As the sun goes down lending its waning, soft glow through stained glass windows, past ornate frescoes and grand courtyards, Rajasthan’s Alsisar Mahal transforms into a picture of serendipity. It leaves no hints whatsoever to the night that is to come, when hard techno will reverberate through the hallowed halls of the fort, which was rebuilt in 1954 after a bombing by the British.
Atop Badal Mahal — within the fort — characterised by its domes, an international music producer and DJ based in Delhi, Alboe, plays his quintessential blend of Indian sounds and electronic music. A soothing, perfect end to the day. Past serpentine stairways dotted with miniature paintings, at the Durbar Hall, is Rajasthani folk musician Moti Khan effectively stirring up a storm as a captivated audience transforms the hallowed space into an unlikely dance floor. At Magnetic Fields, every nook serves up a surprise. But one must be ready to rough it out in ‘bedouin tents’ sans insulation and sometimes, running hot water.
In its 11th edition, the recently concluded contemporary arts and music festival saw 6,000 people take over Alsisar Mahal for three warm days and (more so) extremely chilly nights. The festival is known for electronic and left-field soundscape, and this year was no different. Over seven stages inside Alsisar Mahal which is now a heritage hotel run by the eighth generation of Alsisar’s Shekhawati clan, and a designated camping area barely 100 metres away, the festival managed to draw in a mix of crowds: from loyal followers of electronica and first-time way finders to seasoned club crowds.
This year, however, the festival had its fair share of highlights: Melbourne-based Glass Beams’ almost hypnotic set saw a massive turnout at the large lawn-turned-stage called the Jameson Connects South Stage, and was a soothing blend of eastern scales inspired by the group’s South Asian descent.
The (bejeweled) masked trio calls their brand of music “serpentine psychedelia”. Their physicality on stage (the bassist glides as he plays), somehow, stayed true to their brand and had the crowd in a trance. In stark contrast was DJ ADHD. The UK music producer’s club music, which blurs the lines of techno and bass, had crowds spilling out of a massive courtyard inside the Haveli on the BudX North Stage. It was funky, fresh, and complimented the projection mapping that took over the facade which otherwise is a roadmap to 17th Century Rajputana architecture.
Often referred to as the ‘poster child of Indian electronica’, Dualist Inquiry introduced the audience to his upcoming album, which deliberates on childhood, life, love and fatherhood. The stunning custom visuals forming the core of his soundscape featured surprising guitar interludes. Hard techno aside, left-field acts like that of Zequenx were a deviation from the norm for loyalists of the genre.
The Durbar Hall which houses grand portraits of the members of the erstwhile royal family of Alsisar on its walls, also hosts Hindustani classical musicians on its stage. Though the festival’s curation weighed heavily on contemporary music, classical and folk acts also drew earnest crowds in large numbers.
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 played at the BudXYard stage by Budweiser on Day 2. Over the last two years, he says he has pivoted his sound to what is traditionally considered house and techno.
Known to play groovy, house 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 audience. For the musician who started playing in clubs when he was 19, before completely shifting to DJ-ing in 2014 almost 20 years ago, Magnetic Fields is testament 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 sense of community also 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.
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 ultimately chart the way for electronic music’s evolution in the coming years. Rishi adds, “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 sunlight struggles to cut through the intense fog, a finisher set is underway. Tired pairs of legs make their way back to the camps to pack and leave Alsisar, and someone says, “I could still go on. It’s only 7 (am)!”
