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  • Aishath Aboobakr

#KoraliTalk - Adhineynge (band)

Miju on the guitar.

We first became aware of this project through some files exchanged on Telegram, the recordings on those files were terrible but that awfulness played to Adhineynge’s advantage. It’s what half the duo wants, raw emotion, modest artistry. Deth isn’t exactly a singer, but his is an instantly recognisable voice and the man’s songwriting is intense. Miju, the other half, is experimenting with music-making, and on Huvafen, their single, his groovy bass helps carry his partner’s raspy voice along. Adhineynge had an album listening for their forthcoming ‘Dhuniye’ LP on Fenda recently, and they are looking at a launch on 1 July. We thought we’d have a chat before the big day – because from what we’ve heard, it seems an album worth anticipating.

Korali: Thanks for tuning in guys. I’ve listened to the single Huvafen a million times now, and it’s a great track. I love the hook and everything that surrounds it. Could you tell me more about it?

Deth: It’s a lhen I wrote for a short film we were making with aruiru and Haikal, and I submitted it to a group in October last year. Miju reached out to me. I was going for a very spoken word kinda thing but in my mind I was screaming ‘Huvafenthah fundu fundu vey.’

I got fired the next day and literally huvafenthah fundu fundu vee. Miju came around and we started cooking, as the Gen-Zs say.

Korali: Miju, how do you approach your collaborations with Deth?

Miju: When we first started out mostly Deth would write the lyrics. Eyru I was messing with Ableton and trying to make beats, and we thought we should make songs. This was around mid-last year, and we decided I’d do the music and Deth the songwriting.

Korali: Does Deth give any musical input?

Miju: Yes, I think he is a vibe setter, he knows what he likes. We were into the same kind of stuff, like city pop (a kind of synth pop with funk, jazz and disco influences popular in Japan), shoegaze, alternative rock and hip-hop. The first song, Huvafen, was a common chord progression, incidentally the same chord progression as Zombie by Cranberries. We like Japanese songs apart from city pop.

Korali: I also wanted to say, it’s pretty cool that a Gen-Z person is writing Dhivehi lyrics. How’d you describe your relationship with the language and our music?

Deth: I learned to un-hate the Dhivehi music I detested so much growing up. I didn’t like Ali Rameez or any of the other mainstream Dhivehi music.

I love the beats made by Anekathi. The harmonious blend of natural elements and music by the Journey Now, Gianscore’s Vasvaas and their music. But I got influenced the most by Kushehnooney. I cried listening to ‘Mammaa’. I was going through some shit. And Kid Cudi wasn’t helping this time lol. I didn’t connect with the music. Zia is the Kid Cudi of Maldives. I just connected to Kushehnooney.

Korali: Yeah, Mammaa is such a brutal track. RIP Zia. Also, the other single you released, Sun is Shining is a lot less focussed, more like a slice of you guys messing around.

Deth: Yeah.

Miju: I wanted to create and experiment, some of the current songs are still works in progress. And I’m still experimenting with the dynamics, of highs and lows, tension and release, and to express the words melodically. The ultimate aim though, is to connect with more people.

Korali: What does that connection mean to you?

Miju: Ah, like yesterday someone said they liked the bass on Huvafen. That it sounded like an actual bass recording. And that’s a way of connecting with the music. The bass is digital, btw.

Deth: I just want people to feel what I'm feeling. I want the kids to connect, to know that they are not alone. We are living in the same "dhuniye". We are going through the same shit.

Korali: Cool, what’s next then for you two?

Miju: I think for our upcoming stuff, we’d go more into live instrumentation. But it’s difficult cos space is expensive in the city.

Deth: I’d like more raw songs.

Korali: Thanks a lot guys, that’s a wrap.

 

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