Chaitanya likes to dance. He grew up surrounded by chanting and bodies dancing in ecstasy. Souls waken by music. Music and dancing. Dancing and music.
The music he makes can sometimes be characterized as a meditation on repetition to invoke a trance. Growing up in a cult where chants could last all day made a strong mark on his sense of musical form. Ritual and transcendence are the main concerns in his art. For him, the journey from the first repetition to the last is always something that breeds opportunities to step out of time. This paradox, of repetition being both a marker for being in time and a way to get out of time, heavily informs his work.
Joy grew up to antiphonal singing and liturgical chants. She is drawn to repetitive prayers and curious of the meditative drones that sometimes churn out of it. As a child she would stay up for the procession of the saints and her entire hometime chanting. Candles and incense evoke a sense of home for her somehow. The long vigils provide a space for introspection and calm. Her musical experiments focus on manipulations of the voice, through elongations and diminutions of vowels, clicking and rubbing of consonants, whispers, sighing, mimicking of animal sounds, screeching in vocal fry to staccatos in whistle tones. Her voice consists of numerous dialects and languages, a vocabulary echoes through West and East, ancient and recent. The dance of sounds and words through histories, imagined and real propel her art.