THE INDIAN DUO DISCUSS THEIR NEW EP AND UNIQUE MUSIC
by ASJAD NAZIR
DELHI-BASED duo Rusha and Blizza have been adding an exciting new dimension to Indian music with superb songs that have mixed up global influences in marvellous new ways.
They followed up their fabulous first EP Mudra with recent release Sutra, which was created during lockdown. The new EP has terrific
tracks Kaise, Barse, Hawa, Hoye, Kaal, and Anth, which all have a melting pot of influences that offer up something new in the musical landscape.
With more tracks on the way, they are offering up new ways of creating
songs and are a duo to look out for. Eastern Eye caught up with Paurush Kumar (Rusha) and Aman Khare (Blizza) to find out more about their EP, unique brand of music and interesting future plans.
What first connected you to music?
Rusha: I first caught the music bug when as a child I used to listen to songs on my father’s Walkman, which included artists like Prince, Madonna, Lionel Richie and Michael Jackson. I joined a music academy when I was 13 years old to learn instruments, and music theory after school. Blizza: For me, it was getting my first dubstep music CD from a friend at the age of 15. I started exploring electronic sounds from across the globe.
How did you and Blizza end up working together on music?
Rusha: We both met in 2010 at a gym, where we were known to be musically inclined. So, the gym owner used to pass us the aux whenever we trained at the gym. I was very impressed with Blizza’s selection of music and that’s how we first discussed making something together.
How did you both find your unique sound?
Blizza: It has just been consistent focus and coordination of over a decade that resulted in us finally being able to make sounds that we could call our own.
Tell us about your latest EP Sutra?
Rusha: Sutra further builds upon the fusion sound design that we had created with Mudra. We tried to incorporate more experimental and electronic elements to Sutra.
How would you describe the songs on your new EP?
Blizza: The songs came very naturally to us and we really did let our emotions guide us. We then leaned more into frantic experimental sounds as the EP progressed.
Who are you hoping connects with this EP?
Rusha: With Sutra, we seek to reach the right listeners for our sounds. We put a lot of effort into the visuals, videos and concept. We hope everyone is satisfied with the overall package and hope our listeners approve.
How does this EP compare to the previous material that you have done?
Blizza: With every release, we get a better understanding of what kind of sounds work for our audience. We tried to incorporate some of our best ideas from our previous works while trying some new things. We will learn from observing what works in Sutra and incorporating them in future releases.
You have both created a number of songs, but which is your own personal favourite?
Blizza: For me, it has to be Kaal from Sutra.
Rusha: That's a tough one. Mine would be Kaise from Sutra.
Do you both have a set process of working, and how do you get around creative differences in your music?
Blizza: Initially, there were a few creative differences, but now we have very few and see any disagreements as constructive and try to incorporate changes suggested by each other.
What can we expect from you both in 2021?
Rusha: We have two singles and an album already complete. A few videos have been shot and many more are in the works. We are also working on our next EP. Some of our new music is a complete departure to our previous work. We just want to stay true to our day one motto, ‘courage to the experimental’.
What is it that inspires you musically?
Blizza: Just continuously evolving our music and creating what keeps us positive, while others also appreciate it.
Rusha:Sutra was made during these tough times when almost everyone is going through an emotional rollercoaster. We have been lucky to be able to sustain ourselves and stay safe, but many others have had their world turned upside down. That is why we wanted to give in to our vulnerability while hoping for a better future. We tried to present these emotions through Sutra.
Who would you both love to work with?
Blizza: That’s an endless list. We can start with Mr Carmack, Sophie, Hudson Mohawke, The Code, The Internet, Kanye West, OPN, Frank Ocean, to name a few.
Why should we all pick up your EP Sutra?
Rusha: To support and give courage to the experimental.
Mark your calendars: 31 May isn’t just another Saturday. It’s Netflix’s blockbuster bonanza, Tudum 2025, arriving with a bang. And although the actual event hasn’t streamed yet, the internet is already simmering with spicy leaks, juicy first looks, and cryptic clues.
From long-awaited finales to fresh faces in familiar worlds, here’s everything Netflix is bringing to the table. No spoilers, just pure hype.
1. Stranger Things 5 : The Hawkins finale that might emotionally destroy you
The Upside Down is gearing up for its final roar. The fifth and final season of Stranger Things drops in November, and whispers are already circulating that someone major might not make it out alive. The Duffer Brothers are teasing heartbreak, chaos, and a full-circle moment that could break Netflix’s servers all over again.
2. Wednesday season 2: Forget cute, it’s going full gothic beast mode
Wednesday Addams is back but meaner, moodier, and battling even weirder creatures at Nevermore Academy. Premiering 6 August, Season 2 leans heavily into horror, supernatural folklore, and gloriously dysfunctional friendships. Jenna Ortega has hinted at darker twists… and possibly a new love interest?
Thought Season 1 was brutal? Wait until Gi-hun goes head-to-head with the Front Man. Squid Game Season 3, launching 27 June, is being framed as a revenge saga soaked in betrayal and moral rot. No games. Just war.
4. Wake Up Dead Man: Benoit Blanc is back, and the vibes are off
Rian Johnson’s third Knives Out mystery returns with Daniel Craig, but this time, the mood? Less whodunnit, more existential chaos. Featuring a stellar cast including Glenn Close, Josh Brolin, and Mila Kunis, this late 2025 release might be the weirdest Blanc case yet.
5. Frankenstein: del Toro’s creature feature might haunt your sleep
Guillermo del Toro isn’t pulling punches. His upcoming Frankenstein, starring Oscar Isaac and Jacob Elordi, promises shadow-drenched horror, poetic violence, and zero romanticism. Think less “tragic monster” and more “run, and don’t look back.” Arriving November 2025.
Adam Sandler is dusting off the clubs. Thirty years on, Happy Gilmore 2 lands in July 2025 with Shooter McGavin returning to stir trouble. Expect golf, grudges, and Sandler’s signature cocktail of stupidity and sincerity.
7. One Piece season 2: Meet Chopper (yes, the reindeer doctor is real)
The Straw Hat crew is expanding. Season 2 of the live-action One Piece introduces fan favourites Tony Tony Chopper and Dr Kureha. With filming wrapped and post-production underway, fans are bracing for adorable talking reindeers and inevitable heartbreak.
The most introverted Bridgerton finally gets his turn. Though Season 4 won’t arrive until 2026, Tudum is expected to tease Benedict’s love arc with Sophie Beckett. Will it be scandalous? Naturally. Will there be waistcoats and whispered secrets? Absolutely.
The Pogues are calling it quits but not before one last sun-drenched, danger-packed ride. The fifth and final season of Outer Banks promises utter chaos and, just maybe, a little closure.
10. Emily in Paris 5: Emily does Rome (but leaves drama in Paris)
Emily’s off to Rome with a new bob and, inevitably, more bad decisions. Season 5 follows Lily Collins navigating Italian flair, post-breakup messiness, and what might be her best wardrobe yet. Camille is out, Alfie is in and filming is already underway.
Tudum 2025 feels less like a streaming event and more like Netflix flexing every muscle it has. It’s goodbyes (Stranger Things, Outer Banks), glow-ups (Wednesday, Emily in Paris), and glorious chaos (Squid Game, Wake Up Dead Man). Cancel your plans, grab the snacks, and prepare to be bombarded because if this is what we know before the event, just imagine what Netflix is saving for showtime.
Tudum goes live on 31 May 2025. See you on the other side.
R&B star Chris Brown was taken into custody early Thursday morning in Manchester, England, over an alleged assault at a London nightclub in 2023. Police arrested the 36-year-old singer at The Lowry Hotel shortly after 2 a.m., charging him with causing grievous bodily harm to music producer Abe Diaw.
The incident dates back to 19 February 2023, when Brown reportedly attacked Diaw at Tape nightclub in Mayfair, central London. According to Diaw’s lawsuit filed last October, Brown struck him multiple times on the head with a bottle of Don Julio 1942 tequila. The assault allegedly continued with Brown stomping and kicking Diaw, leaving him unconscious for about 30 seconds and requiring hospitalisation for head wounds and torn ligaments in his leg.
Chris Brown taken into custody ahead of UK tour following 2023 nightclub assault allegationsGetty Images
Diaw claims Brown’s attack was unprovoked and caused lasting physical and emotional damage. Beyond the physical injuries, Diaw also accuses Brown of spreading false rumours to harm his reputation and business relationships. The producer has filed a civil lawsuit seeking £12 million (₹126 crore) in damages.
The Metropolitan Police confirmed the arrest and said detectives from the Central West Area Basic Command Unit are handling the case. Brown remains in police custody as the investigation proceeds.
This latest arrest adds to Brown’s long history of legal troubles linked to violent behaviour. He pleaded guilty to felony assault in 2009 after physically attacking then-girlfriend Rihanna. In 2017, a restraining order was placed on him by ex-partner Karrueche Tran amid allegations of aggressive conduct over financial disputes.
R&B singer Chris Brown appears in court for a probation violation hearing in Los Angeles Court in 2014Getty Images
Brown arrived in Manchester on a private jet just the day before his arrest, possibly preparing for his upcoming UK tour dates scheduled for June. The tour, called Breezy Bowl XX, is meant to mark 20 years of his music career and includes shows in Manchester, Cardiff, London, Birmingham, Glasgow, and Dublin. However, the ongoing police investigation raises questions about whether those dates will go ahead as planned.
Despite his troubled past, Brown remains a major figure in the music world, known for selling out large venues and generating millions in revenue. But with new serious allegations now in play, the future of his career hangs in the balance as legal proceedings move forward.
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Aamir Khan and Jr NTR are set to portray Dadasaheb Phalke in two separate biopics
The man who started it all, Dadasaheb Phalke, the pioneer of Indian cinema, is set to be immortalised on screen not once, but twice. In a surprising turn, two major biopics on the "Father of Indian Cinema" are in the works, with Bollywood and Tollywood’s biggest stars stepping into his shoes.
First, reports emerged that Jr NTR will portray Phalke in Made in India, a project backed by RRR director SS Rajamouli. The film, announced last year, will be a pan-India release diving into the birth of Indian cinema. Sources say NTR was instantly drawn to the script, fascinated by lesser-known aspects of Phalke’s journey. The actor, always known for his high-action roles, will take on a more subdued, dramatic part this time.
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But before fans could fully process this news, another bombshell dropped! Aamir Khan and Rajkumar Hirani are teaming up for their own take on Phalke’s life. The duo, known for blockbusters like 3 Idiots and PK, has been working on the script for four years, with Phalke’s grandson contributing personal anecdotes. Set against India’s independence movement, the film will highlight Phalke’s struggles and triumphs in creating an industry that now dominates global screens.
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The clash of these two projects has sparked debates: Who will do justice to Phalke’s legacy? While Rajamouli’s vision leans toward grandeur, Hirani’s touch is expected to bring together emotion with humour. Meanwhile, fans are already picking sides: will NTR’s intensity or Aamir’s nuanced acting win over audiences?
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As the two teams prepare to bring this legendary filmmaker’s story to audiences, viewers can look forward to two distinct cinematic portraits of the man who laid the foundation of Indian cinema, each promising a unique perspective on the icon who changed the course of Indian storytelling forever.
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Iconic moments that transformed Eurovision, from ABBA’s dazzling debut to Måneskin’s raw rock rebellion, these performances changed the game forever
The Eurovision Song Contest has never been just about glitter, high notes, and questionable fashion choices. It’s where music collides with the messiness of global politics. Some acts stroll onstage, sing politely, and vanish. Others? They rip the roof off, rewrite the rules, and leave scorch marks on history.
From ABBA’s glitter-drenched revolution to Måneskin’s rock ‘n’ roll swagger, these iconic acts reshaped the contest, searing themselves into the collective memory of millions. Let’s dive into five performances that tore the rulebook to shreds and left the world stunned.
1. ABBA – Waterloo (Sweden, 1974)
The explosion that turned Eurovision into a supernova. ABBA didn’t just win. They hijacked the whole show with sequins, swagger, and a chorus that’s been stuck in humanity’s brain for 50 years. The song was so unstoppable that even Napoleon would’ve surrendered to it. This was a total pop coup. Why it’s legendary? Because Eurovision’s biggest success story began here! ABBA set the bar for every act that followed.
Monsters. Fire. Riffs that could crack concrete. Who would’ve thought that a metal band dressed like monsters would rock the Eurovision stage? When Finland’s nightmare-fuelled rock brigade stormed the stage, half the audience clutched their pearls and the other half lost their minds. Eurovision had never smelt like gasoline and face paint before. It was the first time Eurovision truly embraced heavy metal, and Europe loved it. It was an anthem of rebellion, forcing Eurovision to evolve and Finland’s first win was well earned.
3. Conchita Wurst – Rise Like a Phoenix (Austria, 2014)
Conchita Wurst didn’t just sing, in fact, she soared. In a flowing gown with a beard that dared the world to question its norms, Conchita’s ballad became an anthem for resilience. When the final note faded, it was clear: Conchita had shattered stereotypes, and Eurovision was more inclusive because of it. Eurovision became more than a show that night; it became a revolution.
Leather, sweat, and a smirk that could melt steel. Rock hadn’t felt this raw at Eurovision in years. Måneskin swaggered onto the stage with an unfiltered, unapologetic energy that made everyone sit up and take notice. Gritty, powerful, and defiantly cool, this performance not only won the contest, but also marked a new era, where Eurovision wasn’t just a pop paradise but a space for rock to thrive.
Måneskin - Zitti E Buoni - Italy 🇮🇹 - Grand Final - Eurovision 2021youtu.be
5. Loreen – Euphoria (Sweden, 2012)
Twelve minutes of wind machines and raw euphoria (pun intended). Merging barefoot from the shadows, she captivated audiences with her ethereal vocals and minimalist choreography, all set against a backdrop of strobe lights and falling snow. By the time she finished, Europe was collectively breathless, earning her a landslide victory with 372 points: the second-highest in contest history at the time.
Eurovision isn’t just another song contest. It was a referendum. On war. On freedom. On who gets to be heard. Some acts left with trophies, others left with scars. But every single one proved that when the world’s a dumpster fire, music doesn’t just soundtrack the chaos… it answers it.
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Scarlett Johansson expresses frustration over Oscars snubbing Avengers Endgame for Best Picture
Scarlett Johansson has once again voiced her frustration over the Oscars overlooking Avengers: Endgame for the Best Picture category. The actress, known for portraying Black Widow in the Marvel Cinematic Universe, expressed her disbelief during an interview. She questioned how a film as groundbreaking and successful as Endgame managed to receive only one nomination, for visual effects, at the 2020 Academy Awards.
“It was an impossible movie that shouldn’t have worked, yet it did, both as a film and as a cultural moment,” Johansson remarked. She pointed out that the film not only pushed creative boundaries but also became one of the highest-grossing movies of all time. Despite its global impact and critical acclaim, Endgame remained absent from major Oscar categories, including Best Picture.
Scarlett Johansson questions why Avengers Endgame was overlooked by the Academy despite its record breaking successGetty Images
This snub particularly stings because Endgame marked the end of an era for Johansson’s character, Natasha Romanoff, who sacrificed herself to save the universe. Following this emotional farewell, Johansson reprised the role one last time in the 2021 prequel, Black Widow. However, when asked about returning to the Marvel universe again, she remained firm, stating that Natasha’s story had reached a meaningful conclusion.
While Johansson clearly misses working with her Marvel co-stars, she feels that bringing back the character would undermine the impact of her farewell. “It wouldn’t make sense,” she said, emphasising the importance of leaving Natasha’s legacy intact.
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Besides her frustration over the Oscars snub, Johansson also took a jab at the length of recent award ceremonies, particularly the 2025 Oscars. She found the James Bond tribute segment overly long, describing it as feeling like an advertisement rather than a celebration of cinema.
Despite the setbacks, Johansson is staying busy. She’s set to star in Jurassic World: Rebirth and is making her directorial debut with Eleanor the Great, which will premiere at the Cannes Film Festival. Her passion for storytelling continues, whether or not the Oscars recognise her past projects.
Scarlett Johansson defends Avengers Endgame and criticises lengthy Oscars ceremoniesGetty Images
In the end, Johansson’s disappointment highlights a recurring issue: the Academy’s reluctance to honour blockbuster superhero films, even when they make a significant cultural impact.