Blending inherited rhythms with contemporary expression, Arakavyuham charts a musical path that is both rooted and radical. A percussion fusion ensemble unlike most contemporary bands in Kerala, the band did not emerge from urban jam circuits or studio experiments, but from the corridors of Kerala Kalamandalam.
Arakavyuham draws deeply from traditional percussion practices and reimagines them through modern rhythmic sensibilities. By incorporating classical temple instruments into contemporary music, the ensemble has carved out a distinctive space, probably becoming one of Kerala’s first percussion-fusion bands of its kind.
Standing “ahead of the curve”, as founder and frontman Adithya Krishna puts it — borrowing a phrase from the film ‘Joker’ — the band cross-combines Kerala’s traditional instruments such as chenda, maddalam, thimila, idakka and elathaalam with Carnatic elements like kanjira, mridangam and morsing.
On stage, these instruments converse rather than compete, creating layered soundscapes that move seamlessly from the ritualistic to the experimental. This sonic dialogue is further expanded through world percussion instruments such as darbuka, shakers and cajón.
“Any instrument played over a long period generates noise,” Adithya reflects. “But within that noise lies rhythm — music itself.”
This philosophy, which he describes as “music within noise”, forms the conceptual core of the band’s name. Arakavyuham, he explains, signifies a ‘cluster of noise’, where varied sounds converge into structured rhythm.
The band’s journey began informally about two years ago, through jam sessions in the members’ hostel rooms at Kalamandalam. Their explorations eventually crystallised into Arakavyuham.
The initial idea was to integrate chenda with Western rhythmic styles, inspired by experiments once attempted by percussionist Mattannoor Sankarankutty Marar. “We discussed rhythmic timings within chenda, shared perspectives, debated… that collective thinking led us here,” Adithya recalls.
Tradition, however, was never compromised. Instruments such as the mizhavu follow codified conventions. Arakavyuham approaches such practices with sensitivity, blending Western rhythm structures without abandoning ritual codes.
“Perspective matters,” Adithya emphasises. “How we use these instruments matters the most when presenting music.”
Unlike many bands where members frequently change, Arakavyuham thrives on a decade-long friendship among its members — all Kalamandalam alumni of the 2013-’23 batch, many of whom now teach in temporary vacancies at the institute.
“This continuity has been our greatest strength. We know each other too well — our strengths and weaknesses. That understanding leaves no room for ego — only music,” he says.
For audiences accustomed to hearing these instruments only in classical contexts, Arakavyuham offers a refreshing perspective. Instruments like mizhavu, traditionally associated with Nangyarkoothu and Koodiyattam, find a contrasting yet respectful treatment.
Their first performance on the Kalamandalam campus received an overwhelming response, encouraging them to step onto larger platforms, including a cultural event organised by the Information & Public Relations Department at Tagore Theatre in Thiruvananthapuram.
A major turning point came with their performance hosted recently by Trivandrum Centre for Performing Arts. “We could clearly see the audience swaying to the rhythm and immersing in the music along with us,” says Adithya.
“That’s when we felt that we had arrived. After our performance, musician Shahbaz Aman, who was next in line to take stage, remarked, ‘There’s no point in presenting my programme anymore—they have rocked the stage.’”
While criticism did surface — particularly regarding playing instruments like mizhavu, chenda and idakka while wearing pants — admiration prevailed eventually. “When everyone is chasing the ‘new’, we are respectfully redefining the ‘old,’” says Adithya.
The biggest reward, he adds, is to see the ripple effect. “Recently, after one of our performances, some thimila artists and students told us they realised that the instrument need not be confined only to Panchavadyam,” he says. “There is a lot of joy in sharing realisations, possibilities.”
Arakavyuham is set to launch their first album’s new track titled ‘Kaigi’. “The song depicts the unique bond between Krishna and Kuchelan. We have drawn inspiration from the Kuchelavritham Vanchipattu. Currently we are working on the video,” says Adithya. “It’s a self-financed project, fuelled solely by friendship and passion for music.”