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.

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.

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.

Avima 2010 (The BIG M May 2010)

“We’re not the Grammys, and not even close to the glamour of the MTV Asia Awards, but Avima (Asia Voice Independent Music Awards) is perhaps one of the biggest supported music awards in the world,” says Siva Chandran, founder of Avima and managing editor of Voize.my, Malaysia's leading lifestyle and entertainment portals.

Plainly stated, no awards in the history of Asia have attracted as much hype and public interest in such a short span of time as Asia’s first independent music awards. Established in 2009, these awards exemplified the true indie spirit by doing away with major sponsorships and rather focusing on shining a spotlight on the largely ignored Asian music scene. When asked about the name, Siva explains that Avima has a cool unintended meaning. “When broken up, Avi is "my father" in Hebrew, and Ma means mother, so the awards hope to be the mother and the father of Indie awards this side of the Pacific.” In its bid to give a voice to Asia's very large Indie community and its varied styles of music, Avima along with its standard categories of Best Rock Act, Best Hip-hop song, etc, also offers up awards like moody melancholic masterpiece, feel good song and mind blowing video of the year, being a few of its amusingly tagged categories.

Now in only its second year of inception, Avima 2010 promises to be the single most anticipated music event of the year with participation from over 20 countries including India, Thailand, Singapore, Hong Kong, Philippines, Malaysia and Taiwan, to name a few. A truly global affair, music lovers from across the world are given the ability to simply log in to the online voting site, take a listen to the nominated tracks from each category and vote for their favorite acts with a single click. Although not necessarily a democratic event with public voting only accounting for 30% of the scores, founder and chief judge Siva Chandran assures that the remaining 70% will be based on the unbiased decisions of judges from Europe, Australia and the US.

Though Malaysia might have secured the highest hip hop nominations, India similar to last year rules the roost in terms of rock nominations. Leading the pact with three nominations are winners of last year’s ‘Best Rock Act’ and the odds on favorites to clinch the same title two years in a row, Motherjane. Without a question, the most prolific band toiling away in the scene today, gifted vocalist Suraj Mani is also up for ‘Best Vocalist’ while the whole band is the only Indian act selected for the ‘Most Mind blowing Video’ category for their understated yet extremely powerful imagery of the song ‘Broken’. When asked about how it felt to be nominated yet again for the highest award of the show, the band replied, “It is awesome that AVIMA is recognizing so many talented artists in India. Major Indie music awards bring international attention to indie artists & that’s great for music. We were honored as AVIMA Best Rock Band in 09 and 3 new nominations in 2010 means our music is reaching people globally.”

On par with Motherjane is another man who’s paid his dues and has been duly rewarded with success is Sanjeev Thomas of Sanjeev T & The Rainbow Bridge who commented on his ‘Best Vocalist’ nomination, “I’m glad I’m recognized outside India for the music I make and for the efforts I give into the music it’s great to be recognized, apart from myself many indie bands from India have been nominated and this is a proud moment, a moment of growth, hope and more music coming from a younger generation who would be more happier in the future to take music seriously and make it a part of their living. With developments and organizations like AVIMA, Indie music has an avenue to be displayed and an avenue to understand expressions of artists, expression which strives for a difference in our existence here. I wish all the luck for everyone nominated and will always join the fight for recognition for our indie artists here. Support is important and from support comes support systems to take this forward.” The Rainbow Bridge also holds nominations for ‘Best Electro-Dance Song’, ‘Best Rock Group’ and ‘Best Rock Song’, a category which also includes the likes of fellow Chennai residents, the funk rock quartet Junkyard groove with their song ‘Imagine’ and Mumbai metal giants Demonic Resurrection with ‘A Tragedy Befallen’.

Finding themselves in the presence of these heavyweights are relative newcomers, Summerpint Junkie with their song ‘Forbidden Fruit-Flower’, featuring a rich blend of psychedelic rhythm and melody and a fair amount of progressive influences thrown in for good measure. A strong song by any standards, it wouldn’t be surprising to see the Mumbai lads pull off a major upset, wining the category over some of the more experienced veterans. With vocals straight out of the alternative era, the song ‘Hallucination’, finds them with their second nomination in ‘Moody Melancholic Masterpiece’. “It feels awesome to be nominated; it sort of sprung up on us. There is no substitute to the high in knowing that our music is spreading and being appreciated. Summerpint Junkie puts in a lot of emotions in every song, so knowing that someone finds some connection in our music keeps us going, further in till our music, words and message becomes a part of their reflection. AVIMA is definitely giving us a brilliant opportunity to do just that and we just to hope to realize all the faith that our fans have in us and keep spreading our music”, commented the band’s guitarist on its double nomination

“It is an honor to be elevated on a platform such as this and win or not, more ears are oriented towards the music which is what is important,” mentioned Karthik Basker, another nominee for ‘Best Rock Vocalist’ heading the widely acclaimed Bicycle Days, a band up for the ‘Best Rock Group’. A group with an opulent literary background and wide ranging influences, their songs prove nearly as epic as Albert Hofmann’s infamous 1943 tryst with that faithful drug, the one which inspired the band name. Giving stiff competition to Summerpint Junkie in the category of ‘Moody Melancholic Masterpiece’ is the stellar ‘Circles’, an unwavering tour de force with deftly played drums and serene vocals amid chiming guitars.

In other nominations, Junkyard Groove’s low key, playful ‘Folk You’ and Zedde’s anthemic tribute to his city ‘Mumbai’ competes for ‘Feel Good Song of the Year’ while Prayag’s ‘Bas Karo’ finds itself as the only Hindi song in any of the categories.

Whatever be the result, the passion and determination of each band nominated undoubtedly boils down to the core of the awards itself, as optimistically stated by co founder M.Tevan, “We’re glad that the Asian indie scene is moving in the right direction. The indie scene is huge in Britain, Europe and in the United States, and some of the biggest brands in the world today are lining up to be affiliated with these exciting and bold new artistes. We’re confident with platforms like Avima; Asian indie acts will receive better global recognition.”

Sam Roberts Band (The BIG M May 2010)

Triple Juno award recipient and prolific singer/songwriter Montreal native Sam Roberts is often described as the definitive voice in a collection of American and Canadian bands centered on 70’s classic rock nostalgia. But in reality, this former hockey player has so much more going for him. Through three albums of passionate and infectious folk-rock and power-pop tunes, many of them built around a percussively strummed acoustic guitar, Roberts has breathed new life into a very dry, dull Canadian music scene (Sum 41, Nickelback). By means of odd references to Canada in many of his songs (even singing in French for a few verses of ’No Sleep’) he maintains a staunch national identity but that certainly doesn’t limit his appeal to a strictly Canadian audience.

With tune crafting skills which have the ability to stand up well next to early Brian Wilson and Paul McCartney material, Sam Roberts’ first full length LP ‘We Were Born in a Flame’ presents a lush and enjoyable listening experience. Along with compelling and inquiring lyrics, Sam Roberts is also an interesting musician who decides to play all the instruments except for percussion on this album. A risky move no doubt, he manages to pull it off with conviction with the record ending up sounding grander and richer than it ought to be.

The album is rich in instantly memorable hooks which will find you tapping your feet within the first 30 seconds of ‘Hard Road’ - the opening track. Along with the uber-catchy clap along ‘Brother Down’ and the gorgeous and seductive orchestral pop of Beatle-esque ‘Taj Mahal’ which makes the most of Roberts’ talents as a violinist, Hard Road is a stand-out track and contains some gripping and intelligent lyrics, something of a rarity in today's formulaic music world. Robert’s writes with eloquence about the universal human effort of finding the easy life and avoiding the bumps of the real world. When he opines, "There's no road that ain't a hard road to travel on", he is able to chronicle the troubles of life in this fallen world without offering therapeutic platitudes like "believe in yourself" or something similar. On this record, Roberts chooses to narrate the problems of humanity and creation rather than offer solutions and in doing so manages to escape falling into a moralistic outlook blatantly prevalent in popular media and music. ‘Paranoia’ finishes off this pervasive album, starting out as an acoustic piece before ending as an upbeat, driving instrumental. Overall, an impeccable combination of guitar, percussion, and piano makes this CD worth multiple listens.

Released in 2006, Roberts’ second release ‘Chemical City’, with its share of rockers, ballads, and artistic experimentations is a very well rounded album. Backed by a group that would continue onto the next album, Dave Nugent (guitar), Eric Fares (keyboards), James Hall (bass) and Josh Trager (drums) helped craft this album with its folky-1960's rebellious feel whilst throwing all notions of a sophomore slump out the window. Starting off with the psychedelic rocker ‘The Gate’, the albums mood soon shifts towards an alternative mode for tracks ‘Mind Flood’ and ‘Mystified Heavy’. ‘Bridge to Nowhere’ with its sing along melody is an instant classic, while ‘The Bootleg Saint’ and ‘The Resistance’ call to mind mid era Rolling Stones. Chemical City also sports two folkier tunes, the lovely acoustic ‘Uprising Down Under’ along with the emotive keyboards, and the vocals-only heartbreak song ‘A Stone Would Cry Out’. A much more rough-around-the-edges album, Roberts’ balances the strong melodies and anthemic choruses with some affecting subtle pieces. There is a strong sense of cohesion among these extremely well crafted songs with lyrics that see him wise beyond his years.

The latest offering from the Sam Roberts band ‘Love at the End of the World’ sees them at their most potent while delivering on the same bluesy hard rock formula, supplied with abundant pop hooks and mixed in with a little psychadelia when needed as seen in beguiling ‘Lions of the Kalahari’. ‘Up Sister’, ‘End of the Empire’ and the forlorn ‘Waking the Dead’ stand out among other eclectic tracks of the album ending with a piece featuring off the wall lyrics set to a piano driven tune in the captivating closer ‘Detroit '67’.

In retrospect, Sam Roberts represents the perfect example of the modern singer/songwriter. With songs that range from bouncy, fun loving to a mellower sound, combining rock & roll fundamentals with folk influences, he is able to extract old influences and creatively rework them to create a unique original sound and deliver them with a vibrancy and honesty rarely seen in today’s rock n’ roll.

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.

Low Rock (The BIG M Feb 2010)

Low Rock is a unique combination of equal parts jazz and equal parts blues, melding a keen melodic pop/rock sense with darkly comic and ironic lyrics. Spawned by the Boston band Morphine, a guitar less trio that reflected the sounds of the dark, winding, deserted streets after dark, smoke filled bars and the seedy underbelly of the city littered with cigarettes and scotch or whisky, whichever one prefers. With the daring to go into the world of grunge in the early 90’s with just an untamed saxophone, a drum set and a two string slide bass at their disposal and take on the likes of Nirvana and Pearl Jam for mainstream acceptance, Morphine were always fighting a losing battle in spite of which they managed to retain their bottom heavy sound through five full length albums. Even though they wrote pretty standard three-minute rock songs with verses, choruses, and hooks, the songs characteristically always revolved around a sensual groove akin to the rhythms of R&B.

Bassist and vocalist Mark Sandman’s voice, deep and ravaged as the night was the perfect instrument to deliver the menacing mix of dark noir lyrics and playful couplets featuring his classic laid back croon and wry, detached vocals. Evocative lyrics and affecting melodies that shined a light on the dark side of human nature made this band as addictive as its name.

A trio not built around the sound of an electric guitar, Morphine’s story begins in the country-blues rock quartet Treat Her Right which featured a young Sandman beginning to exhibit the innovation that would become soon become Morphine’s trademark. Creatively restless, he began experimenting with low sounds playing a conventional six-string guitar, but did so through an octave-shifting effects pedal that made the instrument sound more like a bass. He then switched to a conventional bass, but one with just a single string, reasoning that all the notes he'd need to play were on that one string. By the time Morphine took off, he'd added a second string. Later, he would add a third, albeit one from a guitar, and call the invention the Tritar building a cacophonous sound you could feel in your bones.

Low Rock is a style rich in free flowing jazz melodies with interwoven emotions full of intrigue deep within the structure. A defining trait of the genre is acquiring the positive aspects of jazz, the implied notes, and the emotional depth without involving the pretentious nature of the art. Inspired by Morphine’s wry pulp noir vignettes and ‘less is best’ aesthetic, the genre of Low Rock was joined by fellow bass-sax-drums combo’s. Bourbon Princess led by fretless bassist and vocalist Monique Ortiz brought a wider range of instrumentation introducing guitar, cello and mandolin in selected songs. Incorporating elements of acid rock and lounge into their sound, Twinemen a band formed by Morphine saxophonist Dana Colley added to growing collection of bands representing the genre.

Following Mark Sandman’s heart attack on stage leading to his eventual death in 1999, Dana Colley and Monique Ortiz formed AKACOD as a tribute to this late indie rock icon. Bringing the deep dark mesmerizing sound to the new millennium, this trio has continued the legacy of Morphine introducing and inspiring a whole new generation of bands to the music of Low Rock.

Indian Ocean @ Rhapsody 2010, DYPatil (The BIG M Feb 2010)

On the 20^th of January DY Patil College Nehrul played host to renowned fusion band Indian Ocean who in prime form headlined the final day of the three day annual fest, playing to a relatively large crowd, their fourth time around at this prestigious university. Heavily publicized, this was also notably the first show since the passing of percussionist, vocalist and all around remarkable performer, the beloved Asheem Chakravarty.

Almost an institution in the country’s rock scene, they had by now become a staple of Indian rock after spending nearly two decades in the public eye popularizing their brand of jazz inflected indo-rock fusion. Nonetheless after the demise of the iconic singer, questions were visibly raised whether the band would be able to continue. All these questions were undoubtedly laid to rest as soon as the band stepped on stage to the deafening applause of students and fans that had waited eagerly for hours to witness this prolific band at work.

Compensating for the irreplaceable Asheem Da couldn’t have been an easy task for the band, but they managed to get on board two celebrated musicians in the form of Gyan Singh on Tablas, Sudhir Vichare on Lead Vocals.

Clearly an emotional performance for the band losing a band mate and a friend of over 20 years, the crowd reveled in the poignancy of the band as they dealt with the grief with what they do best, performing a string of songs which may be safely described as classics. The mood was however anything but somber as the band decided to forgo the clichéd mourning instead celebrating the life of its founding member, playing one exemplary song after another.

From the expressiveness of ‘Jhini’ to the sing along enthusiasm of ‘Hille Re’, it reminded most of the initial draw of the band, their compelling honesty and knack of reaching the audience wherever they may be.

Those lucky to be in attendance were also able to witness first hand two unreleased songs ‘Baundhu’ dedicated to Asheem Da and ‘Zindagi se darte ho’ soon to be featured in an Aamir Khan production. By the time ‘Bandeh’ came up, even the most cynical of observers were swept up by the natural charisma of the group.

The original three members appeared in great form filled with passion and fervor playing Ma Rewa, giving the attitude of a jam session, the band feeding of each other’s energy, demonstrating the technical prowess they have come to be known for.’ Jugalbandi’ saw the utilization of eclectic instrumentation especially in the form of a ‘gabgubi’ by drummer Amit Kilam.

Ending the show on a high note with the ever popular ‘Kandisa’, the band although restricted to a short span of time, managed to move the audience in completely different ways, some to their feet while others more affectingly to tears.