Bimurta has released a new EP, “All Skies Lead to The Sun,” featuring five compelling tracks. The EP kicks off with “Baba Hargila.” The song begins with a traditional Indian soundscape before evolving into an eerie indie metal piece. The electrifying headbanging energy, combined with almost growling vocal work, creates a dynamic listening experience. Psychedelic elements are woven throughout, and the mix of Indian sounds with Western metal has been executed impeccably.
Lyrically, “Baba Hargila” explores themes of fear, warning, moral failure, and the looming consequences of human actions. It presents a dark, emotionally charged narrative that serves as a grim warning about humanity standing at a breaking point, emotionally, morally, and environmentally. The track urges awareness, responsibility, and change before it’s too late, blending fear with a desperate plea for redemption.
The second track, “The Immortal,” opens with breezy riffs that create a meditative atmosphere, later introducing deeper riffs that enhance its introspective aura. This song is easy on the ears, with a floating energy that makes you want to close your eyes and sway along. The distant quality of the vocals adds to the overall effect, while vulnerability, sadness, and pain are beautifully portrayed. The incorporation of Indian instruments enriches the experience, and the screams toward the end express agony and helplessness. This piece portrays a deeply introspective journey through emptiness, regret, and spiritual doubt, balanced by a fragile hope for healing and meaning.
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Closing the EP is “Pale Blue Drought,” which begins with enchanting sitar-like strings and flute sounds, creating a subtle echoing effect. The rhythmic tabla beats guide you into a meditative state. As the vocals convey anger and frustration, the electric guitar builds in the backdrop, leading to an electrifying metal experience in the second half. This post-metal meditation is inspired by the Brahmaputra River, and the song meanders like the river itself, personifying it as an old man mourning the defilement of his land. A narrator implores the river to ignore humanity’s transgressions and continue flowing, suggesting that this world and humanity are no longer of concern.
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“All Skies Lead to The Sun” is a masterfully crafted EP that blends traditional and modern elements while exploring profound themes of existence, responsibility, and introspection. Bimurta’s ability to blend these narratives through diverse musical styles makes this a must-listen.
We recently had the opportunity to talk to Bimurta about their work. Keep reading to learn more.
Q. Hey Bimurta! Congratulations on your new EP, “All Skies Lead to The Sun.” “Baba Hargila” opens the EP with both ritualistic calm and violent urgency. Why did you choose this track as the entry point?
We really like the intro to this song. We felt this would be a great way to open a record. We also wanted a shorter, more concise track to start things off. But even though it is the heaviest track on the album, it also has a side to it which has, as you said, a sort of calmness. Overall, we do feel the song encompasses our sound pretty well. This was also the last song we recorded for the EP.
Q. What is Cinemetal according to you?
In the beginning when we were planning the record we flirted with various words to describe the sound we were going for. We wanted it to feel emotionally grand and a little dramatic, while still being metal. Not because of any calculated strategy. We just felt this is what we would do best. And where our heart truly lay. When we heard our record at the end, we felt we did achieve that cinematic quality we were going for. And we are pretty chuffed about that too. That’s what we are authentically, cinematic, theatrical and metal, “Cinemetal”.
Q. There is a very unique blend of harmonics, dissonance, disharmony and atonal elements with melodic and tonal elements in your music. How did you come up with that? Was it planned or did it all just happen by accident?
No, that wasn’t planned. There was no checklist. We had more broad ideas about how we wanted to sound. It was always going to centre around the guitar riffs. And of course, the flute was essential from the very beginning. The bilingual nature of the songs was an important factor too. But as for all of the sonic elements, we just sort of let the pieces fall where they would. We let our senses decide and trusted our judgement. At no point did we feel any resistance, or that we were fighting against where the songs wanted to go.
Q. “Baba Hargila” feels like a warning chant, almost prophetic. Who or what is “Baba Hargila” addressing directly?
To be honest this actually began with the name. We reminisced about our childhoods, about seeing Hargilas (Greater Adjutant Stork) standing in open fields. They weren’t a common sighting even when we were young. Sadly they are an endangered species. One of us mentioned that Baba Hargila would be a great name for a song. But we didn’t know what the song should be about. And then we came across an article about the Hargila Army while looking up facts about the Hargila. They are a Women Led Conservation movement out of Assam focused on protecting the Hargila. It is an amazing group. They have done some great work. They inspired us to have the song be about the importance of conservation. So Baba Hargila became, sort of a personification of an ultimatum. Change your ways. Or perish. Because there is a point of no return with environmental damage. And we would like us all to be more conscious about this now, rather than later.
Q. “The Immortal” carries a sense of emotional exhaustion rather than rage. Was this song born from burnout, grief or quiet disillusionment?
If you can believe it, it was born out of curiosity. We wanted to explore what the weight of unending time would actually feel like. So we tried to put ourselves in those shoes, as a sort of mental exercise, and it was really not a warm feeling. To be honest it was a scary thought. We almost mentally backed away from the imagination, like touching a hot pan or something. I mean think about it. Emotional exhaustion, burnout, grief, disillusionment, these are all a part of most mortal lives. But for an immortal, each of these can build up layer upon layer upon layer. We wanted to explore what that might do to a person.
Q. You guys cover your faces with some sort of traditional things. Can you tell us what they signify with your music?
It’s just three black masks we have, differently styled based on our own individual expressions – the traditional item we carry with us is the “gamusa”, the white scarf we wear on us. It is a symbol of great respect and reverence in Assamese culture. We wear it with black clothes, to showcase the amalgamaton. And we don’t need to show our faces, that part is not important. The music and the world we are creating is.
Q. “The Immortal” grapples with spiritual uncertainty. Was this written from a place of questioning belief, losing it, or redefining it?
Actually, no the Immortal was written from a place of Spiritual certainty if anything. This Immortal being for all his pain and his grievances feels connected to a higher being. He may have questions for this Higher Spirit, but there is no struggle with belief. The song in itself is not about belief. It just happens to be about a believer. The struggle is more with immortality. A counter point to the more common struggle with mortality we all deal with.
Q. Personifying the Brahmaputra River as an old man is a powerful image in “Pale Blue Drought”. What drew you to tell this story from the river’s perspective?
Oh, we grew up listening to Bhupen Hazarika. In his great song Bistirno Parore he has a conversation with the Brahmaputra while also confronting the apathy and indifference that seeps into our civilization. This was the inspiration. Although our song goes in a different direction and deals more with ownership of the responsibilities that are needed to bring about change. And who those responsibilities fall on. We are saying it falls on all of us. That’s not very deep. But we feel it is true. This is another song centered around our relationship with the environment. The River makes sense that way too.
There is also a reference to the famous Carl Sagan quote about that picture taken of Earth from far out in the solar system, where the earth appears as a little speck of dust. And Carl Sagan calls it the Pale Blue Dot. We changed the last word to drought. Admittedly that is a slightly more pessimistic view of the same thing. We are trying to say there is a drought of livable planets. So this one is important. But the song itself is not pessimistic or optimistic. It is a call to action.
Q. Was this EP conceived as a single narrative arc, or did the songs gradually reveal a shared theme as you worked on them?
I think the more important thing to note here is that Bimurta wants to be a self-contained universe with its own narrative. Many metal bands are focused on negative emotions, and express themselves in those hues brilliantly. We want to explore the whole plethora of emotions, joy, sorrow, anger, lust, love and everything in between. To that respect our entire body of work, now and beyond, wants to be connected by a narrative thread, which will be woven as time goes on. We may find the immortal again in some other song, or the old river as well. Remember the travelling cinemas of the past? You can think of us as the storytellers from that world to this.
Q. You blend traditional Indian instrumentation with indie and cine-metal seamlessly. How do you approach this fusion without one sound overpowering the other?
One of the objectives of the music we want to create is to imagine how metal looks like if its genesis was from this part of the world. We are reimagining what metal means to us, and we are dramatic and cinematic people. We need that catharsis with all the chaos going around. And what else is loud and dramatic? Metal. Seemed like a natural fit. We aren’t doing the Indian instrumentation bit as a gimmick, metalheads in India are truly the product of two very different cultures, we are just trying to be as authentic to ourselves as possible.
Q. What’s next for Bimurta?
Definitely a lot of stuff. We are going to keep releasing music this year, and a lot of other audio and visual experiments as well. The aim is to run Bimurta not just as a band, but a world unto itself, and what that world churns out, is yet to be seen.
Follow Bimurta on Instagram for more updates.
Enjoy listening to “All Skies Lead to The Sun” by Bimurta here.
https://bimurta.bandcamp.com/album/all-skies-lead-to-the-sun
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