Tag Archives: bangalore

Stepping About with Tushar Mathur: An Interview

1 May

Bangalore-based Tushar Mathur has made quite a splash in the short time since he’s gone solo. With two singles out already, “Mend” and “Groove Pool”, he’s earned a sizable following for his signature chill R&B sound and sharp production quality. He’s been featured on BBC, VH1 and countless media publications for his fresh and unique sound.

But as laid-back and breezy as his music may sound, Tushar Mathur’s work ethic is quite the opposite. In launching his music career, he’s learned to don many hats: songwriter, producer, video editor and social media manager, to name a few. Fittingly enough, his upcoming track “Stepping About”, talks about our generation’s struggle to strike a balance between hustle culture and self-care. The track features Shayan Roy, a Mumbai-based rapper and producer of Buzzfeed fame and releases on May 1st.

We sat down with Tushar Mathur last week for a detailed chat about his music, his influences and what it means to be a musician in the social media age.

Tell us about yourself!

Let’s start with the name. My name is Tushar Mathur and I’m originally from Coimbatore. I’m a chemical engineer. I finished my degree and didn’t want to pursue engineering at all. I moved to Bangalore around three years ago to do music full time.

I have a band that mainly plays blues-rock, and now I’m working on launching my solo career. The song I’m coming out with, “Stepping About”, is my third single; “Mend” and “Groove Pool” were my first two tracks and they released last year.

We really enjoyed your first two tracks! What made you interested in music? What would you say is the starting point for you?

The starting point for me, I’d say, is my family. I have a very musical family. My parents and grandparents sing Hindustani classical music. But the moment I really got interested in English music was when my brother went to Jaipur for his summer vacation and he came back with a CD. That CD had 12 tracks – mostly hits by Guns and Roses and Deep Purple. We’d sit down and listen to that CD on repeat, the entire day. That sparked an interest in me and I took it forward from there.

My dad also used to play a lot of John Denver and country music around the house. I grew up listening to a lot of guitar-centric music. My brother would also introduce me to a lot of metal and rock. My music has been centred around the guitar ever since.

So would you say these are your primary influences? Or has this evolved as you’ve evolved as an artist? What would you say your main influences are now?

Right now, I’m hugely inspired by Tom Misch. He’s a guitarist and producer from London. My music has been hugely inspired by him- the style that I have now is mainly because of how much Tom Misch I listen to. Another recent influence of mine has been FKJ. When I start touring and playing live, my idea is to incorporate a lot of loop work onstage. FKJ has sort of been a pioneer in that field.

Your first two tracks feel so effortless and breezy! How was the process of writing, producing and releasing these songs?

My first track Groove Pool” is about an introvert at a party who wants to let loose. I’m not exactly why I wrote about it.. I’m not usually an introvert, but maybe I felt that way and just wanted to write about it. (Laughs)

My writing always starts off with simple guitar work. I usually start with a basic chord structure and build on top of that. The vocals, for me, usually come at the end. I tend to work on all the instruments and then sit down at the end of the day with the finished instrumentals, and write the lyrics and put in a nice vocal melody. That’s my process.

“Mend” was pretty similar. Groove Pool was released in July 2019 and Mend was out by November 2019. “Mend” was special because I worked quite hard on the music video for it. I had dancers, directors and photographers coming in so that took quite some time, but I’m happy with the result.

And how has the reception been for these tracks?

It’s been great! The songs have been on BBC Radio, both my videos were featured on VH1, and I’ve been featured on radio stations across the world. The response has been phenomenal, and people have been so supportive!

As a musician who’s transitioned between cities, how would you say the Bangalore scene compares to the Coimbatore scene?

The scene in Coimbatore is basically non-existent, which is why I moved to a city like Bangalore. Even before, we’d always travel to Bangalore for shows and competitions with my band. Bangalore has always been a great place for music; there are always people who play and appreciate different styles of music, especially when it comes to English music. Coimbatore’s scene is slowly developing as well, but the live music culture is yet to pick up. I’d say Bangalore is a hundred times better, in that aspect.

It must be an interesting experience to have to release music during this pandemic. Has it been a challenge to work on and promote your new track in these times?

I’ve actually been working on this third song for the last six months. It’s been a very long process. I’m usually very picky about my music, and with “Stepping About”, I was even more particular. It’s about our generation’s battle between hustle culture and self-care. Productivity has become a measure of self-worth, and it took me a while to gather my thoughts and pen them down, given how much this affects our generation.

The pandemic hasn’t really affected my release schedule- I’d say I’ve been going about my work as usual. Whenever I release music, I give myself an entire month to promote. I’ve been doing what I’ve done for every song. But I think during this pandemic, a lot of people are sitting at home and consuming more content than they usually would. I don’t think it’ll negatively affect the reception of the song per se; but my touring and live sets have definitely been impacted.

Even though it wasn’t written recently, the song’s subject matter seems more fitting than ever.

Somehow it’s become very relevant. Even in this situation, everyone’s constantly doing something, or learning something new. People of our generation constantly make themselves feel bad about not being productive enough, and that’s something I had felt six months ago when I came up with this song as a concept. It’s suddenly become way more relevant to the situation that’s going on right now.

Your track also features Shayan Roy, who’s popular for his viral Buzzfeed videos and his burgeoning rap career. How did this collab happen, and how was it working with Shayan?

I was looking for a rapper for my track. I got in touch with a lot of people but it wasn’t working out. Somehow I came across Shayan and I just sent him an email. That’s all I did. I attached my track and told him “Your part would be between these timestamps”, and asked if he’d be interested in laying something down for me. He actually got back to me instantly saying he loved the track and he would give it a shot.

It was that easy! A lot of people have asked me this: “How did you end up working with Shayan? How did this happen?” I’ve actually never met him- this has entirely been through email, Instagram and WhatAapp. And this all happened because of a single email. People don’t realize how important an email can be. That’s how I’ve got VH1, BBC and interviews like this.

You seem like quite the hustler!

(Laughs) Technically yes. It sounds a bit ironic that I’m writing a song about self-care. You’re right, I do hustle, and I do a lot of things. But there are times when I feel that I do need to chill out and take it easy. This song is to remind me to take a break. One of the lines actually is “At times I need to chill out” – that’s me telling myself I need to chill. So it’s very relatable to me and kind of a message to myself.

I’m always telling people to take it easy, but my friends tell me that I don’t follow my own advice and that I’m constantly doing something or the other. So I think that this song would be good for me as well, as a reminder that sometimes, I should take it easy.

Do you find it challenging to be a musician at this time? Between the music, the promotions and the social media, it feels like you’re doing the work of a three or four-member team!

That’s true, but the thing is: I love doing this! The music part is amazing, of course, but I believe that if you’re a musician, you need to see that music is a business. I think a lot of newer musicians think they’re above everybody, and think “I’m not going to learn how to promote myself, who wants to do that?” or “I’m just going to send this song out to a couple of my friends and it’ll blow up on its own.”

But I feel that with the music industry nowadays, the actual music makes up 30-40% of your success- the remaining 70% is just marketing and promotion. You might write the best song in the world, but if nobody’s going to hear it then what’s the point?

You’re right, it definitely is a three-person job, but I enjoy it, and I find the producing, marketing and promotion aspect of it extremely interesting.

Do you produce all your own tracks? How did you get into that?

Yeah, I’ve produced all my own tracks. I’m such a fidgety person, the type that loves to mess around with controls and buttons for hours, and that’s how I got into producing. I have a friend called Sandeep who’d take my calls and kind of guide me through some of the questions I had, but apart from that there’s always YouTube and Google. You can literally learn anything on the internet! This was essentially a product of me having a lot of time on my hands and being able to sit down and figure out how to achieve different sounds.

There was another advantage of getting into producing. I was already a musician at that point. Earlier, when we’d jam, I’d know what I want from the sound. Now it’s become easier to achieve that sound on my own and manage the different aspects of the final product. It’s given me more control over my music, in a way.

So you’re a self-taught musician as well as a producer!

I actually did go to guitar classes for a year, but I didn’t like it back then. It was mainly Carnatic stuff, and all I wanted to do was play Zeppelin. So yeah, I’d say I’m self-taught.

I’ve also taught myself video editing- all the videos you see are edited by me. I also take up a couple of freelance projects on the side, to support myself financially.

Wow, so it’s more like you’re doing the work of a six-member team!

Yeah I do quite a lot, you’re right. But I really enjoy the whole process.

RAPID FIRE:
Top Five Desert Island Album/Songs:

1. Beat Tape 1 by Tom Misch

2. Geography by Tom Misch

3. Dark Side of The Moon by Pink Floyd

4. Led Zepellin 1 by Led Zepellin

5. My own music!

What are you currently listening to?

I really make use of Spotify’s daily mix feature- lots of times I’m not really sure who the artists even are!

I’ve been very excited about FKJ’s new album, Tom Misch’s stuff and this artist called Raveena.

Describe your sound in two words.

Let’s make it three: Smooth. Like. Butter. (Laughs)

What’s been your favourite gig? And why?

My favourite gig is actually my very first one. I had a gig back in Coimbatore, in this Punjabi Association that we were a part of and my dad had pushed us to go play a show there. A lot of my friends and family were at the show, and they still fondly recall the gig to this day. That was the first-ever time I got up on stage to perform and it felt magical- it’s my most cherished performance that I’ve given.

Dream collab?

Tom Misch, if I could, but I wouldn’t be able to function if that happened. If not him, then I’d really like to collaborate with a Hindi rapper – maybe Divine (I love his style) or Raja Kumari.

Is there anyone you’d like to shout out for helping you along the way?

I’d like to shout out my friend Pavithra. She’s been with me the entire way, and she’s supported me throughout!

You can visit Tushar’s website here for more information. His music is available wherever you regularly stream music. Listen to “Stepping About” now!

Iyer’s Filter Coffee – coldturkey

9 Apr
Artwork by Saloni Sinha and Vishal Gulve

Disclaimer: the writer has a long personal history with three out of four of the band members of Iyer’s Filter Coffee.

The early/mid-2000s were a great time to be an indie rock fan. There was a perfect balance between good bands, access (thank you LimeWire and Myspace), and discoverability. The fact that so many of the stalwarts of that early scene have gone on to become mainstream monoliths in their own right shows how much that era of music still resonate today.

Bangalore-based Iyer’s Filter Coffee and their debut EP, coldturkey are a throwback to that early indie rock sound. The four-piece band stick to the basics of two guitars, a bass and drums (with the odd keys) to deliver up a solid first release.

First up is “Elanor.” What starts off with an Audioslave-esque lead by guitarist Pushkara Ravindra ends up in a freewheeling melodic shred-fest, with front-man Rushil Mishra’s vocals and rhythm guitar harmonising to tie together a sound that stops short on the right side of self-indulgent.

Up next is “Beach,” with its easy toe-tapping lazy groove that gets me smiling every time (thanks to namesake Sachin Iyer). The real pleasure lies in the final third of the song (a common thread throughout the album), which has this delightful break down/sine-wave thing going on for it that’s just sonically gorgeous.

Soma” is IFC’s signature song, a wailing mix of wah-wah filled fuzz and three-chord guitar grunge with a driving bass that’s bound to get the crowd pumping, even if I’m not completely sold on what the song tries to do. There’s something about the mix that I can’t quite place that undercuts some of the guitar riffs, but I doubt that’ll matter when you’re three beers down, so…

Soma, from coldturkey

The penultimate song, “Moonlight” opens with a most Indian-indie-sounding riff, before switching things up and veering towards an AM-circa-Suck-it-and-See sound. It’s a surprisingly mature and well-crafted piece, and displays a range and depth to the band that bodes well for their future releases.

Why Don’t You Come Over” rounds out the nostalgia trip with a dream-pop/shoe-gazy reverb-laden late-night call to lovers past. It’s mellow, it’s airy, it’s a delight to listen to.

coldturkey doesn’t reinvent a genre, nor does it break from long-standing musical traditions, but it ultimately doesn’t have to. It’s a solid debut by a good band that’s slowly etching their mark on the Bangalore music scene, filling a niche and gaining an organic following in the process. They’ve also got a brilliant album cover, which is always a bonus.

coldturkey is available on Apple Music, Soundcloud, and Spotify. Go check them out!

Bacardi Nh7 Weekender, Bangalore 2014 – Day 2

15 Nov

The Bacardi NH7 Weekender is one of our favorite events of the year. It lets us catch up with tens of acts from across the country – some new, some legendary – all within a beautiful, aesthetically arranged venue. On the weekend of November 8th and 9th, we went to the Bangalore edition of the Bacardi NH7 Weekender, and were blown away by breadth of artists on stage. Here’s our take!

Beautiful aesthetics

Day 2

As with Day 1, our journey on Day 2 began with the Red Bull Tour Bus. The originally slated act, Delhi Sultanate and Begum X, was cancelled, giving way to an amazing performance by Your Chin, the peculiarly-named solo act of Sky Rabbit’s lead singer Raxit Tewari. Your Chin’s metered electronic music, buoyed by Raxit’s genuinely pleasant voice, seemed to pull the expansive lawns in front of the Tour Bus into a much closer venue. “Run Along Little One” was a stand-out track in Your Chin’s brilliant 45-minute set.

Your Chin

In perfect contrast to Raxit’s calm, subtle music was The Inspector Cluzo, performing immediately after at the Bacardi Arena. The self-touted farmers from Gascony, France, enthralled the audience with their music as well as what can only be described as stereotypically French stand-up comedy – the biggest butt of which was, of course, those Englishmen and their pissy English music. The Top Five Records team couldn’t help but remember the French knights scene from Monty Python and the Holy Grail. (Those silly English knnigghts!) All said and done, The Inspector Cluzo were a massively entertaining act, and rightly gained hundreds of new fans that day.

Inspector Cluzo

Up to this point, we had covered every stage except the Micromax Mega Mix stage. Thus, we made our way there to catch Klypp, a Bangalore-based duo specializing in making soundtracks to your inner visual-weaver (their words). Next, we caught Blent, a Bangalore-based game designer turned musician who currently serves as the resident DJ at the massively popular Humming Tree in Indiranagar.

However, this was all filler compared to the act that was setting up at the Dewarists: Thermal and a Quarter. Since 1996, TAAQ has been Bangalore’s most beloved alt-rock product, with several legendary albums under their belt. At the Weekender this year, we were incredibly lucky to hear the band’s latest album, The Scene, in almost its entirety. The album featured a tongue-in-cheek look at India’s music scene today, from the good (so many women festival-goers!) to the bad (all those ‘musicians’ on their Mac Books).

Thermal and a Quarter

Throughout their humbling one-hour show, Mr. Mani inadvertently schooled every lead singer in the country on how to captivate an audience’s attention: not by yelling at them to jump (ahem, Mink) or mumbling at them to dance if they want to (ahem, Your Chin) or by ignoring them to a large extent (ahem, Money for Rope). No, Mr. Mani captivated the audience by genuinely connecting with them, by giving a likeable intro to each new song, by playing skilled, appropriately-sized solos, and by creating a generally friendly and relaxed vibe. So much so that the audience had quite a smattering of little kids dancing with their moms!

Mr. Bruce Lee Mani

Mr. Bruce Lee Mani

After the show, we walked 20 metres to the MTS Discover stage, where Skrat began their ever-electrifying set. Like TAAQ, Skrat also took the Weekender opportunity to showcase songs from their new album, The Queen. The Top Five Records team has been in love with the album ever since its launch last month, and we naturally loved the chance to hear some of Skrat’s best new songs live. In particular, the wordless choruses on “Machete” and “Stomp” were the stand-out moments of the band’s raucous gig. The frenetic atmosphere was ably helped along by Skrat’s charismatic lead singer, Sriram TT, who was (or seemed to be) drunk out of his mind. He even ended up doing a tribute dance to Rajni Saar, in a not-so-subtle tip-of-the-hat to Kollywood in light of Amit Trivedi’s Bollywood extravaganza the previous night.

Skrat

Here, we must put in an extremely important word to the the festival organizers: NEVER pit Skrat against the F16s. It’s just not fair to make us choose between the two Chennai exports. Unfortunately, by the time Skrat’s monumental one-hour frenzy ended, we were left with just 15 minutes of the F16s, over at the Bacardi Arena. Luckily, we got to catch our favorite song, “Light Bulbs”, along with one or two new pieces that the band debuted.

The F16s

After the double bill of Skrat and the F16s, we were too tired to catch but a few minutes of the wonderful Soulmate, comprising two of Shillong’s bluesiest, most talented individuals. After refuelling with food and drink, we made our way to the Bacardi Arena, where almost everyone had gathered to witness the spectacle that is Mutemath.

On a personal note, though, some of our team felt that perhaps calling a sparsely known (although talented) band was kind of an elitist take on what constitutes a headliner act. We’re pretty sure that 80% of the crowd knew less than 20% of the songs that the band played. But, on the whole, the crowd didn’t seem to care. Overall, Mutemath had the energy and raw talent to close out the Bacardi NH7 Weekender in a fitting manner, and that’s what mattered in the end.

MUTEMATH

MUTEMATH

Words by Neeharika Palaka. Images by Rajat Tibrewal.

Bacardi NH7 Weekender, Bangalore 2014 – Day 1

14 Nov

The Bacardi NH7 Weekender is one of our favorite events of the year. It lets us catch up with tens of acts from across the country – some new, some legendary – all within a beautiful, aesthetically arranged venue. On the weekend of November 8th and 9th, we went to the Bangalore edition of the Bacardi NH7 Weekender, and were blown away by breadth of artists on stage. Here’s our take!

Beautiful aesthetics

Day 1

We kicked off our day with a gig by funk duo Madboy/Mink atop the Red Bull Tour Bus. Comprising Imaad Shah on guitar and Saba Azad on vocals, Madboy/Mink’s energetic performance was the perfect way to pump up festival goers for the several hours to follow. The duo’s show featured some well-known numbers (“Alley Cats”) as well as some new songs (“Powders”) that literally got the crowd jumping along to Saba’s lively stage presence. Imaad even showed off a brilliant T-shirt that said “Funk Junky”, which we saw many people pick up at the band merchandise stall throughout the two days.

R-L: Madboy, Mink

Immediately after the last staccato beats of Madboy/Mink dissipated into the air, a British act called Houdini Dax was ready to go over at the Bacardi Arena. From 3:30 pm, the band had passed around little chits to people around the venue with a polite invitation to come to their 5 pm show. Perhaps because of this early publicity, the band drew quite a large crowd for a late afternoon show. And if that didn’t work, their music sure did: for Houdini Dax was easily Top Five Records’ find of the day. The Cardiff three-piece, dressed to the T in sharp collared shirts and skinny jeans, enthralled the audiences with their delectably British sound. Besides, as a bonus, their bassist pretty much looked like a young Paul McCartney.

The McCartney look-alike

The McCartney look-alike

Soon after Houdini Dax, we trudged over to the MTS Discover stage to check out the peculiarly-named Sean Roldan, a.k.a Tamilian percussion wizard Raghavendra. After Sean Roldan, Australian musician Appleonia started her set with a psychedelic, almost Vedic-inspired stage set-up that went over quite well with the slightly inebriated crowd.

On that note, we headed to the Bacardi Arena for Australian band Money for Rope. The band took the inebriated crowd to a whole new level: shitfaced drunk. Featuring two in-sync drum kits, a keyboard that’s been kicked over quite a few times and a corded telephone for special vocal effects, Money for Rope blew the collective mind of the 6:30 PM Weekender crowd. By the end of the performance, 2/5ths of the band was shirtless and 5/5ths were in a music-induced, almost Doors-like haze. It was a good way to spend the afternoon, although it must be noted that in the midst of all the theatrics, none of the songs particularly stood out.

In a few minutes, this image went on to have a second shirtless person.

In a few minutes, this image went on to have a second shirtless person.

The next few hours featured, in our opinion, the least impressive part of the Bacardi NH7 Weekender at Bangalore this year. Thankfully, there were many new food and merchandise stalls this time, and the weak early evening line-up gave us ample time to check them out. At 8:30 pm, we headed to the Redbull Tour Bus for a lovely set by Kolkata’s post-punk act The Supersonics. Channeling a little bit of Springsteen and a touch of the National, frontman Ananda Sen’s vocals were the perfect transition into the evening’s final act, Amit Trivedi. The famed composer of Bollywood flicks such as Dev.D, Wake Up Sid and Ishaqzaade attracted nearly the entirety of the Weekender population into one  happy crowd.

Amit Trivedi

And thus, Day 1 drew to close. Overall, the good array of international and domestic acts – Houdini Dax, Madboy/Mink, Money for Rope – contrasted with a weak late afternoon lineup. We left Embassy Riding School hoping for a much better Day 2.

Words by Neeharika Palaka. Images by Rajat Tibrewal.

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!

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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