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Inside the Sonic World of TrippyNote
There’s something unmistakably fluid about Binaya Kumar Panda, known on stage and soundwaves as TrippyNote. A singer-songwriter, multi-instrumentalist, DJ, and poet, he defies easy categorization. Born in Nagaland with roots in Odisha, his artistic life has been one of constant movement: between geographies, genres, instruments, and inner landscapes. What started as a childhood steeped in Indian Classical music gradually evolved into an expansive, genre-fluid journey through House, Hip-Hop, Trap, PsyTrance, and beyond.
But labels only scratch the surface. What defines TrippyNote is a deep commitment to experimentation, to sound as a storyteller, and to the act of building immersive experiences; whether through an acoustic set, a DJ session, or a spoken-word recital. His musical curiosity has led him into underground spaces, long-format sets (including an intense 9-hour musical voyage), and an ongoing exploration of tempo and energy as emotional language.
Now based in Bhubaneswar, he continues to blend the local with the global, the classical with the cutting edge, and the internal with the ecstatic. In this conversation, we dive into the story behind the name, his path as an artist, the role of BPM as a narrative tool, and how a city like Bhubaneswar is beginning to tune into sounds that travel far beyond borders. Read on as we unravel the layers of his sound, story, and spirit, one beat at a time.
For those hearing your name for the first time, who is TrippyNote? How did this alter ego come to life?
I began learning Indian Classical Music at the age of four. In the early stages of music theory, I was introduced to the concept of notes and their pitches. I learned there are two types: one with seven notes (Diatonic) and another with twelve notes (Chromatic). The seven notes always felt well-structured and harmoniously arranged, almost perfect in their sequence. However, it was the twelve-note system that fascinated me more. It sparked a deep curiosity within me, and I would often ask my first Guru Maa, Pt. Bithika Dey, about them. My question was always the same: why are there twelve, and why do some of them sound so unusual to the ear? Guru Maa would gently respond to my innocent curiosity, saying, “Notes are never truly odd; it’s always about how we perceive them. When used with intention, the five additional notes can blend beautifully with the original seven to create something truly magical and captivating.” Her words resonated with me, and I found myself increasingly drawn to those five "other" notes. I gravitated towards ragas that embraced them. These notes felt unconventional and rare—there was a sense of freedom in their expression that I couldn’t ignore. As I matured, I began to perceive these notes as mind-altering and meditative. From this evolving relationship with the chromatic world, the concept of Trippy Note was born.
You’ve got roots in Odisha, were born in Nagaland, and seem to draw from so many worlds. How does that mix show up in your music?
Every culture holds a distinct mindspace, an invisible framework that shapes how we perceive the world, make decisions, and form our thoughts and choices. Having had the privilege of living in different parts of the country, my worldview has been profoundly realigned. Each place offered a new lens, broadening my perspective in ways both subtle and transformative. One phrase I often return to is: "Jawaab na dhoondiye. Pehle poochiye yeh sawaal kyun hai?" ("Don’t seek the answer. First ask why the question exists"). My ideology, the way I interpret the world and its people, the motivations behind my actions, and even the smallest nuances of who I am, are all deeply intertwined with the places I’ve called home and the lives I’ve been fortunate to share space with. Musically, this journey has granted me a richer palette of sounds to explore. Each environment introduced me to new sonic textures, rhythms, melodies, and tonalities that I might never have encountered otherwise. Learning these didn’t just serve as inspiration or technical tools; they expanded the horizon of my creative vision, helping me see and hear the world more vividly.
Was there a turning point when music went from being something you enjoyed to something you lived?
"I think they're both the same thing here." It was my parents' anniversary, and my father had a student who was excellent at playing the guitar. He didn't know what to give, so he thought he would get his guitar and play for them as long as possible. I, on the other hand, was a naughty child. I kept bothering him to let me play the guitar. He told me that I could sing along instead of playing. Growing up, I loved watching movies, scoring new songs, and then finding them on TV and singing along. I then sang along with the guitar as he played, and my parents enjoyed it. I sang several songs and enjoyed it myself. The next day, my father asked if I would like to formally learn music. I said yes without knowing what it took to tread the path of music. The very next day, I had my first teacher. Pt. Bithika Dey, who adored me and taught me with all the love and compassion. My learning process with her was very casual. She would ask me to learn and practice, but I used to take it lightly. All the major credits go to my father for taking this very seriously for me. He would encourage me to start practicing early in the day. From then onwards, I was on a journey to finding more and more about music and journeying on this path without a rush to reach anywhere. It was always the journey that fascinated me more than the destination.
What were those early days like, playing instruments, discovering genres, maybe even experimenting with your first tracks?
"It was like riding a horse without ever having held the reins before." I had always been an extremely curious child, filled with questions about everything and everyone. In the beginning, playing instruments was simply a fun activity for me, something lighthearted and playful. However, over time, it evolved into a powerful medium of expression. I kept exploring, experimenting, and learning, until eventually, music became almost like a junkie’s fix, an intense craving. If I didn’t address this need, I would become irritable and restless. Some of the best moments of my life were spent with my musician friends during our school days, a lively bunch of kids with no formal training, no structured knowledge of music, and no real understanding of how to coordinate as a band. Yet, what brought us together was pure love and passion for the art. We formed a band, driven by sheer enthusiasm, and jammed to songs from legends like The Eagles, Scorpions, and The Beatles. Even when I ventured into DJing, I first immersed myself in the theoretical aspects before stepping into practical sessions. The feeling of mixing my very first set is beyond words, an exhilarating experience that defies simple explanation. It became an inseparable part of my being, shaping my journey in ways you could never have imagined.
When did you first hit the stage? Do you remember how that felt, or how it’s changed over time?
I was just 9 years old when I performed for the very first time. The event was organized by the Rotary Club of Dimapur, Nagaland, in celebration of a significant social achievement, the club’s successful effort to promote peace and harmony within the community. Then, came my turn, my first-ever opportunity to step onto a stage and perform. Although I was bubbling with excitement backstage, the moment I stepped into the spotlight, a wave of nervousness washed over me. My mind went completely blank. I stood there, frozen, unsure of what to do. Gathering whatever courage I had, I closed my eyes, took a deep breath, and began to sing. Despite my initial panic, the performance went surprisingly well, considering my age and the whirlwind of emotions I was battling. After the performance, I was honored with a bouquet, a box of chocolates, and an envelope, which I eagerly opened once I got home. Inside was 4,000 rupees, my first-ever performance fee. Over time, many things have changed, but some have stayed the same. To this day, I still feel the rush of nervousness before stepping on stage. However, with experience, I've learned how to manage these challenges, allowing me to deliver my best and keep the spirit of a good show alive.
You blend genres that aren’t usually found on the same playlist — from acoustic to dark psytrance. How did that journey unfold?
Music, when embraced as a spiritual steed, transforms into pure frequency. Initially, my journey was driven simply by an insatiable thirst to discover the newest and most unheard sounds. I ventured into countless genres, most of which were entirely new and unfamiliar to me. During this quest, I had a profound realization: every sound is essentially an intricate arrangement of frequencies, meticulously layered over a tempo to resonate with our innermost thoughts and emotions. When a frequency aligns perfectly with our emotional state, it evokes an unparalleled euphoria—an almost transcendental connection, transforming that sound into one of our personal favorites, standing above all others. I began to experiment relentlessly, blending genres that shared either a common BPM or a similar key signature. This opened up a world of endless possibilities, granting me the freedom to craft unique, unheard soundscapes within my sets, each one a distinct journey of its own. Through this exploration, I realized that music transcends technicality and becomes a vessel for emotion. It becomes a living, breathing frequency that touches the soul.
Were there any genres you struggled to connect with at first, but grew to love deeply later on?
Yes. With exploration and experiencing new genres, everything did not come to me very easily. A lot of things came from meeting new people, conversations, and sharing stories. The one genre that took time to settle on me was Blues. I lived in Guwahati, and this city had a very rich culture of music in all different genres. I met a few friends at a lounge where they only play blues. Hearing it for the first time put me to a question about its wild, free yet controlled arrangement and how it aroused emotions so vividly. I then met a band in Shillong, they're called Soulmate, a band so rich in Blues that they almost made people cry with their originals. I saw this sorcery for the first time where music was consensually bending people's minds. I then met them after the show and asked them about the genre. They told me, "If you're hurting or if you're happy, blues is the answer". That made me rethink this gene. It went on like a personal project, to understand and enjoy the Blues. I gave my attention, time, and energy to explore blues in all its glory, and then I came across Jimi Hendrix, and then I got hooked on his playing style. l started understanding the articulations of it, and then it became easy for me.
What does “experimental” mean to you in the context of music? Is it about sound, structure, or something more spiritual?
For me, experimentation means the freedom to use sounds without being confined by strict boundaries. I used to be an artist who adhered closely to specific genres, always ensuring that my work fit neatly within a particular style, and there was nothing wrong with that. However, gaining the liberty to explore sounds more profoundly has opened up new possibilities for storytelling and allowed me to embrace a wider range of rhythms, presenting music across a much broader and more expressive spectrum.
Where do you learn from? Are you mostly self-taught, or have mentors and communities played a role?
I have been fortunate to learn from a diverse array of mentors who have profoundly shaped my foundational knowledge and guided my journey in music. Each has equipped me with the ability to think critically, question creatively, investigate deeply, draw insightful conclusions, and skillfully integrate varied methods and genres into my artistic expression. My father, my first mentor, opened the gateway to this journey. Pt. Bithika Dey then introduced me to the essential principles of music, laying the groundwork for my technical and artistic development. Under Pt. Dev Mishra’s guidance, I received rigorous ear-training, honing my ability to discern subtle tonal nuances. Pt. Nityananda Deka expanded my horizons by teaching me diverse vocal styles within Indian Classical music, fostering versatility in my craft. During my Master’s studies, Pt. Shib Das Chakraborty and Pt. Mily Chakraborty solidified my academic foundation, ensuring my growth as a disciplined and knowledgeable practitioner. Later, Pt. Bharat Mishra enriched my understanding of rhythm, imparting advanced concepts and skills to interpret complex time signatures with precision. Beyond these mentors, I owe immense gratitude to the vibrant communities and passionate music whose collective inspiration has fueled my curiosity and broadened my artistic palette.
Are there any specific artists, sounds, or scenes, global or local, that shaped your current sound?
My artistic journey has been profoundly shaped by a diverse array of artists, sonic landscapes, and cultural movements that continually elevate my creative vision in music. In the realm of Indian classical music and Ghazal gayaki, luminaries such as Pandit Ajoy Chakraborty, Pandita Kishori Amonkar, Ustad Ghulam Ali Khan, Mehdi Hassan, Ustad Bade Ghulam Ali Khan, and Nusrat Fateh Ali Khan have served as pillars of inspiration. Their mastery has deeply enriched my understanding of intricate ragas, emotive phrasing, and the spiritual essence embedded in these traditions. Venturing into Western music, pioneers like Jimi Hendrix, Bob Marley, Jaco Pastorius, and John Lennon unveiled the raw power of innovation and storytelling. My journey gained momentum through genre-defining bands such as The Doors, Weather Report, Porcupine Tree, Opeth, Dream Theater, Lamb of God, Meshuggah, Dimmu Borgir, and Cradle of Filth. Each of these acts expanded my palette, blending technical virtuosity with bold experimentation. A parallel universe of sound opened through psychedelic and electronic visionaries like Infected Mushroom, 1200 Micrograms, Shpongle, Hilight Tribe, GMS, Tristan, and Goa Gil. Their boundary-pushing compositions, steeped in hypnotic rhythms and transcendent atmospheres, guided me toward uncharted sonic territories, inspiring the fusion of organic and electronic elements in my work.
Do you follow a process when discovering a new subgenre, or is it more intuitive?
It is both calculative and intuitive. I consider this homework for my betterment and to stay updated. Learning is an ongoing process and needs to be carried over to the next task. Music is an ever-evolving, ever-growing subject that needs the artist to always be on the run to seek more and adapt to more insights to broaden their spectrum of Art.
How has Bhubaneswar responded to your sound, especially the deeper and darker sets?
Bhubaneswar has been a ride of mixed emotions and results. Learn about the people here, the music type, and their preferences. Being born and brought up in the Northeast, I was hardly aware of anything about Odisha. I experienced different kinds of results, and that helped me pave my own path where I was the first and only artist that perform world genres apart from Bollywood remixes. Major credit goes to Bhubaneswar and the crowd here.
Do you feel there’s an audience here that’s beginning to open up to global underground music cultures?
Yes. The newer generations have more interactions with the outside world, and media plays a major role in bringing new styles, fashion, music, and subcultures to the city. The travels, tours, experiences, and word of mouth have also affected the interests of the people to explore and turn towards new genres and scenes.
Are there any underground or independent scenes brewing in Odisha that people might not know about yet?
Yes, there are some dedicated teams that are willingly putting the scene forward. UNDERGROUND FEDERACION OF ODISHA, Audioshift & Babaji Boys are such crews that have been bringing new artists, new music and scenes in Odisha.
With so many forms of expression — music, poetry, instruments — how do you see them all coming together in the future?
I look forward to blending these artworks together with light shows and storytelling so that the audience gets a mind-bending experience.
For someone who might not be familiar, what exactly is BPM, and what role does it play in music overall?
BPM is like the heartbeat of sound. The full form is Beats per Minute. It decides the pace of the sound and how the arrangements of the music would be like.It completely affects the temperament of the composition, manipulates the effect over the listener and also builds the rhythmic foundation of the sound.
How does BPM affect the energy or mood of a track? Could you give a simple example of how tempo changes can shift the listener’s experience?
Like we discussed, BPM decides the overall foundation for the rhythmic structure of sound, it is mainly responsible for the listener's reaction and effects after listening. For example, let us take one track to be a slow-paced Ghazal from Ghulam Ali and crop patches of sound depending on the time signature. If the time signature is 4/4, we could loop a 32-beat structure of it and blend it with a Drum and Bass patch with mids cut off and replaced with the ghazal patch. The outcome would serve as a hypnotic Drum and Bass edit with a Ghazal in its background.
When it comes to your music, how do you approach BPM? Is it a technical tool, a creative guide, or something deeper?
I like reading between the lines. BPM has always been the first major step when we mix. All immediate steps later will only give results if the BPM is matched correctly. In my ways, I don't always go by the number but also my time signatures, using whole notes, half notes, quarters, and eighths. Let's take an example of a track that is at 150 bpm. Now the magic is, if we could blend an oriental track with 75 bpm along with something pumpy which is on 150 bpm, they'll blend magically, and the outcome will probably make an unreal impact on the listener.
You’ve spoken about storytelling through BPM, can you walk us through what that means to you?
BPM in terms of storytelling is an instrument to mend emotions and expressions for the listener. Like a story has an intro, build-up, climax, ending, and a moral, we can use the same concept with a shift in the bpm whenever it is needed. This shift will alter the frequencies of sound and edit the effects of the output. A well-arranged process will lead to a well-summed story of sound and energies.
Is there a dream space or setting where you’d love to play a set someday — something offbeat or personal?
Yes, I do have a personal quest. I have always been fond of hills and mountains. A perfect storytelling needs a complementary location that reciprocates with the sound. Kodaikanal Hills are magnificent, and the old jungles there are what fascinate me the most. I'd enjoy playing a set amidst the hills.
What does success look like for you at this point, reaching more people, evolving sound-wise, or simply staying true to your vibe?
I'd say, all three. Right now, I work as a PGT music teacher at Little Angels High School here in Gwalior, Madhya Pradesh, with a vision to educate my students with as many music skills. The things that I had to gather from places, people, and experiences, I want to make available all of it at one stop. My goal is to expand their mindsets both intellectually and spiritually, and feed them with the liberty to explore and improve on an individual level while I stay with them just to guide them along. Also, evolving sound-wise is not an option but a necessity for me. Music, like I said, is ever-evolving and ever-growing. If we do not match up to its evolution, we will be forgotten and will fade away.
You've travelled through genres, instruments, and scenes, but what part of you remains constant no matter the form or format?
Indian Classical Music is something I started my journey with, and it will stay until the end of it. My whole journey so far is only because I studied music in the most ornamental education system that provides all the concepts with briefs and elaborated ideologies.
If someone stumbled into one of your sets with no context, what do you hope they walk away feeling or thinking?
My music for an unknown and ignorant person can result in unpredictable ways. At times, these are the ones that enjoy the most and to their fullest. They go back with timeless memories and start a new path of exploration further ahead. But not always does this work for everyone. At times, it can be irritating and a complete vibe-killer. The person can go cranky, aggressive, or even try to pull the trigger on me. This happened in one of my gigs.
What’s next for you? Are there any upcoming projects, sounds, or directions you’re excited to explore?
Yes, there are. I am presently focused on building a haven for explorers and curious musicians to explore without judgment. Been gradually working on the idea of a Conservatory for Music. Seedbed Conservatory of Music is slowly taking shape, little by little, day by day. For someone just starting with a cracked laptop, a pair of headphones, and a dream, what's one piece of advice you wish someone had given you? You don't have anything to lose but everything to gain. Your biggest failure will be your biggest win if you perceive it differently. Having an open mind to criticism, a humble heart towards appreciation, and submissive belief towards the Almighty will show in your personality and will really make a change. Standing out from the crowd takes time, perseverance, and a lot of defeat. If you're ready to thread your endeavors without ever stopping, now is the time.
