. At the very least, Bali should be used as a case study: someone who is not willing to be labelled and confined. As I type my final words- for a couple of weeks at least- it is great to be able to assess an Indian musician- my mind has been stuck in Europe and North America for too long. And who knows- maybe I will get the chance to review more Indian acts; some African bands; I just need to find them. Daze Blue is unlike anything I have heard- a song that reminds me of the Trip-Hop greats; the masters of the Ambient smooth- a phenomenal parabond that has influenced an incredible track. I hope Bali comes to London to play; it is likely there are crowds and hungry fans waiting- I am certainly going to get the word out. It seems the young master is a fervent and busy creative mind; 2015 may see an E.P. or album from him- that will surely bring his name and reputation to a wider audience. If you are mired in the quicksand of spineless Indie bands; the honey-sickly gloopings of Pop muppets- you surely yearn for something more daring, fascinating and deep?! With this in mind, you will find Daze Blue a hard treat to beat. It is a song that raises the spirits; rouses the soul; raises the excitement levels. In its distilled essences it’s…

A colourful trip that is likely to lead you to addiction.





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