krishpill is a composer, sound artist, producer and audio engineer working across experimental music, film, games and immersive audio.Before becoming krishpill, Krishna created music under the name CZA, producing electronic pop and commercial music and collaborating with quite a few emerging artists in India like gini and rohh. His move to the UK introduced him to a much broader world of music, composition and sound — from experimental electronic music, audio visual works and contemporary composition to film scoring, sound design and spatial audio. That experience gradually changed the way he approached music, leading him to leave CZA behind and start again as krishpill: a project built around experimentation, individuality and a sound that felt more genuinely his own.As krishpill, his work sits somewhere between composition and sound design, exploring electronic textures, unconventional vocal techniques, acoustic elements, field recordings and manipulated sound to create immersive audio-visual and cinematic experiences. Rather than being confined to a particular genre, he approaches each project as an experiment/concept/illustration, often embracing accidents, imperfections and unexpected sounds as part of the creative process.His independent music moves between ambient, rhythmic, cinematic and abstract sound worlds, with a particular fascination for the physical and spatial qualities of sound — how texture, movement, dynamics and space can change the way music is experienced. His recent work explores these ideas through immersive and spatial compositions, including music created for Dolby Atmos.Alongside his independent work, krishpill composes original music and creates sound for film and tv, combining traditional composition with electronic production and sound design. His approach to screen music is rooted in storytelling, using music and sound not simply to accompany an image, but to shape its atmosphere, emotion and narrative.From his early work in India's electronic and commercial music scene to his current explorations in experimental composition and immersive sound, krishpill represents an ongoing process of discovery — constantly questioning what music can be, and using sound to create worlds rather than simply fill them.

Here is a collection of my music, upcoming works, film scores, sound work, films and commercial projects — bringing together almost everything I’ve created across my journey as krishpill.From independent music and experimental compositions to original scores, sound design, films and advertising work, this collection offers a look into the different sides of my practice and the many ways I work with sound.

Beyond

Beyond is an experimental new-age composition with Morphinx, exploring the idea of evolution beyond what is familiar — a journey through transformation, uncertainty and emergence.The piece begins in a dreamlike, almost weightless space, gradually introducing evolving textures and melodic fragments before developing into a more physical world of deep bass, intricate percussion and rhythmic movement. As the composition progresses, its sense of direction begins to destabilise, moving into a more chaotic and fragmented section before eventually finding resolution through bright, evolving synthesised textures.The composition was created through an intentionally experimental process. Rather than trying to control every element from the beginning, I allowed unexpected sounds, accidents and spontaneous ideas to become part of the piece, developing them into new musical directions. This approach became particularly important in shaping the vocal and textural elements, where the human voice is treated less as a conventional lead and more as another instrument within the soundscape.A major part of Beyond is its spatial dimension. The piece was composed, produced and mixed with Dolby Atmos in mind, allowing its textures, percussion, bass and evolving elements to exist within a three-dimensional listening environment. The intention was not simply to make a song that could be heard in surround, but to use space itself as part of the composition.Beyond represents a significant point in the evolution of krishpill — moving away from simply experimenting with different genres and towards developing a more personal language built around texture, movement, contrast and immersive sound.PRE-SAVE NOW

Perpetual Existence - Debut Feature with Morphinx

Perpetual Existence is a collaboration with Morphinx, and marked my debut feature on the project. The piece is a five-minute meditation on the cycle of life, unfolding as a slow arc through five movements: arrival, emergence, the heart, dissolution and return.Built around string harmony, fragile foley textures and gradual harmonic drift, the composition draws inspiration from phyllotaxis — the Fibonacci-based geometry found throughout nature, from the spiralling arrangement of leaves around a stem to the patterns formed by seeds within a flower. The music mirrors these recurring structures of growth, repetition and decay, allowing each element to emerge, develop and eventually dissolve rather than arriving through sudden transitions.The track was also an important moment in the project's journey, receiving early support from Max Cooper, who described it as “epic”. His response reinforced the feeling that the piece could exist beyond its musical form and become a visual experience of its own.The accompanying visual was created in collaboration with visual artist Terra Space. Rather than providing a conventional brief or storyboard, we shared only the central idea behind the composition — a life cycle unfolding through natural geometry, growth and decay repeating across different scales — and gave her complete creative freedom to interpret it.The resulting work became more than a visual accompaniment to the music. Terra Space created a world that moves and breathes alongside the composition, translating its ideas of growth, transformation and return into a visual language of its own.LISTEN HERE

DEBUT ALBUM <Essential>

Essential is the debut album released under the name krishpill — not as a definitive statement of sound, but as an introduction to a new creative identity.Rather than being written as a conventional album from beginning to end, Essential brings together nine works created across approximately four years, spanning experimental melodic techno, disco, ambient soundscapes, amapiano, original scoring, tribal techno and drum & bass. Some pieces began as independent experiments, while others were created for research, contemporary dance and cinematic projects. Together, they form a collection of ideas and experiments that shaped the beginning of krishpill.The album was carefully compiled and arranged around a black-and-white concept, creating two contrasting sides: one representing brightness, warmth, movement and openness, and the other exploring darkness, tension, depth and intensity. The contrast is reflected not only in the individual compositions, but in the way the album moves between genres, textures and emotional spaces.The nine tracks include two soundscapes from Can You See Music?, an experimental melodic techno piece, experimental disco, an ambient composition, an amapiano/afro-inspired collaboration with CAiRENE and F2Geezy, an original score inspired by the work of Sushin Shyam, an experimental tribal techno piece featuring Ricky Reji originally created for the Conoco Dance Group's contemporary dance work The Perfect Human, and an experimental drum & bass/jungle composition.Essential was never intended to define what krishpill would sound like. Instead, it served as a reason to bring together the work that had accumulated over four years and give it a new home under a name that felt more personal and more representative of where the music was heading.It is therefore less a statement of arrival and more a snapshot of transformation — a collection of sounds, experiments and ideas from before krishpill
had a defined identity, assembled to mark the beginning of one.LISTEN HERE

CAN YOU SEE MUSIC? - Research Project on Musical Emotion among Non-Artistic People.

Can You See Music? was a research project exploring whether emotions expressed through sound could be perceived and translated into visual form, without relying on musical knowledge or artistic training.For the project, I composed two contrasting soundscapes (which eventually became a part of my debut album Essential), each built around a distinct emotional world. The first explored calm, serenity, peace, meditation, ambience, texture and enlightenment, while the second explored darkness, tension, fear, horror, disgust, anxiety and eeriness. The compositions were created intuitively, with the emotional intention behind each piece established during the writing and production process.I then invited participants with no formal artistic training and who did not typically engage with music through focused listening to experience each soundscape. Without being given any explanation of the intended emotions, they were asked to listen and respond by drawing whatever they felt on a completely blank canvas.The resulting artworks were then presented to visual art expert Sam Jury, who had no prior knowledge of the soundscapes or the emotions I had intended to communicate. She was asked to interpret the images independently and describe the emotions and meanings she associated with them.Remarkably, the emotional qualities I experienced while composing the soundscapes were reflected in the participants' visual responses, and these qualities could subsequently be identified by an independent art expert — despite the original participants having no specialist drawing or artistic skills.The project became an exploration of cross-modal communication and emotional perception, questioning whether music can communicate an emotional idea strongly enough for it to survive a journey from composer to listener, from sound to image, and finally from image to an entirely independent observer.

CORRIDOR NYC

an ad for Corridor NYC, a clothing brand. They wanted a vintage-sounding track to accompany a film-style spot of three guys heading out fishing with a big red canoe.It was such a fun project because I got to lean into a Wes Anderson-esque vibe — quirky, playful, and nostalgic. I worked on both the music and sound design, layering textures that felt warm and retro while still keeping the energy fresh for the visuals.One of the challenges was balancing the track so it felt vintage without sounding dated — capturing that old-school charm but making it engaging for today’s audience. I really enjoyed experimenting with instruments, tones, and subtle details to bring that world to life.In the end, the mix of visuals and sound came together beautifully, and it’s one of those projects that reminded me why I love merging storytelling with music.

RED-SHORT FILM

RED is a one-minute short film about a little red tractor trying to escape its barn — a metaphor for breaking out of your bubble and exploring what’s beyond it.I was responsible for the SFX, Foley, and music, which meant shaping both the emotional and playful side of the story. The brief for the score was Disney-Pixar inspired, so I went with a simple, catchy melody that reflects Red’s curious and adventurous nature.This one was a bit of a challenge — I only had a single minute to tell a whole story through music. It took me nearly six endless nights to find a melody that fit perfectly within that time frame, circling back on itself while still feeling complete. But once it clicked, it was one of the most fun and rewarding projects I’ve worked on

PUNTO AD

This project was one of my university assignments — creating music for an old Fiat Punto ad. The brief I received for the soundtrack was simple but packed with keywords: fun driving, advanced sophisticated engine technology, loaded with techno gadgetry, sporty and dynamic.To bring that to life, I experimented with beatboxing samples layered into the track, which gave it a playful, rhythmic energy while still feeling slick and futuristic. It was a fun challenge to merge that sporty, upbeat vibe with something that also hinted at sophistication and tech.Even though it was a student project, I treated it like a real brief, and it pushed me to think differently about how sound and rhythm can directly reflect a brand’s personality.

Uncertain Memories (COMING SOON)

Uncertain Memories is a hypnotic and meditative composition built around a constant 14/16 — or 7/8 — rhythmic pulse, surrounded by layers of ambient textures that gradually blur the boundaries between rhythm, space and atmosphere. The piece is intentionally soothing, almost mesmerising, with the repeating rhythm acting as an anchor while everything around it continuously shifts and evolves.The composition explores the imperfect nature of memory — how moments from our lives can remain incredibly vivid while their details slowly become distorted, fragmented or uncertain. Rather than trying to recreate specific memories, I wanted to create a space where memories could exist as sensations: familiar, distant and constantly changing.The piece is currently being developed into an audio-reactive visualiser with Nayana Avinash, built around photographs collected from different periods of my life. These images will be transformed into three-dimensional spaces using audio-reactive point clouds, allowing each photograph to become a kind of spatial memory suspended within the music.As the composition moves through its repeating rhythmic cycle, these fragments of my life will shift, distort and respond to the sound — turning personal photographs into something less like a collection of images and more like a landscape of memories.The result is intended to feel like looking back through a life that you remember, but can never completely reconstruct.COMING SOON

The Fragments of Everything Buried Everywhere(Coming Soon)

There’s something slightly insane about the things Morphinx and I end up making together. We end up making some wild sounds when we put both our minds into it. This one is one of those compositions.We wanted this piece to feel genuinely fragmented, both rhythmically and spatially. Morphinx and I treated Foley recordings and SFX as musical material, taking individual sounds out of their original context and displacing them across the timeline until their identities became secondary to the rhythms they created. What emerged was a constantly shifting network of patterns — chaotic on the surface, but held together by an underlying structure.In the second half, I pushed this idea even further with a heavily displaced 7/8 rhythm, creating a rhythmic space that feels increasingly unstable. The different sections feel almost like fragments of separate realities existing alongside one another, occasionally connecting before immediately breaking apart again.We wanted the listener to feel as though they were trying to piece together something that can never quite become whole. The piece became an exploration of fragmentation itself — of memories, realities and experiences that remain scattered even when we try to reconstruct them.COMING SOON

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