Deep Alarik: The Alchemist of Sound, Blending Eastern Philosophy with Western Underground
Deep Alarik is not a musician confined
by genre, but a sonic alchemist whose work is a vibrant tapestry woven from
disparate threads: the regional melodies of his Indian upbringing, the
relentless power of heavy metal, and the unconventional structures of
experimental underground music. His journey from an accidental discovery of
Iron Maiden to the creation of deeply philosophical projects like “How Writers
Think” is a testament to an unquenchable curiosity and a dedication to
exploring the unexplored territories of sound. The Accidental Call to Metal
For Alarik, the pivotal moment that sparked his interest in music at the age of
15 was an accident of fate. While searching for a Justin Timberlake CD, he
stumbled upon a CD that mistakenly contained an Iron Maiden track. The name
immediately caught his attention. He was curious, listened, and the discovery
changed his trajectory. Iron Maiden's album "Dance of Death" was
a revelation, opening his eyes to a genre he never knew existed: metal.
"This was my calling," he says, detailing how the band and the album
sent him down a "rabbit hole" of exploring different genres,
desperate to know what other "weird formof music existed. “From Rock 'n'
Roll to the Underground
His initial fascination with heavy metal quickly evolved into an exploration of
underground genres like No-wave and Krautrock, a transition he credits to an
active search for unconventional sound. This journey began with the
non-traditional compositions of Frank Zappa and a deep dive into Pink Floyd's
compositional techniques.
His curiosity was truly sparked when he saw Led Zeppelin's Jimmy Page use a
violin bow on "Dazed and Confused." Seeing musicians "break
rules to come up with sounds" led him to seek out others, which eventually
led him to Kraftwerk's "We are the robots." Discovering Kraftwerk
provided him with an entry point into the rhythmic, motorik world of Krautrock.
Beyond Iron Maiden, Alarik cites a diverse pantheon of influences that shape
his style, including Led Zeppelin, Black Sabbath, Pink Floyd, Buddy Guy, Judas
Priest, Motorhead, Sleep, OM, Kraftwerk, Neu!, Can, Tangerine Dream, and Brian
Eno. East Meets West: A Global Approach to Sound
Alarik's experiences living and working in both India and Los Angeles have
profoundly shaped his approach to music and sound design. Growing up in India,
regional music laid the foundation for his musical development, a layer that
was later built upon by Western music in his mid-teens.
He considers his diverse background a distinct advantage, enabling him to
"blend in eastern philosophy with western music" through
interactions and collaborations with musicians from around the world. This is
most evident in his use of traditional instruments. He explains that his
cultural background—listening to regional and Indian classical music—was a
strong influence. Still, it was hearing bands like Metallica and The Beatles
incorporate the sitar into their songs that truly intrigued him to use his own
cultural music in a metal context. The Creative Process and the Challenge of
Translation
When blending traditional instruments, like the sitar, with modern genres,
Alarik's creative process is rooted in narrative. "There’s always a story
when writing any piece of music," he states. The sitar is not always
present, but when it is, it adds a "completely different emotion,"
often starting with a drone and tabla as a base.
However, this fusion presents a specific challenge: translation. Indian
classical music uses a different method of counting and is based on distinct
scales, tonality, and rhythm compared to Western music. "So, I have to
translate the same into the Western method of counting, which could be quite challenging,"
he notes.
He defines his eclectic musical style as rooted in "will always be
metal." However, the final genre depends heavily on the story he has in
his head and his personal state of mind at the time of writing, as not all
stories require metal. “How Writers Think" and the Future of Music
Production
Alarik's current project, "How Writers Think," represents a
significant departure from his previous works. The concept originated while
reading a book, prompting him to wonder about the writer’s creative narrative
and what their imagination might sound like. While his previous work relied on familiar
sounds, "How Writers Think" is "very unconventional,"
lacking a particular structure and featuring sounds that "might occur at
the most unexpected moment."
His approach to commercial music is pragmatic, recognizing that it requires a
"certain level of creativity" and an understanding of the audience.
He maintains his creative vision by being adaptable, noting, "I can’t play
jazz to a commercial audience and vice versa."
Speaking on the industry's evolution, Alarik is optimistic, particularly about
the rise of artist independence. The ability to produce industry-standard music
in a bedroom is "phenomenal," reducing the need to depend on a major
label and giving the artist "complete freedom of artistic expression and
creativity." Furthermore, technological advancements such as VSTs (Virtual
Studio Technology) have opened endless possibilities, offering a level of convenience
that makes exploring the sonic landscape "infinite."
Ultimately, when collaborating with other artists, Alarik seeks a shared
passion for exploration: the willingness to delve into "uncommon" and
"unexplored territory" rather than traditional music. Deep Alarik
remains committed to the story, ensuring his unique blend of heritage and heavy
music continues to evolve the global sonic landscape.
