Sandunes Returns with Immersive New Album ‘The Ground Beneath Her Feet’

Two years on from releasing her 2021 four-track EP Nowhere to Stand, Mumbai-bred producer Sanaya Ardeshir aka Sandunes is now back with a splendid new 13-track album entitled The Ground Beneath Her Feet, out via British label Tru Thoughts. Ahead of performances at Rajasthan’s Magnetic Fields Festival and Mumbai’s NMACC later this month, we caught up with Ardeshir to discuss the new record, how it came together, what she’s got planned going forward and more. Read below.

It’s been two years since we last spoke to you, what’s been going on in your career since then?

That’s right! Working backwards – The Ground Beneath Her Feet has been in progress for the last couple of years. Earlier this year, Ears to the Ground – my project with [bassist] Krishna Jhaveri around changing soundscapes as a result of climate change had its first performance in quadraphonic sound with audio-reactive visuals, featuring a lot of recordings from the Western Ghats, and experimental feedback and synthesis. 

Prior to that, I worked on the India in Fashion exhibit as part of the launch of Mumbai’s NMACC – which was a large project entailing composing and spatializing music for 15 ‘rooms’ as part of a sort of pop-up museum focusing on India’s contribution to the world of fashion. 

Even earlier, I went on tour with a large band –  late last year. We called it the Toxic Positivity Tour, had Krishna Jhaveri [and artists] Josh Fernandes (aka JBABE), Aditya Ashok, and Mali on stage with me. We took new and old music to clubs in Mumbai, Pune, Hyderabad and New Delhi with Sourya Sen on live visuals. It was really special and brought performance back into the orbit of my creative practice.

When did work on The Ground Beneath Her Feet begin?

It began in late 2020, with early experiments in songwriting from a mobile studio in Kodaikanal. 

What can you tell me about the recording and production process for this record?

The approach overall has been really eclectic – in that, the album has been recorded and produced in Kodaikanal, Goa, Mumbai, Oakland, and Berlin, with remote recordings from my collaborators in Upstate New York, London, Bogota, La Paz, Java, and Brasilia. 

It’s definitely a work that was conceived of in the pandemic – but came to life alongside the re-emergence of ‘IRL’ life and in-person studio practice – I feel the music reflects that too, in its diversity and the contrasting bits. 

Coming to the songs themselves, what do they mean to you and what do you hope listeners take away from them?

I think music means different things to different people. I’m just hopeful that it touches people, moves their soul, reaches their spirit.

The songs have meant various things to me, often revealing epiphanies at various stages of their development, if I could encapsulate it into one feeling – which is hard because there are several dovetailing themes I keep referencing in the record – I would hope it inspires some shape of hope.  

You’ve got a few collaborators on this album too – what was it like having them on board?

The record is in large part about centering the collective. I feel very blessed to be sharing space with these collaborators on the record. Both in terms of intention and process, each was a very special, unique experience. 

What’s next for you?

Heading to Kanha National Park in Central India for a second installment of Ears to the Ground. Producing music for a few other artists, working on my own next record, and exploring new technology to expand the shape of my performance practice. 

Stream ‘The Ground Beneath Her Feet’ on Spotify below and on other platforms.