One might find several artists who claim to have taken up music to escape monotony. Still, very few have dared to create their sound and experiment through various musical diasporas envisioning an eccentric yet relatable narrative among its listeners. The Indian underground hip-hop stage can sometimes come out as pessimistic and exclusive. Yet, certain artists dare to not only shake the musical hierarchy but also remain true to their sound. 20-year-old Garv Taneja a.k.a Chaar Diwaari fits into this category and is set to drop out of music school as he believes “it will suck the soul out of you”. His philosophy is simple- “Be the same person you are on stage, as you are off-stage because being two-faced is not going to get you far.” His stage name Chaar Diwaari has a poetic and philosophical undertone to it. He laughs and says, “When I make music I feel like I am creating an entity out of free air, I feel the sacred fourth wall opening up. But also because I make music within four walls of my room.”
He released his debut EP “Teri Maiyat Ke Gaane” on December 16, 2022, featuring prominent names from the music industry like MC Kode, Arpit Bala, and Yashraj. All the features in the EP were praised for magnificently blending into the tracks and elevating the listening experience. In no time the project was a fan favorite since it was able to create a latitude of peace and familiarity within a territory of chaos and a maximalist approach. The bold approach taken by Chaar Diwaari is very well executed and reminds me of albums like ‘My Beautiful Twisted Dark Fantasy’, with his obvious personalized take on the sonics and a thirst to create a uniquely identifiable sound base. The fusion of sounds like the Indian horn, and the Chetak scooter ignition, births a feeling of local Indian identity among the listeners.
By using sounds related to Indian pop culture, also the extensive usage of Indian sounds such as drums and percussion, he brings a punch of freshness to the scene. My absolute favorite part about the EP is the extensive usage of synths and the structuring of the songs beautifully mingles with the drops at perfect points. In a live setting, this EP can open a mosh pit in an instant. The transition from ‘Kya (Ft. Arpit Bala)’ to ‘Aankh Band (Ft. MC Kode)’ which is simply effortless with perfectly placed features and beat changes.
Although some might criticize his music as “not everyone’s cup of tea”, he proudly stands by the fact that he has the freedom to create music that he likes, and although his music might not necessarily be consumer-centric, I would listen to a raw and biased artist rather than an artist tortured by the burden of consumerism. Chaar Diwaari believes music can be inspired by everyday instances and close circles. For instance, the song ‘Mera Saman Kaha Hai?’ is dedicated to a close friend who is a diagnosed schizophrenic whom he saw deteriorating every day.
All the tracks are produced by Chaar Diwaari himself which further adds a touch of individuality. The songs are perfectly wired to encapsulate the mania wired with the sonics and it is best complimented with an enigmatic music video. The music videos are conceptualized and edited by Chaar Diwaari even though he has no formal training in filmmaking. The music videos of the songs are equally loud and experimental as well. “I might not know what the lyrics of my song would be but I already have an idea for the music video running in my mind,” says Chaar Diwaari. The music videos are a story in themselves, a bubble of individuality, eccentricity, and madness- truly a rollercoaster of opulent and futuristic visuals. “My music videos have a sense of frustration in them. I used to look at everyone in the music scene at a distance, as an outsider so now the music and the music videos I make is like a big middle finger.”
I believe what Chaar Diwaari aspires from his music might not be perfection but an enjoyable ride to experience both the highs and lows. His quench for trying new things ultimately led to him creating his newest single ‘Barood’ which was a complete left-turn from his usual sonic comfortability. With ‘Barood’ he tries to break the constant tag of monotony that people might tag his music with.
Chaar Diwaari is truly an artist of the future and his music is a testament to his craftsmanship and character. Be it the unusual yet promising musical persona or the poetic yet chaotic lyricism and sonics, he is an artist who just might be someone set to create a new wave of music.
