Siddharth Bhayani, the architect-turned-electronic music producer, continues to explore new creative frontiers with his North Axis Project, which is known for seamlessly combining traditional instruments with contemporary electronic music.
When asked what made him pay tribute to the mridangam, in his latest work, Siddharth recounts a fond memory: “I had a powerful encounter with the mridangam during a visit to Kerala in the late 2010s. It had this raw, earthy vibration that instantly felt different — the energy was unlike any other percussion instrument I had explored. That unique resonance stayed with me. Years later, while searching for a distinctive percussive soundscape, that memory resurfaced. It felt only natural to dedicate the track Mridanga to this heavenly instrument and let its essence guide the rhythm of the composition.”
Going back in memory lane about how the North Axis Project began its journey, Siddharth tells us, “It began around 2014 with a strong inclination toward psytrance, and our debut, Sungod, reflected that phase. As time passed, the sound matured with a deeper understanding of percussion-driven beat-making, heavily inspired by the AR Rahman–Sivamani synergy. I also started dissecting various global electronic music genres — from drum and bass to EDM and techno to trance — which opened up a whole new world of possibilities. This exploration sparked a series of experiments, always with a vast and diverse audience in mind. Throughout this journey, live percussion has remained a constant.”
It’s not often that we see architects turning into musicians. So we quiz Siddharth on what made him embark on this journey, and pat comes the reply. “During my bachelor days we formed a band, even though my understanding of drums was quite basic back then. That early curiosity pulled me into rock-driven genres like alternative rock, nu metal, and grunge. Over time, the journey evolved, and music became a core part of my creative identity.”
However, he adds that he no longer practices architecture in the traditional sense. “But the connection to architecture still runs deep. The North Axis Project continues to draw heavily from architectural inspirations — translating the essence of spaces into sound. Tracks like Minar and Haveli are examples of how built environments have influenced my compositions, turning spatial narratives into musical experiences.”
Looking ahead, Siddharth plans to continue experimenting with percussion, exploring new instruments from around the world, and curating live performances that highlight the emotional depth of rhythm. “The energy of a live performance, especially when blending street musicians with professional percussionists, brings something unique to each track,” he explains.
When asked about the indie scene in his homestate, Gujarat, Siddharth notes that while it remains deeply tied to folk and classical traditions, festivals like Abhivyakti, White Desert Festival, Satpak, and Water Festival are creating new platforms for innovation, bridging the gap between traditional sounds and modern interpretations. “It’s a space full of creativity and potential to go global,” he says, emphasising how Gujarat’s indie music scene is thriving with young talent.
When asked about his most challenging project to date, Siddharth reflects on the obstacles of finding the right sound, collaborating with the right artists, and perfecting each track. However, he says that trusting his instincts and remaining invested in the creative process helps overcome these hurdles.
As for his upcoming projects, Siddharth reveals that he is diving deeper into the world of percussion, exploring its emotional resonance and working on tracks that will highlight diverse global instruments. “Live performances will continue to be central to my vision, bringing the raw energy of tracks like Dhin Dhin Na to life in a powerful and immersive way,” he says, setting the stage for his next musical chapter.
sangeetha.p@newindianexpress.com
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