In a 2018 interview with Scroll.in, producer and DJ Nucleya—Udyan Sagar—explained how “Paintra,” his collaboration with rapper Divine for Anurag Kashyap’s film Mukkabaaz, came together. He described a song built for a particular moment of struggle in the film, as well as a career shaped by independent releases, live shows and selective film work.
How did “Paintra” happen?
Nucleya said composer Amit Trivedi told him that director Anurag Kashyap wanted to reach him. Nucleya and his manager, Tej Brar, met Kashyap, who explained the film and the emotion the song needed to convey. Nucleya recalled that Kashyap then gave him creative control.
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The lyrics began with actor Vineet Kumar Singh, who wrote an initial version. Nucleya brought in Divine, a rapper he had worked with before, and Divine reworked the lyrics. Nucleya said he trusted Divine to deliver.
What was Kashyap’s brief?
“Paintra” was made for a specific scene and moment of struggle, rather than conceived as a conventional standalone single. Nucleya described it as a way to advance the film’s narrative and capture what its protagonist, Shravan Singh, is going through. The interview characterizes the track as electro-rap.
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How did Nucleya approach production?
His account combined live performance and digital sound design. He said he had recorded regional musicians in their own environments, including temples and villages. In other cases, he brought musicians into a studio and directed them to play melodies or parts he needed.
He also described shaping drums and percussion substantially with VST plugins in a digital audio workstation. The interview does not name a particular plugin, DAW, instrument or recording product, so it offers no basis for a specific gear recommendation.
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Was Bollywood recognition his goal?
No. Asked whether acceptance by Bollywood was the ultimate sign of popularity for an independent artist, Nucleya said, “I have no interest in being accepted by Bollywood.” He described film work as something he would take on when he believed in the particular project and respected the people involved—not as a career destination in itself.
How did he reach listeners outside film work?
Nucleya pointed to free downloads, college shows and large-scale live production as parts of his approach to finding an audience. He described freely downloadable music as a way to reduce barriers between his work and listeners, and emphasized the role of colleges and festivals in building that connection. These are his recollections of his own strategy, not a description of his current distribution arrangements.
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How did Nucleya describe India’s electronic music scene?
In the interview, Nucleya credited acts including Jalebee Cartel and MIDIval Punditz with helping Indian audiences experience electronic music live. He also discussed Sunburn’s festivals and event properties as sources of exposure. His account reflects his perspective when the interview was published in 2018, rather than a current, independently measured assessment of the industry.
He described investing in visuals, special effects and pyrotechnics for his own performances. The conversation also mentioned a 2018 touring audio-visual show called SUB Cinema and an album then planned as a follow-up to Raja Baja. Those details refer to plans and activity at the time, not a current tour schedule or release announcement.
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