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.