A free form exploration bringing together sounds from classical, folk and nature traditions from around Asia and presenting them in a contemporary form.

Vishesh’s performances are beyond a solely musical performance but an immersive sonic experience , which invokes the memory of high mountain peaks, grasslands, bamboo groves, rivers and tropical forests

The authentic acoustic instruments create an effect of transcendence and sonic landscape taking the listeners into a contemplative/relaxed state.


Humans have a bad habit of excessive control, art is one way where we can let go of that control, really be in the moment or rather the movement. The earth, nature are always in movement, we on the other hand have lost connection to this movement for various reasonsas a community by growing too fast, by polluting our rivers, by poisoning our ecology, trying to control it. So, music, especially improvised music, spontaneous music, created in and for the moment has the potential for the listeners to connect to this natural movement even if it is for a short duration. With improvisation, we cut down our restrictions, we can allow ourselves to be influenced not only by our emotions and intent but also by the audience, the space, even the weather and seasons can affect improvisations. 

Vishesh Kalimero plays several string instruments that are unheard of and have vanished from present day music scene.


Along with Throat singing from Tuva(Siberia), and Dhrupad singing from North India.
Yayli Tanbur (Turkey)

A long neck bowed Ottoman Lute. Vishesh has customized it extensively, changing the strings, the bridge in such a way, that it can also be played on a lower register and can go lower than the Cello. In the same time it doesn’t have a clear sound like most melodic instruments instead it has more ambient textures. One of favored instruments to express subtle emptions, fragility and in the same time boldness. Vishesh’s playing uses a lot of overtones, harmonics, microtones, ornamentation techniques from all around Asia. Vishesh started playing this instrument in 2011, after seeing it in Turkey in a Sufi Whirling Ceremony.

Erhu (China)
A small yet powerful 2 stringed bowed instrument with Snakeskin. Unlike other bowed instruments, here the bow is stuck in between the strings, so both sides of the are used, one to play the lower string and one the higher. High Pitched, dramatic, piercing sound, its sound enhanced if played alongwith a bass instrument. After trying Indian, Persian, Turkish, Arabic music, Vishesh got interested in Chinese music and especially the way they used silence and a total different world to Ornament Music.
He picked the Erhu in 2016, and began experimenting with the tuning and playing styles after being inspired by the Korean Haegeum and Indonesian Tarawangsa to find his own sound on it.
Setar & Tar (Persia)
Vishesh picked the Persian Setar in 2012, and instantly fell in love with the one finger tremolo technique of the instrument. The sound of the Setar is fresh, bright and full of hope. Picking this instrument was also a way for him to understand the roots of Indian Music. Since according to his research the North Indian Sitar is a result of meetings between Setar, Tar and the North Indian music culture.

He got the Tar in 2017, a thin skinned instrument which has a maturer sound than the Setar, if the Setar is young person, the Tar is a grown person who has experienced all kinds of emotions and life situations. Having the nuance of the Indian Sitar and in the same time the youth of the Persian Setar.

Igil (Tuva Siberia)

The 2 string fiddle, horse hair strings, the most natural instrument to throat sing with.
Both strings are played together, slow paced rhythms to as fast as horse gallops.
Its sound is primal, animistic and it carries the feeling of a journey.

Vishesh picked the Igil in 2019.

According to the research of Vishesh, Igil is most likely the oldest bowed instrument and as it travelled towards Central Asia it took a different form. From there it travelled and took various forms everywhere.

Cretan Lyra with Sympathetic strings (Greece)

Cretan Lyra is a bowed instrument from the island Crete in Greece. It is considered one of the ancestors of the violin. In 1990, instrument maker Stelios Petrakis customised the design with sympathetic strings like the Indian Sarangi with the help of musician Ross Daly.

A go to instrument for Vishesh, a sound which has balance,richness, depth and versitality.

Vishesh began playing the Cretan Lyra in 2o20.

Seni Rabab (Afghanistan-India)

The sound of the rabab feels like a sound that each and everyone can relate to even if we come from different countries, backgrounds, lifestyles, interests. The sound of a broken heart, the sound of an open heart, the sound of a full heart. Rabab is defintely the instrument of the heart. Similar version found from East India to the Middle East as well as Central Asia and South East Asia.

Vishesh began playing the Afghani Rabab in 2013, and slowly shifted to the Seni Rabab, which comes from the region where he was born.

Dotara (Bengal, India)

The dotara, a folk instrument of the Bengali people. Its sound feel like you are sitting in a boat in a slowly moving river. 

Vishesh picked this instrument in 2016 and many a times plays it in such a way that it sounds like a middle eastern banjo.

Sarangi (North India)
4 playing strings made out of gut and 37 sympathetic strings made primarily of steel.

This goat skinned bowed instrument can be found in Folk music, Classical music and even Bollywood.

Vishesh began playing the Sarangi in 2023. After playing bowed instruments from different parts of Asia, he felt the need to learn an Indian Bowed instrument. For a certain reason he found it easier to experiment with an Indian instrument in comparison to instruments from other countries. Probably due to the fear of misrepresentation and disrespecting other cultures, he felt if he would be able to learn and successfully break the Sarangi. Then, he would go back to the other instruments with a different light.

Playing the Sarangi is no easy task, its swirly, loud and slightly roaring feminine sound is pleasant to the ears for most people and many a times calls for tears.

Rudra Vina (India)

Vishesh was always fascinated by the Rudra Veena, its buzzing sound that felt like was touching not just the body but even more.

He succesfully got one Rudra Veena in 2014, unfortuntely due to a shoulder injury he developed in 2018, he stopped playing it. Hoping to come back to it someday.

Sanshin (Okinawa)

During a tour in fall 2023 to Japan, Vishesh picked the Okinawan snakeskin lute Sanshin and felt he could express a new and simple music on it that he hadnt explored before. 

The Sanshin is perfect for Vocal accompaniment, a warm and resilient sound carrying a peaceloving message.


Notable Performances

Amarass nights at The Lodi(as reaching the roots) – New Delhi, 2013

Yaga festival(as ‘Reaching the Roots’) – Lithuania, 2013

Cosmic Convergence(as ‘Reaching the Roots’) – Guatemala, 2014

Ozora festival(as ‘Reaching the Roots’) – Hungary, 2014

Korean Culture Center – New Delhi ,2015

Ozora festival – Hungary, 2016

Sufi Saarc Festival – Jaipur, 2016

Midnight Sun Festival – Norway, 2016

Alliance Francaise – Kolkata, 2017

Twice in Nature – Goa, 2017

Emmanuel Vigelands Mausoleum – Oslo, 2017

Indian Habitat Center- New Delhi, 2018

Sufi Inayat Khan Dargah – New Delhi, 2019

India International Center – New Delhi, 2019

Indian Habitat Center – New Delhi, 2019

Emmanuel Vigelands Mausoleum – Oslo, 2020/23

Museum of Goa , Goa, India, 2022

Harkat Studios, Mumbai, India, 2023

Uru Festival, Wayand, 2022/23

Lahe Lahe, Bangalore, India, 2023

Garso Kupolas, Vilnius, Lithuania – 2023

Geltonos Sofas Kulbas, Vilnius, Lithuania – 2023

Capital letters alongwith Maya Rao at IIC, New Delhi – 2023

Tedx Amity University, Nodia, India, 2024