Aranyer Dinratri (Disco Puppet’s third full-length album) gets its name from the 1970 film by Satyajit Ray. Biswas first saw the film in 2016, after which he began to take an active interest in Ray’s works. These movies became a window into his personal history and art.
He began to understand his attraction to seemingly insignificant details of daily life, the way people interact and the longing for human contact. Although his work has always explored these themes, in this album, they become his main point of focus.
Aranyer Dinratri runs 40 minutes and is presented in a stream of consciousness format. The tracks flow into one another, weaving a narrative of search, discovery and acceptance. Like most of his previous work, the album remains sonically adventurous, contrasting assiduously crafted moments of tenderness with outright abrasion. There are playful moments too, courtesy Biswas’s battered Casio SA47. The toy keyboard is accompanied by samples, tape machine artefacts and saturated 808s - building on Shoumik’s familiar yet ever evolving sound palette.
To support the album, Disco Puppet will be touring 3 cities in October –
Above the Habitat, Bombay 4th October
The Piano Man, Gurgaon 11th October
Fandom At Gilly's Redefined, Bangalore 12th Oct
Disco Puppet's new full length record, Princess This, is a follow up to three stellar releases, Astronot, Spring and I’m Going Home. Written during and shortly after his recent tour of China, the new album is a fitting follow up to his previous work. It builds on his signature aesthetic and refuses to succumb to genre restrictions and formulas. But the LP is also a departure, embracing some of the most recognisable sounds of pop music (808s, autotune, gated drums) to achieve its ends.
Biswas spikes this pop soundscape with elements that lie on the fringes of acceptable standards of fidelity - processed and distorted drums, super saturated recordings and some very choice samples. The resulting high-contrast palette is perfect for the interplay of restraint and abrasion that run through the album.
Spring, Disco Puppet’s new EP is characterised by its irreverence towards the stylistic and procedural dictates of genres and their purists. This stems partly from ideology, but mostly from a tendency to get easily bored. But cerebral as his work is, he matches it with heart. His experiments, though nearly scientific in their rigour, are always essentially human. They come from a place of empathy and vulnerability, and perhaps because of this, they are surprisingly moving.
Biswas now further into adulthood, is more skilled, more confident and has more to say. Possibly because of this, he is looking further back. With Spring, he has gathered sounds that remind him of his childhood, and arranged them to soundtrack the sensation of almost remembering something – of memories like words at the tip of one's tongue.
He says: “In Spring, I have tried to capture my childhood. Both with the sounds used and the feelings the songs evoke. You know how sometimes, there's a word in the pit of your stomach - you know it, but it's not really coming to you. It's like that."
Artwork for favorite senior-teacher-destroyer-collaborator @discopuppet aka pisskobucket aka shoumikbiswas aka febbercastell aka rabbatreeh's newnewold EP titled PLEB, released coaxially with a nice comic I'd made for and about nice dogs (still available for shipping) Use the link in the bio to listen to the EP in full and/or buy the ep+comic ORDER+LISTEN NOW, SLEEP LATER #PLEB #DISCOPUPPET #drummerbehindthemicbehindthespacebehindtheyellowroom #deadtheduck #ep #artwork #gooddog #consolidate (at Shoumik's Ballroom)