GRAVE a.k.a. Vipul Verma, who also happens to be the vocalist for Kraken has finally shared his new project under the aforementioned moniker. Though his music isn’t some big artistic statement that would rewire how we think about electronic music, his purpose is purer than that. Verma has taken up the mantle, at least on this EP, to be tune supplier for the rave scene. If everyone’s making pop music then what’s going to play at the rave? To be fair there is no shortage of tunes for the dance floor, but it isn’t often we get to hear electronic music that is so focused on it’s mission, to make people move.
From the very beginning of the EP, Verma doesn’t hesitate going off the deep end. We are immediately pushed into his sonic universe with ‘Mary Jane’. The Garage tune sets up the atmosphere that we are going to be submerged in for the remainder of this EP. At the outset the structure of the song follows a traditional recipe, a establishing section, followed by a build up and a rewarding drop that elevates – always delivers. Verma keeps things very streamlined in terms of his melodic ideas. His sections are easy to understand and focus more on the impression the whole section creates rather than hyper-fixate on each moving element. His use of vocal samples is limited but potent, elevating the already established groove.
‘Kartoos’ is a forward moving Ghetto jam that is pure pulse. The song instantly picks up the tempo and introduces a smooth low end section comprising of just kicks, bass synth and a wonky sample that bends the fabric of the groove. Verma has chosen his elements very wisely, maintaining the shrouded appearance of the song. The producer has also succeeded in crafting a sound that is very visual. The imagery of a dingy backroom going strong at 4am is vivid. Verma has been allowing the music to do the talking. The intricacies in the production aren’t obvious and I personally find that to be very brave. In doing so, GRAVE reinstates his intention of just populating the dance floor with his songs and nothing more. The structure once again is similar to the EP opener apart from the fact that we get a sweet B section at the end of this one.
The EP shifts into an Electro-punk space as we move in to ‘Wolf In The Party’. The production here is a lot more noticeable, with individual elements like the vocal samples, synths, bass and drums all occupying their specialised bandwidths. The track also dawns a more patient pacing and a more recognisable structure owing to the verse like section the producer performs. teh spacier production really allows for teh synth stabs to drive the songwriting bulk of the track. The atmosphere is further darkened in this track owing to the seamless entry and exit of all the sonic elements. I can imagine this track to be a dark and desperate ambient banger if the drums are removed. I say this to emphasise the emotional quotient the song possesses if looked at even without the contribution of the drums, the involvement of which has only made this song more menacing.
‘Neend ki Pari’ features more vocals, processed to fit the filthy architecture of Verma’s sonic universe. This track features features multiple sections that use a couple of different motifs. The song opens with a relatively skeletal arrangement showcasing a skewed vocal sample, that possesses rife rhythmic but also some melodic attributes. It effortlessly drives the track towards the first transition, which, disorients the listener, before re-establishing the drums. The syncopation works as a nice distraction that plays with dancers commitment to the groove. The structure here, compared to other songs, plays a more engaging role. The song has been constructed like a building with each section of the song taking you a level deeper towards the core. The song once again shifts to deeper gear, that outs the full spectrum of Verma’s polyrhythmic production prowess on display. At this point I must highly commend GRAVE for his commitment to his aesthetic and not to overcook it to the point of overstimulation.
The EP closes with ‘Real Life Money’ that is the most involving track of the bunch. My favourite track of the EP, featuring a much more refined palette of melodic motifs and seamless rhythmic transitions. The use of structure and sonics easily makes this the most pop track. The brief break away from the sinister undercurrent of the EP, feels welcomingly fresh. Almost a celebration and the perfect choice for a track for the high point of any rave night. This song proves Verma’s multi dimensional capabilities as a rave producer. The EP is clear about how close he is to the culture too. His ability to give the dance floor what it needs, shows a tasteful restrain on his part. Many producers easily fall into the wormhole of overcompensating with their sounds, but Verma’s streamlined and carefully curated palette should serve as an example as to why its always smarter to do more with less. This is obviously not as apparent with each layer sounding as massive as it does. Moreover, the EP refuses to jump from one corner to the other and is instead focused solely on it’s desire to move listeners – it’s almost selfless. Hope to here it at a rave near me.
Listen to ‘Cerebral Malfunction’ on Spotify and Apple Music
