CISA–Dhangsha

Dhangsha is an electronic musician whose musical style pushes the boundaries of bass music and experimental noise. The name “Dhangsha” is derived from Bengali and means “destruction”, which also characterizes the artist’s music, signifying the deconstruction of ideas that are not conducive to the well-being of individuals and communities. Inspired by minimalism, repetition, and fragmentation, Dhangsha crafts sparse, punchy beats that blend Afro-clough accents with otherworldly synth patterns borrowed from Detroit. “Destruction” is also reflected in how every track teeters on the verge of collapse, with various twists that heighten the sense of impending destruction.
His music immerses listeners in dark and edgy soundscapes, characterized by modulation frequencies reminiscent of techno. Heavy, off-balance beats and manipulated vocals showcase sonic rebellion, challenging traditional boundaries and ideologies. Through a fusion of bass music and experimental noise, Dhangsha creates a provocative and politically charged listening experience that invites the listener to confront and question existing power structures. The resulting soundscape reflects the artist’s commitment to disruption and quest for a better future.

Music review：
The images I can imagine when listening to the music are of a war zone, the sound of telegraphs, and a kind of deep spiritual hesitation. There is a sense of the future and a sense of metal and a judgment that will eventually come – a judgment on the ruling systems and economic classes that survive in our present world, a deep dive into the limits behind the everyday world that reinforces the interrogation of reality – there is only one thing that is in doubt and that is the anti Utopia, which never exists.

Harsh and restless, it deserves to be called music with a rebellious spirit. He attaches great importance to the use of a metronome and the combination of various sound effects to enhance the atmosphere, and sets up a spiritual world that can only be understood by the audience and creators—let people reflect and question common sense together. The human voice is deliberately weakened in his music, which also means that he hopes to highlight the music itself. The images I can imagine when listening to the music are of a war zone, the sound of telegraphs, and a kind of deep spiritual hesitation. There is a sense of the future and a sense of metal and a judgment that will eventually come – a judgment on the ruling systems and economic classes that survive in our present world, a deep dive into the limits behind the everyday world that reinforces the interrogation of reality – there is only one thing that is in doubt and that is the anti Utopia, which never exists.