Par Ek Din | Documentary | Jaideep Varma [w/ subs]

00:00:09 – Rolling… Everybody rolling…
00:00:10 – Yeah, yeah. Yes
00:00:11 – 1, 2, 3, 4…
00:00:17 – Too fast, bro…
00:00:23 – Too fast,
00:00:23 – Ok, wait, sorry, sorry… Ok, I’ll give a…
00:00:25 – 1, 2, 3, 4…
00:00:30 – Still too fast. Wait, I'll start.
00:00:33 – Really?
00:00:38 – Start properly, no, give a… this thing…
00:00:42 – 1, 2, 3, 4…
00:00:58 – “In a small, quaint town…”
00:01:06 – “during the summers…”
00:01:10 – “we used to be on the lookout for clouds.”
00:01:43 – “In a small, quaint town…”
00:01:51 – “during the summers…”
00:01:55 – “we used to be on the lookout for clouds.”
00:02:35 – “Awakened in the mornings…”
00:02:40 – “scared of the nights…”
00:02:48 – “We used to be on the lookout for clouds…”
00:03:22 – “All the false notions in our life…”
00:03:28 – “were underpinned by our innocence.”
00:03:36 – “We were reckless…”
00:03:41 – “but we were around each other”
00:03:48 – “For the same false notions…”
00:03:59 – “on the same roads…”
00:04:32 – “we still look out for clouds.”
00:05:03 – Hi, this is Jaideep, the director of this film.
00:05:06 – I will appear creepily on and off like this in the voiceover,
00:05:09 – and you will never get to see me.
00:05:11 – And this is Harshad. I shot and co-edited the film.
00:05:14 – I'm not the director, so this strange device of us
00:05:18 – talking like this as a director's and editor's commentary is not my idea…
00:05:22 – Actually, that's a good way to put it.
00:05:23 – Except that we're not commenting on a film but a music band…
00:05:26 – Jaideep, you want to tell me why you're glorifying
00:05:29 – an unknown band in a DIY film that no one is interested in?
00:05:33 – Everybody tells stories about successful people and romanticize their struggling days.
00:05:38 – I thought we'd tell a story about a band's struggling days and romanticize their future.
00:05:42 – And we're not glorifying anyone by the way, just telling a different story.
00:05:46 – So, we set out to make a short film but this is what it became.
00:05:50 – You are truly the Ashutosh Gowariker of documentary shorts.
00:05:53 – In case you're wondering,
00:05:55 – Harshad is not here to just mock me but to provide perspectives on these band members
00:05:59 – as he is not just their current flatmate but also their batchmate from college.
00:06:03 – And don't worry, this is the most we will speak in one go in the film.
00:06:07 – As the editor, I can at least manipulate that.
00:06:29 – So, funny story with this apartment.
00:06:32 – I just pressed the eighth floor,
00:06:34 – it's going to take me to the seventh floor.
00:06:35 – And if I press the seventh floor, it’s going to take me to the eighth floor.
00:06:40 – which is higher than it, I'm not entirely sure…
00:06:43 – But it just.. like… creates a lot of confusion…
00:06:46 – So every time we order for food or something, people are f****** lost.
00:06:49 – And it's just weird, it’s just a very weird thing. It reeks of something dubious, I'm not sure…
00:06:55 – and we've been staying here for almost a year, we haven't figured it out yet.
00:07:24 – It's too shrill, no?
00:07:25 – Yeah.
00:07:59 – Where does your name CityHaze come from…
00:08:01 – because it really looks like a name for a Delhi band?
00:08:04 – So, you know how, in a big city, you are like alienated. You are surrounded by people,
00:08:09 – you are pressed against from all sides by people, like in a train, in a bus, wherever you go…
00:08:12 – There is no space.
00:08:14 – But, everyone’s like there's a constant vein of alienation.
00:08:17 – You're calling yourself CityHaze, your album is called CityHaze, there's a song called CityHaze in the album.
00:08:22 – So, what happens if you change the theme of your next album?
00:08:24 – If it's an album of love songs,
00:08:25 – what, you’re going to call yourself “Heart Beating On” or something like that?
00:08:28 – Yeah, probably not that cheesy.
00:08:30 – I don't know, it’s Samyak's department, you know, like retarded love songs, I think he can be better off with it.
00:08:35 – No, but like, in the sense, it won't change,
00:08:38 – because, I don't think that the city won't even if it is a love song, the city will play a part in it.
00:08:44 – It'll always play a part in it, regardless of what music you do?
00:08:47 – Yeah, of course, like, that's what…
00:08:48 – So, Samyak is basically a recluse with no social life.
00:08:52 – So, when he gets a chance to speak these days, he can't stop.
00:08:55 – Which is interesting because his lyrics are actually really sharp and economical.
00:08:59 – “Now I am fed up of the city/ fed up of the same old news.”
00:09:08 – “People here are useless/ they are always helpless.”
00:09:13 – “When they need to speak out, they observe…”
00:09:15 – “When they need to observe/ they speak out.”
00:09:18 – “Far/ really far/ Let us escape.”
00:09:26 – “Far/ really far/ Let us escape.”
00:09:36 – “Windows never open in this city…”
00:09:45 – “be it a celebration or a crime.”
00:10:12 – “I don’t want to live here…”
00:10:21 – “I don’t want to live here…”
00:10:30 – “I want to go across the river.”
00:10:39 – “I want to go across the river.”
00:10:57 – Nadiya (River) is like that, like the proper CityHaze song,
00:11:01 – it describes all of us very well.
00:11:03 – Isn't it also saying something like there…
00:11:07 – the grass is greener on the other side?
00:11:09 – Basically, you're trying to say that on the other side of the river the grass might be greener.
00:11:12 – Like, basically, let's start something new. This s*** is so f*****.
00:11:17 – Wow…
00:11:18 – Very nice.
00:11:19 – Wise words.
00:11:20 – Very wise words.
00:11:21 – No, but this thing of just breaking out and like…just leaving all of it behind.
00:11:25 – And going to… going towards the light at the end of the tunnel is always there in that song.
00:11:29 – The bassline for “Nadiya” is supposed to be like a drone because there is a tanpura running in the background.
00:11:35 – What Soham plays is also comparable to… like… the whole feel of the song is supposed to run on a mortar.
00:11:41 – So, even the bassline follows that pattern where I just play…
00:11:53 – while the guitar over it plays…
00:12:05 – “Nadiya” is predominantly on a drone.
00:12:09 – So… the thing is, I was very interested about drones, like different sorts of drones in music.
00:12:14 – The drone is a very important part of many…like, even in Classical music…
00:12:41 – “You can run as much as you want…”
00:12:45 – “but you will realise that these roads lead to nowhere.”
00:12:50 – “Noise recedes into silence.”
00:12:54 – “People here are useless…”
00:12:56 – “they are always helpless…”
00:12:59 – “When they need to speak out/ they observe/ When they need to observe/ they speak out”
00:13:02 – “When they need to contemplate/ they shout/ When they need to shout/ they contemplate.”
00:13:08 – “I don’t want to live here…”
00:13:33 – “I don’t want to live here…”
00:13:42 – “I don’t want to live here…”
00:13:51 – “I want to go across the river.”
00:14:00 – “I want to go across the river.”
00:14:08 – “I want to go across the river.”
00:14:18 – “I want to go across the river.”
00:14:27 – I come from Calcutta and in Calcutta, there is this very strong Classical music thing going on…
00:14:33 – At least my parents are… they like it.
00:14:35 – So, naturally, I had to be the antithesis of that.
00:14:40 – So I ended up listening to very loud, heavy music.
00:14:43 – I come from UP properly.
00:14:46 – My father and mother are from Amethi… Varanasi and Amethi..
00:14:50 – And so, I grew up in a very – we can say – a politically aware family and then, like, that was the whole thing.
00:14:56 – Like, there was a sense of… Literature was always important in the house.
00:15:00 – Both my father and mother used to write.
00:15:02 – And so, writing was natural to me for a matter of fact.
00:15:07 – And then singing, I used to just sing. I used to hear Lucky Ali a lot.
00:15:13 – I picked up the guitar when I was 15, or something like that.
00:15:17 – That was when I started playing. I did not have a guitar then.
00:15:19 – I saw people on TV playing it and it was so cool and I was sure that if I played guitar…
00:15:26 – a lot of women would look at me differently.
00:15:28 – Unfortunately, that didn’t happen.
00:15:30 – But I, sort of, ended up falling in love with the guitar over the next few years.
00:15:34 – He is the musician and I’m more like the writer-singer sort of a thing in the band,
00:15:38 – so I will come up with an idea mostly and he will justify it.
00:15:42 – It works like that, it’ll have to justify that idea…
00:15:45 – Or when he’ll come, he’ll come up with an idea,
00:15:47 – it will have different sort of counts and I will try to put in something simple in that.
00:16:16 – “All my ideas…”
00:16:21 – “All my stories have come to an end…”
00:16:26 – “All my thoughts…”
00:16:31 – “My kingship has come to an end…”
00:16:39 – I am not a poet, so I write four-four lines, like, I do it very impulsively by instinct.
00:16:44 – “Beware of imposters/ There are a lot of them around you.”
00:17:07 – But both of us are, we appreciate good melodies,
00:17:11 – so… but our ways of achieving that are completely different…
00:17:47 – That’s always been a problem with us, finding a good bassist.
00:17:50 – We knew Abhigyan plays bass, that he can also play bass.
00:17:53 – So we were thinking, more like, ‘Come on, we will try him, we’ll see, we’ll give him the songs, let’s see…
00:17:58 – For one, he hasn’t also played Hindi a lot, when he heard it, he instantly took it, he instantly came in to the band.
00:18:04 – I’ve always loved playing rhythm and that’s why…
00:18:07 – earlier, I used to be a lot into funk because funk is more rhythm-based than it is lead based.
00:18:13 – So, I am always closer to rhythm than I am to the melodic side of it.
00:18:17 – And, yeah, so bass is actually my sweet spot in that sense.
00:18:22 – When me and Mallar were actually looking at it, the most important part was that we need somebody who is like us.
00:18:27 – Who can abuse like us, who can talk like us, who can fight like us, who can be chilled out like how the way we are.
00:18:33 – The four of us are flatmates.
00:18:34 – So… we needed somebody who could understand that. And he… Abhigyan fits that role perfectly.
00:18:41 – He comes in…he’s as annoying as the rest of us.
00:18:57 – “I remember something/ though it isn’t that special.”
00:19:05 – “I don’t remember the first time or the last time we met…”
00:19:09 – “But I remember something.”
00:19:13 – “The date was 8th February…”
00:19:17 – “It was a sunny winter morning…”
00:19:21 – “A cold breeze was blowing too…”
00:19:25 – “it was a sunny winter morning.”
00:19:29 – “You would be happy to know…”
00:19:33 – “though it might make you a little sad…”
00:19:37 – “that after all I wasn’t that bad.”
00:19:58 – “Forgive me/ for I forget things every now and then…”
00:20:05 – “Lost in my own misery/ I forget a few things…”
00:20:14 – “You would be happy to know”
00:20:18 – “though it might make you a little sad…”
00:20:22 – “that after all I wasn’t that bad…”
00:20:45 – My mom, Mrs Piu Sarkhel, is a classical vocalist.
00:20:49 – And my grandfather, Pandit Kamal Banerjee, he was a direct disciple of Ustad Amir Khan.
00:20:55 – So, classical music, like, is very deeply engraved – you can say – in our family’s background.
00:21:02 – So, everyone is a musician.
00:21:03 – I have not picked up music, like, from my parents or someone from my family like that.
00:21:08 – It was just like in Kolkata, during that time, like 2007/2008.
00:21:12 – 2006/2007 actually, a lot of traction came for this music business.
00:21:17 – There were bands in every gully, you can say.
00:21:20 – Nobody said it, but they would look around if I had… showed any inclination towards any particular thing.
00:21:27 – So even if I hummed something, they would listen to it, like “is it in tune?”
00:21:31 – Or if I played something, “does he have a beat sense?”
00:22:09 – It is interesting how these two distinct sensibilities drive this band’s music.
00:22:14 – Samyak’s small town rootedness and Mallar’s big city, Western influences.
00:22:18 – This amalgam fundamentally gives this band its freshness and its own voice.
00:22:24 – Originality to me would not be, like, sort of, constrained in some geographic things, like,
00:22:28 – you know you don’t need to…
00:22:31 – I’m perfectly fine with someone who…
00:22:34 – who is from Calcutta, coming up, and being very influenced by – lets say – the music of Mongolia.
00:22:39 – I don’t know, it’s fine.
00:22:55 – One of my favourite bands was a British, working-class punk band – the Clash.
00:23:00 – And they were so influenced by the music from Jamaica…
00:23:03 – that it just turned them around because gone were the four-chord power punk things.
00:23:09 – It just ended up being something versatile, which sort of transcended the other punk bands of that time.
00:23:24 – I am influenced by so many different things that sometimes I get lost.
00:23:29 – And I can feel that different influences are coming in and I feel really s***** about it.
00:23:34 – But I think it is a nice thing at the end of the day because, like, you know, otherwise it is very boring.
00:23:51 – And to make matters more complicated, Samyak has recently got into western music.
00:23:56 – But he is making up for lost time too quickly.
00:23:59 – It is like he got a software update but compatibility is still not fully assured.
00:24:04 – But what a relief he doesn’t have an accent even when he sings in English.
00:24:08 – That sure-fire, authenticity test that 99% of those who sing in English in India fail.
00:24:14 – That’s because he’s a bhaiyya.
00:24:16 – This, from a Maharashtrian.
00:24:25 – I literally saw him getting, like, obsessed – like a fangirl level obsession – with…
00:24:29 – Wilco in a matter of, like, a week, because before that he had…
00:24:33 – like… his entire musical palette was completely different and then it took a week..
00:24:36 – and then everything he was coming out with was Wilco.
00:24:39 – And then, you know, after that he would get influenced by something like Van Morrison…
00:24:43 – and then, you know, in a week, again, it’s just completely changed.
00:24:56 – Lucky guy, what discoveries lie waiting for him.
00:25:00 – That’s the thing about India that we take for granted. This diversity of musical exposure.
00:25:05 – In which other country in the world does this scale of indigenous diversity mingle…
00:25:09 – so easily with equally diverse Western influences,
00:25:12 – thanks to the role of English in our lives?
00:25:15 – But what happens when they all pile up?
00:26:32 – “The sea always keeps moving towards the shore…”
00:26:48 – “Without any hope/ without any clue”
00:26:53 – “it keeps moving towards the shore.”
00:27:03 – “Leaving all dreams behind…”
00:27:07 – “leaving all destinations behind..”
00:27:14 – “Just to meet for a few moments..”
00:27:20 – “the sea keeps moving towards the shore.”
00:27:47 – So, I was their batch mate at SIMC, Pune, between 2009 and 2012.
00:27:52 – We all became friends very quickly. They weren’t interested in music at all.
00:27:56 – We were in this first-world college training to become journalists and advertising and PR professionals.
00:28:02 – And we were in this cocoon leading pretty aimless lives.
00:28:06 – All set to become upstanding citizens, no doubt
00:28:09 – It probably didn’t suit some of us.
00:28:11 – So, in the first nine to ten months in college, we did not do anything musically.
00:28:15 – We knew all of us could play music but, yeah, nothing happened till, I think… yeah…
00:28:19 – Yeah, like, it was I think April 2010 was…
00:28:24 – We saw this film and it really changed our life, musically.
00:28:28 – Before that… I had no idea personally that music can be done so seriously.
00:28:34 – And there is so much of depth, there is so much of concept that goes into the working of a band.
00:29:03 – So, Jaideep, I have to tell you this.
00:29:05 – Your film “Leaving Home” was a big hit at SIMC.
00:29:08 – Eighteen of us went to see the film; some of us even saw it twice.
00:29:12 – Really, eighteen? That’s why it did its best business in Pune.
00:29:15 – So, these guys could have never imagined that this film-maker whose first film
00:29:18 – inspired them to start their own band, an Indian Ocean covers band..
00:29:22 – would one day make his second music film on their band.
00:29:26 – Which is of course not an Indian Ocean covers band anymore.
00:29:29 – Yeah, it is strange but the credit for that has to go to Indian Ocean.
00:29:32 – They were obviously at the top of their game in this film. Anyone paying attention was inspired.
00:29:37 – And the film was just a messenger. As I hope this film is. To young musicians trying to find their own voice.
00:29:43 – So… Why are you making this film? Especially after having already made a music film like ‘Leaving Home’?
00:29:48 – I made ‘Leaving Home’ to share my love of Indian Ocean’s music.
00:29:51 – That was the real reason. It is exactly the same here.
00:29:54 – I was blown away by the CityHaze demos, their raw, fresh sound.
00:29:59 – Though, of course, it is absurd to compare these two.
00:30:02 – CityHaze is a band just starting out, with a long way to go,
00:30:06 – whereas Indian Ocean were at their absolute peak then.
00:30:08 – The two also have very, very, very different stories obviously.
00:30:12 – We all came together, we were like, “we also want to play music” and then, so, sort of…
00:30:17 – Our first band, ‘Shunya’, happened because of the documentary on Indian Ocean.
00:30:36 – I think they were really just doing this to get attention in college, which they got.
00:30:41 – I don’t think they were that serious about music then.
00:30:43 – Though I do remember them doing one original track – a protest song that I rather liked.
00:31:22 – I think in Shunya we were just trying to be something else, which at least I… I wasn’t…
00:31:26 – For sure I wasn’t, like that wasn’t the music that I wanted to do… and we were really immature in college.
00:31:33 – We had no identity as such and that was somewhere which led to the, sort of, demise of Shunya as a band.
00:31:40 – There was no concept to it, no originality to it.
00:31:43 – It was an Indian Ocean covers band.
00:31:45 – Essentially as a covers band, you can’t go for a very long time..
00:32:08 – What is it about WWE?
00:32:10 – I mean this is… given the elegance of your music, this just does not go, man, with your vibe.
00:32:16 – What is going on? How can you like WWE?
00:32:19 – I mean… What’s there not to like about it? It’s like… performance art.
00:32:25 – I get the point that you are trying to say; that its fake and everything like that.
00:32:28 – But we know its fake. That’s the whole…
00:32:30 – So there are many other kinds of performance arts, so why this? What attracts you to this?
00:32:37 – I don’t know… we have been watching this for…
00:32:39 – Yes, since childhood, what, ’96? 1996-97.
00:32:42 – Well, its storytelling. Its essentially storytelling.
00:32:45 – The entire thing is like… completely like a story being told.
00:32:48 – Like, you know, except that it doesn’t end. It just goes on.
00:32:52 – The storylines will change and everything will happen.
00:32:55 – And in a way, its just… its just talking about the basic, you know, sort of…
00:33:00 – Yeah, like, very basic…
00:33:02 – Caters to basic human emotions also…
00:33:04 – Like anger or like victory, defeat So, they’re very simple ideas. Revenge!
00:33:09 – But it also has the entire sporting element to it.
00:33:11 – So seriously… in these times, when you have any kind of entertainment accessible to you,
00:33:15 – this is what you choose to fill your precious free time?
00:33:18 – This is old school.
00:33:20 – Yeah, like, we do other things also but this is one of the things we watch.
00:33:23 – It’s like watching a TV show, like, its no different from watching a TV show I feel.
00:33:28 – Like, a TV show, you always look forward to the next episode.
00:33:30 – So… that is like one thing we look forward to at the end of the week also.
00:33:33 – Like, on Monday, RAW will come. On Tuesday, Smackdown will come… That is like…
00:33:37 – Yeah, its like our soap opera…
00:33:38 – D – Something we look forward to.
00:33:38 – It’s not our soap opera…
00:33:39 – Abhigyan, can I ask you what your view is of this strange pastime that these people have?
00:33:47 – I find it very hard to believe that 25-year olds have to rely on this for entertainment in 2017…
00:33:54 – when you have Narcos, you have Stranger Things and yet you spend…
00:33:58 – Thank you Abhigyan, really appreciate that.
00:34:03 – By the way, this is the longest running television series.
00:34:10 – So, that’s your justification?
00:34:11 – So… I felt all of…
00:34:13 – I won’t say all of them, but especially Mallar and Samyak getting aggressive because of watching (WWE)
00:34:17 – because I didn’t know them like that when I was in Mumbai,
00:34:20 – and suddenly I’m, uhh, when I was in Bangalore…
00:34:22 – Suddenly, I come back to Mumbai and, like, they watch it throughout the day.
00:34:25 – Now, I have also started watching but, that time, they’d… even the normal, how they talk to each other,
00:34:31 – it would be very, like, you know, aggressive, like how the wrestlers talk to each other…
00:34:35 – Really?
00:34:35 – Yeah, yeah, like, just trash-talking the other one and they were like, “oh, but how can you say that?”
00:34:40 – “YOU don’t say that!”, so, its like… trash-talking at its…
00:34:43 – So… it seeps into their real life? Its not, like, they’re not doing it for fun.
00:34:47 – No, no, after a point, I don’t think it is.
00:34:50 – But, again, that’s what you think…
00:34:52 – That’s where it starts off…
00:34:53 – See, the interesting thing is… And I can say this as a witness,
00:34:57 – WWE actually brought them together even more than music.
00:35:01 – This was their biggest bonding spot, even now it is.
00:35:05 – Through all the changes that have occurred to them.
00:35:24 – 'Badal Raha Hai’ started off as a jam track; there was no… this thing to it… it was just like, you know…
00:35:30 – It still is a jam track.
00:35:35 – “At every place/ at every moment”
00:35:42 – “there is a lot of blabbering.”
00:35:49 – “It’s like a market where people sell what’s on their mind.”
00:36:03 – “Everyone has got more than one face.”
00:36:10 – “Everyone wants to tell new stories.”
00:36:17 – “Why do we try and cheat ourselves like this?”
00:36:23 – “Why do we make this trade with ourselves?”
00:36:33 – It’s the song where every can, everyone can just, play…
00:36:36 – Yeah, there’s a groove, like you know, there’s a groove. Something…
00:36:38 – Like… One of those rock kind of, like, at least you do something…
00:36:40 – Yeah, basically a lot of reggae and dub influences…
00:36:45 – “Knowledge is going to kill us.”
00:36:55 – “Worldliness will kill us.”
00:37:33 – “And so… The lyrics came completely different. Like, like… Much later.”
00:37:36 – “And… and that’s why you find that the lyrics are very sparse…”
00:38:07 – Maybe I took it too literally, but, like, you know, ‘Badal Rahe Hai',
00:38:10 – so, my entire point how the song starts vis-à-vis how it ends.
00:38:13 – So, middle of the track, tabla comes in and stuff.
00:38:15 – Basically, constant change should happen, yeah its not very good logic but…
00:38:40 – “Let’s rewind the clocks…”
00:38:46 – “Let’s run away from today.”
00:38:54 – “Let’s rewind the clocks…”
00:39:01 – “Let’s run away from today.”
00:39:09 – “Knowledge is going to kill us…”
00:39:19 – “Worldliness will kill us.”
00:39:42 – “You and I are changing.”
00:39:55 – “All the faces that we see are changing.”
00:40:01 – “Why do we try and cheat ourselves like this?”
00:40:09 – “Why do we make this trade with ourselves?”
00:41:35 – “You and I are changing…”
00:41:48 – “You and I are changing…”
00:42:30 – So, Soham was working with you since 2012 at Impact Index, and was in Bangalore in 2015.
00:42:36 – How did that happen?
00:42:37 – You mean if it had anything to do with ‘Leaving Home’?
00:42:39 – No, I don’t think Soham even knew I had made that film initially.
00:42:43 – He never told you about Shunya?
00:42:45 – He told me he was in a college band but never played me any videos…
00:42:48 – till that night in Bangalore in September 2015.
00:42:52 – The Impact Index team hung out after work one night,
00:42:55 – some alcohol was imbibed, so…
00:42:57 – Yes, you guys look quite happy here.
00:43:00 – And it made Soham uncharacteristically talkative and energetic that night.
00:43:04 – I had never seen him like that before.
00:43:06 – Soham is a different animal when he gets drunk.
00:43:09 – That night, thank God he was.
00:43:11 – He showed us old band videos and expressed how sad he felt that he couldn’t be…
00:43:15 – part of this newly assembled band again, in Mumbai.
00:43:18 – I just told him he should go to Mumbai every weekend and actually pursue this.
00:43:23 – As his boss, I knew his salary and that he could afford this, just about.
00:43:27 – Samyak and Mallar started experimenting with their music and I think Samyak sent me one or two songs,
00:43:33 – I think “Dariya” and “Imaan” – the rough mixes.
00:43:36 – And then I heard them and it was not about whether I really wanted to do music or not…
00:43:42 – I felt I was in the zone, like, this is, this is the zone…
00:43:45 – If I have to do music again, I’ll go back into a different zone and this has to be the zone.
00:43:50 – Then one night, I just ended up watching our old videos of Shunya and then I felt… I have to be there.
00:43:56 – And I knew tabla was not going to be a part of this new project like how it was used in Shunya but I was…
00:44:03 – I was looking forward to picking up a new instrument and looking forward to, yeah, do something new again.
00:44:07 – And something fresh.
00:44:09 – I wanted Soham in the band. As a person, I wanted him because he brings that balance.
00:44:13 – A lot of the time, especially me and Mallar have a lot of disagreements…
00:44:17 – regarding how to go about a certain song.
00:44:20 – And there is where we can reach to a point because of Soham,
00:44:24 – so that’s why he was important for the functioning of the band.
00:44:27 – Musically, it was important to have someone who thinks like me when it comes to composition.
00:44:32 – Who has the same, sort of, mindset… Who can add a lot to it..
00:44:35 – I knew he was this mind-blowing tabla player because I have known him since college.
00:44:40 – But around three-four months ago he started picking up the keyboard and, in that short a duration,
00:44:46 – he is playing songs like ‘Imaan’ on the keyboard…
00:44:49 – which is a very heavily blues based song and you need to know a lot before you can actually touch those songs.
00:44:54 – But he is just killing it and he is not looking back at any point.
00:45:06 – “Years ago, I had a conscience…”
00:45:14 – “but it was of no use.”
00:45:22 – “In a big city/ I had a small conscience”
00:45:29 – “But I had to compromise it to lead this life.”
00:45:36 – “It did everything it could/ to try and stop me.”
00:45:43 – “But eventually/ it couldn’t bear the weight of my dreams.”
00:45:51 – “And got compromised/ for the life here.”
00:46:06 – We always see this very beautiful woman at some point of time…
00:46:10 – in Mumbai, everywhere, like, you know, sitting with this broker-looking sort of a person who is selling them this…
00:46:16 – you know, “I’ll get you into this film or that film…”
00:46:19 – Any café and all, wherever you go, so, we were talking about this…
00:46:23 – And from there, it came, like, “why don’t you write a song about this?”
00:46:26 – “Years ago, I had a conscience…”
00:46:33 – “but it was of no use.”
00:46:40 – “In a big city/ I had a small conscience.”
00:46:48 – “But I had to compromise it to lead this life.”
00:46:54 – “Despite your naivety/ you mock me.”
00:47:01 – “Unaware of your own self/ you mock me.”
00:47:08 – “Introspect/ ask your friends,”
00:47:16 – “even your own reflection in the mirror”
00:47:20 – “will eventually say the same thing…”
00:47:24 – “Years ago…”
00:47:54 – Your average age is, what, 25 or something…
00:47:56 – So, what do you guys know about selling out?
00:47:58 – All of us do have an idea of what it means…
00:48:02 – So, this is a hypothetical song…
00:48:04 – Its not a hypothetical song and we have all been in Mumbai, I mean…
00:48:06 – That’s what he said… The first day you think you’re going to do everything,
00:48:09 – after one year, you’re like, ok, let me pay the rent,
00:48:12 – let me just take everything into account and let me just pace myself…
00:48:15 – But when you do that, you actually end up making a few compromises…
00:48:19 – That three-and-half minutes is what you’ll get. It has to be that fast. Beyond that, I don’t think, anyone thinks…
00:48:25 – Don’t think anyone will think for more than three minutes during the day. I think that was the whole…
00:48:28 – What?
00:48:29 – About “Imaan”, about oneself…
00:49:10 – “It did everything it could/ to try and stop me.”
00:49:18 – “But eventually/ it couldn’t bear the weight of my dreams.”
00:49:25 – “And got compromised/ for the life here.”
00:49:34 – I, personally, want to just cut albums with CityHaze.
00:49:37 – I do not understand this entire singles thing at all. It has never appealed to me.
00:49:42 – I do not have that playlist in my phone with, like, eighteen tracks from eighteen different artists…
00:49:47 – because I’d rather have one album and listen to that album five times.
00:49:51 – Because, albums are, you know, a point in time in the life of a musical group…
00:49:58 – Like, all the great albums have been like that.
00:51:52 – How committed are you and what are you going to do when that struggle hits you in the face?
00:51:56 – Yeah, so, See, for me at least, I am pretty much like, 100% into music.
00:52:02 – But I am very aware that, you know, it might not, like, eventually, even make it.
00:52:06 – You know, And I am perfectly fine with it because, you know, its…
00:52:10 – To me at least its better to have, like you know, sort of, tried to do something,
00:52:15 – and have that thing blow up in your face than not try at all because, you know,
00:52:19 – that’s just, that is something which I can’t do.
00:52:22 – My mother keeps telling me, “Do something by the side, like, do a job…”
00:52:29 – And she’s like, she also doesn’t have that thing.
00:52:34 – Like most of the people don’t have that thing, that, they don’t listen to the song.
00:52:39 – My problem is this, It’s not like they listen to the song and they…
00:52:42 – So, she’s never been, like, really appreciative about you are writing, what you are doing…
00:52:47 – So, I’m like.. its just that you are not earning. So she’s also, all the time,
00:52:52 – “Do something”.
00:52:54 – And I keep telling her I am doing something.
00:52:55 – Like, look at the songs, hear the songs. Isn’t it like, interesting, at least?
00:53:00 – She’s like, “Yeah, but you don’t have a job” and all that.
00:53:05 – She is very supportive. Initially, it wasn’t the case. But now, she’s like,
00:53:10 – “it has been one-and-a-half years, two years, what are you doing?”.
00:53:13 – Which is fair enough, but then… I mean that’s what.
00:53:17 – I don’t think, apart from these guys, most of the friends and all, nobody is really, like, been appreciative of…
00:53:24 – They have been appreciative of the effort. That, “oh, you are doing this leaving your job.”
00:53:29 – But nobody really talks about the songs.
00:53:32 – “Abdul my friend/ are you listening?”
00:53:38 – “The country was of no use.”
00:53:42 – “Religion betrayed us too.”
00:54:01 – “We were sailing on paper boats…”
00:54:10 – “with no concern for the shore.”
00:54:19 – “We were better off then…”
00:54:26 – “when you and I were always together.”
00:54:33 – “I would always be mischievous…”
00:54:36 – “and you would always keep me out of danger.”
00:54:39 – “Abdul my friend/ are you listening?”
00:54:44 – “Now everyone is free And the two of us are completely helpless.”
00:55:01 – I don’t think there would be a problem about my commitment as such.
00:55:04 – When I play the keys, I can learn a lot of new stuff. And that… even if nothing else…
00:55:11 – I think that might keep me invested for a very long time.
00:55:14 – Dragging yourself through the mud is a very important part of the process to come together as a band.
00:55:19 – So… I have no problems with it.
00:55:22 – I actually look forward to it because,
00:55:24 – I know, that’s when people say, “the journey matters more than the destination”.
00:55:27 – The struggling period is the most important part of the band because once we are big…
00:55:33 – – Freudian slip? – Romanticize the future, anyone?
00:55:37 – Then it will be more mechanical. Right now, every day, it’s a new challenge and I love these challenges.
00:55:42 – I’m not sure if I am going to be happy with this for even like six months from now,
00:55:47 – one year from now, two years from now, I don’t know.
00:55:49 – But right now, we are making music. And the music is, sort of, satisfactory.
00:55:55 – I am not 100% fine with it but it is getting better.
00:55:59 – The idea behind playing the music is basically not to make money out of it.
00:56:03 – Right, like, my music is more like from a
00:56:06 – personal perspective where, you just do it when you come back from office.
00:56:10 – Since the time I have started playing music, I’ve been playing it as a passion. Not like profession.
00:56:14 – I’ve never wanted to take it up professionally.
00:56:16 – It’s more like the ‘me thing’ that you do.
00:56:19 – I’m very serious about it. I’m very serious about doing music and, for me, it is not an option any more.
00:56:25 – By the time I’m 50, I need to have at least, like you know, eight albums out.
00:56:31 – And those albums might even be heard by, like, five people, I don’t care.
00:56:35 – But I need to be happy with those albums. And it needs to be out. So, that’s my… that’s my end game.
00:56:41 – I mean, like, listening to an entire album two to three times.
00:56:44 – I don’t think anyone listens to an album anyway now-a-days,
00:56:47 – and people expect everything to be gift-wrapped when it comes to music now-a-days.
00:56:51 – Not even gift-wrapped, it has to be spoon-fed.
00:56:54 – Being the band that we are, being the music that it is, it will always be a niche.
00:56:59 – I think we were joking about it. We’ll have to create, like, one or two, like, one of those really super catchy tracks.
00:57:03 – You know, that, like, you know, just put two-three of those beats in.
00:57:06 – and then at least people listen to us or something…
00:57:08 – It’s not going… I don’t think it’s happening in the near future just like that.
00:57:17 – “I have a sea of problems”
00:57:28 – “I have a sea of problems”
00:57:39 – “But one day”
00:57:41 – “I will climb the tides and reach the shore.”
00:57:49 – “I am like a lamp post that keeps burning on in the darkness…”
00:57:58 – “On a street that no one visits.”
00:58:20 – “But one day/ there will be a carnival on this street.”
00:58:29 – Nobody is ready to take risks also. That whole aspect of it is so p****** off.
00:58:36 – “Oh, you leave your job and you’re doing this, ” Who else, If I don’t…
00:58:40 – Like how is it a big deal that I leave my job and I’m doing this?
00:58:43 – Who else will leave his or her job and do it? We are all privileged f****. Right?
00:58:51 – Is somebody from my village who has no financial background or nothing else.
00:58:56 – He is gonna come and like, you know, leave his job and do this s***?
00:59:00 – It is supposed to be done by people like us.
00:59:02 – We are supposed to, at this age, take risks and do whatever we can do.
00:59:06 – You have all this money to afford this education, to live this lifestyle, but then you don’t want to take risks?
00:59:12 – So, that whole concept is so f****** hypocritical when somebody tells you, “Oh, you are taking risk?”
00:59:17 – No, I am not, you are not taking risk. That is what it is. It is not a big deal that I am…
00:59:25 – So, With this strumming also… Like, so, when you change the strumming,
00:59:30 – it flows better towards the end of the lyrics.
00:59:32 – When the lyrics are ending, you see that resolve.
00:59:36 – The strumming that I was doing, there is… It doesn’t justify it, the lyrics, that much. This goes better.
00:59:43 – Like… I think everything fits, like… you want to go for it once?
00:59:49 – “I have a sea of problems”
00:59:59 – “I have a sea of problems”
01:00:10 – “But one day”
01:00:12 – “I will climb the tides and reach the shore.”
01:00:24 – These guys… they’re such a surprise. “Oh, how are they winning elections and all, “Oh, what are they doing?”
01:00:30 – Like…“this whole country is going down to dogs” and s*** like that. It’s supposed to, right?
01:00:36 – When, like, nobody does s***… And you’re gonna sit and f****** talk about it on like, you know,
01:00:41 – what’s on your mind on Facebook where you are going to post it all the time, and not do s***.
01:00:45 – I am supposed to make music. Its not, like, you know, I am doing some big deal.
01:00:49 – Why is it so surprising that this bigotry is spreading across the country?
01:00:54 – Or, this is happening? Or, that is happening?
01:00:57 – It will when, when you’re so complacent.
01:01:00 – Liberals are, I feel, they are very complacent.
01:01:04 – India, basically, is a nation of conservatives who are trying to be liberal but they’re not.
01:01:12 – They’re absolutely. I don’t, I don’t, I don’t see what they…
01:01:16 – And I have personal experience.
01:01:17 – I’ve seen friends who have posted very,
01:01:20 – you know, magnanimous and open hearted comments on Facebook.
01:01:23 – But in real life, day-to-day life, they don’t carry it out.
01:01:38 – “I have a sea of problems”
01:01:49 – “I have a sea of problems”
01:01:59 – “But one day”
01:02:01 – So, this is CityHaze. This is our audience
01:02:04 – Now, neither, we won’t come to their side saying, “Ok, we’ll spoon-feed you our music.”
01:02:10 – And they won’t take the risk of, you know, listening and being open to what’s around them.
01:02:16 – So, who should make that compromise? Should we go to them? Should they come to us?
01:02:20 – We should just keep making our music.
01:02:22 – Then nothing happens.
01:02:23 – Everyone wants validation, but not at the cost of what you are trying to achieve. That’s… and…
01:02:28 – No, but, I’m just asking. I’m not saying this is how it should be.
01:02:33 – But shouldn’t we, as a band, adapt to the society around us rather than expect the society…
01:02:38 – Then, you’ll be the same as everyone around.
01:02:40 – What will be the change then? How will the music change?
01:02:42 – Then, let’s also make rap. What will we do?
01:02:44 – It’s f***-all. If I had this idea, like, I was…
01:02:49 – Like, when we started, I was not this… like negative about it. But now you know. Like…
01:02:56 – Yeah, I mean the audience sort of kills that excitement, kills the innocence of making the music.
01:03:01 – No one has heard the songs.
01:03:03 – There’s a very interesting thing when you go to the Bandcamp’s stat thing.
01:03:07 – After 30 seconds, the graph nosedives, for every song.
01:03:11 – Even on YouTube, it is the same thing. Like, after 25%, the audience keep… keeps decreasing.
01:03:17 – And looking at that, marketing professionals come off.
01:03:19 – In the first 30 seconds, you should have, like, two proper hooks.
01:03:21 – Yeah, that’s where the thing comes; that, in the first ten seconds, you have to…
01:03:24 – Like, how do you make music like that? In the first ten seconds,
01:03:27 – there needs be a hook; in thirty seconds, two hooks.
01:03:29 – If it’s an Indian band, after one-and-a-half minutes, a new instrument.
01:03:37 – Wait, wait, wait…
01:04:08 – “I have a sea of problems”
01:04:19 – “I have a sea of problems”
01:04:29 – “But one day”
01:04:32 – “I will climb the tides and reach the shore.”
01:04:47 – “All my questions are locked up in a room…”
01:04:57 – “But one day…”
01:04:59 – “I will remove the locks from all the doors.”
01:05:07 – “I am like a lamp post that keeps burning on in the darkness.”
01:05:22 – “On a street that no one visits.”
01:05:36 – “But one day.”
01:05:39 – “there will be a carnival on this street.”
01:06:09 – If, probably, we got the response,
01:06:12 – like even 10% of what we expect, our music would automatically become happier.
01:06:17 – It wouldn’t be this depressed.
01:06:19 – Yeah man, seriously… Like, yes, that’s also a point right, somebody, I…
01:06:22 – This actually happened. Somebody told me, one of my friends. We sent the EP to him. He heard all the songs.
01:06:29 – His response was, “Man, it’s all fine but why do you make such sad songs? Why are the songs so sad?”
01:06:35 – As in… that is also a demand now from us.
01:06:38 – Our songs are not sad, they’re gloomy.
01:06:43 – Like, if it’s anyone’s birthday, you can’t play our EP in front of them.
01:07:00 – “I have a sea of problems”
01:07:11 – “I have a sea of problems”
01:07:21 – “But one day”
01:07:24 – “I will climb the tides and reach the shore.”
01:07:33 – Like, the sort of that ‘da da da da da da da’…
01:07:36 – That thing is not coming out because of what you’re playing right now…
01:07:39 – But that ‘da da da da da da’ is, I’m not even sure if its like, you know, something…
01:07:43 – Yeah, but it that, at least it’s, that’s what I’m saying, its sort of closer to what we are trying to…
01:07:50 – Instead of the guitar, this adds more, not adds, but at least it’s clearer, at least the vocal part when it comes in.
01:07:56 – We can change of course, but I am saying, as of now.
01:07:59 – So, then, let’s do one thing. Let’s just keep the… this thing.
01:08:02 – So, you don’t play during the first part. You come in at…
01:08:07 – Or what if you come in at that part? Because that part is…
01:08:12 – Yeah, I’m saying, stay clear of clichés. You know, that’s all I want.
01:08:18 – Because it’s… it’s going to be very f****** clichéd.
01:08:21 – Ok, lets try it without him then.
01:08:24 – No, no, as in not that. I’ll come in with this thing. See, like, if it goes…
01:08:28 – Ok, we’ll try both then.
01:08:29 – Yeah..
01:08:30 – 1,2,3…
01:08:33 – One round.
01:08:35 – What happened?
01:08:36 – One round, one round; yeah, I’ll come in after one round.
01:08:50 – “I have a sea of problems”
01:09:01 – “I have a sea of problems”
01:09:11 – “But one day”
01:09:13 – “I will climb the tides and reach the shore.”
01:09:21 – So, since Mallar loves to bury vocals under guitars,
01:09:24 – we thought we’d have Mallar speak over the noise of the kettle here.
01:09:27 – As the editor, I can tell you that was an afterthought.
01:09:31 – Ok, let me ask you this. How has your family taken your choice of music?
01:09:37 – Nothing, they’re like, you know, “After 26, can you be financially independent?”
01:09:42 – I was like, “Let me see”. And they’re like, “You know, we can support you till a point. After that, no.”.
01:09:48 – I was like “Ok”.
01:09:49 – And you’re now that age? 26?
01:09:51 – Yeah, this is more or less the age…
01:09:54 – So, yeah, it’s in a way, like, as long as I can do this in a job, sort of, situation, I’m pretty fine with it.
01:10:01 – Because, I think, they’ve, like, accepted the fact by now that, you know, I am not really going to do anything else.
01:10:07 – So, even if I do something, it will be related to this only.
01:10:10 – Either like studio work or like, you know, what I’m doing right now.
01:10:15 – So, I think in a way, they have accepted it.
01:10:19 – Do they listen to your music?
01:10:20 – No, I never play in front of them. I’m very… I’m very shy about it.
01:10:24 – I don’t, like, I don’t want their judgement.
01:10:26 – I don’t play my music to anyone, actually.
01:10:35 – Don’t you think the way you’re doing this, you will make the tea… like… cold?
01:10:40 – Yeah, it will. It will happen.
01:10:57 – Are you aware that…
01:10:59 – your bandmates think you are the clumsiest guy and they are actually getting a lot of fun out of this?
01:11:04 – Yeah, this happens. Like, I don’t claim to be an expert tea pourer but yeah, at least I am making the tea.
01:11:14 – Not like people who are, like, just chilling and not filling the bottles
01:11:34 – This song is a 3-3-2 sort of a thing no…
01:11:43 – We’ll do only that part? 1, 2, 3, 4…
01:12:00 – We’ll have to figure out this.
01:12:02 – Yeah, this is… This is again messy territory.
01:13:24 – To answer your question, when does the breakthrough come?
01:13:28 – That’s what my answer was based on, that, you know,
01:13:30 – when someone, without anyone else telling them, when they come and tell you…
01:13:35 – if they like your music so much that they take the effort to coming back to you,
01:13:39 – it means that your music is organically growing.
01:13:42 – No, but seriously, how many times has it happened?
01:13:44 – Zero.. Absolutely zero.
01:13:47 – So, you are waiting for that to happen basically.
01:13:48 – Yeah, yeah, obviously. And that’s when…
01:13:51 – To put it simply, people who don’t know you, to come up to you and say, “hey, I like your songs.”
01:13:56 – Yeah, that’s a very good sign.
01:13:58 – That’s it?
01:13:58 – Basically, you’re seeking validation…
01:14:00 – Validation, yeah.
01:14:02 – No, no, its not just validation. It is validation, sure, but it’s a little more than validation.
01:14:06 – You know, without that validation also we’re doing it.
01:14:09 – Our breakthrough, the vantage point, the tipping point is that…
01:14:12 – Paisa, paisa… Throwing paisa.
01:14:13 – I think breakthrough is, yeah, exactly. When you f****** start making money.
01:14:17 – When people pay for your music, that time you know they genuinely like the music. Ok.
01:14:22 – I would want, like, to build things around CityHaze.
01:14:25 – Like, may be, like, earn money as a lyricist or, like, do playback…
01:14:32 – I don’t know if it makes sense, but be financially secure so that we can not put pressure on CityHaze.
01:15:19 – “Here I sit in a crowd”
01:15:28 – “waiting for you.”
01:15:33 – “I have lost track of my senses.”
01:15:35 – “completely disillusioned,”
01:15:37 – “waiting for you.”
01:15:39 – There is this strange accent on virtuosity in India…
01:15:42 – where a single element has to stand out, rather than the song as a whole.
01:15:47 – Craft is easier to absorb than art, I guess.
01:15:49 – So, for example, it is easy to criticise Samyak’s voice for being weak and miss the big picture of the song.
01:15:55 – But, Lucky Ali transcended that same criticism with the quality of his songs. Hopefully CityHaze can, too?
01:16:02 – Yeah, may be, but the environment is like that. Other musicians too. The music industry for sure.
01:16:08 – It’s not just with the music industry in this country.
01:16:11 – It’s, like, in India, culturally speaking, we have this entire, you know, concept of making idols.
01:16:17 – Like, this idol worship. Like, there’s this one guy, there’s this cult of personality…
01:16:21 – I’ve been to, like, gigs where people play mad. Like, you know, they’re… they’re incredibly cohesive.
01:16:27 – And, I’m not naming bands, but Like, incredibly cohesive performances,
01:16:32 – but when people are coming out, they’re like,
01:16:35 – “Oh! The guitarist, wow what a performance.” And I find it really unfair.
01:16:40 – Because you’re downright downplaying the band.
01:16:43 – Gigs right now are the most important thing that we need.
01:16:46 – Because, just making audio doesn’t, like, you know, it doesn’t… people find it hard to relate.
01:17:03 – “Here I sit in a crowd”
01:17:13 – “waiting for you.”
01:17:27 – So… You mentioned Lucky Ali?
01:17:29 – But would an artist like him or Indian Ocean or Rabbi Shergill have a chance today?
01:17:34 – Artists of that calibre, if they were new artists?
01:17:37 – Given the musical saturation and attention spans of today, does anything fresh have a chance?
01:17:44 – But all these three artists had their struggling days too, didn’t they?
01:17:47 – You’ve even chronicled one of them in “Leaving Home”.
01:17:50 – Yes, but… is a terrific band like Parvaaz getting their due today?
01:17:54 – What is due to anyone anyway? Shouldn’t the pleasure of being able to pursue your calling be reward enough?
01:18:00 – Yeah, but survival is much tougher than pursuing your calling.
01:18:09 – It’s about, like, you know, a king. Like, still has a lot of ego so like still a king…
01:18:15 – A king stays the king, sort of a thing…
01:18:38 – “All my ideas/ all my thoughts”
01:18:48 – “All my stories have come to an end.”
01:18:53 – “My kingship has come to an end.”
01:19:02 – “But I am still the king.”
01:19:07 – “Don’t get fooled by the world.”
01:19:11 – “try and save yourself from it.”
01:19:16 – “Beware of imposters, there are a lot of them around you.”
01:19:38 – “Yes, it’s true”
01:19:43 – “that all my kingdoms have been taken from me.”
01:19:57 – “Yes, it is a sign of my destruction.”
01:20:01 – “But I am still the king.”
01:20:06 – “Don’t get fooled by the world”
01:20:11 – “try and save yourself from it.”
01:20:15 – “Beware of imposters”
01:20:25 – “there are a lot of them around you.”
01:20:54 – They have the advantage of being in Mumbai, in the thick of it.
01:20:57 – Their lyrics are simple and direct. They sound contemporary.
01:21:01 – And ‘gloomy’ is in fashion too. They’ll get interesting work sooner or later.
01:21:05 – New generation films, web series, whatever. Let’s see.
01:21:09 – Magic will happen if they keep at it.
01:21:11 – It is more a law of nature than a rumour.
01:21:43 – By the first song, we had figured that this is boss… going nowhere.
01:21:47 – An after-thought of an applause later on, “Hmmm, this is a band.”
01:21:51 – So… Then second song happened. Finished. So, I really thought that somebody is saying…
01:21:56 – This lady…she did this and so, I thought ok, probably she is saying, “Can you play this song again?” or something…
01:22:05 – So, I thought maybe she liked the song and wants us to play it again…
01:22:10 – And she said, “Can you play “Summer of ‘69”? My kid likes it a lot.”
01:22:15 – So, then… for me, it was, then and there, done.
01:22:18 – For a lot of people, they still come because, you know, this is for their entertainment. A jukebox for them.
01:22:25 – As in, a band for them is something that will play any song they want.
01:22:29 – That thing… now, that’s not how it works does it?
01:22:31 – The concept of kids coming up and doing their original music is…
01:22:35 – and without any motivation, it’s not that their parents have come, it’s not a family affair…
01:22:41 – There is an “orchestra-esque” feel to this,
01:22:45 – perhaps, that they expect someone to play “Summer of ’69” for a tenner.
01:22:49 – We have no act only. We go on stage and we… we are so awkward. Between our songs, nobody is talking.
01:22:56 – They’re just like… and mall crowd.
01:22:58 – That’s another level, they’re like, “What’s happening? No idea at all.”
01:23:00 – And this other band came and they were like, you know, first thing,
01:23:03 – “Everybody! Hands in the air!”, “Can you feel it, Phoenix!”, and like…
01:23:08 – Everyone was pumped.
01:23:10 – So, basically, as we’re walking out, the other band has already pumped the crowd up and the crowd is going,
01:23:14 – “Yeah, yeah!” They’re on beat also…
01:23:16 – And the chorus comes in, like, they’re like, “Sing it!”
01:23:20 – So… now you have to sing the song, Now, you know what they’re playing.
01:23:23 – We had no idea that in “Nadiya”, we can also, like, “Sing it! Mujhe nahin hai rehna (I don’t want to stay)…
01:24:13 – What if these are the highest notes of their lives being struck here?
01:24:17 – What if they are? How many of us manage to communicate even this much?
01:24:22 – Yeah, in these ridiculous times of post-truth and jumla, just expressing something truthfully is a rebellious act.
01:24:27 – And a valuable one.
01:24:29 – I suppose being in a group also helps?
01:24:31 – I don’t think any of them would be able to do this completely on his own.
01:24:35 – Together, they have this strange confidence.
01:24:38 – Having known them for almost eight years, I can say one thing…
01:24:41 – they may spend every weekend cribbing about the indifference around them, but they don’t give up.
01:24:47 – I think they’re just unable to give up. They know what a privilege it is to pursue one’s calling.
01:25:16 – I just hope they last longer than the haze they sing about.
01:25:20 – As long as they keep having fun, they probably will.
01:25:25 – This is a full… that type of song, What song was it? That, s** type…
01:25:33 – It was the first item number.
01:25:36 – Mehbooba Mehbooba?
01:25:37 – No.
01:25:39 – Hey, this is f***-all… change it, no.
01:25:45 – What was the first item number that was ever made? Listen, that woman was there. That weird woman, dude.
01:25:55 – No, after that, That song is a… its the most streaming song also.
01:26:01 – “Kaanta Laga”!
01:26:02 – Yes! F*** yes. In that also, this code is there.
01:26:16 – I’m not really good at it.
01:26:50 – Yeah, something like that…
01:26:51 – Yeah, these are not even my books. There’s another guy who stays over here.
01:26:55 – He reads a lot of fantasy and all.
01:26:56 – Out of all these books, the more intense ones, like these Romila Thapar books and stuff.
01:27:01 – these are mine because I am in fact a very intellectual person
01:27:29 – Sorry, sorry, Before you sing the song, start singing, say, “This was the basic version, the first version.”
01:27:35 – Just say that, nothing else.
01:27:36 – Ok.
01:27:37 – What happened?
01:27:39 – You think I’ll f*** that up also?
01:27:41 – Boss, I have experienced it.
01:28:12 – Stop saying f****** “ki” all the time and stop saying f****** “like” all the time.
01:28:16 – Not… Not just you, all of you! Just stop f****** saying “like”. Starting a sentence with “like”.
01:28:24 – You too do it!
01:28:25 – Huh?
01:28:26 – Stop it! Be conscious about it! It is clumsy talk.
01:28:31 – That’s true, man.
01:28:32 – You know how many times you said “like” in the film?
01:28:34 – That was just to make them feel comfortable during the film. Now the film is over.


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