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Whether collaborating with traditional Indian musicians or flipping Bollywood cuts, Shantanu Gursal aka kSaya's musical home is the frantic rhythm of the breakbeat – as he works as an Asian Underground revivalist over the past 2 years. It is no surprise then that the Mumbai act's Wild City mix comes replete with a near-constant underpinning of the iconic beat and its variations. The selections remain far from the heavy onslaught of breakbeats' pacier sub-genres, instead embracing the pristine atmosphere of styles like slow garage and the more modern anthemic dance music takes by the likes of Bicep. The ethereal atmosphere remains the true defining feature of the mix as it opens up rhythmically with selections like Terry Da Libra's 'U' and 'Early Hours' by Fløa & Furcloud before plunging back into the grooves that kicked things off – this time emerging out of the focus on reverberating pads to lead with the emotionally direct vocals on a mix of 'My Stripes' by Marsh. For more information: https://www.thewildcity.com/mixes/20024-wild-city-220-ksaya

At the outset, Mohit Tyagi aka Mocid is firmly rooted in the conventions of hard-hitting techno. That even includes the genre's association with retrofuturism and obsession with the extraterrestrial, as he attaches the moniker's artistic vision to that of a "space traveller exploring the Universe, searching for intelligent beings and establishing the first contact with them through rhythmic sound vibrations." A closer listen to his latest release 'Bioterror' unpacks layers more unique to the New Delhi DJ and producer – whether it is the juxtaposition of spacious soundscapes and pulsating low-end on 'Voodoo', the near-descent into noise on 'Poltergeist' and, most notably, the standout title track which lifts off from the genre with the tribal drums and engulfing pads that combine to form a journey that's led by its textures as it is by its dancefloor rhythms. Marking the release with a Wild City mix, Mocid details the influences that inform such qualities with his selection going from multiple tracks by Mekromic, through even Indian talents such as Audio Units before culminating the relentless ride with Matrixmann. For more information and tracklisting: https://www.thewildcity.com/mixes/19998-wild-city-219-mocid

What connects experimental composer John Cage, Michael Jackson, the pop-punk group Paramore, blues legend Buddy Guy and an electronic producer like Floating Points? They all figure into the plethora of influences and listening palette of Parekh & Singh, which they highlight with our latest Wild City mix.  The Kolkata duo of Nischay Parekh and Jivraj Singh, who stand as modern royalties in India's indie music at this point, recently released their third album 'The Night is Clear' – bringing to the forefront the same whimsical sense of lyrical melodies that ushered their meteoric rise but with an enhanced palette of sonic colours. Parekh & Singh firmly uphold the defining relatable heart-touching songwriting in the centre and dial-up the experimentation in the backdrop without encroaching the centerstage. Strings akin to The Eagles' cut on the mix pervade most of the 9-track album while the arpeggiation on 'Seven Days' and the bursts of pitched percussion on 'The Nightingale' hint at the electronica influences. With such a varied selection of styles, the consistency of the mix is in its ability to surprise with drastic turns. It really is what one would expect to hear at an intimate gathering at the metaphorical common house of Parekh & Singh with the records getting cued according to the lively conversation about all the music that make a person.  For more information and tracklist: https://www.thewildcity.com/mixes/19985-wild-city-218-parekh-singh

In a recent interview with Mixmag Asia about her debut EP 'Young Hate' and its just-released lead single 'Stonefruit', Sijya laid down the following as her artistic agenda: "It’s a bit rebellious I’d say. I think it fights the notion that there are certain ‘correct’ paths to reaching a certain level of knowledge or making." Carrying out that rebellion against the run-of-the-mill on the back of an intuition-led meticulousness, the New Delhi composer, producer and visual artist has begun to unveil her abstract take on art-pop and downtempo with the single release, which she marks for us with her Wild City mix.  The penchant for doing things differently pervades the curation and mixing as she uses the selections to celebrate Accidental Records, the home of her debut EP. Forgoing the commonplace approach of building things up gradually, the mix kicks off with a near-abrupt heavy rhythmic onslaught to firmly demand attention before finally clearing into captivating simplicity to provide a moment of sublime rhythmic relief with Dominic Voz's 'Right To The City I'. Sampled components of different tracks on the mix are re-arranged like a musical collage to manoeuvre through drastic dips and climbs of energy levels, as Sijya ventures into heavily distorted grounds and back while showcasing the uniqueness of her labelmates with works from the likes of Micachu, Crewdson, Mica Levi and ultimately, label-boss and British musical royalty, Matthew Herbert.  For more information and tracklist: https://www.thewildcity.com/mixes/19961-wild-city-217-sijya

Ever since Bangalore's Eashwar Subramanian started supplementing his white-collar professional life by putting out music nearly 5 years ago, he has done so relentlessly. A regular fixture in the country's ambient music landscape, Eashwar's work sets itself apart from the rest in the genre by creating placating dissipative soundscapes primarily through minimal melodies than abstract textures – naturally borrowing from the cinematic and new age. Initially putting out the work at a staggering pace primarily over SoundCloud, the composer-producer has lately started to consolidate his work with distinct EPs and albums, each featuring a minute but noticeable growth or experiment into the new. For his Wild City mix, Eashwar gives a snapshot of that journey as he curates an all-originals set that connects music all the way from his 2018's 'Ambient Hamlet' with the just-released 'String Theory' – his latest 5-track EP which sees his melodic motifs dissipate between percussive beds of plucked strings (on 'Fireflies'), pitched mallets (on the standout 'Mountainsong') or reversing samples of ethnic strings (on 'Turkish Wedding').  Consequently, the mix highlights the different ways Subramanian can offer pacification and invite introspection whether with simple piano melodies, like on 'Verdant Nature' from 'Polar Drift', or, in a rare instance, by actually choosing to paint with abstract texture, like on 'Expanse' from the latest EP 'String Theory'.  For more information and tracklisting: https://www.thewildcity.com/mixes/19944-wild-city-216-eashwar-subramanian

For almost a year now, M.A.P // A.M.P has explored the intersection of activism and music in South Asia with a variety of platforms, from performance and pirate radio to documentary films and podcasts. One of the biggest efforts from the Goethe-Institut-led multi-pronged project has been its crowdsourced library which presents a repository of socio-political from around the world, spanning several hours' worth of music.  M.A.P // A.M.P gives a glimpse of the library's far-reaching span with our latest Wild City mix. The mix goes from shades of folk music to hip-hop and rock, juxtaposing a myriad of languages and themes. Much like M.A.P // A.M.P's other efforts, especially the documentary series 'Awaaz', it highlights the parallels between voices demanding their right and justice, and the common device of art for people speaking truth to power – irrespective of how different those truths and those powers may be.  For tracklist and more information: https://www.thewildcity.com/mixes/19916-wild-city-215-m-a-p-a-m-p

Aashish Gupta aka AAGUU, better known for his work as one-half of the duo TechNomads while erstwhile remixing Indian cinema undercuts, curates a love letter to the formative days of house and techno on his Wild City mix.  Assembling deep cuts and familiar sounds from primarily the early 90s, the Bangalore artist taps into the nostalgia for the joyous glossy strands of the two adjacent genres – hovering closer to their Italo-disco roots. High synthetic string lines, plastic-y melodic percussion, sensual vocal samples and flute sounds created in the early days of MIDI instruments take one on a trip down memory (whether lived or imagined) lane, punctuating it just occasionally with the more sombre acid house cuts. Even while throwing in more modern numbers like Ewan McVicar's 'Amnocairn', the connection to the classic evergreen sounds remains with its snappy house piano.  For more information and tracklisting: https://www.thewildcity.com/mixes/19850-wild-city-214-aaguu

Earlier this year, the Twitter electronic music world chortled around a "Two Guy Theory", which is centred around the observation: "From Bicep to Overmono to Two Shell, the trend of two fellas coming up with elaborate excuses to hang out a lot has been picking up recently. Guys can't just be mates anymore, there has to be a catchy and fresh take on underground dance music involved." Towards the Indian sub-continent, two of the latest purveyors of that theory are Ishaan Gandhi aka Okedo and Rohan Sinha aka Dolorblind. The two music acts, who are likely familiar to anyone with an ear tuned to the electronica talent of New Delhi, have recently joined forces to create an amalgamation of their monikers with Okedolo.  The story goes that the pair had initially met in childhood through their parents' attempts to get their introverted kids to make friends within the neighbourhood. After growing apart and becoming recognised members of the Indian independent music scenes as visual artists, instrumentalists, record engineers and musicians in their own right, Ishaan and Rohan reunited nearly two decades later at a gig. The pair found themselves sitting next to each other, unbeknownst that they were once childhood friends, and grumbling about the wider industry before discovering their shared past. Building upon their rediscovered camaraderie and encouraged by the anti-isolation instincts many of us experienced after the COVID-19 pandemic's lockdowns, the two musicians started collaborating to play around with music they wouldn't otherwise do. "When we first started making music, we realised our approach to music making was on opposite ends of the spectrum, yet we found ourselves really liking each other’s music (& taste in music), we knew we had to dig deeper, says Ishaan, to which Rohan adds: "Our one and only goal was to make music that's enjoyable to make. We are not confined to any genres but we do absorb the influences of our current surroundings." While the act is yet to disclose much about the resultant work to the wider public, early previews indicate bringing together Okedo's penchant for layered percussive production and Dolorblind's affinity for booming basslines and textured synthetic ambiences in entirely new contexts. Reflecting upon the sounds that informed it, Okedolo have curated the latest Wild City Mix which, even though touches upon various sub-genres of dance music, doesn't present itself as a dance mix. Hudson Mohawke's zany arpeggios creep up behind Hikaru Utadu's uptempo drama while a standout number by Burt Cope punctuates selections of drum 'n' bass and techno that completely disregard any technical common ground as long as they share the common emotional plain.  For more information: https://www.thewildcity.com/mixes/19819-wild-city-213-okedolo

Few sets invite one into a trance as quickly as Deep Brown's Wild City mix, which instantly whirrs you in with the arpeggios of Nathan Melja's 'Back And Forth'.  A long-standing DJ originally from Kolkata, Ankur Kedia aka Deep Brown gradually lets the arpeggios dissipate into textures focused on percussive numbers and bass melodies tailored for the dancefloor with the techno and house set. Within the incessant thump of the genre that never overbears and never lets down the energy, the selection traverses a range of styles, riding waves of pristine productions to the raw retro energy like the deep cut remix by DJ Smeagzy of Andy Kas' 'Funky Roadway', a particular highlight in the sonic journey. For more information and tracklist: https://www.thewildcity.com/mixes/19643-wild-city-212-deep-brown

Few in the country have embraced the canon built upon the quick energetic hits of the breakbeat as closely as Smokey, whose hold on the sub-culture has seen her connect the underground deep cuts with popular tastes on stages of increasing magnitude. The Mumbai-based DJ brings a specific modern pop sentimentality-soaked colour of the genre to her Wild City mix.  With soft-centred lyrical tunes, Smokey sets apart her selections from the majority of our Mixes before recontextualising it back for the dancefloor with her staple breakneck rhythms. Riding the high energy of the drum breaks, the mix keeps the intensity steady and carries the ebb and flow by shifting the limelight from vocals, to basslines to chopped up synths and often the minimal elements of drum 'n' bass – interjecting with a breather each time the risk of stagnancy appears on the horizon.  For more information and tracklist: https://www.thewildcity.com/mixes/19554-wild-city-211-smokey

In the progressive, tech and deep house-dominated nightlife of Sri Lanka, Sunara Jay stands out by instead choosing to explore around the genres of glitch-hop, hip-hop, funk and nu-jazz. Consequently, the DJ and visual artist has been counted upon to represent the island's alternative underground culture with shows in Norway, UK, Germany, Pakistan and India.  With a practice of spanning over a decade of spinning tracks to different types of audiences, Sunara knows well to use the console as an instrument and how a set can elevate a track beyond its standalone value – as she does on her Wild City mix.  Venturing into assortments of glitch over the steady rhythm of house music, the selections are consistently sparse and spacious, assuming an ambient nature even with their softly thumping energy as you settle into the experience. The mercurial basslines keep one hooked while the off-kilter elements feel nothing short of a musical dream, which Sunara plays to by throwing in echoes and other time-based manipulations every once in a while. It's a trip that leaves you relaxed than tired.  More info: https://www.thewildcity.com/mixes/19517-wild-city-210-sunara

Based out of Delhi, Antariksh Records has quietly but strongly left footprints in the global landscape of underground dance music over the years – releasing left-of-centre techno, break, acid house and electro tracks that have found their way onto dancefloors around the world while championing homegrown talents like Marbman, Fr4ctal, Planet Meta and Sepoys. The leftfield approach to dance music gets underlined as the imprint stitches together its repertoire and inspirations with a label mix for Wild City.  Peppered generously with four-on-the-floor cues of Marbman's analog rhythms, Sentient's acid screeches and deeper synth runs of Russian producer Nightdrive and label-head Anandit Sachdev aka AarAv's electro excursions, the set finds its highlights in the extremes of Antariksh Records' timelines – the dreaminess of Egyptian act Wahba's 'Nazra' from the label's first VA compilation and the dense 'Calculated Thoughts' by Mutable Mercury, an artist the label seeks to work with in the future. For tracklist and more information: https://www.thewildcity.com/mixes/19475-wild-city-209-antariksh-records

Mumbai-based Udai Sharma aka Maddeof manages to pick up the genre of lo-fi house and dust its mess off to contextualize it perfectly for the COVID-19 lockdowns, using the time when the dancefloors were shut to redefine his sound and utilising the style to offer some of the most effective releases of the period which offered familiar rhythms but with more laidback moods befitting to the new and constrained listening habits. The producer, DJ and audio engineer however doesn't primarily stick to his now characteristic style for this Wild City Mix, jumping instead between different guises of house music.  After slipping through some more hard-hitting classic sounds from the more iconic numbers like Paco Osuna's remix of Phuture's 'Acid Track' and rarer cuts picked from the crevices of the web, Maddeof begins to slip into moodier selections post the flamboyant zaniness of Simon Mattson's 'Thug Life'. A tinge of the lo-fi appears with the atmospheric samples on 'Rowdy Boy' by Enzu Leep and Medu, but soon enough the mix shifts to the gospel-inspired disco house of Javi Alvadi & THC – never staying in space for too long, flowing instead with a sole focus on the core energy of house music.  For tracklist and more information: https://www.thewildcity.com/mixes/19170-wild-city-208-maddeof

Electronic act KillZen construct their Wild City mix with only original and unreleased work to introduce their body of work in a free-flowing journey. The duo of Abhishek Chaturvedi and Anannya Gupta musically embody a musical duality in their work, even naming themselves after it. They signify the intense, raging, compulsive and club-friendly part of themselves as 'Kill', and on the other side of the coin put their immersive, placating and introspective work, referred by the 'Zen'. Their nearly 40-minute-long mix for Wild City details how the two seemingly contrasting and opposite sides connect with each other to maintain an ebb and flow of hard-hitting drums and basic but emotively relaxing synth textures. KillZen doesn't just use the mix to introduce their work, but use their work to tie together a fluid sonic journey similar to flowing downriver, sometimes immersed in a calming silence and other times privy to the thrashing of the flow.  For more information: https://www.thewildcity.com/mixes/18658-wild-city-207-killzen

Starting as a radio show and a continual chain of song edits by DJ-producer Stalvart John, Dynamite Disco Club has since evolved into event curators championing artists which, as their name suggests, specialise in a motley of disco styles with heavy inclusion of house. The growing collective has an unfailing ability to create a musical oasis at festivals and club nights with curation that focuses solely on providing pure dancefloor fun. A Dynamite Disco Club event sticks closely to the ethos of a dance party in its truest and original sense, throwing in selections of some of the best edits of time and geography traversing unmissable undercuts interluded by the surprise of better-known hits while exhibiting a timeless sense that is free from the concerns of ongoing trends or mixing vanity. Expanding even further, the multi-hyphenate brand has just started a label arm – carrying over its ethos to provide a platform for original music, the first of which arrives in the form of 'Disco Lives' by Italian act Babert.  Dynamite Disco Club spearheader Stalvart John has created a mix for Wild City, highlighting the influences that dictate the curation of the label and some of its unreleased material. Uncharacteristically and yet delightfully, the mix meanders through a confluence of acid and leftfield for a short while before the relentless thump of the four on the floor kick drums kick in to usher a parade of funky guitars, dramatic string lines and frenzied percussions – some of the defining elements of disco and the edges where it flows into house. For more information and tracklisting: https://www.thewildcity.com/mixes/18605-wild-city-206-dynamite-disco-club

Whether at a late-night slot at a club in South Delhi or a sunny pool-side party, Vijayant Singh as GIRLS NIGHT OUT always cues his selections with a natural sense of the occasion and the energy of his audience, always rendering sweating it out on the dance floor an effortless and compulsive experience. While the ongoing pandemic has kept the local dancefloors empty for most parts, the half-lawyer half-DJ transports the listeners energetically to the clubs with his Wild City mix, adding an extra sense of nostalgia with classic club sounds delivered through surprising and revelatory selections. The mix maintains Vijayant’s intrinsic dynamism inviting the listener in quickly yet smoothly with the subdued bass phrases of Robert Leiner’s ‘Aqua Viva’, then turning up its guttural factor through thumping kick drums and later some breakbeats before diving headlong into house and its surrounding strands of dance music. Keeping a finger on the pulse of his audience, Vijayant lets the listener cool down every once in a while with the trippy sensuousness of tracks like Dream 2 Science’s ‘My Love Turns To Liquid’ and Hawke’s ‘3 Nudes In A Purple Garden’ before resuming the exciting frenzy that defines a GIRLS NIGHT OUT mix. For tracklist and more information: https://www.thewildcity.com/mixes/18583-wild-city-205-girls-night-out

boxout.fm-regular Jaskaran Rana aka Sleepy Insomniac is known to take to the internet radio every month for his show ‘Lucid Dreams’, inviting the listeners into a psychedelic trip through guises of dance music. The New Delhi-based selector attempts the same on his Wild City mix, kicking things off with the abstract textures of Australian and Canadian electronica forces Roza Terenzi and D. Tiffany with their recent track ‘Melting Ladies’. The mix latches on to the intensifying assault of percussions as they reach the frenzy of breaks on Adam Pits’ ‘Variation 2’, before the pulsating basslines of acid and inspired genres begin to take charge onwards from ‘2 The Dawn’ by Eoin DJ. While mid-way, Russian act Maruwa’s ‘Mercurial Edge’ offers a brief respite from the engulfing energy of the previous selections, Jaskaran begins the crescendo of intensity yet again, consolidating his most disjointed selections for the listeners who brave to stay on till the end.  Consequently, Jaskaran’s Wild City mix is a rollercoaster of dance music’s undercuts and fresh takes by popular acts, peaking and trailing to exciting heights of intensity and passing through different styles without losing its focus. For more information and tracklisting: https://www.thewildcity.com/mixes/18424-wild-city-204-sleepy-insomniac

As we try to differentiate our mix curation with the inclusion of our first mix from a label instead of it being representative of a single individual, none felt as unique in that sub-category as Amarrass Records. Started by Ankur Malhotra and Ashutosh Sharma in 2009, the label, management, booking and vinyl pressing agency stood apart from most of the music industry, which was looking at the West-imported strands of music modern Indian culture, by turning its focus towards the 21st-century face of India’s traditional arts that had been pushed further into the fringes. Highlighting that very face in all its variety, the label has stitched together works from its artists and events for their Wild City mix. The selections make the case that even the traditional arts aren’t without modern adventures as Amarrass’ early signing the late Padma Shri award-winner Kamaicha-player Sakar Khan conjures a wall of lute’s screeching, reminiscent of Steve Reich with ‘Train No. 2’. The contemporary re-contextualisation of folk arts continues through artists like Barmer Boys, one of the label’s most popular offering, meanders through the placating Malian kora-playing with works by Vieux Farka Tourè and Madou Sidiki Diabatè before offering some of the folk music in its most puristic shades. From the latter, the prowess of Lakha Khan, the recent Padma Shri winner and one of the last Sindhi Sarangi players, and Rehmat-e-Nusrat cut through. Bringing the colourful journey to a conclusion, Ravana’s dub backdrop sneaks in behind the hyperlocal spoken-word style of Jumme Khan, from their collaborative album ‘Dubfounded’ before a final flourish with the legendary Charanjit Singh, the Indian pioneer whose ‘10 Ragas To A Disco Beat’ is now celebrated as the first acid-house album. For tracklist and more information: https://www.thewildcity.com/mixes/18365-wild-city-203-amarrass-records

Aalhad Joshi aka Marbman makes a case for taking dance music to the energy of its early roots when the genre wasn’t replete with as much explicit seriousness, but he does so with modern selections on his Wild City mix. Holding onto a penchant of fun-filled vocal refrains – as he does on his productions, the most recent of which ‘Class’ released on the Portuguese label No, She Doesn’t – the Mumbai-based producer ties together works of the likes of Four Tet, Cignol, Ilana Byrne, L Major and Admo, dipping in and out of a house-based selection to stay rhythmically dynamic. A third way in, Joshi drops the vocal refrains in favour of more atmospheric numbers, immersing the listener in distant textures while the pulsating drums keep intimate company before returning into the mix’s formative mood with DJ Gigolo and Kev Koko’s trance/electro number ‘Papi’ – all the while maintaining a leisurely mood without relenting the tempo or intensity. For more information: https://www.thewildcity.com/mixes/18278-wild-city-202-marbman

Among the many styles of DJs, some selectors rely on the quality of their selections to create the mood while others make the case of how mixing equates with performances by “traditional” instrumentalists – where entire sets come together cohesively akin to a single song, constructed with a zoomed-out vision by meticulously combining isolated, sometimes morphed, phrases and sections like individual musical notes. Anhad Khanna makes a similar case with his Wild City mix as his new moniker Sublime Sound, which he debuted recently with the EP ‘Final Call’. Take for instance, how a repeated phrase from Boyard’s ‘Interstellar Express’ merely interludes the transition from Wayward’s ‘Back To The Old Days’ and Baby Rollen’s ‘Swimming with Dolphins’, never fully coming through itself but only adding as a part of the sum to create an entirely new composition which utilises the three tracks. Khanna doesn’t just stitch together selections but creates a performance out of his mix, sometimes using the squelching arpeggios as the connecting thread, sometimes the resounding kick drum, and other times latching on to a found phrase from evolving hi-hat parts. Moving from Desert Son Colony’s remix of Third Son to his own original number ‘ID’, the narrative of the mix is driven purely by the engulfing texture and its evaporation to reveal thumping rhythms. There’s almost a technical meticulousness that pervades the mix by Khanna, an artist who has worked as a record engineer and producer with artists across Indian indie music landscape while himself presenting more contemporary excursions as part of Anhad + Tanner. With Sublime Sound, the New Delhi-based talent ventures into more adventurous explorations of electronic music, reflected by the relentless and sometimes jarring (at least, for the uninitiated) dance tracks of his high-octane Wild City mix. For more information and tracklisting: https://www.thewildcity.com/mixes/18219-wild-city-201-sublime-sound