By Azzam Bilal 
HangupsMusic.com – New Delhi, The boundaries of contemporary electronic music are often defined by their fluidity, but few artists navigate the intersection of texture, culture, and collaboration as intentionally as Sijya. The New Delhi-based producer and visual artist has officially pulled back the curtain on her latest project, a transformative EP titled Leather & Brass [Retrofitted]. Set for global release on October 2nd via the prestigious One Little Independent Records, the collection serves as both a retrospective and a forward-looking dialogue, reimagining her previous works through the creative lenses of a handpicked group of innovative producers.
The announcement arrives alongside the debut of the EP’s first single, "Do I Know [Rachika Nayar Edit]," a track that immediately sets the tone for the project’s introspective and high-concept nature. By handing over the stems of her original compositions to artists she deeply admires, Sijya is not merely seeking remixes in the traditional club-ready sense; she is facilitating a "retrofitting"—a term more commonly associated with architecture and engineering, implying the addition of new technology or features to older systems. In this musical context, it represents a structural evolution of her sound, allowing her compositions to breathe in entirely new environments.
At the heart of Leather & Brass [Retrofitted] is a profound commitment to honoring the contributions of femme producers. Sijya has been vocal about her recent immersion in the works of female and non-binary artists, noting that the compilation serves as a dedicated tribute to the "femme" perspective in electronic production. This curation is not accidental but a deliberate effort to highlight the technical prowess and emotional depth that these artists bring to a historically male-dominated field.
The lead single featuring Rachika Nayar is a testament to this synergy. Nayar, a Brooklyn-based composer known for her ability to mutate guitar sounds into vast, ambient landscapes, brings a particular sensitivity to "Do I Know." Sijya describes Nayar’s contribution as a "perfect companion" to the original, noting how the edit indulges the more fragile, tender elements of the song. The result is a piece of music that feels both skeletal and lush, a delicate balance of digital processing and human vulnerability that has become a hallmark of both artists’ catalogs.
Beyond the collaboration with Nayar, the EP boasts a lineup that bridges the gap between the global underground and the institutional powerhouses of Indian music. One of the most significant inclusions is Sneha Khanwalkar, a figure Sijya describes as a "legend." Khanwalkar’s role in the project is particularly symbolic. In the context of the Indian music industry, she is a titan—a "music director" whose work in Bollywood has redefined the sonic possibilities of mainstream cinema. Khanwalkar is celebrated for her ethnographic approach to sound, often traveling to remote regions to record authentic folk and regional music before blending it with gritty, contemporary electronic beats.
Sijya’s decision to include Khanwalkar stems from a desire to reconcile two often disparate worlds: the Indian independent (indie) scene and the behemoth of Bollywood. Despite existing in the same geographic and cultural space, these two industries frequently operate in silos. By having Khanwalkar reinterpret the track "Safe," Sijya is making a statement about the shared DNA of music-making, regardless of the commercial platform. She notes that the distinction between an indie producer and a Bollywood music director is often superficial, as both are fundamentally engaged in the same pursuit of "undeniable music making."
The EP also features the Danish-based artist Molina, who takes on the track "I only want to crash." Molina’s penchant for synth-driven, dream-pop textures provides yet another layer to the "Retrofitted" concept, ensuring that the EP remains a diverse tapestry of sounds rather than a monolithic electronic record. Each contributor brings a specific geographic and stylistic flavor, making the collection a truly international affair.
This new project follows closely on the heels of Sijya’s recent standalone single, "Turbine." That track was born from a pivotal moment in her career: a performance at the Tate Modern’s Turbine Hall in London. For any artist, the opportunity to perform in such a gargantuan, iconic space is transformative, but for Sijya, the experience was visceral. The industrial echoes and the sheer physical scale of the hall influenced her approach to space and resonance, elements that are clearly present in the atmospheric depth of the upcoming EP.
Sijya’s trajectory over the last year has been one of steady, prestigious climbs. Beyond the Tate Modern, she has shared stages with heavyweight acts such as The Cinematic Orchestra and Nabihah Iqbal, further solidifying her reputation as an artist capable of commanding high-art spaces and intimate listening rooms alike. Her association with One Little Independent Records—the long-standing home of pioneering artists like Björk—places her in a lineage of musicians who prioritize idiosyncratic vision over market trends.
The New Delhi electronic scene has been bubbling with innovation for years, but Sijya represents a specific vanguard that is increasingly comfortable on the world stage. Her work is characterized by a certain "art-school" precision, likely a result of her background in visual design. She views her music not just as a sequence of notes, but as a visual and tactile experience. The title Leather & Brass itself evokes a sense of materiality—one organic and yielding, the other rigid and metallic. The "Retrofitted" aspect adds a layer of industrial renewal, suggesting that music, like a building, can be inhabited many times over by different people, each time taking on a new character.
As the October 2nd release date approaches, the anticipation within the electronic community is building. Leather & Brass [Retrofitted] is more than just a collection of edits; it is an exploration of influence and the ways in which artists see themselves reflected in the work of their peers. By centering femme voices and bridging the gap between the Indian indie world and the experimental global electronic scene, Sijya is doing more than just releasing an EP—she is constructing a new framework for how we understand collaboration in the modern era.
Listeners can expect a journey through varying shades of electronica, from the ambient and "tender" meditations of Rachika Nayar to the rhythmically complex and culturally layered interventions of Sneha Khanwalkar. In a world of fleeting digital releases, Sijya is offering something that feels built to last—a structural renovation of her own artistry that invites the listener to step inside and see the world through a different set of windows. With this EP, she continues to prove that she is one of the most vital voices emerging from India’s vibrant creative landscape, weaving together the traditional and the futuristic with a steady, visionary hand.
