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Experimental Perverteres: A Conversation with Begum

22 Jul

Photo courtesy Anika Mehta.

New Delhi-based Begum are the most exciting band we’ve heard this year. Two members of the band, Karthik Pillai and Karan Singh, are from the gypsy/cabaret/indie act Peter Cat Recording Company. With Begum, their unmistakable Peter Cat madness is flavored with bassist Kshitij Dhyani’s masterful touch of elegance. It’s a perfect combination.

It’s no wonder, then, that their lead single “Waiting” is such a stunning debut. Karthik syncs his trance-like guitar groove perfectly with his melancholy singing. Karan’s drumming breathes inside delicate spaces as well as it drives segues between different phrases. Kshitij’s basswork is understated and moody, and all the more indispensable for it. The lyrics are poetic enough to feel the song’s melancholy and mysterious enough to add your own imagination to it.


Top Five Records had the chance to have a little chat with this promising young band from the country’s capital. What transpired next was a mad, strangely thought-provoking affair, much like the band itself. Read for yourself:

Top Five Records: Let’s start with the basics. Why Begum? What’s behind the name?

Begum: The name Begum is a tribute to the Queen Preeto, who reigned during the 5th century of Salil Ankola in Noida Sector 18. During her reign, hipsters, indie musicians and other things you can find at dollar stores were given a special place in her court. Her patronage towards Chinese artifacts and other things without a future beyond six months inspired us to come together and produce music with the shelf life of a Durian.

TFR: What pulled you together to form Begum?

Begum: Two smugglers Kshitij and Kartik were caught illegally transporting guitar riffs across the border. During interrogation, they conceded their guilt and were summoned to deliver a bribe in the court of the Begum. While presenting their bounty to the all-knowing Begum, they accidentally hit a set of sacred occult notes. One of the Begum’s guards, Karan, ran to stop them and, before anyone could notice, they were transported to an alternate universe. Now the three men have joined forces to jam until they find the correct set of notes to go back home.

TFR: When did you guys first get into music? What did you grow up listening to?

Begum: We grew up listening to Government propaganda, still our favorite when we need to kick off them blues about our future or where this country is headed. We got into music to prolong this dreamy, blissful, ignorance-fuelled state of oblivion and share the perils with our concerned friends, relatives and parents. Our music comes recommended as the best background score for an intervention by one in four psychologists in Nangloi area of Delhi.

TFR: Tell us a little bit about your single “Waiting”. What’s the story behind it?

Begum: The brain has been flooded by the discharge of the pineal gland cutting off all connections to the body and leaving the brain in complete awareness of its descent into numbness. In the song, the individual is having flashbacks and is viewing himself/herself in second person and third person as he/she slides into death and emerges as free energy, alive and malleable with a certain amount of consciousness. In one word: transcendence.

TFR: Most of your online presence features the image of a lady wading into the ocean. Does the image have any particular symbolism?

Begum: That image was artwork for our single “Waiting” and made sense somehow in context with the song. It has now been changed to the artwork for our new single “Chinbien”, which is being exclusively launched by Wild City. These are Top Secret archival images of rejected ideas for a personality makeover media campaign for one of the top Indian politico-crats, rejected on the grounds of being too nauseatingly humane.

Photo courtesy Begum.

Photo courtesy Begum.

TFR: There’s a certain dreamy melodrama in your music that few other artists in India can attempt, let alone pull off so perfectly. What inspires you to create this very unique style of music?

Begum: It’s a natural state of being, we suppose, the slow motion (as slight as it may be) effect is something we appreciate. But we think this question is best answered by the following quote by former British Prime Minister Benjamin Disraeli, delivered in 1878 while delivering a speech in reference to his liberal rival and famous orator William Ewart Gladstone in the Parliament of the United Kingdom

“You see the whole country of the system is juxtapositioned by the hemoglobin in the atmosphere because you are a sophisticated rhetorician intoxicated by the exuberance of your own verbosity.”

TFR: On a similar note: we think that the music you guys make would be best suited for a particular sort of pensive, elegant atmosphere. What would be your ideal gig venue?

Begum: Parliament of the sovereign, socialist, secular, democratic, republic of Akagarma. A Golden Pillared Opera house along with an orchestra and an immersive and subjectively responsive lighting and visual setup. Globes radiating sound and the warmth of sound pressure levels, tinted audio generators pulsing and rushing through the crowd.

TFR: The video for your new track “Chinbien” features a surreal series of imagery and video clips. How important are visuals to the end product of your music?

Begum: While browsing the Internet to solve the mystery of feline dominance, our video director Samridhi Thapliyal was stuck by a sudden and deeply saddening inquisition. What if aliens are trying to establish communication with us but their mode of communication lies outside of the aural and visual abilities of a common Honey Singh fan? So, to extend a hand of friendship and a proposal for a symbiotic relationship with the dimensions outside of human experience, the music video has been a humble attempt. It is a short catalogue of what aliens should expect to see on a vacation trip to Earth, which Samridhi expects to be picked up by the tourism department of our planet someday.


TFR: If your music had to be slotted between two albums of any language and any genre, which two would it be?

Begum: We would be forced to slot our upcoming album “Begum Bagh” between the available recordings of broadcast from “Phoney Wars” and a spoken word album of all of Alfred Jarry’s work, synchronized to free jazz and Altaf Rajas Alaaps.

TFR: Tell us one artist (Indian or international) that you’d most love to work with.

Begum: Tony Clifton

TFR: When can we expect the Begum album?

Begum: The Begum album will be out by August followed by a tour and one more music video coming up as well somewhere after that. Also we are in the process of composing an Indian Opera, hopefully debuting it sometime next year.

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The Half-Year Mark: Top Five Albums of 2014 So Far

30 Jun

Music can be a pretty powerful thing.

We understand the pointlessness of writing this cliche on a music blog, but such is the fact of the matter. Six months of the year Two Thousand and Fourteen have passed in a flurry of work and worry, and the only demarcation in the swiftly speeding days for us – and for others, we suspect – came through the enjoyment of a great, varied mix of albums by artists old and new. So, without further ado, here are our picks for 2014’s Top Five Albums, six months in. Enjoy!

5. Singles by Future Islands

Singles by Future Islands

It takes guts to name your album Singles. Not only are you claiming that the entire album is single-ready, but you are also implying that you don’t need a kitschy album name to propel you to fame or to keep you there. But Future Islands are not being ballsy with the title of their latest album. Singles is a nod to the unattached, slight melancholia of single men and women all over the world. In short, they are just being honest-to-God, honest-to-pop-music genuine.

Led by eccentric frontman Samuel Herring, Future Islands have somehow pervaded their entire album with this sense of overwhelming genuineness. The lyrics of their break-out track “Seasons (Waiting on You)” (“Seasons change, But I’ve grown tired of trying to change for you/’Cause I’ve been waiting on you”) would incite the plummet a lesser artist. However, in Herring’s honest, old-school pipes and the band’s unapologetically throw-back synth-pop sentimentality, the song becomes larger than itself. Take, for another example, the sparse beauty of “A Dream of You and Me”, where Herring fuels lovelorn pop sentiments with a crazed realness that makes it sound like one of humankind’s first ever love songs.

All in all, Future Islands’ Singles is a collection of songs about love – lost, gained, but on the whole experienced. Like the figure on their album cover, the band has slightly got their heads in the clouds with this whole ‘love’ thing – but that very quality makes for some genuine, real and wholly enjoyable music.

Best songs: “Seasons (Waiting On You)”, “A Dream of You and Me”, “Fall from Grace”

4. Present Tense by Wild Beasts

On first listen, Wild Beasts sound like a hook-heavy (hook-aware?) version of the National, which is itself not a bad thing to be. Further listens of their stunning debut album Present Tense prove that Wild Beasts are much more, for they seethe, prowl and ravage with the most entertaining of all human inventions: drama.

On the chilling, ominous “Daughters”, Tom Fleming’s deep voice blurs the pronunciation of ‘old men’ as ‘omen’ in an ode to a destructive, fiery daughter in an apocalyptic world. On “Mecca”, the band makes a potentially controversial metaphor between to the real Mecca (“I’m a pilgrim and you’re the shrine”) on a song that’s really a beautiful, graceful sex song. The shivering pulses on “Nature Boy” seethe with self-righteous jealousy against a number of people and things.

Like we said, quite entertaining. In a way, Present Tense is almost an inadvertent homage to drama itself, unfurling, folding and twisting in all its lurid, lusty and forceful grandness.

Best songs: “Mecca”, “Wanderlust”, “A Dog’s Life”

3. Sunbathing Animals by Parquet Courts

Sunbathing Animals by Parquet Courts

Brooklyn-based Parquet Courts are widely regarded by many to be Gotham’s successor to those unbeatable indie rock gods, the Strokes. Sure, it’s an over-statement, but there’s more than a kernel of truth there: the opening riffs of several songs on the album are starkly Strokesian. But the great part about Sunbathing Animals is the fact that Parquet Courts cleverly combine this archetypal NYC indie rock sound with those of several other great bands – Pavement, Joyce Manor and Yuck, to name a few.

But Parquet Courts are not just a pastiche of well-known indie rock bands. They may seem like just a ridiculously dance-able wall of sound at first, but they’ve got a lot more up their sleeves. Frontman Andrew Savage’s non-stop flow of words are somewhat unintelligible, but listen closer and you will find that they are quite well-written. For example, between the frenetic chug of guitar and drums on “Black and White”, Savage acutely articulates the very intensity of their music (“Nothing makes my heart so wild as being in possession of a potent night/Racing down the stairs in a nude descension shedding and discarding my hide”) and tosses it up with some good old-fashioned self-doubt (“Is the solitude I seek a trap where I’ve been blindly led?/ Tell me, where then do I go instead?”).

Nor are they just a wall of sound. The mellower “Dear Ramona” and “Into the Garden” are perfect breathers between crazy-energy pieces like “Ducking and Dodging”, “Always Back in Town” and the afore-described “Black and White”.

At the moment, Parquet Courts could do with a little more self-restraint – the over-the-top rants on the eponymous “Sunbathing Animal” or the painful harmonica solo on “She’s Rollin” are a few examples in this direction. Hopefully, with time, the craziness can be reined in (just a little) to produce some truly terrific indie rock. We’re certainly looking forward to that day.

Best tracks: “Black and White”, “Dear Ramona”, “Ducking and Dodging”

2. Salad Days by Mac DeMarco

As you, the frequent reader, might have noticed, we at Top Five Records are big fans of the perfectly-chosen album cover. The image that graces an album (or, in our times, the webpage from where you’re streaming or downloading the album) is perhaps the first and strongest impression your mind forms about what your ears are about to take in.

Salad Days by Mac DeMarco

Mac DeMarco’s latest album Salad Days features the lanky, easy-going singer half-smiling at us in everyman clothes, bathed in dappled sunlight. Just from that image, you might expect laid-back guitar-based pop that could conceivably be played in someone’s backyard on a lazy Sunday afternoon – and, happily, that’s exactly what you get.

But don’t think that Salad Days is an obviously-named reflection on the passing of one’s salad days, though. On the eponymous first track, DeMarco seems to veer towards the topic (“Missing hippy Jon, salad days are gone/Remembering things just to tell ‘em so long”) before gently chiding himself: “Oh mama, actin’ like my life’s already over/Oh dear, act your age and try another year.” It’s precisely this charming, self-deprecatory manner that makes Salad Days so refreshing.

Besides, DeMarco looks exactly like Wayne from Wayne’s World. Who doesn’t love that?!

Best tracks: “Salad Days”, “Let My Baby Stay”, “Let Her Go”

1. No Mythologies to Follow by MØ

Last year, we frothed at the mouth about “Pilgrim”, a bewitching song by Danish recording artist MØ (real name: Karen Marie Ørsted). It should come as no surprise that MØ’s debut album No Mythologies to Follow is our favourite album from these past six months.

No Mythologies to Follow by MØ

Throughout the album, MØ sways and amazes with her sheer variety of intoxicating beats – and the way her talented vocals mesh with them. Seriously, nearly every song on the album stands out in its own breath-taking way. There’s the lurching pulse on the vengeful “Fire Rides”. The melodic, Haim-like “Maiden”, full of sparkly Scandinavian pop hooks, showcases MØ’s sultry-voiced avatar. “Don’t Wanna Dance”, a dance-pop gem about bad boys that make MØ want to tear her white skin apart, would suit heavy radio rotation perfectly. There’s the drunken, pop-lock confidence of “Waste of Time”. It’s enough to almost overshadow the hypnotic perfection of “Pilgrim”. (Almost.)

No Mythologies to Follow is an heady piece of art that growls, wails and croons in all the right ways and at all the right places. Yes, that sounds like a cliché, but listen to the album and you’ll see what we mean. No Mythologies to Follow is not just the best album of the last six months: it’s the album to beat in 2014.

Best songs: “Pilgrim”, “Maiden”, “Don’t Wanna Dance”

Striking a Balance: A Conversation with Ketan Bahirat

3 May

As we previously mentioned, we were very impressed with electronica/ambient/post-rock band Until We Last’s recent performance at Counter Culture. New writer Anindita Nayak recently got a chance to speak to Ketan Bahirat, founder of Until We Last, about the band, his early start in music and challenges.

Until We Last

Photo courtesy Until We Last’s Facebook page.

Let’s talk a little about their music first. Until We Last songs transport your mind to different level with their unusual mix of melodies, making them sound a little like God is an Astronaut or Explosions in the Sky (though the band does dislike the comparisons sometimes). One of our favorite songs of theirs is “Water”, which sounds even better live than it does on the album. Unfortunately, their SoundCloud channel doesn’t have all of the songs they had performed at CounterCulture, but maybe we’ll find them on their upcoming EP, which is launching in a month’s time. Now, let’s move on to Until We Last’s journey.

Currently in his penultimate year of college, Ketan Bahirat took formal Hindustani lessons back in 6th grade. He picked up guitar skills from YouTube videos and played with two metal bands before forming Until We Last in 2011. Until We Last has been performing live since late 2012, culminating in the launch of an album, copies of which they were more than happy to give away free at Counter Culture. When quizzed about his personal favorite gig so far, Ketan speedily answers with Magnetic Fields, an impressive festival in the middle of the Rajasthani desert.

The name of the band stems from a philosophical note that revolves around travel, our home planet, nature and the quest to strike the perfect balance between sustainability and development. When it comes to song names, it’s usually based on circumstances. Their most popular song, “Rain”, was so named because it was raining when they were composing it! And there is, of course, a conscious decision of keeping a close reference to nature or travel.

 

The initial few compositions were recorded in Ketan’s bedroom. When looking for potential band members, he remained close to the local music artists and often jammed with them. It hasn’t been an easy ride for Until We Last, considering that the lineup has had over ten changes so far. The longest time without a lineup change was for a year, ending when the bassist, Anjan Bhojaraj, left for higher studies and was replaced by Paul Dharamraj, a former member of the Bicycle Days. This aspect is probably one of the major challenges for any band, especially when the band members are so young and other aspects will tend to take higher priorities.

However, working with so many artists has also helped Until We Last’s music evolve. One of their former band members, Bhargav, continues to send across pieces of compositions from Singapore and they are continuing to reach out to other artists who could collaborate with them to produce more music.

Photo courtesy Until We Last’s Facebook page.

One good thing that struck us about Until We Last is that they don’t seem very concerned about the prevalent culture of piracy, especially in a country like ours. Admittedly, the growing number of music festivals and venues is changing that culture in India, but the fact remains that platforms for indie artists to sell music are uncommon and finding people who are willing to buy music is even less common. Until We Last has also seen a good amount of traction from countries like Germany and Russia, where listeners are willing to pay for their music.

But in the end it’s all about sustainability: fans need to buy music to support good artists. On that note, please do listen to Until We Last’s music and maybe buy it too. And be sure to follow their updates on Facebook and Twitter too. We wish them all the success with their upcoming album!

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Five Reasons to Watch Goldspot’s Desk Gig at 5PM Today

23 Apr

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UPDATE: After a massive 3 and a half hours of playing and talking about his life, his work, and a hundred other things, Siddhartha Khosla’s gig is over. But thanks to the magic of Internet, you can still watch the concert online at the link provided below!

Whenever someone questions how I’m able to fall in love with and obsess about something as abstract as music, I toss them a Goldspot song; it tends to shut them up quite quickly.

Goldspot has remained a critical darling since their public introduction by New York’s DJ Nic Hardcourt in 2005; since then, their music has featured in countess “Top Ten” lists. Siddhartha Khosla and his constantly-changing line-up of musicians have done everything from touring India and the US to singing at the White House Diwali celebrations to crooning to a flock of geese, and won countless hearts at their live shows on both sides of the Atlantic.

Siddhartha Khosla’s ability to mine his past to use as an influence for his current music endeavours makes his music incredibly relevant and accessible to a wide audience. His lyrics speak of the positives and the negatives of his life, and translate them in a way that makes them relatable to his listeners. It’s the sort of work that reminds you why music is considered art.

It’s been 2 years since Goldspot last came to India, and though it may be a while yet before they’re back in corporeal form, Siddhartha is bringing us the next best thing:

At approximately 5 PM Indian time (GMT + 5:30) today (23rd April, 2014) Siddhartha will be playing a live gig from his desk, to be broadcast live thanks to Pepsi MTV Indies. Siddhartha’s charisma and talent makes for a compelling argument as to why you should tune in, but in case you need reminding, we’ve provided 5 more songs to showcase why you need to watch this gig:

If The Hudson Overflows

“What’s the use in worrying about the ways in which the world might come to an end? When all along, there’s been a book on the side of the bed that you’ve never read instead?”

“If The Hudson Overflows” was featured on Season 8 of CBS’ How I Met Your Mother in what I would argue is the single best musical moment on the show (rivaled possibly only by Season 5’s “Rewind,” again by Goldspot).

The song has a simple, clear message: Don’t worry and don’t wait. The way this message is presented, however, is anything but that.

Over the course of four minutes, Siddhartha Khosla’s time-displaced, reassuring voice sends us on a beautiful journey to bring us face to face with our own mortality; upon doing so, however, he calmly reassures us that everything’s going to be okay, and for these four minutes it’s almost believable.

Backed by a barely-noticeable repetitive harmonium, softly picked guitars and a constantly present booming percussive drum that hides within itself, “If The Hudson Overflows” is perfect for those late night moments of panic about where life is heading.

“If the Hudson Overflows” was also downloadable as a single on iTunes with all proceeds going to help in the post-Hurricane Sandy reconstruction and rehabilitation efforts, because Goldspot is just that wonderfully nice a band.

2. The Border Line

It’s hard to pick which aspect of “The Border Line” is more appealing: the song itself, or the accompanying video. “The Border Line,” another song off Aerogramme, follows the theme of most of the other songs in the album in talking about the dichotomy of being born in one place and raised in another, and the mix-and-match of cultures that this results in. Siddhartha Khosla’s sense of being split down the middle comes through strongly in the song:

“Atoms escape in the middle of the night when my heart and head collide.”

All of this is done against a jangly, foot-stomping, hand-clapping rhythm and melody that takes the best of modern indie sensibilities and steeps it in ‘60s pop from both the East and West, making a musical tea that leaves you warm and glowing hours after the last foot-stomps fade away. The Border Line works brilliantly as a song, but works even better when heard while watching the gorgeous, gorgeous video by long-time collaborator Nick Collett. The video features a montage of clips of people from all over the world engaged in that common unifying factor: dance. Nick Collett’s video brings people together across time and distance with a sincerity and earnestness that no Coca Cola advertisement could. Also watch out for the interspersed shots of Khosla jamming while channeling his finest ‘60s Rajesh Khanna!

3. Foundations

 

 “I hear there’s a wind that takes these plans and runs, but don’t worry; don’t worry, we’ll make new ones.”

Goldspot is often compared to the Beatles for their musical sensibilities and their ability to elevate what should be a straightforward pop song into something that is sublime and deep.

It’s not a talent that’s held by a lot of people, and it’s what makes listening to Siddhartha Khosla’s live sets so enriching: his ability to strip down, layer, mix, chop up and altogether rework the basic elements of his music in countless different ways and still present something fresh and attractive.

“Foundation,” which was written for the indie film Today’s Special, continues the jangle-pop mélange of styles and sounds that Goldspot espouses, only this time in the form of a love song. Siddhartha Khosla captures your heart with both his voice and his bouzouki, backed by a full and rich mix of rattling drums and guitars.

And continuing in his tradition of being an all-around stand-up guy watch this video of Siddhartha and his bouzouki singing for Aidan, a young boy with cancer:

 

4. Emily

 

Goldspot’s second album, And the Elephant is Dancing deals with some very complex and sometimes dark themes in the guise of sugar-coated indie pop, and “Emily” is a great example of this.

Lurking beneath the surface of the song, which features the same ever-present booming-drum backbone found in “If The Hudson Overflows” mixed with classic RD Burman string flourishes and a magically velvet keyboard, lies a story of profound loss. It’s impossible not to empathize with the protagonist’s attempts to reconnect with his lost love:

“See, I tried to kiss you through the pillow on my right; and oh, Emily, will you marry me again?”

 

5. Friday

“Friday” represents the perfect case for the argument that Goldspot is what the Beatles would sound like today. Despite being more than 8 years old now, “Friday” is as timeless and fresh as it was in 2005. It was played in heavy rotation both in India and in the US back then, and deserves to have the same attention now.

The song starts with swishy strings straight from ‘70s Bollywood that segues into a catchy rhythm guitar that is altogether transformed by Khosla’s voice. “Friday” is straightforward, but earnest; simple but sincere. It’s impossible not to like it, because it does absolutely everything right. The conviction and clarity with which Khosla implores “give me a sign” is unrivalled, and the Kishore Kumar strings that reappear during the breakdown and in the outro is goosebump-inducing, for all the right reasons.

“Friday” also comes in a Hindi acoustic version sung to a rapt audience of ducks and geese in Regents Park, because sometimes life really is just that awesome:

 

Take a break from exams. Skip a class. Sneak in a break from work (or better yet, call your boss over! They may give you a raise in the process).  Grab a friend, a lover, a loved one, a pet. Watch this gig! And maybe make some noise online to try and get Siddhartha and co. to come back to India soon!

 

Gig Link: http://www.youtube.com/PepsiMTVIndies

Unfortunately, it’s incredibly tough to find CD issues of Goldspot’s music in India, but their latest album Aerogramme is available on iTunes: https://itunes.apple.com/in/album/aerogramme/id722046205

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Five Fresh Songs for Your Feel-Good Sunday Morning Fix

13 Apr

We have already expressed our deep and undying love for Saturday mornings soundtracked to new music, so here’s a companion piece to that. This list is about those magical hours of optimism on a Sunday morning, right after a Saturday night party and right before the weekend rapidly fades away. And what better way to make the feeling last than with five fresh new songs? So, without further ado, here’s our suggestions for a soundtrack to your feel-good Sunday morning. And we promise it’ll only take 22 minutes and 6 seconds of your life to listen through it. Go on, then.

“Alley Cats” by Madboy/Mink

Madboy/Mink is a jazz-dance outfit from Bombay that has been blowing our minds since their debut EP All Ball dropped on SoundCloud last week. The group comprises the young and talented pair of Saba Azad (“Mink”) and Imaad Shah (“Madboy”). Azad has the perfect voice for electro funk/jazz: velvety, eccentric and deliciously retro at the same time. She’s worked with the legendary Blackstratblues before (source: Rolling Stone), and she seem to carry along that band’s nonchalant sense of joy in music with her. Shah has already created quite a following for himself as Madboy, courtesy a raw talent for musical arrangement (see: “Martinis in the dark”). He’s also otherwise known for being Naseeruddin Shah’s son (!).

Azad and Shah.

Azad and Shah.

“Alley Cats” is about snazzy, bowling cats with snazzy bowler hats, and the fun doesn’t stop there. The duo tells the silliest tale – of fish-stealing, rat-chasing cool cats – with such verve that you just can’t help feeling great just listening to the track. Madboy/Mink boasts at the end of the song, “Yes, this band is pretty tight/We’re the kings and they’re the rats,” and they may really be onto something there.

“Dont Stop” by Tankbund

The first minute of “Dont Stop” features lead singer Ritwik De vocalizing what could be the soundtrack to someone’s unsaid feelings on a rainy, lonely Saturday evening. His gauzy, warm voice lulls you into a false sense of introspection, so that when the song suddenly breaks into six-beats-a-second, you tend to feel just a touch of disorientation. De’s soulful, deep voice syncs perfectly with the stop-start, almost trip-hop electronica in the background. His plaintive request (“No, don’t stop”), stretched over several heartwrenching seconds, is persuasive, emotive and entirely lovely. If you loved this track, be sure to check out “Tres Bien”, also from their debut EP Inside. We’re definitely listening to more of this New Delhi band.

“Good to You feat. Siddharth Basrur” by Sandunes

Sandunes, aka Sanaya Ardeshir, is one of the most intriguing artists in the country. Her music is an eclectic confluence of influences: there’s a lot of Air and Zero 7 in there, with playful hint of old-school jazz thrown in for good measure. “Good to You”, featuring Goddess Gagged lead singer Siddharth Basrur, seems to be a post-break-up ode of promises and thinly-veiled remorse, backed by Ardeshir’s top-class production sensibilities.

Sanaya Ardeshir

Sanaya Ardeshir

“Good to You” breaks and crests and pulses at exactly the right places for exactly the right amount of time. There’s a point in the song, about two and a half minutes in, when Basrur’s repeated “I’ll be good to you” precisely syncs with splashes of woozy electronica, that especially blew our minds. Listen to it on a Sunday morning, and we promise it’ll leave you feeling chill the whole day. What more could you want?

“Fire” by Machli

Bangalore-based electro-acoustic outfit Machli is made up of design students who, true to stereotype, have an uncanny sense of aesthetics. “Fire” is a lush, ambient tapestry carried by Sandhya Visvanathan’s despondent, lilting voice and Aniruddh Shivakumar Menon’s percussive talents. The song is addictive and just perfect for half-sleepy Sunday mornings. Also check out their ‘Tigerbalm Mix’ (found here) for a more dreamlike, trip-hop take on the song.

“Epileptic” by 30ton Capacity

Bangalore has seen its fair share of talented post-rock bands lately: Space Behind the Yellow Room and Until We Last come to mind. With their debut EP Season One Episode Nil (you know, like S1E00 like at the beginning of a series), post-rock-veering-on-prog band 30ton Capacity joins the growing list. Our favorite track from the EP is “Epileptic”. The track starts with a quirky, Radiohead-like spoken-word sample (“Try to relax your toes, Gloria. Feel them tingle. Relax them one by one…”) that immediately sets the young band apart. Robin Srivastava’s shrouded vocals create a beautiful, delicate wall (curtain?) of sound, complemented ably by drummer Sumanth. We’ll definitely be listening to this band a lot more!

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Here’s the full playlist for your easy listening pleasure.

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Indie March Night at Counter Culture, Bangalore (22/3/2014)

29 Mar

The month of March was a great time to visit Counter Culture, an excellent, aesthetic live music venue in the bustling Bangalore suburb of Whitefield. March 8 fielded an eclectic and wholly excellent bevy of women artists in honor of Women’s Day; this weekend features Avial, Agam and Lagori in a delicious palette of modern Indian music. But last weekend was truly the centerpiece of the whole mad March extravaganza: five gifted, exciting bands that form a rough outline of where Indian indie is today and where it has the potential to go.

First on the billing at the Indie March night on March 22nd was the intriguingly-named post-rock Bangalore act Space Behind the Yellow Room. This was the first time I’d heard them, and the little that I did hear that night was magical: the ethereal, frenetic music setting the tone for the night that was just unfolding. Interspersed throughout their mostly instrumental pieces were some rather unfathomable, but wholly enjoyable shrieks and screams from the drummer (we’ll never know if they were parts of the composition, or in-situ improvisation). Unfortunately, due to a number of reasons including Bangalore traffic and unfashionable lateness, I only managed to catch a few snippets of their music, but it definitely made a great first impression. And raised questions, too: what is behind the yellow room?

 

Which space? Why yellow?

Which space? Why yellow?

Space Behind the Yellow Room was followed by Until We Last, another post-rock band from Bangalore. From what I could gather, there were two different impressions that people had about Until We Last following Space Behind the Yellow Room. Some, like myself, thought it wasn’t the smartest of lineups: post-rock is great for quiet introspection and expensive headphones, but by this time, most people had had a drink or three in them and wanted, well, dance music.

Until We Last

They were dancing, but in a more post-rock way.

Others disagreed. Another Top Five member found the band to be top-notch, and arguably one of the centerpieces of the music that evening. Either way, though, Until We Last definitely did not disappoint. I had first seen them at the Bangalore Weekender last year, where they completely transformed a lawn on a bright Bangalore morning into a dreamlike, almost ethereal space. Here, too, they brought the same ethos, but perhaps their music is more suited for the aforementioned bright mornings: a few hundred tipsy twenty-somethings aren’t the best vessels of contemplation. Special note must be given, though, to their track “Water” as well as the way they signed off: “We are Until We Last.” Think about it. It’s pretty deep.

Like I said, two post-rock bands back-to-back wasn’t the greatest of ideas. In essence, the atmospheric drama carefully draped over the crowd by these two bands was ripped apart the second the F16s took to the stage. The young Chennai indie rock band were coming off of strong wins at IIT Madras, JD Rock Awards, Hornbill and pretty much anywhere else they went. It only took a few minutes into their tight, spotless set to realize that they deserve every damn one of those awards. The F16s have really got it all together: the suaveness, the confidence, the professionalism and, yeah, the hair.

The F16s

For me, one of the greatest moments of the night was when they broke into an absolutely perfect cover of “Mansard Roof” by Vampire Weekend. And these guys really are real rock stars. Of the five bands that played at Counter Culture that night, the F16s were the only band that had the audience singing along to every one of their tracks: the beautifully executed “Light Bulbs” was a particular stand-out. Last month at the JD Rock Awards, the F16s won “Best Emerging Band” and I have to say, Rolling Stone pretty much got that one exactly right.

After an amazing one-hour set, the F16s handed over the stage to Skrat, their fellow indie rockers from Chennai. Theatrical and energetic, Skrat are quintessential entertainers, led by the instantly likeable Sriram TT. The clock was ticking around midnight at that point (Whaddup, extended Bangalore curfew!) and most people in the venue were quite well sloshed. The crowd basically went wild during Skrat’s well-known and well-loved tracks like “Samurai Badass” and “Tin Can Man”, but things reached a different level of pandemonium when the band proclaimed their love of motorbikes and immediately got a guy to ride a motorbike to the front of the stage. Unfortunately, I don’t have photos to prove it, but I assure you it was awesome.

Shortly before the motorcycle arrived.

Shortly before the motorcycle arrived.

Most people didn’t really get over the F16s-Skrat double blast, which meant that the final band of the night, Parvaaz, unfortunately didn’t get the audience it deserved. The few people who remained sober until the end claimed that Parvaaz was pretty good too, and that they boasted of a heady mix of technical competence and soaring Urdu vocals. Apologies for our inability to verify that claim.

Parvaaz

Clocking at a little under six hours, Indie March Night was a mini-festival in itself, and a really great way to spend a Saturday evening/night.

—

Words, photos and video by Neeharika Palaka and Subhayan Mukerjee

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A Very Horrific ‘Maut’ Indeed…

22 Mar

Courtesy their Wiki page.

I cannot do a Top Five list for this band, so don’t expect that. I cannot genre-limit them or compare them to other bands, so don’t expect that either. As part of a pentagram of bands, Bhayanak Maut (BM) has come to define my Indian metal experience along with Scribe, Demonic Resurrection, Skyharbor & Bevar Sea (eclectic, I know). So I thought it would be a great opportunity to educate you sheep about Metchul, specifically about the Indian metal scene (not that I need a reason, but I might as well ramble on).

I confess I’m quite bad at defining said genres, as are most people. Nevertheless, for the uninitiated, one could try to define BM as a heavily deathcore-inclined band with obvious inspiration from grindcore and groove metal. Some would argue they can afford to experiment beyond their comfort zone, while some would say they should hang onto tradition; I couldn’t possibly comment.

Now into two full albums, two (rather brilliant) EPs and knee-deep in their third full release, BM have been around long enough to be called Mumbai-scene veterans. Despite a low-key start and early influence of gateway bands of the wicked West, they have snuggled into a dark independent pit of their own and created their own signature oft-interspersed with a strong Indian flavour (“MNS Messenger” and “Ranti Nasha” hooks always get me) which has predictably translated into a loyal Indian fan-base.  One should listen and compare their exploratory first album Hell Is All People to their watershed Malignant EP (“Elcit Set Nois Rot”, “Boiled.Unwound.Filatured”, “PICA” and “Phlegm Blot Technik”…which is basically all the songs in that EP) to better understand their stylistic shift. Following their phenomenal sophomore Untitled album (“Ungentle” and “You’re Perfect Now Change”: oh, the feels!), I personally think their latest Metastasis EP is an ominous sign of great things to come.

The first thing that hits you about BM is the goosebumps-inducing dual vocals style, followed closely by a dam-burst of bone-crunching riffs and mesmerizing blast beats. It’s obviously not a new concept, but rarely have I seen such synergy between two vocalists: Vinay’s (Vinay Venkatesh) death gutturals are perfectly complemented by Sunny’s (Sunneith Revankar) fry screams, creating a dichotomous clamour that comes together perfectly at crescendos. This swadesi juggernaut is driven by Baba (R. Venkatraman) and Aditya on guitars, while drums by Rahul Hariharan have bound this band together and given them the deathcore-with-no-breakdowns flavour I have so come to cherish. Their bass did tend to get masked in some acts; but they have a new bassist in Ishaan Krishna who joined last year from NerveRek / Modern Mafia, and has fit right into their demolition-derbyesque live acts.

I remember their performance in 2010 at BITS Pilani. Between all the headbanging, moshing and punching (!) in the front row, one image stuck in my head, of both these behemoths standing one-foot-on-monitor and belting out earache in quick and brutal succession (listen to “Blasted Beyond Belief” if you don’t believe me, you philistine!).

I was fortunate to see them live again at the 2012 NH7 Weekender in Delhi and they picked up where they left off in Pilani, which was basically to “tear you a new one”. They are a dying breed, a band which thrives on live performances and is never afraid to improvise. Vinay, his beard, Sunny and Baba are a stage act to admire, and keep every performance volatile and unpredictable. I guess their onstage antics are only surpassed by our beloved clowns at Scribe.

It was hence rather unsurprising that BM successfully owned national rock pilgrimages such as GIR, Deccan Rock and Independence Rock Fest, apart from regularly featuring in NH7 Weekenders and various college fests. They also stepped into hallowed grounds when they followed Demonic Resurrection, Undying Inc. and Scribe in playing at the Inferno Festival in Oslo, Norway. BM is peaking right now, and it’s safe to say they are a source of inspiration for the countless fledgling metal acts that are stumbling around to find their identity and niche in this dank basement that is the Indian scene.

Bhayanak Maut played at Blue Frog’s Metal Night on March 2 (after a year-long hiatus) and it seems like they will play again only next year, so I’ll just go back to my headphones now and wait for their third full-length [storyline-based] (http:/facialdiscrimination.tumblr.com/) album.

– Samarth Hegde

PS: On a related note, connoisseurs of a more extreme experience should check out ‘Demonstealer’ Makhija and Vinay Venkatesh’s brutal-death metal outfit, Reptilian Death. Oh, also check out Sunneith’s groove metal ex-supergroup Providence if that’s your thing.

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Top Five Pick-Me-Ups for a Dreary Wednesday Morning

19 Mar

CoffeeIt is said that Mondays are the dreariest days of the workweek, but we think it’s actually Wednesdays: that doldrum of restlessness and ennui in the middle of a seemingly never-ending workweek. But let’s think positively. When life gives you lemons, there’s nothing like a perky new song to brighten up your day. Give our top five a shot and you’ll know what I’m talking about.

5. “Cups” by Anna Kendrick

Originally recorded by the Carter Family in 1931, this song was revived in 2009 by the band Lulu and the Lampshades, followed by Anna Burden in 2011, when it went viral thanks to the combination of the cup game with the song.  Anna Kendrick performed it in 2012 on the soundtrack of Pitch Perfect.

The song starts with a bunch of beats that may seem unusual at first; that is, until you realise they’re being generated by cups and handclaps. Soon after, Anna Kendrick’s melodic voice floats into your cerebral cortex, tingling your ears as she keeps reminding you that you’re going to miss her when she’s gone.

It’s a perfect pep up song for an escape. Tired of routine? Need a change of lifestyle? Maybe just a shift in perspective? Pick yourself up sugar, they’re going to miss you when you’re gone.

4. “Good Life” by One Republic

If you ever need a song to get someone in the mood to just get up and show up, this is your best bet. A subtle reminder of the fact that day turns to night, night turns to whatever we want, this song generates the perfect vibes to gently lift your mood while still being easy on the ears. The video’s a bit artsy, the band’s a bit quirky, the song takes you over and in the end you find your head swaying and shoulders bobbing to the realization that this could really be a good life.

It also makes your insides fuzzy, but maybe that’s just me.

3. “New Shoes” by Paolo Nutini

The song starts with a cool beat, and builds up to what I’d call a mellow high. Paolo Nutini is at his catchy best with “New Shoes” on his debut album These Streets, which was featured on a 2007 international ad campaign by Puma AG. Coupled with an upbeat video, Nutini’s soothing voice puts your mind at ease and is a pick-me-up in itself. It’s the kind of song I want to start my day with when I really want to kick some ass, and I don’t need an excuse, ‘cause I’m wearing my brand new shoes.

2. “Dust Clears” by Clean Bandit

On a slightly more serious note, we arrive at “Dust Clears”, by Clean Bandit. It’s rather easy to relate to, as it’s abstract to the point where it seems to fit any life situation. But as you listen to the song, the dust clears and it all starts to disappear. The visualization shows the stark difference between living lives and merely existing and the song makes one feel like picking up the pieces and getting back out there. The violin solo in the middle of the song defines a whole new level of awesomeness, as does the music production on the whole.

1. “Wake Me Up” by Avicii

It would be unfair to say that American soul singer Aloe Blacc is the star of the song that has been described as the ‘summer anthem’ this year. Avicii does his usual mix, creating a divine composition of magic in music, which is enough to make anyone feel buoyant and positive. The lyrics are beautiful and responsible for giving gravity to the song, which, complimented by the foot-tapping beat in the music, create an exquisite sensation.

Honorable Mention: “I Love to Singa” by Owl Jolson

Thank God for online search engines, or I’d have spent my life trying to figure out the name of my favourite song in childhood. Originally released in 1936, the song is an eight-minute long Merrie Melodies animated cartoon, its story being a tribute to Al Jolson’s film, The Jazz Singer. Owl Jolson is a class act, and you can’t help but smile as you watch him do the Creole, singing his song in perfect contentment. It’s a heart-melting, ‘aww’-inducing production that makes your day just a little bit better.

–  Ayeesha Khanna

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Wolfmother at BITS, Hyderabad (8/3/2014)

13 Mar

Wolfmother probably isn’t one of those bands that you can become a die-hard fan of, swear by, and get tattoos done on your forearms to show your unflinching support for. Unless you’re Australian. In which case, apologies, mate.

Because, let’s face it, as the generic rock lover in each of us progresses in age and taste, Wolfmother resides in but a tiny corner of our music collections – coming up now and then in rock mixes and playlists, giving us a substantial amount to headbang to while it lasts and then innocuously disappearing again until its next appearance. Even their Grammy winning single, for example, is largely unheard of in rock circles around and above the Equator.

But all said and done, it’s not every day that a band that can actually boast a Grammy to their name comes down to your town to do a gig. And when they do, you’d certainly be a fool to not give them a chance.

Wolfmother, live.

If you’ve correctly gauged my opinions about Wolfmother till now, you’d figure out that I wasn’t exactly slobbering over the thought of seeing them live, but the fact that I’ve listened to “Joker and the Thief” since my school days gave me enough reason to look forward to them. The fact that the venue was the sister campus of my own college only made things rosier.

When they kicked off on the fine Saturday evening, it was difficult to not observe the amount of energy the trio packed into their performance. Nevertheless, as the minutes rolled by, it was also difficult to not observe the dearth of variety in their songs. Sure, for the first half an hour or so, while they dished out singles from their two studio albums, they had everyone – from the rabid headbanger to the passive-aggressive bystander – tapping their feet and shaking their heads, but after a while, the music became a tad too repetitive for my taste. I did keep my head shaking and feet tapping though, lest I be booed at by the music connoisseurs around me, but the only reason I was still interested was the fact that they were yet to play “Joker and the Thief”. And that’s that.

But don’t let my biases and limited previous exposure to Wolfmother downplay the commendable workmanship of the band. Andrew Stockdale’s vocals, soaring and clean, fit in just fine to complement his heavy, down-tuned guitar riffs and the swanky occasional solo. However, Ian Peres, who divided his time between the bass and the keyboard, left a greater impression with his hairdo than he did with either instrument. (But that’s not because his music wasn’t any good, but because his dreadlocks and general enthusiasm on stage were.) To be fair though, he did his job pretty well. Lastly, Vin Steele, who was in charge of drums, was really the one who kept the energy in the music flowing right till the end, with his pounding beats and driving rhythm.

Wild.

Wild.

Their set list comprised of songs from both their studio albums: their eponymous debut from 2005 (which included songs like “Dimension”, “Apple Tree”, “Mind’s Eye” and “Love Train”) and Cosmic Egg from 2009 (“New Moon Rising”, “California Queen”). However, since both these albums largely fit into the hard rock/neo-psychedelia genre, it was difficult to find many stylistic differences during their live gig as well. Adding to this melee of heavy riffs and pummeling beats was their Grammy winning single “Woman”, which received a lot of cheer and got many a head oscillating with much rapidity. When, however, they left the stage without performing “Joker and the Thief”, the one song that the teeming majority of the throng had come to see them perform, the public cheer gave way to something that bordered on fury and mutiny. This turned out to be a rather cheap ruse, because they returned thirty seconds later, playing that instantly recognizable riff that elicited twice as much cheer and near-maddening popular excitement. Needless to say, their execution was spot on.

Wolfmother at BITS, Hyderabad

In hindsight, it was definitely a good gig. They had the right energy, the right talent, and the right set list as well. But, at a personal level, the band did leave a lot to be desired. They never really connected with me, nor, I would wager, with the average Joe who was present there as well. In fact, had they really walked off without performing “Joker and the Thief”, I wonder whether I would have rated them highly at all.

But yes, it was fun while it lasted. I shook my head, tapped my feet, and had a good time. But would I go for another gig if they come down to play again? I doubt it.

—

Words and pictures by @wrahool

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Naturally Scattered: An Interview with Raxit Tewari

26 Feb

Scatter Nature

Raxit Tewari’s main band Sky Rabbit is something of an Indian indie legend. It started off as a metal band called Medusa that dropped six-track album way back in 2005, before transforming itself into the current electro-pop/indie avatar which won big at the JD Rock Awards this year.

Tewari’s solo side project Your Chin seems to have been born from the same ethos that caused Medusa’s alchemic transformation into Sky Rabbit. It may seem like effortless mood-music, but there is a solid groundwork of talent and aesthetic sense that supports it all.

Tewari describes his second EP, Scatter Nature, as soundtrack music for a solitary walk through a busy city, possibly his hometown of Mumbai. It’s pretty much a perfect summation: Scatter Nature made us think of strangers colliding and interacting like independent particles in this harried world.

“Run Along Now Little One” is the stand-out track on the EP. Tewari’s signature, peculiarly flat vocals describe arcane prophecies (“Laughing gas will burn us while we’re dodging tragedies”) over music that introspects, sighs and flows along with the pace of life. The accompanying video, directed by Misha Ghose and Naman Saraiya, is perhaps the perfect accompaniment. It syncs Raxit’s music with grungy tableaus of Mumbai life – a red telephone, a rusty lock, smoggy skylines – showcasing editor Sourya Sen’s skills as much as the directors’ or the artist’s.

This is not to say that the other three songs on Scatter Nature aren’t worth mentioning. “Fingerprints & Mugshots” is a deal less dreamy than but in a way more wholesome in sound. The phrasing of words and sentences on “Who Would Have Thought” is a character on its own. And the plaintive stretch of the titular words on “For Love”, layered over an electro-pop version of almost-dance music, is just pure magic. It’s also the closest to Sky Rabbit, in our opinion.

All in all, Scatter Nature is a great EP. It got us really excited about what we might hear from Your Chin in the future.

So excited, in fact, that we decided to hear from him now. To round off our review, here’s a short interview with none other than Raxit Tewari himself!

Photo credits: Anuj Prajapati

Photo credits: Anuj Prajapati

Top Five Records: Let’s start with something that we’re quite curious about. Why the chin, of all body parts?

Your Chin: It sucks when it walks out on you. Chewing is almost impossible. You’re left to ingesting with plastic pipes going straight into your esophagus. And that’s just one of the many things. It’s important to acknowledge and address it if you want to prevent all of this.

TFR: Artists often create solo projects to express ideas that might not fit in with other, non-solo acts. How does your musical process with Your Chin differ from how you go about making and publicizing music as a part of Sky Rabbit?

YC: Your Chin’s mostly about sitting in a room and writing/producing music with a computer. I have been tinkering with software for a while now and wanted to see if I could produce some worthwhile music like this.

TFR: Where does your music take inspiration from? Was there a particular artist or even a set of experiences that really guided you here?

YC: A lot of things really. All of them get sewn in. It keeps happening over time.

TFR: You’ve previously described your first EP as the sound of the city, presumably a seethingly busy one like Mumbai, moving along with you. What’s the right frame of mind for this one?

YC: This one’s more of a put-it-on-your-phones-and-go-for-a-walk-EP.

TFR: There’s a lot going on in your music – in terms of technique, texture and style. Tell us a little bit about your working process.

YC: I usually put down smaller ideas on impulse and then build on them at a later stage.

TFR: You recently opened for Gotye at the Oz Fest in Delhi. What was that experience like?

YC: Gotye has a terrific live act. Was an honour to open for someone who is so on top of his game.

TFR: Your style of music is not the most common type out there in India. What has the response been like, in gigs and festivals around the country?

YC: It’s been wonderful. Not underwhelming in anyway. It’s been very consistently progressive over the last few years.

TFR: We loved the music video for “Run Along Little One”, especially the beautiful, grungy montage of urban life. Tell us a little bit about the creative process that went into making this video.

YC: Thank you! Glad you loved it. We went out for a day and shot a whole lot of this place not far from home. Literally rediscovered it in so many ways. Found new nooks and corners. It was extremely impulsive and a lot of fun.

TFR: The last question we have for you is a pretty standard one. Who is the one artist, alive or dead, that you’d most like to work with?

YC: Brian Eno?

So there you have it. Listen to Scatter Nature below!

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