It’s not often that a music video makes you sit down and think about the transcendental nature of death and desire in the middle of a workday. Unless you are watching ‘freeuse .org’ — Kolkata-based transmedia artist Yashomati Parveen, aka khokkosh.’s first single from her upcoming album ‘Public Fluid and Digital Remembrance’.

At once intimate and abrasive, ‘freeuse .org’ — a not-so-subtle reference to consensual near-total submission in kink culture — stages the body as a site of both pleasure and ruin. The single inhabits an uneasy overlap between self-pleasure and self-destruction, collapsing the distance between erotic release, spiritual longing, and death. The result is less a conventional music video than a ritual performance, one that transforms the digital age's vocabulary of alienation and isolation into something visceral, sacred, and disturbingly corporeal.

The track’s sound design is central to this effect. Grainy synths and heavy, exhaling percussion evoke the sensation of a body trapped within itself, oscillating between tension and surrender. khokkosh.’s DIY production resists polish, embracing instead distortion, friction, and emotional excess. Yet buried beneath these industrial textures are traces of pop melody and relatability, creating an unstable sonic balance where comfort and dread coexist. The song’s emotional landscape mirrors the cyclical structure Parveen identifies in both self-pleasure and self-harm — desire, escalation, climax, and collapse.

‘freeuse .org’ is especially compelling in how it frames these intensely personal experiences through ritual imagery. The music video's recurring references to ‘ghusl’ — the Islamic ritual washing of the dead — transform bodily intimacy into an act of purification and transcendence. Drawing from memories of her grandmother’s funeral bath, Parveen reframes the ritual not only as an act of mourning but as one of care: the careful handling of a vulnerable body suspended between worlds. In this context, the song’s fixation on release acquires a metaphysical dimension. “The movements you perform while bathing someone, the idea of purification, utter surrender of the body, and the inexplicable care one takes while doing it felt closely tied to the theme of the song,” Parveen explains.

The music video explores three strata of the narrator’s consciousness — the projected self, the present self, and the silent figure in the corner — intensifying its meditation on fractured subjectivity and temporal dislocation. These figures operate simultaneously as memory, embodiment, and premonition, suggesting that the self is never a singular presence. The inclusion of both the rudraksha and the tasbih — prayer beads in Hinduism and Islam, respectively — reflects Parveen’s interreligious background, framing the act of prayer less as doctrinal observance and more as grounding through repetition.

By the time you reach its final stillness, you realise that ‘freeuse .org’ has already crossed the line between performance and confession. What lingers is an unsettling tenderness — a recognition that the human desire to feel and to be held transcends even death.

About The Artist:

khokkosh. is the sonic and visual alter ego of Yashomati Parveen, a 21-year-old independent producer and transmedia artist based in Kolkata who writes, produces, mixes, masters, directs, and designs her own music videos. Her practice blends abrasive, experimental textures into something uncanny yet familiar, where vocal layers, industrial pulses, and grainy melodies become instruments of confrontation and release. Follow @khokkosh._ on Instagram.

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