The Philosophical Psychedelia of Glass Beams

Shrouded in a glittering enigma, the Melbourne-founded phenomenon that is Glass Beams holds a unique space in the contemporary music landscape. Beyond their trademark gold, doily-like masks, the intricate instrumental project offers a profound commentary on identity and culture that is as deeply personal as it is collectively resonant.

The heart of the three-man project is Rajan Silva, a multi-instrumentalist and producer whose musical perspective was shaped by his family’s migration from India to Australia in the late seventies.

The core of the Glass Beams sound is a striking fusion. It’s the combination of seventies Bollywood film scores - specifically the work of influential Indian composers such as RD Burman and the Kalyanji-Anandji duo - with the contemporary sounds of psych-funk and Australian surfer rock that has catapulted the group into global music consciousness.

Call it biculturalism or call it third culture; whatever the case, Silva has honed this cultural meld to create a truly unique signature. This sound came to life in 2021 with the breakout EP, Mirage, and was cemented by 2024’s follow-up EP, Mahal, which debuted at number 5 on the Billboard Contemporary Jazz Albums chart and number 13 on the Billboard Jazz Albums chart.

Don’t let the word 'jazz' fool you, though.

The Glass Beams sound is characterized by structures that manage to be both minimalist and luringly hypnotic. The group’s guitar lines are drenched in reverb and echo, intentionally mimicking the glissando and microtonal sounds of the sitar. Silva’s production frequently uses Indian-derived scale-modes, which he expertly combines with a more Western-influenced, groove-driven rhythm section. He ties it all together with tight drums, syncopated bass, and embellishes it with a variety of DIY electronic elements. Think lush sitar samples, eerie vocal pads, and spacey effects that form an irresistibly colorful and cinematic soundscape often described as ‘serpentine psychedelia.’ Certain tracks, such as ‘Mahal’ and ‘Taurus,’ are further defined by Silva’s masterful use of repetition - meditative, not monotonous - managing to seduce listeners into a trance.

The masks? While they have become the instant visual trademark of Glass Beams, they are far from a gimmick. The bejeweled pieces are donned as a constant statement against the modern cult of celebrity. Silva intends for the masks to strip himself and his bandmates of their individual identities, compelling listeners to engage purely with the music and its energy, thus prioritizing essence over ego.

Silva has stated that the masks - and the anonymity they afford - reflect concepts like ego death and Indra’s Net. Born out of Buddhist philosophy, Indra’s Net tells of an infinite web where each jewel reflects every other, symbolizing profound interconnectedness. In this context, the masks present a visual manifestation of a musical philosophy that puts oneness above individualism.

It is this charged aesthetic, combined with their memorable live performances, that fueled the group's rapid, organic virality - a surge that ultimately led to their signing with the influential cult label, Ninja Tune, and has seen them perform on some of the world’s biggest stages, including at Primavera Sound and Glastonbury, as well everywhere from the US and Europe, to China and Japan. 

Despite their growing fame, the group remains cloaked in a mystery of their own making, ensuring the focus stays squarely on the music itself.

will be performing in Bahrain on October 23rd at a special gig presented by SceneNoise and Beyon Al Dana Amphitheatre. The night will also feature the Yussef Dayes Experience, as well as DU$T and The D.M.T Experience.

Tickets available at beyonaldana.com.bh