Angad Bharaj, also known as Daisho, has recently released his latest EP titled 'In Hiding'. Angad is multifaceted, as he toggles between being an artist, designer and radio host for Boxout FM. The six-track EP, released via Export Quality Records, showcases the artist's talent in blending classical instruments such as the piano and his modern music production techniques. The result is a coherent and immersive soundscape that reflects the artist's experiences and emotions during lockdown.
The music videos, directed by Lendrick Kumar, take the viewer on a breathtaking visual journey that captures the raw emotions of each track. The music video is divided into six sections, each corresponding to one track of the EP, all presented in a monochrome colour palette, emphasising the sombre mood of the music. The piano sets the tone for each enactment, creating a solemn backdrop that heightens the theatrics of the performances.
The first track, 'Tarda Larga', features a man being force-fed by a waiter in a restaurant. The stark lighting creates a sense of unease, while the sound of the piano underscores the brutality of the scene. The close-up shots of the food being forced into the man's mouth, coupled with his struggle to swallow it, make for a disturbing and powerful image that reflects the theme of mindless consumption.
In 'Madrugada', the second track, we see a man spending his days on a couch, watching TV, and sleeping. The video is shot in inverted grayscale, giving a sense of loneliness and isolation. The camera follows the man's emotional journey, capturing his oscillation between solitude and loneliness, and ends with a single shot panning to the sofa, with the man finally escaping the loop.
'Before The Waltz', the third track, is a commentary on the human facades that come out to play in social interactions. The video is set in a restaurant, where two friends dine and engage in conversation. The camera zooms in on their facial expressions, revealing the underlying tensions and anxieties that govern their interactions. As the scene progresses, the discomfort remains, but the niceties between the two are highlighted.
In 'Vals Quan Plou', the fourth track, we see a stunning Bharatanatyam dancer moving gracefully across the screen. The close-ups of her expressive eyes capture the emotions of anger and grief that she conveys through her movements. The combination of traditional Bharatanatyam dance with Daisho's contemporary music creates a striking contrast that is both emotive and powerful.
The interlude is a brief pause in the visual journey, with Angad pictured playing the piano without a real piano. The final track, 'Epiphany and Chase', features a contemporary dancer that seems to be abundant in money, but lost in despair, as bundles of cash envelop him.