Advaita live at Kyra, Bangalore

It’s strange to review a music concert and to say that the only thing missing was silence. But, strangely enough, that’s exactly how I felt after spending two hours listening to Advaita at Kyra, Indiranagar. Probably because I was wayyyy too close to the speakers sitting right in the front :) Anyway, to the music….

Advaita call themselves ‘a psychedelic/eclectic fusion band from New Delhi’. With eight members, the stage is crowded and the potential to go wrong is huge. Someone missing a beat, someone playing a wrong note. But with Advaita – this is impossible. Musically – they are superb. Tight, professional, and skilled.

The gig started with Mukti - something I hadn’t heard before. Quite nice, quite tight – setting high expectations. However, a few songs later, things seemed to get repetitive. Very nice layering, very nice harmonies (Anindo and Chayan), very very nice Sarangi (Suhail Yusuf Khan) and very very very nice Hindustani vocals (Ujwal Nagar). Most of the songs started softly and developed into a feverish pitch with superb drumming by Aman Singh Rathore. However, there was nothing to differentiate one song from another. The tunes weren’t really the kind that would get stuck in my head and I’d be humming them hours later.

But then came Why, one of their more catchy songs in my opinion. Chayan’s sweet, sweet voice completely enthralled me, and the staple diet of good rock music that Abhishek, Aman and Anindo grew up listening to became obvious. After Why, Advaita became an immersive act.

Desert Rain had some excellent solos by all members. Suhail on Sarangi – amazing, Abhishek’s guitaring – the fluidity and the Indian classical touch and the lovely slightly off jazz notes – loved it! But who I loved the most was Gaurav Chintamini on bass. He made playing the bass look easy! Enough that I would go to the next shop, pick up a bass and assume I should be able to play as easily! Crazy riffs – throughout!

Other songs I liked – Gates of Dawn, song Chayan tried to make the audience sing rock style, and Light. Very powerful, very strong.

To some of the low points: Lyrics are weak. Vocals were used more as an instrument – to sound good but not say anything substantial. Thats my other problem with Advaita – the instrument layering is in such depth – that the vocals get completely lost. And no one seems to take the lead (aside from Suhail on Sarangi – on occassion). There is such equality among the instruments – that there is no pivotal focus point – which is quite important in a live performance (in my opinion).

Then the tabla player was doing what? I don’t know. He was dancing/head bopping to the music more often then playing tabla. I think he could have definitely played a more prominent role.

Then the hindustani singer – he has an amazing voice – could definitely be to sing more than nice sounding scales. And what happened to ‘Mere Yaar’?? They ditched it at the last minute!

To Kyra – its an interesting space. A very personal space. Not intended for such a loud act as the one we witnessed. Advaita’s act was suited more for an open air amphitheatre gig. Perhaps they should try an acoustic gig – that would be very, very interesting to watch.  Hear the silence between the music that is the music!

Photos coming soon! (And bootleg recordings :D )

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Fireflies Festival, Bangalore, 2009

Brief description of what I remember, before I forget.

Image from wikipedia

Night of the Fireflies

We reached only when Shabnam Virmani was saying her thanks, and telling people to come for the Kabir festival organized by Srishti (perfect timing). Following her was Prakash Sontakke and Group. The fireflies poster slates them as Hawaiian folk fusion. Now Prakash Sontakke was playing an electric slide guitar. His sounds were very Jeff Beck Space Blues (Angel and Deccan from Jeff Beck, Who Else?)  Obviously, there was a nice Hindustani classical touch that affected his sitar sound hawaiian guitar, especially in the song like Himalayan Spring. But the defining and most enjoyable moment while watching Prakash Sontakke and group, was watching the group jugalbandi. All four percussionists were astounding. Rating: 1. Guy on little drum 2. Guy on mrindagam 3/4. Table/Drums. Prakash was cool.. but more like a father figure/mentor. Guy on the keys was also cool accompaniest.

Followed by Jazz dude. Came in a breeze…like a summer breeze.. left like a summer breeze. guy was good, played tight. only bass was inaudible, and dint add that spunk it shud hv. the drums were good, but the snare had a harsh metallic sound. i’m not a huge fan of fast jazz, so didn’t care too much for the first two songs. the last song, how insensitive (and how beautiful you are???) was cool. slower pace, the drums did their thing, much better.
Followed by Swaratma. Wat can i say? Afro’s with pajamas, purple shirt, bald head, yellow army pajamas wiht a violin, guitarist iwth leather pants, bassist in a blue dhoti purple kurta, mrindagist in nehru topi lookin like ambedkar with his chashma. any band that gives in so much for the show-sharaaba is one thing. an entertainer. entertain they did. crowds loved them. singer comes in as a horse! .. shaank in their songs. fire throwers come on stage. its all about show.

the music wasn’t spectacular. it was tight. the guitarist had flow (but looked completley out of place from the rest of the band in his attire n behavoiur). the bassist played the comic fool while the singer sang out kabir. that was one song that worked. reggae version of sant kabir. wah. and bringing in lines like ‘sant kabir, agar abhi aaya, to 500 varsh mein koi fark nahi dikha. 500 saal pehle duryodhan drupadhi ke vastra nikalta tha. aaj hamari rama sena mangalore mein ladki ko chedh rahi hain hindustani sanskriti ke naam pe.’ .. wah . crowds loved it.

the songs .. khol sim sim re.. flat . starts of with a tribal instrument. which is cool. put just cos you have it doesn’t mean you have to play it.. or you realy know how to play it. it needs  a  little mroe skill before you start diong jugalbandi.

what really fell flat was their jugalbandi between mridanga, singer with tribal instrument and drums. perhaps because it followed prakash solanktee’s group which kicked ass.

music didn’t have much depth to it. pretty much stuck to one riff pattern. not much layering. singer started off weak, grew as the performance went by. struggled slightly on the higher notes, but their stage presence and enthusiasm – hats off! wonderful!

Follwed by what the MC said ‘lets bring it down a notch” .. kannada folk music. they kicked ass too.

then came

order

shabnam virmani

prakash sontankee

jazz – rex rossario n quintet??

swaratma

kannada folk – veeraghese

gustav marin

accapella – solviteur canedo

kerela – vayali

qawaali – shahid parvez of nagpur

geeta navale n the esperanto project

missed… bhumi thayi balaga, anasuya kulkarni n ranjankumar group

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No More Fear of the Dark

I came to Bangalore 6 months ago. To the northern suburb of Yelahanka to be precise. Yelahanka is a conservative place. My college, a design school, definitely isn’t. When conservatism collides with cosmopolitanism, a strange combustion happens. For  one, there is resentment from both sides. Secondly, categories  begin to collapse. Thirdly, a state of anarchy prevails before new categories are borne.

I’ll elaborate on these states in a later post. But right now I’m concerned about the state of anarchy that prevails as categories collapse.

Three women are walking home after eating dinner at 9pm. It isn’t late. It isn’t a long walk home. 7 minutes. It is, however, dark.

A man, a short man in a blue t-shirt, is walking a few metres ahead. Two women in front, one woman talking on her phone following some 5 metres behind. The man suddenly turns around and walks towards the girls. The women don’t react. They think maybe he’s forgotten something. The woman at the back doesn’t notice him. She’s on her phone. Suddenly, the man lunges towards the woman. Tries groping her breast, grabbing her breast. He’s on his feet. Yet he believes he has the abiltiy, the audacity, to attack a woman. A woman who is decently dressed. A woman who is not alone. A woman minding her own business.

The woman screams. Scared, the man begins to run away. The woman continues screaming, in shock. The shock is soon replaced by an understanding of what just happened. This is soon replaced by anger. She lets go of everything in her hands and chases the man.

They run. The man has a headstart. The woman is screaming as she runs down the street. It is a residential colony. There are houses on both sides. People hear her. People stare at her through their windows. The man turns around, thinking the woman must’ve given up by now. He’s shocked. She is still chasing him. He quickens his pace. His chappals break. He leaves them behind.

The woman reaches the end of the road. She is out of breath. She has no alternative but to stop. The man disappears into a park. He is free.

The women, and her friends, return to the spot where the man’s chappals are. They pick them up. They want to burn them in a public gathering. They want to humiliate the man who thinks he can fuck with a woman. They want to humiliate all the  men who believe they can assault a woman, who think it is their right to assault a woman.

The women hide in the bushes, waiting for the slightest chance that the man returns. He doesn’t. They head home. As they return, the conservative neighbours appear at their doorstep. Asking what happened. They are too scared to get directly involved. They suggest the women file a report with the police. The women hear them. But they know better. They have been harassed by the police before – why? For walking home at 2am. Because the night doesn’t belong to women.

For a conservative man to see a cosmopolitan woman, dressed in jeans, smoking, laughing, confidently walking alone at night must be a shock. His traditional idea of what a woman is suddenly jilted. His category has collapsed. He feels a certain sense of insecurity, the possibility that there is a shift in the order of the world. A shift in his world.

What can he do? Can he embrace this shift? Obviously not. Change, especially when it is a loss of power, is rarely appealing. His solution: the transference of fear.

He transfers his fear, his insecurity, into the women. By harassing them. By attacking them. By making them feel vulnerable. There is a certain element of cheap pleasure in touching, groping, a woman’s breast. But it is more than that. As the women grow fearful, they lose their power. They are less threatening. Power returns to the man. He is now strong once again. The man and his ego now have space to grow bigger.

The women have two alternatives. The first is what our mothers tell us – be scared. Be fearful. Stay home. Don’t go out at night. Don’t endanger yourself. They say it out of concern. They want us to be safe. But this is not a solution. It is a reaction, a reaction that encourages men to behave the man more animalistically.

The second alternative is more radical. A reverse transference of fear. Go out at night. Put yourself in danger. Use yourself as bait. With the help of friends, male or female, catch the bastards. Beat them up. Take their pictures, post them up on flyers. Send them to the police. Humiliate them. Make them scared. Make them believe that they don’t have the right. That they’re not stronger. That the night doesn’t belong to them.

Reclaim the night. Your night. No more fear of the dark.

Note: There have been a lot of reports of women being attacked in Bangalore recently. While it’s a new phenomena for the media, the women of my college have been experiencing this for atleast 2 years now. There  have been atleast 4-5 incidents a month, where women have been attacked, harassed, assaulted, by men on bikes or on foot. A vast majority of these women have moved away, to the city or to safer residential colonies. Running away is not a solution.

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