While always being known to have a proclivity for being left of centre, with this EP KAVYA has cemented this fact in permanence. Following after a string releases, mostly remixes and her first EP since the ‘Know Me Better EP’ in 2021, ‘Hyperreal’ is a significant break away from her usual palette of sonics and also features a far more introspective style of writing. But despite the shift KAVYA has still managed to capture the idea of her.
With ‘Hyperreal’ KAVYA is attempting to literally create her own timeline and write her own story, if you will. Using visual collaterals that serve as artefacts of her existence KAVYA lets us know where in the timeline these set of songs come from – 11,560 AT (After Timebreak). Sonically, the EP contrasts flavours of mysticism with modern dance traits to invoke the idea of a historic future or a futuristic history, depending on how you look at it. ‘Hyperreal’ opens with Elf’s Manifestation with sounds that can only be described as melodic shards of colourful glass. The intro is filled with tension which is held until halfway through track when it suddenly disperses in to harmonies of KAVYA’s sweet voice spread over tiny sweeping arps. The structure remains open-ended through the duration of the song allowing for versatile instrumentation to phase in and out while still preserving the songs core.
‘Submission’ is the second track on the EP and features producer and friend Goya opening with a haunting reversed vocal sample. Lyrically, there is a deep sense of self embedded in the words of the song making it painfully devotional. KAVYA’s expressive croons also add to the urgency of the composition. Once again, the track provides an open ended template allowing for different ideas and motifs to collaborate simultaneously while creating a focused impression on the listener. This is a trait that is not just common on this EP but a staple KAVYA method which can be observed in her older offerings. The drum work on this is tribal and is effectively supported by the use classic bass synth sounds. KAVYA can also be heard filling the ambience of the track with her voice almost having a synth like quality.
‘Felt’ also features Goya on the production. The song starts with oriental strings and kicks that go hard. This track even though in line with the dance-ability of the earlier two provides a moment of respite, at least in terms of pace. The production and composition however are just as thick. The use of reversed vocal samples in this song plays a more melodic role as opposed to ‘Submission’. It’s clear that KAVYA feels a lot more eager and comfortable to push the bounds of her already weird palette and I would say that her sense of experimentation in this EP is the most cohesive of her catalog. ‘Hyperreal’ closes with ‘Stolen Games’, a spatial ambient track that feature KAVYA’s vocals front and centre. An apt closing, the song is calming and gentle, though still rife with synth goodness. KAVYA’s vocals on this are a lullaby supported by sounds of birds and nature adding to the mystique of the composition. The drums are subtle and remain in the backdrop allowing the song to delicately ease out.
‘Hyperreal’ is hopefully the first of many more. Given the world building that has gone into this I hope this isn’t the end of the timeline KAVYA has created. Furthermore this EP in particular is coherent and speaks of KAVYA not just as a musician but also as a well rounded artist and executer. Her ability to collaborate coupled with her vision make this EP more focussed and intentional from her previous ones. KAVYA has definitely found an identity through which she can communicate not just in audio but visually. Her lyricism and eccentricity is slowly crystallising into an angular yet proportionate offering that highlights her idiosyncrasies instead of smoothening it out. Please share more of your story!
