As the solar goes down lending its waning, delicate glow by stained glass home windows, previous ornate frescoes and grand courtyards, Rajasthan’s Alsisar Mahal transforms into a image of serendipity. It leaves no hints in any way to the night time that’s to return, when onerous techno will reverberate by the hallowed halls of the fort, which was rebuilt in 1954 after a bombing by the British.
Atop Badal Mahal — inside the fort — characterised by its domes, a world music producer and DJ primarily based in Delhi, Alboe, performs his quintessential mix of Indian sounds and electronic music. A soothing, excellent finish to the day. Past serpentine stairways dotted with miniature work, on the Durbar Hall, is Rajasthani people musician Moti Khan successfully stirring up a storm as a captivated viewers transforms the hallowed house into an unlikely dance flooring. At Magnetic Fields, each nook serves up a shock. But one should be able to tough it out in ‘bedouin tents’ sans insulation and typically, operating sizzling water.
In its 11th version, the lately concluded modern arts and music festival noticed 6,000 individuals take over Alsisar Mahal for 3 heat days and (extra so) extraordinarily chilly nights. The festival is understood for electronic and left-field soundscape, and this yr was no totally different. Over seven phases inside Alsisar Mahal which is now a heritage resort run by the eighth technology of Alsisar’s Shekhawati clan, and a designated tenting space barely 100 metres away, the festival managed to attract in a combine of crowds: from loyal followers of electronica and first-time method finders to seasoned membership crowds.
One of essentially the most anticipated acts on the festival, Glass Beams
| Photo Credit:
Uday Rana
This yr, nonetheless, the festival had its justifiable share of highlights: Melbourne-based Glass Beams’ virtually hypnotic set noticed a huge turnout on the giant lawn-turned-stage referred to as the Jameson Connects South Stage, and was a soothing mix of japanese scales impressed by the group’s South Asian descent.
The (bejeweled) masked trio calls their model of music “serpentine psychedelia”. Their physicality on stage (the bassist glides as he performs), by some means, stayed true to their model and had the gang in a trance. In stark distinction was DJ ADHD. The UK music producer’s membership music, which blurs the traces of techno and bass, had crowds spilling out of a huge courtyard contained in the Haveli on the BudX North Stage. It was funky, contemporary, and complimented the projection mapping that took over the facade which in any other case is a roadmap to 17th Century Rajputana structure.
Aerial artist Osheen at Dragalactiq Vivarium
| Photo Credit:
Aarohi Mehra
Often known as the ‘poster child of Indian electronica’, Dualist Inquiry launched the viewers to his upcoming album, which deliberates on childhood, life, love and fatherhood. The beautiful customized visuals forming the core of his soundscape featured stunning guitar interludes. Hard techno apart, left-field acts like that of Zequenx had been a deviation from the norm for loyalists of the style.
The Durbar Hall which homes grand portraits of the members of the erstwhile royal household of Alsisar on its partitions, additionally hosts Hindustani classical musicians on its stage. Though the festival’s curation weighed closely on modern music, classical and people acts additionally drew earnest crowds in giant numbers.
A view of the Alsisar Mahal
| Photo Credit:
Parikshit Deshpande
Mapping genres
“Each stage has come to occupy a niche and a vibe,” says Munbir Chawla, co-founder and music and partnerships director, Magnetic Fields. “The South Stage is where you will find electronica with a healthy mix of jazz, psychedelia, hip-hop, R ‘n’ B and beautiful visuals, whereas the Sundowner stage on the palace rooftop is a firm favourite of attendees for watching live electronica acts against the backdrop of the setting sun for example. Where an artist ends up playing is determined by what kind of music they make and play, and also how versatile they can be.“ Alsisar Mahal is without a doubt one of the biggest stars of the festival, says Munbir, adding, “The architecture and heritage lends itself beautifully to the story of India that we want to showcase. “
For artistes like Goa-based DJ and percussionist OX7GEN, playing at the festival is a gateway to introducing new sounds to his repertoire and the audience. “About three years into being a drummer and playing with other bands, I was introduced to the genre of drum and bass. Growing up, I have heard a lot of house and techno but this was different. It catapulted my interest in electronic music,” says OX7GEN who performed on the BudXYard stage by Budweiser on Day 2. Over the final two years, he says he has pivoted his sound to what’s historically thought-about home and techno.
Vinay Ramadasan throughout a Fieldlines jam session
| Photo Credit:
Saubhagya Saxena
Known to play groovy, home music, it was Bengaluru-based DJ Rishi Sippy’s first time at Magnetic Fields. At BudX North Stage by Budweiser, he helmed a techno-oriented set to a packed viewers. For the musician who began enjoying in golf equipment when he was 19, earlier than fully shifting to DJ-ing in 2014 virtually 20 years in the past, Magnetic Fields is testomony to electronic music’s ever-evolving sounds. “In India, there’s not enough venues to play, considering the number of people who are now getting into the scene. It is a challenge. As an artiste, a good sound system is also imperative,” says Rishi.
A way of neighborhood additionally seeps into the music curation. “We want to showcase artists and sounds that are fresh, different and future-facing. There are so many amazing artists in India that we want to showcase to the world. Also, international acts that we love and want to introduce to Indian audiences. So whether it’s an up-and-coming act, or a new show that an established artist is working on, we like to believe that Magnetic Fields is where they would find an appreciative audience,” says Munbir.
Glass Beams at Magnetic Fields
| Photo Credit:
Saubhagya Saxena
Says OX7GEN, “They are always on the lookout for artistes who are pushing the boundaries. With a balanced programming like this, you will have people who might not have heard 80 percent of the music that is being played, coming in to discover new artistes, genres and sounds. As musicians ourselves, we are also influenced by all these artistes who are pushing the limits. It allows us to not be pigeonholed into doing something that is safe and commercial.”
These sounds will in the end chart the way in which for electronic music’s evolution in the approaching years. Rishi provides, “The electronic music space has grown almost 10-fold over the last decade. But there’s a long way to go. With the exposure that young people have with Instagram and access to global music, there is more visibility. Festivals like this help people discover new music.”
As nascent daylight struggles to chop by the extreme fog, a finisher set is underway. Tired pairs of legs make their method again to the camps to pack and depart Alsisar, and somebody says, “I could still go on. It’s only 7 (am)!”
A household so huge
The theme for the festival this yr was “preservation”. Music apart, the festival has over the years educated its lens on different arts. An set up — a big hammock with vibrant blue-green curved hinges, open to anybody at all instances — on the camp website by Chennai-based The Architecture Story makes an attempt to strengthen the concept of fostering a neighborhood. The makers imagine that discovering one’s neighborhood is one of the most important takeaways of festivals like this. “A festival is all about meeting people and making new friends. Our focus is to find ways to enhance that experience and one way to do that was to create this collective seating,” says co-founder Deepak Jawahar of Architecture Story. This set up is the second in the collection, the primary of which was performed for Magnetic Fields 2019. “It is an art practice inspired by charpai, which is a unique typology, in terms of the way it sags and its robustness. It is often placed in a public space which invites engagement,” provides co-founder Justine Depenning.
