What triggered your love for music? Did you ever consider any other career choice?
I grew up in a musical family with Aamaji (my mother) and her sisters playing antakshari most evenings and learned to appreciate lyricism from my mother jotting down the lyrics to songs from the radio since I was six, seven years old. While that might have been the trigger for my love for music, I grew hungrier as I aged and I'm still discovering the very many forms that music exists as or can be expressed as. Unfortunately, I'm not a full time musician currently. I'm, in fact, a really nerdy accounting major.
Considering the massive positive response, has it felt like success yet? And how do you plan to follow up?
In definitive terms, I cannot label this as 'success.' Firstly, I'm still working to grasp the meaning of the word 'success'. Secondly, since I had zero expectations when I released the songs, there is no yardstick for me to compare the results to. Of course, the response makes me happy but we all know far too well that responses are ephemeral and if I'm to consider fleeting realities as my success, I'm going to be an unhappy person when it goes away. The only future plan I have right now is to continue discovering myself, to learn everything I possibly can, write when I need the emotional release, sing when I can make time and communicate in my own small ways about acceptance with the world around me.
Have there been any memorable fan reactions or reviews from people who have heard your music?
There have been people who said they started writing again after listening to my songs. That hit me hard. I have been told stories about 27 year olds trying to learn my songs to serenade their crushes who like the songs. I have also been told about people servicing my uncle's bike singing my songs in all sorts of tunes. The fact that I have now become a part of other people's life in these small ways is always my favorite.
You are engaged in every stage of making music, from writing the lyrics and composing the music to the production bit. Which one do you find the most challenging and why?
I hate recording. The recorded version is the one that is going to be replayed for years and to realize that is just too much pressure. Writing comes to me the easiest and composing is natural too. Production involves a lot of work for the sound engineer so that requires me to find the right collaborator who I can trust to musically communicate with. It has to be someone who understands my music and wants to collaborate with me as well.
How does it feel to share your creations? When and how did you gain the confidence to release your work?
I have been doing underground music properly for six years now. I have been singing and playing for a longer time. That might be the reason why I never really thought I needed 'confidence' to release my music. More than that, it was a release in the literal sense of the word that my state of being required. I just needed to let it all out. Bimbaakash as an album has songs that were never meant to be released and publicized the way it ended up being. The energy is good. Other than that, I still have life to attend to.
Has New York influenced your work in any way?
Every place I have ever been to has influenced my work because my logic and creativity works in back stories. I'm also on an endless quest of a place I can completely myself at home and in that way, New York has been integral. Parts of New York remind me of Kathmandu and some day, eventually, parts of Kathmandu will remind me of New York. That is how the influence works.
What are your views on the current Nepali music scene? You have worked with Diwas Gurung, but are there other collaborations you would like to do?
The current indie Nepali music scene is amazing. We are seeing more Nepali indie musicians who are comfortable with being true to their roots. We are in a time when one can create road trip playlists with only Nepali music and that is a great feeling to have. I miss Kathmandu for the music scene. There are a bunch of people I want to collaborate with, to work on all the arts that my mind is filled with right now. This is the only reason why I wish I could be two places at once because for Nepali indie music scene, there has never been a more inspiring time. I certainly want to collaborate with Pranav Narayan Manandhar, Ashesh Kulung Rai and Rajan Shrestha.
Any plans to come to Nepal and perform anytime soon?
I cannot say anything on this yet. I do hope it happens soon. I miss being home and waking up to Aamaji every day. I really miss that feeling.
Rai’s playlist
Radio head
I’m thankful to my musically talented friend, Pranav, for introducing me to Radiohead––the band that I now worship. For me, they symbolize musical madness. If I were ever asked for a last wish that were to be granted, that would be a Radiohead concert. I could die peacefully then.
Rachael Yamagata
One to Watch launches new acceleration program
Rachael Yamagata has taught me a lot about songwriting. Writing real songs about feelings is a scary prospect as they can be extremely emotional but Yamagata gets it right every single time. I gathered the courage to stick to writing genuine songs by listening to her albums.
Shreeti Pradhan
Shreeti Pradhan is a phenomenal musician. I love every aspect of her music, from the quality of her voice and the maturity of her songwriting to the balance in her melodies and technical precision of singing. I have massive respect for her as a human being and a teacher (which is how I met her in the first place).
Baaja
Baaja leaves me stunned every single time. The incorporation of traditional melodies in their raw form is very powerful. Bands like Baaja make me question the kind of music I make and keep me very grounded. More than any feeling, Baaja makes me proud to be a Nepali.
Sulk Station
If my senses have been opened to this form of music, it is because of Sulk Station. My admiration is based on how Rahul Giri preserves Tanvi Rao’s raw energy while they complement each other. Balance is key for musicians and it’s so inspiring to witness this.
