Motherjane - The Tribes of Babel (IRMP3)

Motherjane have always been a virtuous bunch. Socially aware to say the least, they have often been described as the quintessential Indian rock band. A hard rock band with roots deep within the fabric of Indian tradition, they are one of the few groups fortunate enough to be able to transcend the local scene and be heard the world over. That is probably the reason why, when it came time for Amnesty International’s joint venture with Spanish DJ duo Buffetlibre to feature bands from over 50 different countries in a compilation entitled ‘PEACE’ promoting human rights, the first band chosen to embody the essence of the country were this eminent quintet from Cochin with over a decade of experience and two critically acclaimed albums under their collective belts.

Along with local stalwarts Menwhopause and Shaair+func, Motherjane will represent India in this collection aiming to spread the message of justice, fairness, freedom and truth – already recurring themes in numerous Motherjane songs. Bringing this iconic band out of hibernation with a song written exclusively for the compilation entitled ‘The Tribes of Babel’, the bands first track released in over a year and a half sees them falling back into brilliance without missing a beat.

A track along the lines of, dare I say it Lennon classics ‘Imagine’ and ‘Give Peace a Chance’, this song reverberates with the same honesty and passion the band is renowned for. Kicking off with a pulsating cadence, the rhythm section of Clyde and John hold together an ultra tight groove, before allowing chiming guitars and Suraj’s emotive vocals to take lead.

The song’s striking lyrics deserve a special mention. Evocative but graceful, the core message of beauty in diversity resonates thoroughly in today’s day and age. Words with soul, these couplets conjure up heart wrenching imagery of a world united in imagination and with a purpose to repair and change itself.
Midway through, the song completely alters direction turning into a stunning free fall for all, with some truly explosive old school progressive riffs and incredible dexterity on the drum parts. Loaded in visceral instrumentation, it all builds to a heady climax where all the sounds coalesce leading out with the sound of Baiju’s wailing guitar.A bustling melody layered on top of an enchanting chord progression renders this song as an unskippable track on your playlist, a poignant promise of humanity and an enduring hymn of solace and peace.

Mr.Gnome - Heave Yer Skeleton (Chordvine)

Duos have been a mainstay of rock music ever since one can remember. The Black Keys, No Age, The Ting Tings and of course the White Stripes have thankfully rid the music world of the stale notion that rock is a numbers game, proving that a pair is just as capable of making the same amount of noise as a standard quartet. Nowhere is this fact truer than in the case of Cleveland duo Mr. Gnome, who in their second full length album ‘Heave Yer Skeleton’ pull out all the stops, running the gamut of every emotion known to man and thus providing the listener a sonic experience rich in fantasy.

The closest reference points usually considered while describing a band like Mr. Gnome are female led Blonde Redhead and the Yeah Yeah Yeahs, but a more accurate comparison would be perhaps 90’s post hardcore legends Shudder to Think with their incredible similarity in the grasp of melody and rhythmic assault.

Using the same set of instrumentation as most duos, Nicole Barille (guitar/vocals) and Sam Meister (Drums) throughout this 12 song LP refuse to follow any convention instead opting for genre defying antics. Paradox is significantly woven throughout the album - delicate one second and explosive the next, alternating between cute and aggressive, the album travels wherever their imagination or technical prowess allows. A single listen to the striking ‘Today Brings a Bomb’ or ‘Pixie Dust’ establishes a somewhat undoubted fact; you’d be hard pressed to find a tighter band.

While the harmonious guitar lines of opener ‘Spain’ and ‘Titor’ are no indications of the belligerent sound that crowds the majority of this album, they offer up a sort of calm before the storm for the pummeling revved up guitar on songs ‘Plastic Shadow’ and ‘Cleveland Polka’.

Outstanding tracks such as the brilliant ‘Slow Side’ and ‘Sit Up and Hum’ contrast Barille’s feminine sweetness with Meister’s virtuosity switching between powerhouse drumming and deftly played rim shots with ease, establishing him as one of the most underrated drummers in the scene today. Even with just two people at the helm, they somehow manage to create sounds of orchestral proportions; Barille’s attractive vocals coupled with a bulk of driving moody guitar parts drawing the listener in even deeper.

‘Searider Falcon’ an instrumental which also proves to be the heaviest track on the album, appears to be designed for the sole purpose of putting subpar rock bands out there to shame. Truly through tracks like the playful yet somewhat dark ‘Vampires’ bordering on pop and the all too short ‘Hills, Valleys and Vallium’, which notably wouldn’t seem out of place on a dream pop compilation, they have issued a challenge to their peers, to expand their musical lexicon and range of expression, and throw off some of that stifling rock and roll orthodoxy.

The album comes to a close with the funeral procession opening of the title track, Meister complementing Barille’s whispery thin vocals with a moving piano riff, a somber end to an incredible record where everything down to the art is stunningly unique and perfectly appropriate, furthermore with absolutely no filler these are tracks are bound to stick in your head for days. Ultimately it is an album that comes along every so often to reaffirm your faith in rock ‘n roll. An album that doesn’t sound the least bit contrived, it's exactly as it should be, one of indie rock’s best kept secrets.

Anus the Menace - Revenge of the Shit (RSJ May 2010)

Impetuous, snotty and full of confidence, this album finds Chandigarh band, the delightfully named Anus the Menace at their most potent. ‘Revenge of the Shit’, a six song EP of juvenile punk rock is one not commonly seen in the metal dominated Indian rock scene and probably for good reason. Breezing through in roughly 15 minutes, this record doesn’t offer much in terms of musicality or scope but is enjoyable in its own chaotic sort of way.

For a punk rock band, this album starts oddly on a funky note with ‘Disco Fever’, a foot tapping number with the ability to stick in your head as a result of its markedly comical lyrics, while at the same time tending to be upbeat and melodic.

Before you know it, the album leads into its second track called ‘Government Sucks My Balls’ (I swear I’m not making any of these names up) predictably featuring repetitive diatribes against the government. Though limited in approach and lyrical content, it does bring to mind the independent hardcore punk movement of the 80’s. In some respects, the song could be a lost Minor Threat song with its heavy riffing and anti-authority rants, even given the failed over the top introduction. A bouncy bass line starts off ‘Right Now’, soon turning into an outlet for the band to dispense their advice on living life with a suitable groove complete with back up gang vocals.

The point where the album falters quite clearly though, is the apathetic direction of every song. The harder edged songs never sound as raw or urgent as they should while the poppier songs ultimately sink in half baked hooks. But in all fairness the band does make up for its lack of musical proficiency with buckets of fun, playful energy packing in old Bollywood movie recordings and attempted feminine voices on the part of the vocalist. In parts sounding like drunk frat boys with instruments, which notably isn’t all that far from their purpose, they manage to inject their sound with a youthful exuberance sorely lacking in rock music. Nowhere is this truer than the fall down hilarity of Chinese song, a song completely sung in an amusing imitation of the Chinese stereotype.

‘Placebo’ is as unremarkable as they come in any context or genre and only contributes as commonplace filler for increasing the album length. The last song ‘I’m So Punk….Not!’ features the first riff off the album into which you can actually sink your teeth and is probably closest to the sound the band tries to achieve throughout the album which is the three chord racket of bands like the Descendants or the Adolescents, ending the song with a chugging rhythm and what unusually sounds like a well played harmonica.

Complimented by crisp production and some excellent drumming on the part of Nidhaan Puri, this largely ignored album does provide Indian punks with something to turn to. With a little more focus this band could have been well on its way to actual success, however with vocalist Vilphin Vincent on his way to greener pastures, more specifically Mumbai, the band’s future has been put in serious doubt, possibly limiting this to their eponymous as well as sole musical output.

Midival Punditz @ Blue Frog (The BIG M March 2010)

The duo of Delhi boys Gaurav Raina and Tapan Raj, better known to the world as Midival Punditz were till this moment regarded as India’s most acclaimed electronic act. After being featured on multiple international compilations and being the first electronic act to sign an international deal, the band rightly dubbed as ‘The new sound of 21st Century India’ has added another feather to their cap, this time being the first Indian band to compose the entire background score for a Bollywood movie – in this case the Farhan Akhtar and Deepika Padukone starrer ‘Karthik Calling Karthik’. This break into mainstream came with the assistance of like minded producer and composer Karsh Kale, who is featured along with the twosome on a few tracks of the soundtrack album, mainly the remix version of the movie theme plus a hard rocking version entitled Kartik 2.0.

The pair stopped by Blue Frog in Mumbai on the day of the movie’s release, February 26^th, to give the eager audience a taste of what to expect. Cementing their reputation as one of the best live acts around, the duo stepped on stage to spectacular atmospherics, lights and images on screens flashing in tandem with the crowd’s excitement. Taking their place at pre defined consoles; they were accompanied by the usual suspects, flautist Amit Prasanna and Karsh Kale on Drums and Tablas. With charismatic Assamese singer Angaraag Papon Mahanta in charge of vocal duties, the scene was set perfectly to display the Punditz unique blend of Indian classical and techno.

Playing songs predominately off of their 2009 release ‘Hello Hello’, the pair had the crowd in their grasp from the get go. Starting off with a remixed version of the ever popular ‘Tonic’, the south Indian folk rhythms of ‘Raanjhan’ soon translated into the smooth club vibe of ‘Kesariya’. The mellow instrumental ‘Drifting’ saw Prasanna take lead with an inspiring flute part complemented flawlessly by Kale, proving themselves as masters of Indian fusion.

Songs that followed were stand out tracks like the up tempo ‘Electric Universe’ and 80’s dance rock ‘Atomizer’ complete with an electronic vocal track and a gratifying crescendo. Their versatility of sound with songs ranging from instrumental to electronic rock to orchestral soundscapes pioneered the sonic approach to music providing those in attendance a night to remember.

Mumbai Musicians' Berklee Experience (The BIG M March 2010)

The Berklee College of Music based in Boston, Massachusetts has always been regarded as the premier institute specializing in musical education in North America. Starting off as a school for jazz in the mid 40’s, Berklee soon adopted more diverse genres ranging from rock to bluegrass and even hip hop.

Study of theory as well as a practical approach to music combined with teachings on the working of the music industry provided its students with an unrivaled array of skills resulting in multiple honors over the coming years.

Providing degree courses in composition, film scoring, music business/management, music production and songwriting, the college has earned a noteworthy alumni consisting of greats such as Duke Ellington, guitarists Bill Frisell, Joe Satriani and Steve Vai, Dream Theater drummer Mike Portnoy and renowned producer Quincy Jones.

With two record labels and a radio station in its arsenal, the celebrated institute soon spread its wings to students of different nationalities, visiting countries around the world conducting clinics and auditions for interested musicians. Collaboration with Tabula Rasa music and Furtados brought this tour to Jamnabai Narsee School from the 13^th to the 16^th of February and along with it an army of Mumbai musicians looking to learn from workshops headed by some of the most distinguished personnel of the college.

Day one of the programs visit to India began bright and early, with sessions on how to approach auditions, first for rhythm instruments and later for melody instruments and vocals. These mock auditions along with a presentation carried out by Gojko Damjanic, the Assistant Director of International Admissions, provided young musicians from the city a relative idea on tackling future opportunities in their musical career. A simple and down to earth explanation of the processes by teachers well versed in the matter provided those in attendance with substantial information.

The second day of clinics was hosted by what is commonly referred to as the ‘Dream Team’ of Berklee College including the likes of Assistant Vice President of International programs Greg Badolato. An accomplished Broadway saxophonist in his own right, he presented a session on using traditional, western solfege techniques to develop the performer's ear and assist with developing improvisation vocabulary. Accompanying Greg was Dan Carlin, Chair of Berklee’s film scoring department who in his sessions, demonstrated the entertainment industry’s increasingly rapid evolution of scoring styles, techniques, and applications in movies and video games. Following was Michael Farquharson presenting a session analyzing the use of modes in current pop music and at the same time demonstrating the use of modal harmony in original compositions.

Emmy award winning Carlin and Juno award recipient Farquharson along with Director of International Programs Jason Camelio certainly possessed the required credentials and convincingly provided the Mumbai audience with a lifetime’s worth of experience while grooming a new generation of talented, credible Indian musicians.

Blakc - Choking on a Dream (RSJ May 2010)

The 90’s alternative rock revolution is considered by many as exactly that, a ‘revolution’, and rightly so. The likes of Nirvana, Pearl Jam and their Seattle cohorts were responsible for regaining meaning and passion to the music like so few before and bringing forth a desperately needed variation in modern rock music; in the process managing to reach out and influencing alienated youth across the world. Consequently it was just a matter of time before the waves of this flannel clad style reached the shores of India, resulting in an abundance of mediocre hard rock bands worshiping at the altar of Cobain and co. all over the country. However among the clutter there has always been one band whose star has shined a lot brighter than some of their comrades.

Mumbai based ‘Blakc’ comprising of Shawn Pereira on Vocals, Shishir Tao on Drums, Reinhardt Dias on Lead Guitar, Roop Thomas on Bass, and Anish Menon on Rhythm Guitar have always had a knack for combining nostalgic guitar driven hard rock with contemporary ideas. What distinguishes them from the pack is their ability to divert from the one dimensional style of post grunge into more experimental territory. Their debut album ‘Choking on a Dream’ finds the band at their absolute finest embracing originality within the post grunge idiom, a perfect marriage between 90’s rock and more harmonious offerings.

Right off the bat the album kicks in with the high octane riff of ‘Rift’ featuring Shawn’s vocals that packs a powerful punch clearly influenced by vocalists of alternative past. Leading into the most accessible track, a melodic sing along tune with heart on sleeve lyrics, ‘Alone’ is characterized by a strikingly beautiful guitar line and memorable solos.
Roop’s exceptional bass playing skills are clearly highlighted throughout the album, combined with Shishir Tao’s sturdy drumming offering up one of the strongest rhythm sections in the scene today. ‘Newspaper Boy’ for instance leads in with a fantastic slap bass that resonates throughout the song.

Low key numbers like ‘Devil’s Sympathy’ and ‘Sold (Loose change)’ offer a well needed slow down to the album’s pace and as close as the band gets to a genuine ballad.

The album runs the gamut through a collection of 10 tracks each plastered with soaring catchy choruses but still retaining an undeniable cohesive quality. It’s on ‘Ambush’ and ‘Somewhere in the Night’ that this cohesive playing is at its most potent, two decidedly up tempo numbers with tightly wound structures. ‘Sold’ seamlessly combines celebratory sonics and miserablist lyrics into something singular before concluding the record with a light instrumental. Notably missing from the album is live favorite ‘Dreamcast’ which might have worked well within the concept of similarly arranged songs.

Although this album could very well catapult Blakc into the mainstream, and deservedly so, it is evident this is by no means intentional. ‘Choking on a Dream’ is neither a genuine 'safe' option for the band nor a blatant fan-base builder which obscures the band’s own charms. The band rises head and shoulders above fellow bands with an album that eagerly compels with bold ideas, however what remains to be seen is whether they are able to overcome the foreboding sophomore curse or end up like so many bands before them, being pigeonholed into a particular sound.