Newest Arrivals (The Big M August 2010)

Spook

Taking into account a host of varying influences, as stated by the band’s reverbnation page, be it funk, pop, grunge or classical, it is safe to say that this 5 piece Mumbai act certainly falls under the ‘eclectic’ umbrella, for all genre purposes at least. Regarding the sound, the band is clearly skilled at creating mellow, polished pop gems, complete with soothingly inherent instrumentation, violins, pianos and a vocalist which shines through above all with a certain emotive, expressive quality. Currently involved in the production stages of releasing their first five song EP, the band is one of the few groups capable of delivering the goods live on stage and a must watch for those searching for a certifiably fresh sound.

Recommended song – 3 screwdrivers and a white bikini.

Travelling River Band

A rare sense of maturity can be heard in the impassioned sounds of Travelling river band, a Mumbai quintet playing charmingly rustic folk tunes with an underlying bluesy rock sound, something simply achieved through years in the scene as is the case with this particular band’s lineup. A group wholly committed to their sound, the band’s approach doesn’t seem the least bit contrived, sonically falling somewhere between the modern folk sounds of Mumford & sons and the Decemberists. Commercial appeal might be few and far between in a scene dominated by heavy reverb laden insolents, but the vocalist’s astute phrasing shrouded by a deftly played harmonica and guitar sets them apart.

Recommended song – Between the lines.

Mindflew

Equipped with an array of low key numbers, Mindflew are proving to be one Delhi’s fastest and among the more widely appealing rising stars. A perfect combination of psychedelic outlooks and alternative rock leanings leads this band into a sound that is both expansive and intimate. Charming in their own right, straightforward in their simple, unfussy beauty, the imaginative, creative song structures and lyrics render their tunes crisp, uncluttered and a treat to listen to. With a few more shows under their collective belts, the band is destined to come into their own and break through the angst-ridden barricade amassing a loyal fanbase, beginning with their gig alongside the fusion army that is Advaita, in the 'Concert for Tigers' at Sri Ram Centre on July 29^th.

Recommended song – Dream.

Peter Cat Recording Co.

Gypsy jazz is not a genre often heard from your local Indian act, and for good reason. In untrained hands it is most likely to result in a cacophony of sounds, but in the vision of one Suryakant Sawhney, the soul and founder of Peter cat recording co, it is a sound wildly inventive and melodically illusory. The second incarnation of the band, the first set in San Francisco, now based in Delhi, finds tongue in cheek song titles enclosing dark, provocative, surrealist lyrics, set to the tone of swinging psych folk, all recorded in a lo-fi setting devoid of any fancy studio devices. Employing a range of additional instrumentation, harmoniums, violins, in addition to the standard set up, the band planning on releasing a full length debut by next month is actually capable of breaking new ground for Indian artists internationally.

Recommended song – The clown on the 22^nd floor.

Fidel Mehra

One look at the reverbnation national charts in the last two months is all that’s needed to determine the next big thing in the Indian rock lexicon. Best described as electronic or experimental, multi instrumentalist Fidel Mehra dabbles in almost every genre possible, creating discernibly varied songs, ranging from harsh industrial sounds to delicately ambient stylings peppered with traditional Indian instrumentation. The boundary less music created by this Delhi native is on par with his humble following of a DIY ethic, mixing, mastering and producing each song from home. After generating a support for his music through social networking sites, an experimental rock album is reportedly in the works scheduled for release in December, almost certainly preordaining him as a force to be reckoned with.

Recommended song – Aasmaan.

The Colour Compound

Comprised of an experienced bunch of lads from Mumbai, previously of more acclaimed local acts namely Rosemary and Something Relevant, the Colour Compound finds these able musicians moving into something distinctly original, a sound that is by all means thoroughly refreshing. Nearly all of the tracks, available for your listening pleasures on youtube, are constructed around poppy vocal hooks rather than big riffs, featuring dual vocal harmonies and hum along melodies that rightly capture the imagination. Tight songwriting by means of additional flourishes which always remain sonically distinct, prevent this group from succumbing to sloppiness and producing a steady stream of catchy pop/rock tunes. Be sure to catch them on the 3^rd of August live at the Hard Rock Cafe.

Recommended song – What’s the worst?

No Safe Word

With a nihilistic punk attitude, dark sado-masochist themed imagery and a rough around the edges sound, No Safe Word, Chennai’s newest underground sensation delves into the musical spectrum with influences from proto punk legends The Stooges and psychobilly stalwarts, The Cramps and The Gun Club. A continuation of Adam & the fish eyed poets’ gritty sound, front man Kishore Krishna’s solo project, No safe word is an unrefined cocktail of raw yet sexy music, offering up a necessary alternative to a stale and predictably generic Indian punk scene. Following a series of highly volatile gigs, the band now finds itself in exile, toiling away to compile a 13 song demo that is bound to shake up a nascent scene.

Recommended song – Mantis Blues.

Sulk Station

Arguably one of the country’s few untapped talents, Bangalore’s electronic duo Sulk Station, inclined towards the experimental sounds of downtempo and trip hop are creating their own brand of moody and hypnotic music set in a heavenly ambience. Tanvi Raos’ sultry vocals layer atop of Rahul Giri’s minimalist glitched out beats to create an innovative template of sounds, an arrangement which allows the two to play out extremely inviting, compelling tunes, complete with hip hop beats, turntable scratches and an undeniable ability to spellbind the listener. Certainly the closest point of comparison being Bristol’s trip hop elite Portishead, the band however in combining electronic grooves with traditional Indian classical music have created a sound of their own.

Recommended song – Wait.

The Great Divide.

Erect in the midst of ignorance and carnivals, stands four walls of hedonism and laughter. A sea of alluring lights and blinding images attract the generation’s brood, the ones with loose morals, the ones with charitable inhibitions. Layered on foundations of hypocrisy, the indifference to the dying world that plasters these walls only serves to inflate the prices of sin sold in crystal glasses. For in this arena of animal instinct, the palette of gluttony feeds not those accustomed to starvation, unwarranted inheritance pays not for the schooling of the destitute, the fab hipster lingo speaks not for the most regional of dialects, the smack, the crack and the speed reflects not the god given touch of insanity and the lovelorn of the bunch neither feels for nor demands respite for the plight of the damned, the great divide.

Tempo No Tempo - Waking Heat (Album Review)

Taking cues from the dance spazz outs of Gang of Four, the angular rhythms of Fugazi, the loose nervous energy of Wire and enough Sonic Youth inspired warped experimental sounds, to create an album that is equivalent to a jubilant celebration of rock n’ roll in all its viral ecstasy, are San Francisco Bay Area’s Tempo No Tempo, one of the most reinvigorating bands to come out of indie rock scene in recent years.

Think a darker and grittier version of dance punk stalwarts Q and Not U, and you might begin to understand the draw of their debut LP ’Waking heat’ as evident on the opening track ‘The Rat (part one)’, with its tightly wound rhythm section of bassist/keyboardist Jason Wexler and drummer Alex Kaiser designed to instantly grab your attention.

The following two tracks in the record however, share more than a striking similarity with each other, with ‘Pole Position’ ending up sounding like a watered down version of the much stronger and vibrant ‘Kilometer’. Adrenaline charged, the latter is perhaps the best illustration of the band's restlessness, a song that will almost certainly instill in listeners the manic tendency to ecstatically jump up and down and pump their fists. Feisty and vivacious vocals from guitarist and front man Tyler McCauley render this track, a rollicking single with an undeniable grooving catchy chorus.

With that out of the way, the floodgates open on a series of rapturous tracks, each song emphatically exploring innovative ideas as the album ultimately takes on a life of its own. Be it the insistency of ’Lay Your Magnets Down’ a number teetering on screamo territory, or the omnipresent dub bass line of ‘Get Down, Stay Down’ one that would do Jah Wobble proud, it serves as an enjoyable lead in to the stand out tracks of this record.

‘Kindercare’ merges arresting atmospheric drama with their signature post punk antics to create a song that wouldn’t seem out of place on a post rock album had it not been for some brilliant vocal work and a melody guaranteed to stick in your head for days.

The sum of its musical elements, ‘Medicines’ combines the best traits in the bands arsenal to give a top notch song filled with sharp and jagged guitars, coupled with a bouncy, effervescent rhythm section featuring fluid reggae bass lines and polyrhythmic rolling beats. Emotive vocals together with electrified bursts of melodic frenzy help make this a dark and noisier take on dance punk, but still retaining a noticeable drive and melody.

Although more traditional affairs like ‘Line Drawing’ and ‘Get Young’ don’t showcase a substantial range or add to the overall effectiveness of the record, they, at the very least add a required urgency to the stalled post punk genre. Closing the album with a delicate guitar line and harmony, the ‘Band of Horses’-esque ballad ‘Half Asleep’ is a more subdued effort and in major contrast to the rest of the album which stood for youthful exuberance, the likes of which rock n’ roll should sorely lacks.

Their willingness to explore new sounds and styles make while maintaining a trademark “joie de vivre”, make them a sight much more interesting than the other musicians of the day, priming them to be the rock n' roll outfit to carry the torch of modern dance rock into the next decade. This is truly indie rock with a passion.

Culture Jamming (Helter Skelter magazine August 2010)

The phenomenon of mass globalization and profligate spending as we know it really took shape in the early part of the 20^th century. Many of the marketing campaigns and techniques of major corporations, in the early years, ideologically corrupt as they might be, were essential to generate a well-off economy. However in the following years, holding that almost utopian image of a better lifestyle as ransom and avoiding intervention by governments and law makers, the idea of globalization ran amok, filthy with fraudulent practices.

Corporations soon discovered that profits lay not in manufacturing and marketing of products, but in selling branded identities people would adopt in their lifestyles. Products would become secondary to an idea, itself devalued by losing an essential connection to a belief or action. The measure of a successful brand became not a mark of quality of the product but rather how far it could permeate the culture creating a stratosphere of the super brand. Brands like Nike, Coca Cola, Tommy Hilfiger and McDonalds, became revered symbols worldwide accomplishing an assault on the public sphere in form of corporate sponsorship, bombarding potential consumers with images, with a blatant disregard for decency or the sanctity of personal space.

In the current climate, despite the promise of choice and interactivity, there in reality has been a drastic reduction in options as it goes, with the rise in corporate consolidation and a corporate monopoly of the market. Increasing number of companies have begun to adopt what can be best described as Nike’s ‘paradigm of sweatshops’ company model, involving outsourcing to low-wage workers in developing countries further contributing to the diminishing global job quality.

In spite of the fact that several of these multimillion dollar corporations appear to be concerned with the uniqueness of their customers, in reality they tend to paint every customer with the same brush, exploiting the media to instill into the public minds carefully selected messages of globalization and mass consumerism, using advertising to inform values and assumptions of the cultural system while determining social standards and equating personal happiness with accumulation of materialistic possessions. Corporations detest citizens thinking outside the box seeing that ideas of individualism and distinctiveness are considered to be the enemy given that by their thought process, freedom of choice should be restricted to in essence choosing from several predetermined options.

It can be largely agreed upon that the prevalence of these voracious practices at present poses a legitimate threat to the overall authority of the public good. These corporations unmistakably invade people's privacy; manipulate politics and governments creating unduly false needs in people, who are in more and more numbers acting out against this almost imperialistic rule. This backlash against the increasing economic and cultural reach of multinational companies has taken the form of a cultural movement consisting not of intellectuals, politicians or even musicians that are no doubt indebted to these corporations themselves, but rather independent, free thinking artists who still possess the creative license to point out the discrepancies and more often than not unlawful practices of these corporate giants.

The movement of ‘Culture Jamming’ is designed as a means to force a dialogue with an agenda of altering globalization practices. Culture jamming baldly rejects the idea that because marketing buys its way into our public spaces, it must be passively accepted as a one-way information flow. A consumer’s response to corporate restraints within a capitalist society, this activist movement involves the act of transforming existing mass media such as billboards and logos, hijacking these images to produce commentary about itself using the original mediums communication method. Playing with these heavily circulated images that are already infused into the public’s general consensus, it aims not only to expose corporate agendas with government propaganda along with seizing back commercialized private spaces, but also to enlighten the public and provide them with knowledge to make informed decisions and possibly even change consuming habits. These jammers have the ability to raise issues that are purposely kept out of public knowledge; environmental issues, child labor and exploitation, health issues and the driving of small businesses into bankruptcy, all issues that jammers bring to the foreground which corporations would most likely suppress. Repeated instances of cultural jamming have dealt a heavy blow to corporate giants, adversely affecting both public approval and more importantly customers.

Although in practice since the 50’s with the Situationists in France, the term was reportedly coined by obscure experimental band Negativland who championed it to become a catch all word for modern day anti globalization practices such as billboard alternations and other forms of media sabotage. Media and economic theorist Noam Chomsky has been highly influential along with ‘No Logo’, the best-selling book by Canadian journalist and activist Naomi Klein acting as almost a manifesto for anti globalization resistors on its release in 2000.

Ron English has been a prominent figure in the culture jamming movement since the 80’s with his brand of satirical and subversive ‘popaganda’. His formative work in billboard subvertising or changing advertising was extremely significant in establishing and changing the radical ideas of corporate speech and individuality. Roaming the streets with a bucket of glue, a set of rollers, and a few trusted collaborators he plastered his work in broad daylight on billboards he didn’t own changing meaning in a matter of minutes, intent on stimulating curiosity, forcing people to question the system and often having to incur the wrath of law enforcement.

Cuban-born artist Jorge Rodriguez-Gerada based in New York began injecting art into the urban landscape and changing billboards in order to bring attention to the problem of disproportionate advertising in minority areas and transforming legitimacy and so called good intentions of the corporations in the eyes of the consumer. He believes staunchly in reclaiming the public spaces that have been snatched from our hands by advertisers and corporate manipulation while cementing the fact that our identity should come from within and not from the brands we wear.

Creating an altered sense of the original content, refiguring iconic imagery, and making us rethink the way we interact with dominant cultural figures isn’t restricted to billboards alone. Cult graphic artist and one of the most visible practitioners of guerrilla-style art, Shepard Fairey achieved notoriety with his ubiquitous Orwellian posters of Andre the Giant, featuring the nonspecific command to “Obey.” A star in the world of street art for nearly two decades, Fairey has nurtured a reputation of a heroic artist single handedly waging a war against the corporate powers, producing works usually displayed illegally on buildings and signs.

Another anti consumerist organization exploring ideas about corporate control over information flows is ‘Adbusters’ who literally deconstruct corporate culture with a waterproof magic marker and a bucket of wheat paste . The encroachment of big-name brands on the daily lives of citizens has led to an array of in-your-face counter-measures by members of this group witnessing the icons of corporate power subverted and mocked. Such ‘adbusting’ practices have been carried out against a number of major corporate entities, Levi's, Ford and Apple among others.

Some of the most notorious events include turning cigarette mascot Joe Camel into Joe Chemo, hooked up to an IV machine or sabotaging Apple’s ‘Think Different’ campaign featuring dead famous figures by replacing them with the face of serial killer Charles Manson or Stalin and the altered slogan of ‘Think Really Different’ accompanying the apple logo which is morphed into a skull. Street theatre and public pranks carried out on the expense of major corporations by artist collective’s such as ‘The Yes Men’ and the ‘Cacophony Society’ hints at the movement once a grass roots movement now gaining momentum and public support.

Cyberspace has been a godsend to most culture jammers with endless possibilities. The intensification of individual expression and anonymity across the internet has led to a remarkable increase in communication of the idea across the world, free of censorship by both state and corporation. This homemade media bashing has obliterated what the corporations have fought so hard to establish, a corporate rule by granting a certain notoriety to hackers, who have hacked time and time again into websites of major corporations such as Nike, defacing logos with anti globalization messages or redirecting visitors to a site exposing the inhumane practices being observed in the company’s sweatshops.

Though many conservatives and high powered executives regard the practice of culture jamming as futile vandalism, the movement has acquired an almost quasi-revolutionary following with average citizens taking to the streets, striving to uncover the truth hidden beneath layers of advertising euphemisms and the selling of mass produced lifestyles.

Bands Touring India (The Big M July 2010)

With only six months into it, 2010 has already been a somewhat tumultuous year for Indian rock. From Tehelka articles hoping to expose a ‘make-believe’ scene cultivated by the media and harboring niche middle class rockers aping the west to protests and petitions against allowing a certain aging boy band to perform at one of the country’s premier rock festivals, the year has seen its share of ups and downs. But behind the usual doubt and criticism, a relative swell in the number of albums released by Indian bands, some duly worthy of high regard, the infiltration of once local acts now into major European festivals, and the bestowment of a select few with international acclaim and awards has led to an exponential rise in recognition across the board. It is perhaps this recognition along with the efforts of various promoters that has brought about the biggest change as compared to say a few years ago, a saving grace in many ways, an exponential increase in the influx of global acts, indie, metal or otherwise, from corners of the world and genres not generally exposed to Indian audiences.

Hot on the heels of a year that played host to acts as varied as the indie folk quartet Mumford & Sons, popular Danish hip hop act Outlandish, Swedish melodic death metal stalwarts Amon Amarth, celebrated 80’s band Mr. Big and more significantly, a band in their prime, playing a sold out show at Mumbai IIT’s Mood Indigo, the progressive rock styling’s of Porcupine Tree, 2010 has already borne witness to an notable set of bands and artists, washing onto our aural shores. Certainly the biggest and possibly the most controversial concerts of the year took place in Bangalore in the form of Rock in India. Headlining acts which included the likes of South African alternative band Prime Circle, Welsh multi-instrumentalist and rising star Jayce Lewis (due to embark on another 10 city Indian tour in the coming months), legendary singer/songwriter Richard Marx and the aforementioned boy band, the Backstreet Boys brought with them a barrage of negative reactions from rock fans displeased at the idea of allowing a certified pop group to play at a rock festival.

Speaking of pop acts, the trio of Adrian Claudiu Sina, Sorin Stefan Brotnei and Mihai Gruiaone better known as one of the most popular Romanian dance-pop group Akcent, also made their way across India from the 4^th to 6^th June thrilling audiences in Delhi, Bangalore and Pune. With smash singles like ‘That’s my name’ and ‘Stay with me’ the crooners entertained the hundreds in attendance with their signature disco house sound contrasted with a strong Romanian influence.

Danish band Michael Learns to Rock who made a career out of churning out soft rock classics such as ‘The Actor’ and ‘Sleeping Child’ in the early 90’s find themselves on their third Indian tour, after performing in Bangalore and Chennai in ’95 and Mumbai, Bangalore and Shillong in 2004, the band is back on a three city tour in June catering to their loyal Asian fan base. Relatively new to Indian ears is the massively popular psychedelic trance DJ duo from Israel, Skazi, whose distinctive sound merging trance and punk has gathered a cult following, becoming a staple of rave scenes across the globe.

With respect to genres, there is no shortage of international bands thoroughly representing metal with the Bangalore crowds being treated to a heavy dose of American heavy metal throughout the year. The Summer Storm festival organizers brought in one of the kingpins of the New Wave of American Heavy Metal in Lamb of God to headline the festival with their brutal yet groove based riff metal. In almost certainly an attempt to compensate for their previous erroneous choice of bands, the Rock in India organizers have pulled together two renowned thrash metal giants, Testament and Slayer to be top of the bill at the second edition of the festival scheduled for 30^th October of this year. Each backed by an illustrious catalogue of classics, the show promises to be one of the explosive in the city’s history and certainly one for the history books.

On the indie front, some major bands which have turned their sights towards India are NastyPeach, a funk/soul band from Tel Aviv performing the Indian circuit throughout July and British alternative act Placebo who have just released their sixth studio album ‘Battle for the Sun’, who with an ability to weave platonic melodies with teenage angst offer up a rich palette for devoted fans in the country when they tour sometime later this year. Irrespective of which bands tour across our country, it is safe to say that the rock scene has come a long way from catching glimpses of odd international bands every few years or so. India’s rock community is finally being given the chance to indulge in a plethora of sounds through these bands, each recognizing India as a bona fide market while at the same time paying dividence and enriching the rock scene as they pass through.

Restaurant: Asian Wok (Helter Skelter magazine July 2010)

Of the array of restaurants packed into the slice of land we call Carter road, the Asian Wok is somewhat of an oddity. An unassuming quaint little place sandwiched between two mighty restaurants it offers up a mouthwatering variety of Thai, Chinese and Malay dishes, unlikely to be served at its neighbors’ more pretentious selection of cuisines. Even though it has existed for only a few short months it has already become a somewhat endearing location to regulars and newcomers alike as the utilization of the relatively small but homely area coupled with an outdoor seating area, allows this quiescent little place to attract a steady stream of customers.

Food:

The Asian Wok offers its guests an extensive range of delectable starters, of which the Crispy Spinach Chicken (fried chicken served with fried spinach leaves) and Chicken Satay (served with peanut sauce) really stand out and are undoubtedly the recommended favorites, while for the herbivorous few, the appetizing Stir Fried Vegetables is a definite must. People watching their waist lines might dine on a variety of Thai salads and soups that tickle the palate, especially the understated yet scrumptious Malaysian Laksa.

For the main course, look no further then the lip smacking in house specialty of Burmese Khowsuey, a wok which is intended to be a ‘reach for your water’ spicy treat. Those looking for a Thai or Chinese course make sure to try the Thai Green Curry and basil flavored rice to go with it. The chicken or vegetable Pot Rice is subtly flavorsome and does not require a side dish to enhance its palatability. Complementing the food is the Kiwi Mango drink, albeit an unusual combination of flavors, it is the perfect companion to a spicy yet satisfying meal.

The only segment where the Asian Wok might be considered a letdown is the hackneyed dessert menu offering up time-honored treats of Honey Noodles along with Ice-cream and Sizzling Hot Brownie. The conventionality does take away from what could have been an extremely enjoyable dining experience.

Verdict:

For Asian food enthusiasts who are bored of the usual outlets, The Asian Wok is a good option. Quite reasonably priced and easy on the wallet, the assortment of dishes and quality of food is impressive. If the dessert menu lets you down as it did me however, there’s always the Mad over Doughnuts next door! With a rating of 3/5, it is definitely an eatery worthy of your Saturday night.

Beat.

An insolent, depraved anarchist, wandering aimlessly down the massive corridors of parliament longing for that fleeting rush of success and a redeeming job. The bastard child of vanity and conquest crowning away to glory, the ill-fated outcome of prohibition and a good time. Pint sized junkies running for office and pest control, harboring delusions of grandeur and homoerotic repulsion. A source of income for young kids with the answer to life, shaved genitals and a week off from school. The sewers teeming with senile bodies, each with a primetime spot and an appropriate punch line. The homeless shelters overrun with once iniquitous typewriters, now short of pages to feed the poor and a devoted cause. The sidewalk plastered with lovelorn letters between a suicidal wannabe and an overzealous has-been, each with the same message and handwriting. Doors for privileged artists, the city cracked open on games of Russian roulette and hostile jazz with nefarious infidels debunking the myth of atheism. A glutton for punishment serving his term for imprisonment, weeding out souls with extreme precision and pop culture references. The change in predictability and reality for a sexual deviant on the verge of satire and disdain for sanity.

Anti Art (Helter Skelter magazine June 2010)

“Sometimes when a piece of art draws cries of ‘this is random, anybody could do this’, its goes back to one of the earliest arguments, as soon as people started to make a break from any sort of representational art, anywhere. In cases like this you cannot argue about quality of technique, you have to acknowledge that this has a theoretical presence and an intellectual basis for it; it has nothing to do with a measurable technique. It has to be recognized that art is being done here which is not representative, and it’s not supposed to beautiful or attuned to any sort of standard in commercial sense.” – Byron Coley.

So what exactly is worthy of being called art? What distinguishes an ostensible piece of art from an everyday artifact? What is it that allows us to construe an idea with artistic merit as opposed to an outlook of triviality? The fact that there has never been, and probably never will be a strict definition of the word should be proof enough that the word holds innumerable dimensions. While some see it is an expression of human endeavors in its most primitive form, others believe it to be the true idiom of a rich and multi layered emotional being. With such an extensive and subjective description of this universal word, most modern day art connoisseurs don’t dare fathom the convolution of the term that is ‘Anti-Art’. But it is in the context of this idiom that art may truly be appreciated in all its variable forms.

Simply put, anti art is a long lineage of counter movement ideas designed to kick out against the complacency that the art world has a tendency to settle into. Originating with the Dadaists in Europe following World War I, it represented a new generation of artists who shared a nihilistic outlook toward the standard expectations of arts and literature. Removing themselves completely from intellectual analysis, they employed anarchist ideas generally unheard off at the time, to undermine the ruling establishment by employing outrageous tactics in the vein of demonstrations, manifestos and heavily absurdist art critiquing social values and providing an alternative to the constraints of 1920’s art.

Photo-montage’s and collages made of trash and refuse material were premeditated to scandalize the general public opinion while perhaps the most famous and controversial Dada artwork, Marcel Duchamp’s ‘Fountain,’ consisting of only of a urinal set on its back raised a powerful question on the validity of art. It also attacked the ideal that art takes time and effort to create, establishing the concept of ‘readymade or found art’, something the pop art movement would borrow heavily from.This granted artists such as Duchamp along with Kurt Schwitters and Raoul Hausmann recognized as famous Dadaists, a place in art history as conveyors of the first anti art movement influencing surrealism, punk rock and avant-garde music akin to the experimental band Sleepytime Gorilla Museum named after a small group of Dadaists.

By 1920, the blatant politicization of art began with the rise of communism in the Soviet Union and along with an expressive break from Dadaism in the form of Surrealism and later Abstract Expressionism. Although by no means as outrageous as the radical Dada artists, the leftist ideas soon manifested themselves in emotively conceptual works of famed artists Salvador Dali and Jackson Pollock respectively.

Arguably the most politically charged movement in the 50’s came in the form of the Marxist inspired Situationism based around the ideas of an international group of artists, the Situationist International. Melding art and politics into a single concoction for the purpose of overcoming the forced suppressions of a capitalist rule by using moreover eliminating Dadaist and Surrealist ideas through calling for a cultural revolution was the basic concept. Although largely overlooked, the Situationists were solely responsible for the trouncing the notion that art exists as a separate entity and integrating it into the fabric of daily life influencing not only music but also the application of graffiti and street art in reclusive underground artists like Banksy.
Fluxus, a global movement which embodied the true essence of the avant-garde took form in the 60’s retaining the anti art and anti commercial spirit of Dadaism, however with a stronger objective for experimentation, creating a socially aware population and the belief of living the art. Centered on ‘scores’, essentially a collection of works designed by an artist with prominent instructions on how to recreate and reinterpret the piece by others, thus propagating the do-it-yourself ethic, the concept breathed new life into age old concepts of sound art, visual poetry, and an amalgamation of different artistic media. Unplanned mass gatherings of people to witness improvised performance art at unusual locations termed ‘happenings’ was considered a characteristic feature of the movement, personified in notoriously controversial performances of Carolee Schneemann. With a notable alumni consisting of Dick Higgins, John Cale and Yoko Ono, the core values of the movement would prove essential to New York’s No Wave scene.

Gaining prominence around the same time, the last movement of the modern art era was a reaction against the prevalent pretentious workings of Abstract Expressionism. Born out of the enthused Neo Dada crowds, Pop Art acting as a bridge between high brow and low art made heavy use of mass culture themes and techniques such as billboard advertisements, consumer product packaging, comic strips and celebrities. Andy Warhol’s renowned painting’s of banal and everyday topics such as Campbell's Soup Cans, Coca Cola bottles, Marilyn Monroe and Elvis expressed a positive outlook of modern consumer culture while challenging the topical sensibilities of an accustomed art world.
The Postmodernist era continued to take its cues from the ubiquitous belief in reducing contemporary art to a derivative of intangible ideas, foregoing aesthetics in favor of concepts. Conceptual Art became the beloved stance of most artists during the 90’s chiefly led by the collective Young British Artists who offered up the notion that the deliberation of an idea was more imperative than the actual executed product. A dead tiger shark preserved in formaldehyde in a vitrine or a disheveled bed stained with bodily secretions and detritus objects presented by prolific conceptualists Damien Hirst and Tracey Emin respectively offered up a nonfigurative visual experience that polarized artists and audiences alike.

Refuting the notion that anything can be considered art, Billy Childish along with Charles Thomson and his radical art group Stuckists expressed an obstinate desire to lead away from the pretentiousness of conceptual art, as pop art had done against abstract expressionism decades ago, in this case however by means of manifestos and protests against postmodernist art which they believed to be a cold and mechanical view of culture. The ‘Anti-Anti Art’ philosophy of Stuckism championed realism over the deliberate abstraction of conceptual and performance art with an ideology of Remodernism, returning art back to its creative passion and clarity in age old disciplines of figurative paintings.

In conclusion the recent back and forth spat between the conceptualists and the stuckists or the basic concept of anti-artists demonstrating against anti-artists may seem trivial and a remote take on the perennial objective of the Dadaists, it is however in retrospect a representation of the new millennium’s version of the imperative question: What exactly is worthy of being called art?

Celebrate Motherjane (The BIG M June 2010) [Unedited]

It is nearly impossible to put in writing something about Motherjane that hasn’t been said or written before without evoking a clichéd quote or rehashing an old statement reiterated a million times before and believe me I’ve tried. Over my years as a music writer I have had countless opportunities to express my unadulterated appreciation for this band on the pages of many prestigious magazines and sites, struggling for hours to find just the right adjective that would sum up the band’s impact on the scene and do justice to their cause.
Honestly speaking, growing up with the Indian rock scene has always been a frustrating and bittersweet journey for me, as is probably the case with any rock fan in this country. Even though things are slowly but surely getting better there has always been an unduly ignorance towards the country’s rock scene, the western music scene permeating so deeply within our culture, engraining itself within our subconscious over the years that comparison between those ‘rock gods’ and our home grown heroes seems all but inevitable, with most of the Indian bands more often than not falling short of the mark. But ever since I could remember Motherjane has always been the one of the most consistent bands in the Indian rock scene. Now that might not sound like a lot, but in a sea of cookie cutter, download-today, gone-tomorrow rock bands, consistency goes a long way. Original, ambitious, and genuinely honest, the band has defied expectations with an unweaving passion, a distinctive sound with a heavy debt to its carnatic roots and an undeniable religious fan following across the world to become the carrier’s of Indian rock into the next decade and the foremost driving force beneath this now thriving rock scene.

With a presence of over 14 years in the scene and in the press, this article should not be construed as just another reminder of their musical prowess but rather a celebration of a band at its peak and a poignant reminder of the band’s impact expressed in the words of contemporaries, janiacs and international admirers alike.

Siddharth Nair (Blind Image)

“Motherjane are some of the most amazing musicians hailing for Cochin which make me really proud to belong to the state of Kerala. They are one of the few bands that have made India proud when it comes to rock music. As tight as a band can possibly be, they always deliver on stage. All the band members are incredible in their own right, John for his groovy progressive drum patterns, Clyde for the bass backing up the rhythm, Baiju for his carnatic shredding which really gives them their own identity, Deepu for his awesome progressions which give the solos their feel and Suraj for his amazing voice and crowd interaction. They are without a doubt one of the hardest working bands around and if they carry on this way, they'll make it big in no time!”

Shreyans Jha (Null Friction)

“I admire their work and the fact that they go out of their way to research and find influences that most Indian bands would choose to ignore. And unlike most Indian artists, they definitely have a really unique sound - when their song comes on you can always tell that it’s Motherjane. Even though at times I have found their lyrics a bit disappointing, their music has always been embedded in the sounds of their motherland. They've done an amazing job of truly penetrating the small niche market that is Indian rock and in fact should be credited for expanding the market to never before seen audiences.”

Arsh Sharma (The Circus)

“The whole blend of prog rock and Indian carnatic music is absolutely their main draw. In addition to being extremely talented musicians they are incredibly nice people. I recall having spent a night in the same hotel in Bombay as Suraj a while back and understanding and liking his thought process quite a lot.

I’ve seen them live a couple of times now and their performances post ‘Maktub’ have a lot of charisma about them. They’re helping the Indian rock scene grow in the larger sense, and definitely reaching out to the international community in terms of the rock scene, even though there are so many tangents to the scene now and they are not entirely representative of the scene, they’re definitely a good indication of the variety that is there to be offered here. It’s great to have a band like them around who connect at such a spiritual level with their audience, and I hope them the best for the days to come.”

Sairam Raman (Summerpint Junkie)

“I have always considered Motherjane as an example of epic tightness, especially their live performances. The guitarists Baiju and Deepu blow me and my fellow guitarist away every single time we listen to them and even though we don’t try and emulate their sound into our songs, we are definitely influenced by their skill, precision and the way they go about their pieces on the guitar. Also the fact that our band was premiered on TFS rockcast featured alongside the mighty Motherjane is obviously an amazing thing for any young band. As a band they have truly achieved an identity that puts things into perspective for a lot of Indian bands and the connection that they have with their fans is definitely inspiring.”

Reinhardt Dias (Blakc)

“Even though our sound is extremely different from Motherjane’s, being more of a contribution of individuals then primarily guitar driven progressive rock, we really appreciate the role Motherjane has played in the progress of the scene. We had a brilliant experience playing with them at the MySpace show and hope to repeat it real soon. I believe Baiju’s carnatic influence that he brings to the band is their main appeal as his soloing is based on Indian ragas and when that kind of genre meets rock, it is bound to sound really original and is definitely worthy of Indian rock. Also I believe they have been really underrated over the years; it’s only in recent times that people have noticed them as a veteran band and how they have contributed in a major way to the Indian rock scene, mainly because of their sound which is a perfect balance of Indian and Western. I would just hope that they receive the international recognition they deserve really soon and represent Indian rock at much bigger avenues.”

Sanjeev Thomas (Sanjeev T & the Rainbow Bridge)

“What appeals to me the most about Motherjane is Baiju and his incredible guitar work, probably because of the fact that I am a guitarist myself. Baiju’s carnatic style has me completely tripping and has majorly influenced my recent song as well as video release. Also having Eva Dowd in common between us benefits the both of us as artists and it’s the sharing that keeps us together as a family of sorts. Motherjane has been a band which has stuck through a long period in Indian Rock, through ups and downs. They are and always will be a great influence on musicians here and anywhere they play. To keep a band together is a very tough job, and when like minded musicians dedicate their lives together for music it will grow forever and I’m sure they will too.”

Siva Chandran (Founder of AVIMA & VIMA and Managing Editor of Voize.my)

“The first hint of Motherjane reached our aural shores through Eva Dowd, who submitted the band's songs for the VIMA awards back in late 2008. I actually gave the band an immediate listen because for the life of me I couldn’t figure out how someone in Boston was promoting this rock band from India. Prog-rock wasn’t really my cup of tea, but I gave it a listen anyway and I’m glad I did, because I was totally blown away by their ‘spiritual rock’, their arresting music video visuals, the soaring vocals and the irresistible guitars that painted a whole new soundscape for me. And I've always been a sucker for bands with a message, and there was just so much going on in the heads of the band, especially Suraj. I spent days and nights dissecting the philosophy behind the songs, and that made me grasp their music even better.
Motherjane went into AVIMA 2009 as total underdogs, but deservedly walked away with the top prize after our global judges gave them the thumbs up who instantly felt that their music was extremely memorable and engaging. Motherjane upped the ante by playing at the Java Rocking land music festival in Indonesia, which allowed them to connect with a whole new audience.

Having said that, thousands of talented rock musicians go unnoticed yearly, but it was the sheer marketing and promotions drive of Eva Dowd coupled with the searing tenacity of Motherjane's carnatic rock that made the band cement in the minds of the people. Many will call the music force of Motherjane and Eva Dowd as a stunning and astounding oddity. We call it destiny!”

Sunny Sawrav (Janiac to the core)

“I have been working in multimedia and web support for the record label Aum-i Artistes for a year now, a label which manages the band Motherjane. Now, let me tell you one peculiar thing about Motherjane, I've been to their shows, recording videos, getting fans reviews, talking to celebs about their thoughts on the band and they absolutely love the band! Personally Motherjane means the world to me. Watching them play their songs has never failed to give me goose bumps and each show I have felt spiritually complete. So majestic, yet so humble, it’s an honor to know that I'm working for this band. Now, Motherjane is not just any band; it is, for me, the greatest thing to have happened in Indian rock .Seriously, how many bands out there have emotions in their songs that sound incredible and are completely unique; not many. Also Motherjane is beyond a doubt the only act that can represent India at any International event. Now since I work with the record label, travel with the band so you might think that I obviously will have nothing but praises. But well, it’s all up to you and how you take it. I'm happy working here watching and becoming a part of history in the making!”

Hari Amajaniac (Die hard Janiac)

“The first time I saw Motherjane live was at Rock Ethos two years ago. The last act to perform, their raw magnetism and Baiju’s guitar playing had me completely mesmerized from the beginning. Never before had I experienced a guitarist playing a solo like the one he played on ‘Questions’. Those 25 minutes of music were probably the most important of my life because they started my journey with the band, a journey that has helped me get to know not just five extremely talented musicians but also incredibly genuine human beings. Thanks to a common friend I had the opportunity to personally meet the band that night itself and was completely floored with their down-to-earth behavior. Here was one of the biggest acts in India sitting around and talking with their fans with no ego’s whatsoever.

Speaking of humility, an act of kindness from their side that I’ll never forget is the gig at Snehadaan, a home to HIV positive kids, where the band had initially gone for a promotional video campaign but ended up playing an hour long set resulting in a sea of smiles on the faces of the kids. Over the years, I’ve gotten to know them better and have shared a few memorable moments too. An incident that comes to mind is when they played at Opus on September 12th last year, the day before my birthday. They had just finished a gig at around 11:45 or so and I was with them at the venue when at 12 o’clock all the members of the band surprised me by singing “Happy Birthday”, which I can say is personally my best birthday gift ever. After two years of getting up every morning to Motherjane’s music, I can say from the bottom of my heart that to me Motherjane isn’t just a band; it’s a way of life.”

Popie S Wirananggapati
Jakarta, Indonesia
“I first saw Motherjane performing live at Java Rockin' Land 2009 in Jakarta and I thought they are absolutely incredible and different from the any rock band I had ever heard. In fact I was introduced to the Indian rock as whole because of Motherjane and I personally believe that the Indian rock scene is flourishing because of this band. Many bands here in Indonesia are themselves deeply influenced by the sounds of Motherjane because like me they really admire the fact that the band plays such an interesting fusion of Indian classical and western music and this is truly what makes their songs unique. I personally love the guitars and the vocals on all tracks, though I believe all the members contribute equally to the novelty of this band. I have been catching up with their latest track thanks to Myspace and Youtube and absolutely loving the new song ‘Tribes of Babel’. Hope to hear more songs like this from the band very soon while I wait for a new album. Wish to see Motherjane back in Jakarta soon. Love & Best wishes to Motherjane. Keep rocking!”

Russell Fries

Simi Valley, California

“Motherjane’s music is, well let's just say that it’s very moving. I really like their musicality, which is indeed original and earthy, but it retains the rock-n roll element. The fact that they are from India and that they have reached a fan base here in the U.S. is really impressive, even if it's over youtube, myspace or facebook. Their performances are indeed intriguing and each member of the band adds into the beauty of the songs in their own way. If they come to the states I would definitely go see them perform live. I earnestly wish they come to California. I have recommended their songs to many of my colleagues and they have all loved the originality, the powerful vocals and the fine yet raw music. Motherjane is unquestionably worth the praise! I sincerely wish the band all the luck for the future and hope to hear many more songs from them. I hope to see them perform live. I wish their fan following spreads across nations and may they receive the recognition they deserve. Cheers!”

Ifan Maulana

Depok, Indonesia

“Motherjane, a band which is full of life, magical music, colorful performances, and a visual pleasure with amazing sounds. The unique mix of carnatic and rock music with effective vocals is what appeals to me about the band. I love the lead guitar, the rhythm and the melody soothes my mind and makes me vibe at the same time. The songs are so modern yet manage to sound ethnic and I especially love listening to ‘Chasing the Sun’. I wouldn’t hesitate to say that I was surprised to know that they are an Indian band as I was completely unaware of the Indian rock scene. Their songs continue to fascinate me and have managed to take rock music to the next level. I wish the band all the luck in the world and to continue making such amazing music.”

Marcellino Malonda

Jakarta, Indonesia

“The way in which Motherjane manages to intertwine their ethnicity and contemporary style together in such a brilliant fashion, is truly admirable. Indonesian rock initially used to be influenced mainly by American rock, but after listening to Motherjane, people here are trying to maintain their culture through music. The band’s approach to song writing is very Indian and it basically teaches us to respect our roots and not be ashamed of our humble origins. With such a diverse collection of fan following, I believe that Motherjane have the potential to become the biggest band in Asia. I personally love the song ‘Tribes of Babel’ and identify with the lyrics completely, through which the band has had a positive contribution to humanity and has taken a step towards world peace. Lastly I would like to quote my favorite lyrics from the band themselves and say that Motherjane’s music teaches me ‘To celebrate all Earth while we’re still here.’”

Al Fakhri

Shah Alam, Malaysia

“I think it was around October 2009 when I was introduced to Motherjane by Eva Dowd via Facebook. I was unaware of Indian rock at the time but the band really acted as an eye-opener to Indian rock music. I must say that India has a very plausible musical brand in rock, who is better qualified than the Indian rockers themselves to combine both western aggressive rock and Indian music and Motherjane is a testament to that notion. Lyrically, Motherjane is honest in the sense that they are into realities, their descriptive lyrical style allow listeners to be the problem-solvers themselves. ‘Broken’ was the first Motherjane song I heard and I was completely enthralled. The raga acoustic opening riff by Deepu in the song is enough to make any listener invest emotionally into the lyrics. It is incredible how he manages to yield such interesting microtonal notes out of his guitar even though the frets are not curved.
The high snare hits on most songs by John is unusual but interesting and I especially appreciate the way he plays the rides, managing to keep the beats as aggressive as possible. Clyde complements the drums by John with his bass, sounding progressive yet tonal. I always thought he is just the keeper of the rhythm until I saw him play that slapping bass with six strings which portrays his skill as an eminent bass player. While Deepu, John and Clyde are responsible for the progressions, there is Baiju striking the solos, rocking the Indian Musical style with his modal-type playing and Suraj with that pleasant as well as powerful voice representing Indian singing, undoubtedly making them unique enough for international exposures.”

Urska Grcar

Turjak, Slovenia

“Last year when I was in India for the first time, I saw a Kathakali performance which I found awe inspiring, and later while surfing Myspace I found Motherjane and honestly speaking it was the Kathakali face paintings that attracted my attention. I believe they show their love for their homeland and promote India through those eye catching face paintings. Since then I have always wanted to see them perform live but all I have managed is to watch their videos online and am always mesmerized by their vivid stage presence. The way they connect with the audience is just amazing to watch.

The band actually influenced my liking for rock music and appealed to me with their interesting symbiosis of Indian rhythms and rock which give rock music a whole new perspective. ‘Chasing the Sun’ is my all time favorite song by Motherjane and I am in love with Suraj’s powerful voice.

Sadly I didn’t know much about Indian rock scene, but Motherjane has inspired me to explore more bands from that part of the subcontinent. Their music interests people in Europe a great deal as well, probably because of their ability to combine aggressive beats with exotic melodies which make their music suit the ears of every music lover.

I would just like to tell the band to keep up the good work, expand your promotion to other countries such as Europe, because I think you would be as popular here! Next time I visit India I will definitely try to catch up with your concert. Hopefully we'll meet. Love you Motherjane!”

Thoriq Arridlwan Aria

Jakarta, Indonesia

“Last year when Motherjane was scheduled to be one of the bands that performed at Java Rockin' Land festival, I was extremely intrigued about an Indian rock band. I searched for them on the internet and saw some of their videos online which immediately caused me to develop an inclination to their amazing sound. Motherjane plays an eclectic mix of Indian music elements with progressive rock music which gives them a distinctive style. I love hearing Baiju's guitar playing melodically around Suraj's distinguishably pleasant yet strong vocals leaving a lasting impact on the listeners.

Honestly speaking, Motherjane is the only Indian band I have heard so far, so I don’t know much about the Indian rock scene, but I believe that if Motherjane’s music is any indication of the scene then Indian rock is definitely the next big thing. The band has made me curious to find out what other rock bands India has to offer. I would sincerely request Motherjane to visit Indonesia for another show, there are so many new fans waiting for you guys to come and rock Jakarta once again!”

Sofiane Benidir

Blida, Algeria

“I belong to a community of musicians here in Algiers where most of us are fans of progressive music, mainly metal, but from the very first notes of Motherjane’s album ‘Insane Biography’ we we’re hooked! We loved and deeply appreciated the uniqueness of their sound; the Indian aspect was the most original thing to our ears. Though we may be trained to hear distorted guitars, it was quite a treat to have such beautiful melodies native of their country. Their incorporation of local tones into the music showed their love for their land and inspired us to experiment with local sounds and instruments such as a ‘derbouka’ in our songs as well. They represent true rock n’ roll and my deepest wish is to see them perform here in Algiers some day.”

Hot on the heels of their highly coveted song for Amnesty International’s ‘Peace’ album, ‘Tribes of Babel’ and a dual win at Avima 2010 for the most popular act of Asia and best rock vocalist for Suraj Mani, comes some pretty interesting updates from the Motherjane camp. Sumesh Lai the former head of RoseBowl TV for years, who was the creative force behind two of the band’s videos ‘Chasing the Sun’ and ‘Fields of Sound’ when he was at Rosebowl, has left to take on the role of director at Motherjane's record label Aum-I Artistes, where in addition to managing the label he will be also be responsible for creative content and will be working on live DVD productions of the band to be released in the near future. Also the band has already written 26 songs, out of which, ones that are to be included on the album, which is scheduled to begin recording in July and the title is yet to be determined.