Siddhartha Khosla
speaker
226 appearances
1 recordings
1 series
first heard Jan 2025
last heard Jan 2025
Siddhartha Khosla’s voice in public audio — every appearance, attributed to the second.
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Appearances
You're in this silence for like the next minute. And you're like, holy shit, this is what I just saw. This is like, it's haunting. It's the most haunting scene to date of the show. And then it comes back to Chrissy just screaming her head off.
That guttural scream, which was just so beautiful. And her performance was unreal in that. And Koch calls me and he says, I think, Sid, you can do something with Chrissy's voice.
beat her percussion like of those sticks that she's hitting in that weight loss camp let that be a guide for you in some way maybe work off that maybe feel find a way to use the rhythms in it or figure something out and in that moment i picked up my guitar i watched the scene and i started playing yep Sterling's our engineer right here. I love it. I got you. You like that positioning?
Are you good?
Mmm.
And this is basically like, This, that whole thing is a drone.
I'm not changing chords. Like in Indian music, stuff sits on the tonic, which is sort of like a starting point. And it's almost like, it's what you return to in music. You don't hear like Indian music You don't hear big changes in the music. You just hear like loops of like a drone. So in my mind, okay, this is like an Indian drone. And I started singing.
And then there's a change I made in the melody, which is the most Indian thing you could do. It's like deep and classical. So... It's that. And then as I'm just jamming to this funeral, in my studio, you didn't hear it on the final recording as much, but I was like, this is so Indian, so Desi. So I was like, I started doing stuff like that, like riffing.
And I was like, why am I going into this Indian place all of a sudden out of nowhere? And so then the final melody, I started pulling some of the Indian stuff out because this is an NBC show and I'm like, this is going to be just too weird on TV. So I went. It became the theme. And I saved that high sort of part for the moment we see the funeral. Until then, it's just, she's, She's on the sticks.
And then I'm like, Koch told me, find a way to get the rhythm of the sticks into it. And I'm like, this is just sticks hitting a wooden floor. I have a wooden table I'm recording on. And I start going. it almost became like tablas. Indian tablas go . That's how a tabla player plays. And I did that. So that became this pulse underneath, as if I was a tabla player, but playing it on my wooden table.
Because I didn't want it to get too Indian. I was like, we're not going to use tablas, we're going to use the table. And I recorded this thing. I remember that moment. It was like, there's times where you feel like you write something. There's times I've done this with, and I'm sure Taylor, you have felt that way with your own music.
You guys are like, is that when you write something that you think that you know in your heart is special, like you want to listen to it over and over again sometimes. There's like the ego kicks in a little bit. And I remember when I wrote this, I was just like, this is different. I feel really, really good about this. And I sent it to Dan, to the picture and to our editor.
And I was like, what do you think of this? And Dan was like, he wrote back and he goes, that was, what do you say? He goes, that was transcendental or something. And he writes something like that to me. And he goes, that's, he's like, that's, he was like, you just knocked it out of the park. That's it. And I was like, I remember asking, I was like, is this too Indian?
And he goes, no, it's perfect. And I was like, even though I know this is on NBC playing, you know, like, it's like a, we're not as, because this is like, do I have the liberty to explore like this and go there? And Dan's like, don't touch a thing. He goes from, and I remember him saying, he goes, what you did in this episode, from that point on, it changed the sound of the show.
Because it was like, before then, most of the score was like, I can't remember what it was. It was like, a lot of it was very Joni Mitchell-esque.
It was that vibe. But then all of a sudden it became, you know, And it became this other thing. And we found the sort of voice. Like I was able to then be the most artistic version of myself in the score. And it was Dan just being like, no, keep, that's it. It became the emotional anchor.
Of the show. Yeah. That. And then, yeah.
And I appreciate you saying that. I think for me, too, when you talked, you said before about you see things dry in the show when you watch stuff dry and it's not working, maybe to you. But I saw that scene dry. And I got to tell you, even... with no music, I was already feeling it. It was already there for me. And so it also allowed me to write something that wasn't trying to manufacture emotion.
Like I wasn't like, oh, funeral, could come sad music. And almost like this music is almost not even sad. It's almost heroic or something. It's triumphant.
And I was like trying to figure out like, What it was, and Dan and I, I talk about this about what inspires me on the show. And it goes back to what I learned from Glen, John and Dan on the pilot, which is scoring to the subtext of why these characters are here. And then this moment made me realize like, well, why is this show even here?
Showing 101–120 of 226 · page 6 of 12
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