Nemophilis is, admittedly, difficult to define. There’s a moment (maybe a few seconds into their acoustic reimagining of a track originally meant for full-blown distortion and double-kicks) when you realise Nemophilis isn’t just a band trying to be something. They already are something: nomads with chords for compasses.

If you've been around the Indian indie scene for a while, chances are you've heard of Nemophilis. Maybe you caught one of their famed Linkin Park tribute sets... the kind of show that sends a nostalgia-seeking crowd into collective catharsis, shouting every lyric. Or maybe, like some fans, you stumbled upon one of their originals tucked between the big covers and stayed.

Now, with the Tatakai India Tour kicking off on June 1st in Bengaluru, followed by Hyderabad (June 8), Pune (June 11), and Mumbai (June 12), the trio is taking that shape-shifting sound and fusing it with something deeper: purpose. Alongside Sri Lankan alt-rock rebels Paranoid Earthling and Guwahati's climate-conscious Rain In Sahara, the Pune-based band is going on the road.

It’s easy to spot Nemophilis at a gig. They’re the band that brings down the house with a Linkin Park set and then sticks around to make you cry with one of their originals. And yes, they know that Linkin Park thing follows them around like an affectionate, oversized pet.

“We know a lot of people associate us with being a Linkin Park tribute band,” drummer Akarsh admits. “It’s part of who we are. Our fanbase knows we also play originals, and nobody’s telling us to pick one lane. So we just keep doing what we enjoy.” And enjoy they do. Take a look at their past work: the fist-pumping 80s-style riffs of Unsaid, or the slow-burn ache of Close To You.

“To be honest,” says guitarist and vocalist Kshitij, “we don’t feel the need to shake off the tag. It’s not doing any harm. People come for Linkin Park, and then they stay for us.”

They’ve cultivated a fan base that is happy to headbang to a Hybrid Theory classic and then sway to an R&B-inspired original. And in 2024, they dropped The Iceberg: a full-length record that flipped expectations inside out. Like its namesake, it promised a hint of what lies beneath and delivered everything from metal riffage to acoustic confessions.

Introducing Hyōzan:

Their upcoming album, Hyōzan, is a gentle detour in an otherwise electrified discography. It’s stripped down, unplugged, and introspective. “It’s like we pulled our own songs out from under a wall of sound,” says Kshitij, “and let them breathe. The lyrics and melodies were always there, but now they’re naked, emotional, fragile in the best way.”

And that’s precisely where Nemophilis wins. They're not trying to convert pop fans into metalheads. They're inviting everyone (whatever they listen to) to simply listen. Two of the tracks feature special guests: Breathe includes friend and collaborator Rishin Dharap, while Paralyzed boasts a haunting saxophone passage from Ukrainian artist Dima Faustov.

If The Iceberg was the chaotic shuffle of a teenager’s music player, Hyōzan is the quiet Saturday evening that follows. 'Built a Dream I can't remember, Lost in Dreams I can't forget' goes the chorus of the second single Dreams. The album isn’t chasing trends. It’s chasing connection. “Not everyone likes metal,” bassist Saurabh adds, “but everyone likes feeling something.”

A Tour That Talks Back:

Tatakai is Japanese for battle. And for Nemophilis, the battle is within. Their contribution to the tour’s social themes is mental health awareness, because it's not just abstract for them. It’s lived experience.

“There have been times in all our lives where we weren’t at our best,” Saurabh says. “Music made us feel less alone. We hope this tour does the same for someone else.”

You can hear it in Stronger, the first single off Hyōzan. It starts off with:

'This severed state we fathom to deny just who we are

Against the tide of time we find the storm

And plunge in the deepest scars

Through the darkest times we walked alone in misery.'

“I started with Guitar Pro 5,” Kshitij laughs. “I’d write parts and send them to the band. It was like emailing a mixtape.” Eventually, the process became more collaborative, less tech-dependent. The bones of a song come from anywhere: an emotion, a rhythm, a hummed melody. Together, they build something that feels like it belongs to them all.

Their performance will be layered with that intention. Confetti with affirmations. Spoken interludes. A sincere attempt to make sure no one walks out of the gig feeling invisible. “We’ve said this before, and we’ll keep saying it,” Akarsh adds. “You’re not alone.” Ask them about their songwriting process and you don’t get a tidy story about jam sessions and harmony. You get something messier, more real. Voice notes. Ancient music software. Half-finished riffs sent at midnight. A lyric idea scribbled down at work.

Their Playlist Has No Borders:

Their musical roots lie in metal: Children of Bodom, Metallica, Bullet For My Valentine, and, of course, Linkin Park. But like most great Indian bands, the real story is in the divergence. Adulthood brought with it softer sounds. Unexpected loves. R&B. Jazz. Prog rock. Even synth pop. “You grow up,” says Saurabh. “Your ears open to other things. But rock and metal, that’s the bloodline.” That openness is what allows them to play a raging metal show on Saturday and turn it into a quiet acoustic baithak on Sunday.

There’s no marketing plan, no calculated arc. There’s just curiosity. And a shared instinct to follow the next creative wind. After the Tatakai tour, they might do a few acoustic shows. Or jump headfirst into another genre experiment. Or collaborate with someone entirely unexpected! And isn’t that what keeps a band interesting? That they don’t have all the answers. That they’re still writing the question itself.

Where do they go from here? “Honestly?” says Akarsh. “We don’t know. Like nomads guided by the seasons, we're quite nomadic in our musical journey, who knows what terrain we'll explore next but we like the beauty of keeping our options open, not binding ourselves to any genre or style, we are free to roam and do whatever feels right for that particular moment.”

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