Sunnig Aar Is Ready to Expand Their Cinematic Sound Universe
February 15, 2025
The enigmatic artist preps their most ambitious project yet, building on the momentum of last year’s ‘Bombay Talkies’
After capturing attention with the evocative three-track single “Bombay Talkies” in September 2024, the mysterious artist known as Sunnig Aar is preparing to unveil their most expansive work to date. The upcoming album, which sources close to the project describe as “a sonic love letter to forgotten film scores and late-night revelations,” promises to build on the cinematic foundation that made their recent release such a compelling entry point into their world.
The “Bombay Talkies” single, clocking in at just seven minutes across three tracks, served as both calling card and manifesto for Sunnig Aar’s approach to sound. Each piece felt like a fragment of a larger narrative, blending ambient textures with subtle rhythmic pulses that suggested influences ranging from vintage Bollywood soundtracks to contemporary electronic music’s more introspective corners.
“The whole concept started with finding these old film reels at a flea market in Mumbai,” Sunnig Aar explains over a crackling video call from an undisclosed location. The artist, who maintains a deliberately low profile and speaks in measured, thoughtful phrases, describes their creative process as “archaeological excavation meets bedroom production.” It’s an approach that seems to resonate with listeners seeking music that exists in the spaces between genres.
The forthcoming album represents a significant expansion of this philosophy. While “Bombay Talkies” felt like sketches or studies, the new material promises full-length compositions that allow ideas to develop and breathe. Early descriptions from those who’ve heard rough mixes suggest a work that maintains the intimate scale of bedroom recording while incorporating live instrumentation and field recordings gathered during travels across South Asia.
“There’s something about the way sound carries differently in different places,” Sunnig Aar reflects. “The reverb in a temple courtyard, the way traffic sounds bounce off monsoon-wet streets, the silence in a projection booth after the last show. I’ve been trying to capture not just sounds, but the spaces between them.”
This attention to spatial dynamics and atmospheric detail places Sunnig Aar within a lineage of artists who treat albums as immersive experiences rather than collections of individual songs. The influence of film scoring is evident, but so is a deep appreciation for how electronic music can create environments that exist primarily in headphones and small speakers.
The timing of the album’s anticipated release couldn’t be more relevant. As streaming platforms push artists toward shorter attention spans and playlist placement, Sunnig Aar is betting on the opposite impulse – the desire for sustained, contemplative listening experiences that reward patience and repeated visits.
“I’m not trying to make music for every moment,” they admit. “This is music for specific times – late at night, during travel, when you need something that doesn’t demand immediate understanding but offers something new each time you return to it.”
While details about collaborators and release dates remain under wraps, the artist hints at working with musicians they met during their travels, including a tabla player from Varanasi and a synthesizer programmer from Berlin who specializes in vintage Indian film music. The blend of traditional and electronic elements promises to create something that feels both timeless and thoroughly contemporary.
For an artist who seems to prefer questions to answers, Sunnig Aar’s upcoming album represents not just a creative statement but a philosophy of music-making that prioritizes depth over immediacy, atmosphere over hooks, and emotional resonance over algorithmic appeal. In an increasingly noisy world, sometimes the most radical act is to create space for contemplation.
The album is expected to arrive in the coming months, though Sunnig Aar characteristically refuses to commit to specific dates. “It’ll be ready when it’s ready,” they say with a smile that’s audible even over the grainy connection. “Good things take time, especially the quiet ones.”