February 19, 2026 • 33 mins
Tonight’s episode takes us to the intersection of orchestration and pop innovation with composer and producer CR Srikanth 🎼✨. As the founder of VS Pop™ Records, he blends Indian classical traditions, orchestral scoring, and electronic dance elements into a genre-defying sound. We explore his unique composition process that begins with sheet music, his Berklee scoring background, and the philosophy behind his trademark VS Pop™ Sound 💃🎧. From charting on Spotify Local Pulse to conducting real-world social experiments with his music, this conversation dives deep into creativity, persistence, and building a brand without label pressure. 🔥🎶
https://music.apple.com/us/artist/cr-srikanth/1763874820
https://open.spotify.com/artist/16N9BJJPufgA3rnpQ06iSa?si=NWfM25ihRGCGZkTSOEg3vw
https://www.instagram.com/crsrikanth_creator_vspop/
https://open.spotify.com/track/7dSHzab0vn7Ua28hmVQ2Oh?si=dcf2fba5bbf64186
Become a supporter of this podcast: https://www.spreaker.com/podcast/vigilantes-radio-live--2166168/support.
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Episode Credits:
Produced, edited, mixed, and written by Demetrius "Whodini Blak" Reynolds, Sr.
Artwork designed by Demetrius "Whodini Blak" Reynolds, Sr.
Show Introduction by Kate
Segment jingles composed & produced by Demetrius "Whodini Blak" Reynolds, Sr.
Additional music licensed through 7th Sign Recordings
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To support our show, please leave reviews, ratings, or you can help fuel the passion over at buymeacoffee.com/vigilantesradio
Email us at onlyonemgt@gmail.com or vradio@onlyonemediagroup.com
https://music.apple.com/us/artist/cr-srikanth/1763874820
https://open.spotify.com/artist/16N9BJJPufgA3rnpQ06iSa?si=NWfM25ihRGCGZkTSOEg3vw
https://www.instagram.com/crsrikanth_creator_vspop/
https://open.spotify.com/track/7dSHzab0vn7Ua28hmVQ2Oh?si=dcf2fba5bbf64186
Become a supporter of this podcast: https://www.spreaker.com/podcast/vigilantes-radio-live--2166168/support.
Vigilantes Radio Live! by The Only One Media Group ℗©2025
Episode Credits:
Produced, edited, mixed, and written by Demetrius "Whodini Blak" Reynolds, Sr.
Artwork designed by Demetrius "Whodini Blak" Reynolds, Sr.
Show Introduction by Kate
Segment jingles composed & produced by Demetrius "Whodini Blak" Reynolds, Sr.
Additional music licensed through 7th Sign Recordings
Links:
onlyonemediagroup.com
https://www.instagram.com/vigilantesradio/
https://www.iheart.com/podcast/966-vigilantes-radio-live-29999229/
https://www.instagram.com/whodiniblakin3d/
https://www.imdb.com/title/tt26009230/
To support our show, please leave reviews, ratings, or you can help fuel the passion over at buymeacoffee.com/vigilantesradio
Email us at onlyonemgt@gmail.com or vradio@onlyonemediagroup.com
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Speaker 1 (00:00):
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(00:27):
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Enjoy the show. Ladies and gentlemen. Please welcome your host
Demitrius who Demi Black Reynolds. Enjoy the show.
Speaker 3 (00:47):
Hey, Hey, Hey, what's going on? Guys. Welcome to another
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(01:08):
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about to dive deep into another interview. Before I bring
my guests on, I do want to say, don't lose sight.
This is the frequency of the fearless. You know, some
artists chase trends, others compose movements. In a world of shortcuts,
(01:31):
loops and rushed releases, there are still creators who begin
with sheet music, who start with the structure, who build
sound like architects build cathedrals. Tonight's guests didn't just make
a dance song. He engineered an experienced from Berkeley film
(01:52):
scoring to Orchard School archives, from Indian classical traditions to
modern electronic pop, from flute must tills to chart and
playlists in San Jose. This is not accidental music. This
is intentional sound. Because when creativity is guided by discipline,
(02:13):
and discipline is guided by vision, innovation becomes inevitable. And
that's what's happened when you refuse to follow formulas and
instead create your own. Sitting at your sound You're not
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This is revival for your mind, body, and spirit. This
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Well, let's go, let's go.
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Speaker 3 (03:30):
Yo yo, yo again again. Welcome to the show. You're
listening to VRL. That is Vigilantes Radio live right here
on iHeartRadio, and I am your host, Deani. Our interviews
are designed to go beyond of music, news, books, art, acting, films, technology, education, entrepreneurship, entertainment, spirituality,
(03:50):
and sometimes even past that thing that we call the ego.
Our interviews are designed to go behind the scenes into
the minds of these brilliant people, you know, the ones
who are out there giving it. They're all for me,
for you, and for the world. Well, ladies and gentlemen.
He's a composer, producer and founder of v S which
(04:13):
stands were Very Smooth Pop Records LLPs, and the creator
of the vs Pop brand. With the background and film
and television scoring from Berkeley College of Music. Dr Street
Cunt merges orchestral composition, Indian classical traditions electronical pop into
(04:34):
a genrealist, sitting ature sound known as the VS Pop sound.
His latest single, So Let's Dance showcases a composition process
rooted in sheet music and innovation. So please join me,
insaying welcome friend to ce R. Hey, Hey, hey, welcome
(04:54):
to the show.
Speaker 1 (04:56):
Hey, Hi, how are you today? A great day today? Yeah,
I know it's a first day, but it's a good day. Yeah.
Speaker 3 (05:06):
Oh yeah, it is a good day. I woke up,
so it's a fantastic day. Yeah all right. Well, uh
cr we are super excited to have you here with
us today and to dive into everything that you have
going on. So before we really just dive deep into
(05:27):
that stuff, what's been on your heart and mind lately?
As a composer who was blending traditions with modern pop
through the VS Pop sound, Basically.
Speaker 1 (05:42):
I don't treat the sounds as a different sounds, so
I treat all sounds as a similar sound. So maybe
that is the crazy or madness I have. So that's
the reason from pop to yes pop. I actually I
have blended the songs in a way which I wanted
(06:02):
to orchestrate with. So this is a kind of experiment
which I'm doing right now. I'm not sure how I'm
going to succeed, but yeah, this is how I started.
But yeah, traditionally I start with mister sheet music and
then layers the soundtrack and after that I compose with
(06:26):
a spot I blended to be a pop song and
making it as a very smooth pop song, very smooth
pop track.
Speaker 3 (06:34):
Yeah. So why did you call it madness or crazy?
Is it the method that you're using?
Speaker 1 (06:41):
Yes, yeah, yeah, because not many like a lot of
producers have pressure, like to deliver the things to deliver,
to deliver a good song. But I don't have the
pressure to deliver. So I just work with my your timeline,
and I just walk with my uh walk what what
(07:04):
my heart says basically, So that's a kind of passion
God it is.
Speaker 3 (07:09):
Yeah, yeah, yeah, So cr I was a rapper singer
years many years back. But I also have a background
in Symphonic band, marching band, so I know how to
read and write music. And I remember in the studio
sessions just talking with the producer or the engineer at
the time and I would tell him time signatures and
(07:32):
you know, beats per measure, and it was like, what
are you talking about? And I said, oh, you don't
know theory. I was like, no, no, we just know
what sounds good. I was like, I said, but what
if you knew the science behind the sound, not only
just what sounds good to your ears, but hearing a
sound and knowing where that sound came from or how
(07:53):
to duplicate that sound, and everyday items around the house.
You know, you could use a spoon and you know,
get a certain note out of it or a certain tune.
And they were just like, man, what are you talking about.
Speaker 1 (08:06):
So I generally develop a tune of sound basically the
conversations which I have or the memories which I have
in my childhood or in the recent past. So basically
you have a lot of observation power, like look at
the people in a closed angle, and I mimic the
(08:26):
things a lot. Actually, So for example, you speak, you
speak a circndiction and I can just mimic you like that.
So that's how I developed my sound technology. Wow that
sounds interesting. Yeah, yeah, the energy level is converted to
a sound rather than mimicking the same.
Speaker 3 (08:47):
Yeah, so I want to get into why you decided
to go genreless, but before that, like, how did you
get involved into music?
Speaker 1 (08:58):
At the age of eight, I started love in India. Actually,
so I was born brought up in a remote village
in India. I started with my pressure from my grandmom
actually started picking up an instrument called veena, which is
(09:18):
called as a goddess Saraswati instrument. It is called as
sat the musical instrument. So yeah, I started with that instrument,
learning that instrument as well as with vocal and I
gave up after thirteen years and till thirty one, I
(09:39):
never looked at music. But the strange thing happened at
my life at twenty four twenty five, I don't remember,
I heard some beethou and sounds when I went to
some kind of meditation class. And I don't know how
much meditation I got it, but I completely I can
one hundred percent say that I got completely trans from
(10:00):
into a Western classical. I got completely transformed into the
Western music sheet, the Western notation. I got completely massionarized
with that kind of sounds. Basically, yeah, this is the
sounds which I wanted to make in my life and
at any cost, I have to make it. So that's
(10:21):
the reason it kick started that way again, you know,
like four twenty five is like taking a job. Pressure
from pressure to earn money and all. And when I
got into my early thirties, I started picking violin. I
picked violin, played for quite a few years and after that.
(10:43):
But my englanation is made mainly towards sheet music, so yeah,
and composition basically the music composition, So I tried to
emulate the sounds what deserven or was that make and
especially the fatuit Shopen's uh Ryan drops has inspired me
(11:04):
a lot and be then for less definitely not to
forget that. And Mozart pieces, a lot of pieces like
Takish marchand or actually their gout inspired me to drive
on this. And uh, I used to write the same
short of music because I said, I said I had
a lot of observation power. I did that. Actually I
(11:24):
tried to write a sheet music so yeah, set music
has become a lot of old stuff, and it's become
pure academic rather than becoming as rather than it is
a regular commodity music. So what I uh, the strange
thought I got is like why can't I use my
(11:45):
sheet music for a card progressions, So I meant it
that way. I took a pop music trumplet and I
tried to put I tried to emulate the sounds whatever
from my sheet music, and I try to put that
same in the template and try to an experimented well yeah,
(12:05):
you know, like a lot of the sixteen seventeen Samers
Holloway Edition experiments. For that, I try to at least
get into a good shape, like I've got got a
good sounds to means, at least the sounds which say
people can hear. So yeah, that's how my journey started.
And I'm just still continuing Spotify today, sorry this year,
(12:30):
but yeah, and still continue.
Speaker 3 (12:33):
All right? Right? Uh you mentioned that, you know, you
invested thirteen years you know, prior to this and to
that craft learning and instrument and then you quit. Why
did you quit? Was it a burnout or you just
needed to focus on you know, career and making money.
Speaker 1 (12:53):
Yeah, so career and make is the correct statement. So yeah,
so but is it the passion ever died in me?
So that's that's why I'm still making music today.
Speaker 3 (13:07):
Nice? Nice, So out of all of this, create a
system called vspop now is this system just for you
or is it for sale for the not only the
music industry, for consumers in the public.
Speaker 1 (13:24):
It's for consumers in public as well. Protectulated it as
a brand because which I found it as a brand
basically right now. So the technique is very simple. So
instead of using I told you like the hack behind
this is just to remove your one four five and
(13:45):
one six one two five one card progressions and try
to embed your own sheepet music and try to in
your sheet music. Also, don't try to write like watches
some kind of sheet but try because I know I
(14:05):
got an experience or I got a learning experience in
the Indian system of music as well, like Carnatic and
hinderstudy styles of music. So what I try to do
is basically I in the sheet music itself, I played
with all sort of the the the raga influence. I
(14:27):
tried to put that in that in my sheet music.
Then I tried to put that in the pop songs
based upon the mood and the genre.
Speaker 3 (14:37):
Yes, yes, yes, So let's talk about the making of
Soult's dance. Our listeners may not know, but this was
a three month creation process step by step, so a
lot of time went into this, this this sound, this song.
The track leans into dance pop on the surface. Yees.
(15:00):
The foundation comes from orchestral motives, flute structures. Could can
you walk us through the creation process?
Speaker 1 (15:07):
Yeah? Absolutely So this track the ship Music, I created
in nineteen sorry two, nineteen twenty eighteen, I don't remember exactly,
so I named it as the Truth. In the beginning,
I started as a piano score and just tried to
emulate that in a Pazadian mode of D minor. I
(15:32):
took the scale as D minor and I tried to
do all sort of I wanted to embed raga called
tody in Carnatic music, and I exactly blended that way
into the same raga structure. So I just made it
as a piano piece and I left it behind. I
(15:55):
didn't pick that at all. Actually, so after quite a
few years, I got an idea like, so this is
sounding like an Arabic phrasing world. So what I did
is actually I tried to make I created a track
called the Dessert Jahati. In Saskrit, it's called jahati. So
(16:18):
I tried creating that like a dessert track or desert.
What it called the Desert field kind of music actual,
so that worked well. I got that the standalone music
has got a good response, and after that I sent
(16:41):
it for a couple of few competitions as well, especially
for Heavier City. You know, if you know the company
which makes some mutual missions. I sent it for a competition,
so they got a good acknowledgement of that one as well.
And after that in twenty twenty six, twenty twenty five,
actually I try I got inspired with Bob Marley reggae tracks,
(17:04):
and I see that this is an absolute fit for
a reggae mode because it has a lot of things
like it has an Arabic structure and an ingle style
as well, and by going to be too a reggae
track with this reggaeton track with this, So I sent
it to my songwriter, Hey, hey, you're going to do
this as a reggae tun track. He got surprised. No, no, no,
(17:26):
I can't do this. So I can't try a song
for this one. I convinced him and before for almost
one to two months, So you have to do this.
You try to try this. I know it's going to
work for you definitely.
Speaker 3 (17:40):
So he gave.
Speaker 1 (17:41):
A first sample and I heard the first sample, so
that's not really convincing, and I requested for a lot
of alterations and that actual So after getting five to
six alterations, we got it into the shape that at
least people can put the tap their foot with this song.
(18:03):
So yeah, that's song. The song really got a good reception,
and yeah, the song is still going on sport Spotify,
the thirty five k streams and a lot of a
lot of a lot of the influencers took this as
a dance challenge as a took this as a hook step,
(18:25):
and a lot of popular choreographers took this as a
made a hook step with this one, and yeah, a
lot of influencers using this and then in the daily
called the rails in studios.
Speaker 3 (18:41):
Yeah, that is amazing, and congratulations on the number of
screens that you have received and also the feedback. You
also did a social experiment and audience psychology. You conducted
a real world social experiment by blending your track into
live play. This ed events. See or what surprised you
(19:04):
the most about audience reactions?
Speaker 1 (19:08):
Yeah, the social experiment. First, I'll explain you what kind
of social experiment I did. Is like it's a simple thing.
Actually I'll take my friend. I offered a write to
my friend. Okay, so let's go to some party kind
of thing. And I played some kind of uh the
(19:28):
songs which has the playlist which contains Delipha and h Excheran,
and I secretly kept my songs in that actually so
the prey playlist. And I never asked him. So I
observed him that his mind got his mind did not
get distracted with the songs when he when he accidentally
(19:50):
listened my songs. So when he accidentally came and listened
to the songs, I asked, after after we get out
of the car vehicle, Actually, what I asked him, how
do you define this song? He said, yeah, they're pretty good,
he said, yeah, he's you know, who are all involved
in this? He said, he said, these are all Jewelry
(20:12):
Fund and a few other artists, but everything is good. Actually,
he said, do you do you know like there are
few of my song? He said, you got really astonished,
really surprised, is it you really kind of expression he
started showing that. So that said, actually, so that's how uh,
(20:34):
And then I understood, like, yeah, this is how, this
is how it's going to work. So this is the
first social experiment I conduct, and for this song, also
I am doing the same thing. I did the same
thing actually, so I got a good reception for that. Nice, nice, nice,
all right. So many artists feel pressure to release quickly.
(20:56):
You take months per track. Why is patience a part
of your artists artistic philosophy? That's actually a good question. Basically, Well,
I do have pressure to release the songs because my
primary job is different and music is a passionable subject
(21:18):
for It's a passionate subject for me, and I don't
treat music as a different ecosystem compared to the compared
to my work, or compared to my anything which I do.
And music is integral part of my life basically, And
I feel like whenever I get the best of the
(21:38):
best songs and only I will try to release the songs.
I made a lot of other songs as well. I
have around two hundred to three hundred compositions in my career,
but I'll just try to lend them unless and until
it means, you know, like how an architect or sculpture sculptures,
(22:02):
a statues and all of it. So that's how I
try to blend the songs in the most desirable way
which I need. And if I feel that it is
good to release until it is good to do a
social experiment, then only I'll try to do, try to
do the songs. Otherwise I'll keep it, keep it for
(22:22):
the reusable art. Yeah, I'll keep it as a compostible man.
It can be re used in laterally.
Speaker 3 (22:31):
That all right, All right, guys, are you ready for
some music? We have? So less dance and then we'll
be right back to see art in our traditional hot
seat where he can perform for us if he wants to.
He could sing, he could wrap, tell us a poet,
spoken word, a joke, give some inspiration, some advice, tell
(22:56):
us story, play instruments, or do nothing at all. That
is cool as well. But for right now here it
is so let's dance. Stay tuned.
Speaker 7 (23:41):
Here we go, my myself, don't misbehave. But I just
wanted to dance and when to the club? Just me
a not. I just wanted to feel free. Us explain like,
tell me feeling free? I fell sor right? Don't we go? Oh?
Speaker 3 (23:59):
No?
Speaker 7 (23:59):
So done in the moment.
Speaker 8 (24:02):
Nothing to the speed on the b we can with
the do the rules, but the misky gap to the night.
So that's stayns a round, Babe, Labor, last space, Take
(24:27):
us up the babe, Labor lest.
Speaker 9 (24:32):
Spaceglows around.
Speaker 7 (24:38):
Labor Labor.
Speaker 9 (24:40):
Let's space.
Speaker 7 (24:42):
Square on this card. I want to dance right now.
The must have domos behave, but I just wanted to body.
So where to the club? Trust me, Amo boy, I
just want being me mooger buddy bography feeling good. It
(25:04):
fell survive. Let's still not tonight, look done in the moment.
Nothing to speed on the time.
Speaker 8 (25:13):
We can't respect of the rules, but the musky gutnice
the night. So last day.
Speaker 7 (25:26):
Likes a round Labor Labor, last day, take us up
the door.
Speaker 9 (25:38):
Baby Labor, fast day like a run, Babe, babe, last day.
We're going on this pad. I want to dance ring
now around, We're going ald this now.
Speaker 7 (26:27):
I want to dance dance running now.
Speaker 3 (26:33):
All right, all right again, that was so let's dance.
That was an incredible record. I love that, love that song.
All right, Let's go ahead and bring c R back. Hey, Hey,
your back live with us and in our hot seats?
Are you going to perform for us?
Speaker 1 (26:55):
I'm fussing that my back, but I can sing your
two lines for you definitely. Mama said, don't miss behave,
but I don't, but I want to dance. Yeah, sorry
for my voice today.
Speaker 3 (27:12):
Sorry, it's all right. So but I definitely.
Speaker 1 (27:20):
Advice to the new composers or who are who wanted
to take music as a career, so that definitely I
want to speak on them. You have che do you
want me to do?
Speaker 3 (27:34):
Definitely? So yeah.
Speaker 1 (27:38):
So basically music from all parts of the world, wherever
you go, it's the same thing. Don't treat music. You
should treat music as the same, similiar or what do
you call it you treat You should treat music as
music everywhere in the world. It's not a different it's
(28:00):
not different. It may be represented as different things, different
different in different areas, but music is save. Music is
only one. It's the only universal language. So that's how
I believe. That's my philosophy of making music. So otherwise,
if I think that I can't make a pop song,
that definitely in my life, I can't make a pop song.
(28:22):
If I think I don't, I can't write an orchestral score, Definitely,
I can't even write. It's just tons of music which
you have and the representation skills et cetera.
Speaker 3 (28:34):
I love it, I love it. Before we let you go.
Your mantra is never give up, keep thinking. How does
that mindset translate into your daily creative routine.
Speaker 1 (28:49):
Actually, my role of job is a programmer. Basically my
primary job is so I think I learned that manthra
from that. Because you have a deliverable pressure, like the
program doesn't work, definitely, you're going to be screwed up.
So definitely I'm going to lose my job. So I
(29:12):
think I developed it from there. That's a good lining.
Never give up absolutely all right.
Speaker 3 (29:20):
Where can our listeners connect with you on the internet
and check out more music?
Speaker 1 (29:26):
Thank you?
Speaker 3 (29:31):
Yes? Where can our listeners listen to more music by
you on the internet?
Speaker 1 (29:37):
Oh yeah, you can check out in my Spotify with
the name see our space Freecam, as well as YouTube
the same name see our space Srik and thh. And
you can connect me on Instagram with the same name
c r space Srik andh. So yeah, you do a
simple Google search. Definitely, you can get a list of
(29:59):
all channels where I am right now, and you can
listen to my music there.
Speaker 3 (30:04):
All right, awesome, awesome, awesome listeners. Just in case you
didn't get those links, No worries. I will have them
in the description of this episode and in the show notes,
So all you guys have to do is just click
the links. See R Street Cunt reminded us that true
innovation and music doesn't start with trends. It starts with intention.
(30:27):
From sheet music to screaming charts, from rscery scroll archives
to dance floor energy, from cultural fusion to a trademark
signature sound. This is what happens when discipline meets creativity.
So be sure to scream. So let's dance vs Pop
on all major platforms and follow cr shree Cunt and
(30:49):
the vs Pop brand for more genre defining releases. If
this conversation inspired your creative mindset, make sure you share
this episode, describe to Vigilantes Radio line and stay locked
in into the frequency of the fearless, where innovation, culture
and purpose collide. We appreciate you so much, CR, Thank you,
(31:11):
Thank you. Have a nice day, Good day YouTube, Take care.
Speaker 4 (31:15):
Peace to all.
Speaker 3 (31:17):
My name is Deni and I am the host of
Vigilantes Radio Live. I think that we are beyond just.
Speaker 4 (31:27):
Asking cool questions and getting cool responses.
Speaker 3 (31:32):
I think that we are here.
Speaker 4 (31:33):
As creatives to provide an example that you can do
things different outside of expectations because some of us simply
we're not born into the club. But there is perhaps
a door window or back games that we.
Speaker 3 (31:53):
Can leave a fo for you to get into.
Speaker 4 (31:57):
Life is short, but there are plenty of us to
try and get it right.
Speaker 5 (32:03):
Pursuing your dreams and learning from mistakes maybe tough, but
regret is tough. To book your interview, Email us at
the radio at only one media group dot com. That's
a lead as a victorious or visit only one.
Speaker 3 (32:21):
Media group dot com.
Speaker 4 (32:24):
I'm counting on you, Heaven. We all are counting to
step into your purpose and your passion. You're listening to
Visilanties Radio Live, iHeartRadio providing you with an opportunity.
Speaker 3 (32:39):
To die Pabor.
Speaker 7 (33:00):
Mamma said behave, but I just wanted.
Speaker 1 (33:05):
You.
Speaker 2 (33:06):
And now listening to vigil Lances Radio, the people's choice
for quality interviews, art, music and heart topics, hosted by
Demetrious Houtini Black Reynolds. All episodes of this podcast are
available for free download at www. Dot only one media
group dot com.
This is an iHeart podcast guaranteed human.
Speaker 2 (00:04):
You are now listening to Vigilantes Radio, presented by the
only one media Group. This is the people's choice but
quality interviews celebrities and special guests hosted by Demitrius Danny Reynolds.
Call in to join the mix at seven oh one,
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(00:27):
sures like us on Facebook at Vigilantes Radio. We welcome all.
Enjoy the show. Ladies and gentlemen. Please welcome your host
Demitrius who Demi Black Reynolds. Enjoy the show.
Speaker 3 (00:47):
Hey, Hey, Hey, what's going on? Guys. Welcome to another
incredible episode of Vigilantes Radio live right here on iHeartRadio,
and I am your host AINI. We have another special
guests for you. Guys. You could definitely want to stick
around for that, and as a matter of fact, text
your buddies, your family members are even shared on social
(01:08):
media rights now and let them know that we are
about to dive deep into another interview. Before I bring
my guests on, I do want to say, don't lose sight.
This is the frequency of the fearless. You know, some
artists chase trends, others compose movements. In a world of shortcuts,
(01:31):
loops and rushed releases, there are still creators who begin
with sheet music, who start with the structure, who build
sound like architects build cathedrals. Tonight's guests didn't just make
a dance song. He engineered an experienced from Berkeley film
(01:52):
scoring to Orchard School archives, from Indian classical traditions to
modern electronic pop, from flute must tills to chart and
playlists in San Jose. This is not accidental music. This
is intentional sound. Because when creativity is guided by discipline,
(02:13):
and discipline is guided by vision, innovation becomes inevitable. And
that's what's happened when you refuse to follow formulas and
instead create your own. Sitting at your sound You're not
just here for a talk show. And this isn't just radio.
This is revival for your mind, body, and spirit. This
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is Vigilantes Radio Live. My name is Coach Dini, and
change is possible. Are you ready?
Speaker 4 (02:46):
Are you ready?
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Are you ready to read?
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Are you ready?
Speaker 3 (03:03):
Well, let's go, let's go.
Speaker 6 (03:05):
You're listening to the Bigelanes podcast on iHeartRadio. I'm mo
founder and owner of Noah Guy Heating and air Conditioning.
We're giving away twelve free HVAC systems this year and
if you are so many, no needs one. Apply now
at noa guisvac dot com to go this mission. We're
also seeking sponsors and donations, so let's change lives, one
(03:26):
system at a time. This is dig Lany's podcast on iHeartRadio.
Speaker 3 (03:30):
Yo yo, yo again again. Welcome to the show. You're
listening to VRL. That is Vigilantes Radio live right here
on iHeartRadio, and I am your host, Deani. Our interviews
are designed to go beyond of music, news, books, art, acting, films, technology, education, entrepreneurship, entertainment, spirituality,
(03:50):
and sometimes even past that thing that we call the ego.
Our interviews are designed to go behind the scenes into
the minds of these brilliant people, you know, the ones
who are out there giving it. They're all for me,
for you, and for the world. Well, ladies and gentlemen.
He's a composer, producer and founder of v S which
(04:13):
stands were Very Smooth Pop Records LLPs, and the creator
of the vs Pop brand. With the background and film
and television scoring from Berkeley College of Music. Dr Street
Cunt merges orchestral composition, Indian classical traditions electronical pop into
(04:34):
a genrealist, sitting ature sound known as the VS Pop sound.
His latest single, So Let's Dance showcases a composition process
rooted in sheet music and innovation. So please join me,
insaying welcome friend to ce R. Hey, Hey, hey, welcome
(04:54):
to the show.
Speaker 1 (04:56):
Hey, Hi, how are you today? A great day today? Yeah,
I know it's a first day, but it's a good day. Yeah.
Speaker 3 (05:06):
Oh yeah, it is a good day. I woke up,
so it's a fantastic day. Yeah all right. Well, uh
cr we are super excited to have you here with
us today and to dive into everything that you have
going on. So before we really just dive deep into
(05:27):
that stuff, what's been on your heart and mind lately?
As a composer who was blending traditions with modern pop
through the VS Pop sound, Basically.
Speaker 1 (05:42):
I don't treat the sounds as a different sounds, so
I treat all sounds as a similar sound. So maybe
that is the crazy or madness I have. So that's
the reason from pop to yes pop. I actually I
have blended the songs in a way which I wanted
(06:02):
to orchestrate with. So this is a kind of experiment
which I'm doing right now. I'm not sure how I'm
going to succeed, but yeah, this is how I started.
But yeah, traditionally I start with mister sheet music and
then layers the soundtrack and after that I compose with
(06:26):
a spot I blended to be a pop song and
making it as a very smooth pop song, very smooth
pop track.
Speaker 3 (06:34):
Yeah. So why did you call it madness or crazy?
Is it the method that you're using?
Speaker 1 (06:41):
Yes, yeah, yeah, because not many like a lot of
producers have pressure, like to deliver the things to deliver,
to deliver a good song. But I don't have the
pressure to deliver. So I just work with my your timeline,
and I just walk with my uh walk what what
(07:04):
my heart says basically, So that's a kind of passion
God it is.
Speaker 3 (07:09):
Yeah, yeah, yeah, So cr I was a rapper singer
years many years back. But I also have a background
in Symphonic band, marching band, so I know how to
read and write music. And I remember in the studio
sessions just talking with the producer or the engineer at
the time and I would tell him time signatures and
(07:32):
you know, beats per measure, and it was like, what
are you talking about? And I said, oh, you don't
know theory. I was like, no, no, we just know
what sounds good. I was like, I said, but what
if you knew the science behind the sound, not only
just what sounds good to your ears, but hearing a
sound and knowing where that sound came from or how
(07:53):
to duplicate that sound, and everyday items around the house.
You know, you could use a spoon and you know,
get a certain note out of it or a certain tune.
And they were just like, man, what are you talking about.
Speaker 1 (08:06):
So I generally develop a tune of sound basically the
conversations which I have or the memories which I have
in my childhood or in the recent past. So basically
you have a lot of observation power, like look at
the people in a closed angle, and I mimic the
(08:26):
things a lot. Actually, So for example, you speak, you
speak a circndiction and I can just mimic you like that.
So that's how I developed my sound technology. Wow that
sounds interesting. Yeah, yeah, the energy level is converted to
a sound rather than mimicking the same.
Speaker 3 (08:47):
Yeah, so I want to get into why you decided
to go genreless, but before that, like, how did you
get involved into music?
Speaker 1 (08:58):
At the age of eight, I started love in India. Actually,
so I was born brought up in a remote village
in India. I started with my pressure from my grandmom
actually started picking up an instrument called veena, which is
(09:18):
called as a goddess Saraswati instrument. It is called as
sat the musical instrument. So yeah, I started with that instrument,
learning that instrument as well as with vocal and I
gave up after thirteen years and till thirty one, I
(09:39):
never looked at music. But the strange thing happened at
my life at twenty four twenty five, I don't remember,
I heard some beethou and sounds when I went to
some kind of meditation class. And I don't know how
much meditation I got it, but I completely I can
one hundred percent say that I got completely trans from
(10:00):
into a Western classical. I got completely transformed into the
Western music sheet, the Western notation. I got completely massionarized
with that kind of sounds. Basically, yeah, this is the
sounds which I wanted to make in my life and
at any cost, I have to make it. So that's
(10:21):
the reason it kick started that way again, you know,
like four twenty five is like taking a job. Pressure
from pressure to earn money and all. And when I
got into my early thirties, I started picking violin. I
picked violin, played for quite a few years and after that.
(10:43):
But my englanation is made mainly towards sheet music, so yeah,
and composition basically the music composition, So I tried to
emulate the sounds what deserven or was that make and
especially the fatuit Shopen's uh Ryan drops has inspired me
(11:04):
a lot and be then for less definitely not to
forget that. And Mozart pieces, a lot of pieces like
Takish marchand or actually their gout inspired me to drive
on this. And uh, I used to write the same
short of music because I said, I said I had
a lot of observation power. I did that. Actually I
(11:24):
tried to write a sheet music so yeah, set music
has become a lot of old stuff, and it's become
pure academic rather than becoming as rather than it is
a regular commodity music. So what I uh, the strange
thought I got is like why can't I use my
(11:45):
sheet music for a card progressions, So I meant it
that way. I took a pop music trumplet and I
tried to put I tried to emulate the sounds whatever
from my sheet music, and I try to put that
same in the template and try to an experimented well yeah,
(12:05):
you know, like a lot of the sixteen seventeen Samers
Holloway Edition experiments. For that, I try to at least
get into a good shape, like I've got got a
good sounds to means, at least the sounds which say
people can hear. So yeah, that's how my journey started.
And I'm just still continuing Spotify today, sorry this year,
(12:30):
but yeah, and still continue.
Speaker 3 (12:33):
All right? Right? Uh you mentioned that, you know, you
invested thirteen years you know, prior to this and to
that craft learning and instrument and then you quit. Why
did you quit? Was it a burnout or you just
needed to focus on you know, career and making money.
Speaker 1 (12:53):
Yeah, so career and make is the correct statement. So yeah,
so but is it the passion ever died in me?
So that's that's why I'm still making music today.
Speaker 3 (13:07):
Nice? Nice, So out of all of this, create a
system called vspop now is this system just for you
or is it for sale for the not only the
music industry, for consumers in the public.
Speaker 1 (13:24):
It's for consumers in public as well. Protectulated it as
a brand because which I found it as a brand
basically right now. So the technique is very simple. So
instead of using I told you like the hack behind
this is just to remove your one four five and
(13:45):
one six one two five one card progressions and try
to embed your own sheepet music and try to in
your sheet music. Also, don't try to write like watches
some kind of sheet but try because I know I
(14:05):
got an experience or I got a learning experience in
the Indian system of music as well, like Carnatic and
hinderstudy styles of music. So what I try to do
is basically I in the sheet music itself, I played
with all sort of the the the raga influence. I
(14:27):
tried to put that in that in my sheet music.
Then I tried to put that in the pop songs
based upon the mood and the genre.
Speaker 3 (14:37):
Yes, yes, yes, So let's talk about the making of
Soult's dance. Our listeners may not know, but this was
a three month creation process step by step, so a
lot of time went into this, this this sound, this song.
The track leans into dance pop on the surface. Yees.
(15:00):
The foundation comes from orchestral motives, flute structures. Could can
you walk us through the creation process?
Speaker 1 (15:07):
Yeah? Absolutely So this track the ship Music, I created
in nineteen sorry two, nineteen twenty eighteen, I don't remember exactly,
so I named it as the Truth. In the beginning,
I started as a piano score and just tried to
emulate that in a Pazadian mode of D minor. I
(15:32):
took the scale as D minor and I tried to
do all sort of I wanted to embed raga called
tody in Carnatic music, and I exactly blended that way
into the same raga structure. So I just made it
as a piano piece and I left it behind. I
(15:55):
didn't pick that at all. Actually, so after quite a
few years, I got an idea like, so this is
sounding like an Arabic phrasing world. So what I did
is actually I tried to make I created a track
called the Dessert Jahati. In Saskrit, it's called jahati. So
(16:18):
I tried creating that like a dessert track or desert.
What it called the Desert field kind of music actual,
so that worked well. I got that the standalone music
has got a good response, and after that I sent
(16:41):
it for a couple of few competitions as well, especially
for Heavier City. You know, if you know the company
which makes some mutual missions. I sent it for a competition,
so they got a good acknowledgement of that one as well.
And after that in twenty twenty six, twenty twenty five,
actually I try I got inspired with Bob Marley reggae tracks,
(17:04):
and I see that this is an absolute fit for
a reggae mode because it has a lot of things
like it has an Arabic structure and an ingle style
as well, and by going to be too a reggae
track with this reggaeton track with this, So I sent
it to my songwriter, Hey, hey, you're going to do
this as a reggae tun track. He got surprised. No, no, no,
(17:26):
I can't do this. So I can't try a song
for this one. I convinced him and before for almost
one to two months, So you have to do this.
You try to try this. I know it's going to
work for you definitely.
Speaker 3 (17:40):
So he gave.
Speaker 1 (17:41):
A first sample and I heard the first sample, so
that's not really convincing, and I requested for a lot
of alterations and that actual So after getting five to
six alterations, we got it into the shape that at
least people can put the tap their foot with this song.
(18:03):
So yeah, that's song. The song really got a good reception,
and yeah, the song is still going on sport Spotify,
the thirty five k streams and a lot of a
lot of a lot of the influencers took this as
a dance challenge as a took this as a hook step,
(18:25):
and a lot of popular choreographers took this as a
made a hook step with this one, and yeah, a
lot of influencers using this and then in the daily
called the rails in studios.
Speaker 3 (18:41):
Yeah, that is amazing, and congratulations on the number of
screens that you have received and also the feedback. You
also did a social experiment and audience psychology. You conducted
a real world social experiment by blending your track into
live play. This ed events. See or what surprised you
(19:04):
the most about audience reactions?
Speaker 1 (19:08):
Yeah, the social experiment. First, I'll explain you what kind
of social experiment I did. Is like it's a simple thing.
Actually I'll take my friend. I offered a write to
my friend. Okay, so let's go to some party kind
of thing. And I played some kind of uh the
(19:28):
songs which has the playlist which contains Delipha and h Excheran,
and I secretly kept my songs in that actually so
the prey playlist. And I never asked him. So I
observed him that his mind got his mind did not
get distracted with the songs when he when he accidentally
(19:50):
listened my songs. So when he accidentally came and listened
to the songs, I asked, after after we get out
of the car vehicle, Actually, what I asked him, how
do you define this song? He said, yeah, they're pretty good,
he said, yeah, he's you know, who are all involved
in this? He said, he said, these are all Jewelry
(20:12):
Fund and a few other artists, but everything is good. Actually,
he said, do you do you know like there are
few of my song? He said, you got really astonished,
really surprised, is it you really kind of expression he
started showing that. So that said, actually, so that's how uh,
(20:34):
And then I understood, like, yeah, this is how, this
is how it's going to work. So this is the
first social experiment I conduct, and for this song, also
I am doing the same thing. I did the same
thing actually, so I got a good reception for that. Nice, nice, nice,
all right. So many artists feel pressure to release quickly.
(20:56):
You take months per track. Why is patience a part
of your artists artistic philosophy? That's actually a good question. Basically, Well,
I do have pressure to release the songs because my
primary job is different and music is a passionable subject
(21:18):
for It's a passionate subject for me, and I don't
treat music as a different ecosystem compared to the compared
to my work, or compared to my anything which I do.
And music is integral part of my life basically, And
I feel like whenever I get the best of the
(21:38):
best songs and only I will try to release the songs.
I made a lot of other songs as well. I
have around two hundred to three hundred compositions in my career,
but I'll just try to lend them unless and until
it means, you know, like how an architect or sculpture sculptures,
(22:02):
a statues and all of it. So that's how I
try to blend the songs in the most desirable way
which I need. And if I feel that it is
good to release until it is good to do a
social experiment, then only I'll try to do, try to
do the songs. Otherwise I'll keep it, keep it for
(22:22):
the reusable art. Yeah, I'll keep it as a compostible man.
It can be re used in laterally.
Speaker 3 (22:31):
That all right, All right, guys, are you ready for
some music? We have? So less dance and then we'll
be right back to see art in our traditional hot
seat where he can perform for us if he wants to.
He could sing, he could wrap, tell us a poet,
spoken word, a joke, give some inspiration, some advice, tell
(22:56):
us story, play instruments, or do nothing at all. That
is cool as well. But for right now here it
is so let's dance. Stay tuned.
Speaker 7 (23:41):
Here we go, my myself, don't misbehave. But I just
wanted to dance and when to the club? Just me
a not. I just wanted to feel free. Us explain like,
tell me feeling free? I fell sor right? Don't we go? Oh?
Speaker 3 (23:59):
No?
Speaker 7 (23:59):
So done in the moment.
Speaker 8 (24:02):
Nothing to the speed on the b we can with
the do the rules, but the misky gap to the night.
So that's stayns a round, Babe, Labor, last space, Take
(24:27):
us up the babe, Labor lest.
Speaker 9 (24:32):
Spaceglows around.
Speaker 7 (24:38):
Labor Labor.
Speaker 9 (24:40):
Let's space.
Speaker 7 (24:42):
Square on this card. I want to dance right now.
The must have domos behave, but I just wanted to body.
So where to the club? Trust me, Amo boy, I
just want being me mooger buddy bography feeling good. It
(25:04):
fell survive. Let's still not tonight, look done in the moment.
Nothing to speed on the time.
Speaker 8 (25:13):
We can't respect of the rules, but the musky gutnice
the night. So last day.
Speaker 7 (25:26):
Likes a round Labor Labor, last day, take us up
the door.
Speaker 9 (25:38):
Baby Labor, fast day like a run, Babe, babe, last day.
We're going on this pad. I want to dance ring
now around, We're going ald this now.
Speaker 7 (26:27):
I want to dance dance running now.
Speaker 3 (26:33):
All right, all right again, that was so let's dance.
That was an incredible record. I love that, love that song.
All right, Let's go ahead and bring c R back. Hey, Hey,
your back live with us and in our hot seats?
Are you going to perform for us?
Speaker 1 (26:55):
I'm fussing that my back, but I can sing your
two lines for you definitely. Mama said, don't miss behave,
but I don't, but I want to dance. Yeah, sorry
for my voice today.
Speaker 3 (27:12):
Sorry, it's all right. So but I definitely.
Speaker 1 (27:20):
Advice to the new composers or who are who wanted
to take music as a career, so that definitely I
want to speak on them. You have che do you
want me to do?
Speaker 3 (27:34):
Definitely? So yeah.
Speaker 1 (27:38):
So basically music from all parts of the world, wherever
you go, it's the same thing. Don't treat music. You
should treat music as the same, similiar or what do
you call it you treat You should treat music as
music everywhere in the world. It's not a different it's
(28:00):
not different. It may be represented as different things, different
different in different areas, but music is save. Music is
only one. It's the only universal language. So that's how
I believe. That's my philosophy of making music. So otherwise,
if I think that I can't make a pop song,
that definitely in my life, I can't make a pop song.
(28:22):
If I think I don't, I can't write an orchestral score, Definitely,
I can't even write. It's just tons of music which
you have and the representation skills et cetera.
Speaker 3 (28:34):
I love it, I love it. Before we let you go.
Your mantra is never give up, keep thinking. How does
that mindset translate into your daily creative routine.
Speaker 1 (28:49):
Actually, my role of job is a programmer. Basically my
primary job is so I think I learned that manthra
from that. Because you have a deliverable pressure, like the
program doesn't work, definitely, you're going to be screwed up.
So definitely I'm going to lose my job. So I
(29:12):
think I developed it from there. That's a good lining.
Never give up absolutely all right.
Speaker 3 (29:20):
Where can our listeners connect with you on the internet
and check out more music?
Speaker 1 (29:26):
Thank you?
Speaker 3 (29:31):
Yes? Where can our listeners listen to more music by
you on the internet?
Speaker 1 (29:37):
Oh yeah, you can check out in my Spotify with
the name see our space Freecam, as well as YouTube
the same name see our space Srik and thh. And
you can connect me on Instagram with the same name
c r space Srik andh. So yeah, you do a
simple Google search. Definitely, you can get a list of
(29:59):
all channels where I am right now, and you can
listen to my music there.
Speaker 3 (30:04):
All right, awesome, awesome, awesome listeners. Just in case you
didn't get those links, No worries. I will have them
in the description of this episode and in the show notes,
So all you guys have to do is just click
the links. See R Street Cunt reminded us that true
innovation and music doesn't start with trends. It starts with intention.
(30:27):
From sheet music to screaming charts, from rscery scroll archives
to dance floor energy, from cultural fusion to a trademark
signature sound. This is what happens when discipline meets creativity.
So be sure to scream. So let's dance vs Pop
on all major platforms and follow cr shree Cunt and
(30:49):
the vs Pop brand for more genre defining releases. If
this conversation inspired your creative mindset, make sure you share
this episode, describe to Vigilantes Radio line and stay locked
in into the frequency of the fearless, where innovation, culture
and purpose collide. We appreciate you so much, CR, Thank you,
(31:11):
Thank you. Have a nice day, Good day YouTube, Take care.
Speaker 4 (31:15):
Peace to all.
Speaker 3 (31:17):
My name is Deni and I am the host of
Vigilantes Radio Live. I think that we are beyond just.
Speaker 4 (31:27):
Asking cool questions and getting cool responses.
Speaker 3 (31:32):
I think that we are here.
Speaker 4 (31:33):
As creatives to provide an example that you can do
things different outside of expectations because some of us simply
we're not born into the club. But there is perhaps
a door window or back games that we.
Speaker 3 (31:53):
Can leave a fo for you to get into.
Speaker 4 (31:57):
Life is short, but there are plenty of us to
try and get it right.
Speaker 5 (32:03):
Pursuing your dreams and learning from mistakes maybe tough, but
regret is tough. To book your interview, Email us at
the radio at only one media group dot com. That's
a lead as a victorious or visit only one.
Speaker 3 (32:21):
Media group dot com.
Speaker 4 (32:24):
I'm counting on you, Heaven. We all are counting to
step into your purpose and your passion. You're listening to
Visilanties Radio Live, iHeartRadio providing you with an opportunity.
Speaker 3 (32:39):
To die Pabor.
Speaker 7 (33:00):
Mamma said behave, but I just wanted.
Speaker 1 (33:05):
You.
Speaker 2 (33:06):
And now listening to vigil Lances Radio, the people's choice
for quality interviews, art, music and heart topics, hosted by
Demetrious Houtini Black Reynolds. All episodes of this podcast are
available for free download at www. Dot only one media
group dot com.
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Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by Audiochuck Media Company.
Betrayal Season 5
Saskia Inwood woke up one morning, knowing her life would never be the same. The night before, she learned the unimaginable – that the husband she knew in the light of day was a different person after dark. This season unpacks Saskia’s discovery of her husband’s secret life and her fight to bring him to justice. Along the way, we expose a crime that is just coming to light. This is also a story about the myth of the “perfect victim:” who gets believed, who gets doubted, and why. We follow Saskia as she works to reclaim her body, her voice, and her life. If you would like to reach out to the Betrayal Team, email us at betrayalpod@gmail.com. Follow us on Instagram @betrayalpod and @glasspodcasts. Please join our Substack for additional exclusive content, curated book recommendations, and community discussions. Sign up FREE by clicking this link Beyond Betrayal Substack. Join our community dedicated to truth, resilience, and healing. Your voice matters! Be a part of our Betrayal journey on Substack.