Pioneers of India’s electronic music movement, Midival Punditz, comprising Gaurav Raina and Tapan Raj, have spent over two decades shaping a sound that bridged Indian classical textures with global electronica. As early architects of what came to be known as Indian electronica, the duo continues to evolve within a rapidly shifting musical landscape defined by AI tools, streaming platforms, and an increasingly borderless sonic identity. In this conversation, they reflect on questions of cultural identity, technology, and the changing pulse of India’s independent electronic scene. ‘Identity isn’t applied to music; it reveals itself through it’ For Gaurav Raina, the idea of cultural identity in music has never faded—it has simply deepened over time. “The idea of identity is far too deeply rooted to ever become irrelevant,” he says. “When an artist expresses something honest and true, their identity naturally finds its way into the work. In our context, that inherently carries an ‘Indian-ness’ – not as a label or trend, but as something organic and lived-in.” He cautions against reducing identity to surface markers. “The problem isn’t identity disappearing- it’s when it’s reduced to a construct. True identity isn’t something you apply to music; it’s something that reveals itself through it. And that will always remain relevant.” On AI and the future of creativityAddressing the growing presence of artificial intelligence in music-making, Gaurav sees it as an enabler rather than a threat, but with clear boundaries. “It’s definitely an expansion, but with limits,” he says. “AI is a powerful tool. It can open up possibilities, speed things up, even inspire directions you might not have explored.” But he draws a firm line on authorship and intent. “At its core, it still operates on learning and replicating what already exists. It doesn’t have intent, lived experience, or emotional truth, and that’s where the artist comes in.” For him, the concern is not replacement, but dependence. “The real risk isn’t AI itself, but how it’s used. If it starts replacing perspective instead of supporting it, that’s when it becomes problematic.” On India’s evolving electronic underground Tapan Raj pushes back on the idea that India’s indie electronic movement has lost its edge as it has become more visible and structured. “We have come from Delhi’s underground club circuit but have toured extensively in Mumbai as well,” he says. “The underground electronic music scene across the country is still very much prevalent, and in many ways, it’s growing.” According to him, the scene is constantly reshaping itself through new platforms, technologies, and spaces. “It keeps changing its shape with emerging social media, production tools, artists, venues and promoters. There are very cutting-edge movements happening across India, it’s an exciting time to be an electronic music artist here.” On whether electronic music has become ‘aesthetic’ over ‘political’ On the question of whether their genre risks becoming purely aesthetic in a globalized market, Tapan is unequivocal in his response. “We have always made music without thinking about making any political statement,” he says. “Having said that, any art form can be construed as political even if it’s not consciously created that way.” He points out that Indian electronic music today is thriving across platforms and formats. “It is very much a powerful and popular genre right now, streaming platforms, festivals, clubs, even films. It is being consumed not just for its aesthetic value, but for how honestly it connects with audiences.”
