This project is called The Perfect Timing because we were trying to be ironic because he's a terrible drama.
I have perfect timing.
I have perfect pitch but it just wasn't a good name.
Can't call it perfect pitch.
You like it when it's a little snide, right?
Love it.
What is Bushdipaji?
I don't really know him that I just play music with him.
We don't really converse in language.
Yeah, that's true.
It's house music.
You're gonna throw me out in a band now.
You can just be the perfect.
I'll take timing and go.
You can take though, you're though.
Fuck you.
I will take timing and give you the perfect.
But you know what that means.
Good to go.
Once she stops talking.
No time.
Jaiva and I had been talking about collaborating for a really long time.
One of the main reasons for that was because we shared common interests in terms of type of music that influenced us.
And also we were fascinated maybe a little bit by the same kind of presentation of different live acts and production.
The first time that Jaiva and I properly met was probably before we played for the Duelisten Kairi Band.
We met and hung out and ate food, which is the important stuff.
I think the main thing is we made a lot of really good music.
We can have a really good rehearsal and a good gig but if you can't hang after that then there's no point making music.
After we played music together when I was in Cal I would visit Jaiva but more than visit Jaiva I'd visit all the gear in his music room.
I think it was the first time that I was there.
We might have not jammed but we might have just played around and that might have been the first time that we were like we should do something.
I think we were excited about the same sounds that were happening.
Even if I wasn't doing anything I was like wow that's a cool sound.
That in itself happened more than once.
I went back to Calcutta and he got on the kit and I got on the synths and we just played maybe like 10 minutes.
And that was the time where we were like you know what let's just do it. When are you free?
Making music as part of the perfect timing has been completely different from my solo stuff at Sand Dunes because for starters it's only half mine.
It's a collaboration that has come together with this co-producer, co-writer, co-musician, co-artist.
It also kind of elicits a sense of responsibility.
There's no arrogance involved. There's no ego. Working with Sonaya is very different because I think she comes from a different place.
She plays piano and I also often think that I'm a failed piano player.
And the way I play drums is it's basically a synth player inside trying to break out of this drummer's shell.
I think it's just a pretty freewheeling process at this point and we're really trying to figure out what this project is and where it's going to take us going further into its evolution.
