Jia Lissa
Electronic music producer and vocalist Sijya has officially announced her upcoming extended play, Leather and Brass [Retrofitted], slated for commercial release on October 2nd via One Little Independent Records. The announcement of the forthcoming record follows a period of significant artistic momentum for the New Delhi-based creator, highlighted by high-profile live performances and a steady stream of critically acclaimed singles. Alongside the release date confirmation, Sijya has made the first preview track from the project available to the public: a delicate, reworked version of her original song Do I Know, masterminded by acclaimed producer Rachika Nayar.
The concept behind Leather and Brass [Retrofitted] centers on collaborative reinterpretation. Rather than producing a traditional remix package handled by arbitrary or mainstream choices, Sijya has intentionally curated a roster of boundary-pushing femme producers and artists whom she personally admires and draws inspiration from. By handing the stems and foundational elements of her original compositions over to these creative peers, Sijya has facilitated a dialogue between her own sonic identity and the distinct artistic vocabularies of her collaborators.
In addition to Rachika Nayar’s contribution, the EP features reinterpretations by notable sonic architects, including Sneha Khanwalkar, who has reimagined the track Safe, and Molina, who has taken on the task of reworking I only want to crash. This strategic alignment of talent underscores the collaborative ethos of the project, elevating the EP from a standard remix release to a cohesive, curated compilation of contemporary electronic and experimental artistry.
The Genesis and Vision Behind the Retreaded Project
To fully understand the weight of Leather and Brass [Retrofitted], one must examine the trajectory Sijya has carved out within the contemporary electronic music sphere. Operating primarily out of New Delhi, India, Sijya has consistently challenged regional and stylistic boundaries, melding intricate sound design with vulnerable lyricism. The decision to construct an entire project out of reinterpretations by women and non-binary femme producers is not merely an aesthetic choice, but a deliberate statement of solidarity and artistic alignment.
Elaborating on the motivation driving the EP, Sijya noted that her deep immersion in the work of femme producers over the past few years naturally birthed the concept for the remix collection. Regarding Rachika Nayar’s specific contribution to the opening single, Sijya expressed deep admiration, highlighting how the edit successfully amplifies the inherent vulnerability of the source material. According to the artist, Nayar’s production choices lean into the tender qualities of Do I Know, transforming the track into a fitting and evocative companion piece to the original recording.
Furthermore, the inclusion of veteran Indian music director and producer Sneha Khanwalkar highlights the project’s bridge-building ambitions. Khanwalkar, renowned for her pioneering work in the Indian film and contemporary music sectors, has built a legacy on capturing authentic, field-recorded regional sounds and fusing them with modern production techniques. Sijya pointed out the historical and structural disconnect that has often persisted between India’s independent music circuit and the massive Bollywood production apparatus. By enlisting Khanwalkar, Sijya actively bridges this artificial divide, pointing out that underground independent musicians and mainstream Indian film music directors are fundamentally engaged in the same creative pursuit.
Contextualizing the Release Within a Banner Year
The rollout of Leather and Brass [Retrofitted] arrives at a crucial juncture in Sijya’s career, capitalizing on a dense timeline of artistic milestones and international visibility. The project announcement follows hot on the heels of her standalone single Turbine, a composition deeply rooted in her personal experiences performing at one of the contemporary art world’s most prestigious and physically imposing spaces: the Tate Modern’s iconic Turbine Hall in London.
Performing within the cavernous industrial architecture of the Tate Modern demands a specific type of sonic resilience and spatial awareness. For an independent electronic artist navigating international stages, the opportunity to command such a venue marks a major professional leap. Sijya’s performance in London was not an isolated event, but part of a strategic expansion of her live performance footprint. Prior to and surrounding this appearance, the producer secured high-profile support slots alongside heavyweight acts such as The Cinematic Orchestra and Nabihah Iqbal. These shared stages have allowed her to expose her intricate, genre-defying soundscapes to wider, globally minded audiences, cementing her reputation as an innovative live act.
The deliberate spacing of these releases—moving from the architectural and spatial inspirations of Turbine to the intimate, collaborative reconceptions found on Leather and Brass [Retrofitted]—illustrates an artist actively diversifying her portfolio. Each release functions as a distinct chapter in a larger narrative of creative evolution, demonstrating versatility in both solo composition and collaborative synthesis.
Track Breakdown and Producer Contributions
While the full tracklist and complete sequence of Leather and Brass [Retrofitted] will not be fully unveiled until its official release on October 2nd via One Little Independent Records, the preliminary details surrounding the project point to a deeply textured listening experience.
The lead single, Do I Know [Rachika Nayar Edit], sets a high standard for the EP. Rachika Nayar, celebrated for her guitar-driven ambient textures and emotive electronic arrangements, brings a distinct sonic palette to Sijya’s original work. By prioritizing emotional resonance and intricate layering, Nayar’s edit strips away any unnecessary sonic clutter, leaving behind an expansive, breathing atmosphere that underscores the lyrical core of the song.
Meanwhile, Sneha Khanwalkar’s impending reinterpretation of Safe promises to be a masterclass in cross-genre fertilization. Khanwalkar’s established methodology—which involves traveling across various regions of India to record indigenous instruments, environmental audio, and folk vocalists firsthand before filtering them through contemporary electronic production—complements Sijya’s own penchant for sonic exploration. The intersection of Sijya’s contemporary electronic sensibilities with Khanwalkar’s anthropological approach to sound gathering represents one of the EP’s most anticipated creative collisions.
Rounding out the known contributors is Molina, whose reworking of I only want to crash adds another layer of international indie-pop and electronic sensibility to the mix. Molina’s distinct production style, which frequently balances stark minimalism with infectious rhythmic hooks, ensures that the track will offer a contrasting yet complementary perspective to the collection as a whole.
Broader Implications for the Independent Electronic Scene
The release of Leather and Brass [Retrofitted] through One Little Independent Records signifies more than just a routine album drop; it reflects broader shifts in how boundary-pushing electronic music is distributed, curated, and validated on a global scale. One Little Independent, an imprint with a rich history of championing idiosyncratic, uncompromising artists, provides an ideal home for a project that defies easy categorization.
In analyzing the broader market implications of Sijya’s latest endeavor, industry observers note a growing appetite for cross-border and cross-cultural collaborations that bypass traditional Western-centric pathways of electronic music dissemination. By centering a New Delhi-based artist who actively collaborates with both North American-based experimental producers and veteran Indian sonic directors, the project rejects rigid geographic silos.
Furthermore, the deliberate choice to construct a remix EP exclusively spotlighting femme producers addresses ongoing industry conversations regarding gender representation in electronic music production and sound engineering. While statistical analyses of festival lineups, label rosters, and production credits have historically revealed systemic disparities, artist-led initiatives like Leather and Brass [Retrofitted] offer a proactive blueprint for change. By using platform autonomy to direct the spotlight toward admired peers, Sijya actively contributes to a more equitable and interconnected creative ecosystem.
Looking Ahead to October 2nd
As the electronic music community awaits the full rollout of Leather and Brass [Retrofitted], the initial reception to the Rachika Nayar edit of Do I Know suggests that the EP will garner significant critical attention across both independent music blogs and major electronic publications. The combination of Sijya’s distinct compositional framework and the varied, highly skilled interpretations of her collaborators positions the release as a vital listening experience for followers of experimental pop, ambient electronic, and left-field club sounds.
With the release date set for October 2nd, anticipation remains high for the unveiling of the remaining tracks. For an artist who has spent the past year translating the architectural scale of London’s Turbine Hall into visceral sound design, this upcoming collection of re-imaginings serves as a testament to the power of artistic community, shared inspiration, and fearless sonic reinvention.
