Tarana Komorebi’s (popularly known as Komorebi) latest album, The Fall, is her dream project in multiple ways. For one, it draws on her childhood ideas of a futuristic character. It realises a concept she imagined in her early 20s. It is an ambitious album with surreal electronic sounds and sci-fi visuals made with Unreal Engine, a 3D game creation platform. But dream is the operative word of Komorebi’s creation mainly because she has tried to build a world that seems removed from reality yet somehow rooted in it.
The protagonist of The Fall, Kiane, is a space traveller inhabiting a universe different from ours. She is a mix of several female characters from pop culture, like Aloy from the game Horizon Zero Dawn and Beatrix Kiddo from Quentin Tarantino’s Kill Bill. She encapsulates the complexity and strength found in these characters. Yet there is also a bit of Tarana in Kiane.
“The inspiration behind my music lies in my life experiences. In translating these experiences into art, I created a fictional character and crafted a unique narrative that mirrors, yet diverges from my journey. This character, though similar to mine, embarks on a distinct path of self-discovery and growth,” she says over a call from New Delhi, where she is getting ready for a multi-city tour, beginning in Bengaluru on January 19.
As a younger performer, tapping into the stage energy was not effortless for her. After a decade in the industry, however, Komorebi is more comfortable connecting with a live audience. “Recently, after a month away from playing and navigating life, I’ve discovered the healing nature of performing music. The experience brings me a deep sense of well-being and excitement. It’s both thrilling and comforting for me.”
The album is not just about the music; it’s a story told through sounds and images. In fact, the music video for ‘I Grew Up’ has over 25 visual credits, including VFX, CG, animation, and more. She can only have some of these elements on stage. But Komorebi promises to make the upcoming live shows as immersive as possible. “We are trying to bring the album to life through a combination of visuals and carefully crafted costumes. We’re delving into stage design and production to enhance the overall atmosphere,” she says.
Dual identity
In the age of curated feeds and filtered realities, Komorebi prompts a discussion of artistic identity. She navigates the social media landscape, crafting a distinct online persona that pulsates with neon dreams and sci-fi narratives. “The Tarana at home differs from the one embodied as Komorebi.”
Beneath the digital facade lies a complex truth: Komorebi is not just an online persona but a deliberate choice, a facet of the multifaceted Tarana. This duality, she confesses, is both liberating and fraught with tension. The online and offline stage becomes a canvas where she can paint with vibrant self-expression, shedding societal expectations and embracing performative fantasy. Yet, the spotlight also casts harsh shadows, raising the question of authenticity in a world obsessed with curated perfection. There are always the questions of ‘who we are?’ and ‘who we want to be?’
Komorebi’s journey reflects the ongoing dialogue among artists in the digital age. How do we balance the yearning for self-expression with the pressures of public visibility? Can authenticity truly exist when filtered through the lens of social media algorithms and audience expectations? These questions resonate deeply with Komorebi, adding complexity to her artistic journey. In her songs, she does not shy away from this duality; she embraces it.
Komorebi is not the first artist to have dual identities (she’s influenced by people like Bjork, David Bowie, and Grimes), and she won’t be the last.
Collaborations and music style
“Genres are more like guidelines than walls,” says Komorebi. While electronic beats form the foundation, her unique vocal style and recurring themes bind her sonic universe. Influences range from the synth-laden choruses of the 80s and 90s to the pulsating rhythms of contemporary trip-hop, pop, and alternative.
Beneath the vibrant melodies lies a melancholic thread, reflecting Komorebi’s personal experiences with family, love, and the struggles that have shaped her. This somberness, mirrored in Kiane’s story, is not an indulgence in despair; it’s a bittersweet ballad that carries an undercurrent of hope.
The Fall features collaborations with indie stars, including Easy Wanderlings lending flute and harmonies, Warren Mendonsa on electric guitar, and Dhruv Visvanath on acoustic.
Collaboration, she reckons, serves as a vital counterpoint to the potential isolation of creative exploration. “Spending too much time in your own head can lead to myopia,” she admits, “A collaborator brings a refreshing energy that can broaden the boundaries of the canvas.” This is not a collision but a deliberate infusion of perspectives. It is not about adding noise but weaving another thread into the album’s tapestry to enrich its texture.
“Every note and beat, becomes a building block in Kiane’s journey, and each collaborator adds a unique flavour to that narrative.”
In a world that often feels isolating, Komorebi wants her music to remind us that we are not alone. “The ultimate joy for an artist is when a listener connects deeply with a song, expressing that it helped them navigate their struggles,” she says, “Receiving messages from people who share that my music has positively impacted their lives is a profound and fulfilling experience. It highlights the unique ability of music to touch lives, forging a connection even without physical interaction.”