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NH7 Weekender’s Long Awaited Debut In Kolkata

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NH7 Weekenderone of the country’s largest music festivals, finally made it to Kolkata, much to the delight of the city’s music-hungry population. The fourth and final leg of this event was to be held on the 14th and 15th of December, and with the completion of exams at most of the city’s educational institutions, the organizers seemed confident of wooing the huge student community to the venue grounds. In fact the Kolkata leg had a lot going for the city’s music lovers. With the highly discounted ticket prices when compared to the three other NH7 Weekender venues, the tickets rates for the City of Joy were a complete steal! And for the student population there was even an under-21 ticket to add to the bouquet of benefits.

The mouth-watering lineup comprising of more than 40 artistes, spread over 6 stages was surely enough to whet the appetite of even the most cynical music-lover in town. However, the venue chosen to host the 2 days of musical madness left many disappointed. Ibiza Resort, located on the outer fringes of the city in South 24 Parganas, was indeed almost in the middle of nowhere. Not only the distance, but the traffic jams and shitty roads were also a big downer, and due to these factors there were many who ultimately decided to skip the NH7’s debut in the east zone. The organizers too, must have had sleepless nights, owing to the initial negative feedback about the venue. But finally on the day of the event, the Kolkata music-lovers did not disappoint and the massive turnout on days 1 and 2 was enough indication that despite all odds, Kolkata’s love for music would always prevail over long distances, bad roads and traffic jams.

The action on the Day 1 started approximately at 3:30 PM. The layout for the 6 stages in the festival grounds was well thought out by the NH7 team and thankfully most attendees were spared the long-distance-run between the various stages. In fact the biggest conundrum for gig goers was trying to prioritize which artiste’s performance to watch, since many performances would be going on simultaneously at different locations in the venue. The timings of performances at the Dewarists stage and at the Bacardi Arena were the ones that caused the most consternation and those not too adept in time-management had a trying time juggling their schedules.

NH7 Weekender’s Long Awaited Debut In Kolkata

Many music-lovers from the North-East turned up in huge numbers to catch Shillong’s blues giants Soulmate up on the Dewarists stage at 4:30 PM. This gig pulled in huge crowds, and having always been a favorite among the blues lovers in the city, Soulmate went all out to impress one and all with a virtuoso performance. And there was no getting away from the mesmerizing vocals of Tipriti Kharbangar that literally blew the crowd away.

Mumbai metallers Demonic Resurrection were already getting proceedings underway at the Bacardi Arena – the first of three back-to-back metal bands to be performing on Day 1. Demonic Resurrection were hell-bent on bringing brutality to a new level, and in their allotted 40 minutes this veteran metal act managed to captivate the crowd with songs both old and new, including ‘The Unrelenting Surge of Vengeance’, ‘The Warriors Return’ and ‘Bound by Blood, Fire and Stone’ – all tracks from their last album A Return To Darkness. The crowd loved every minute of their performance but 40 minutes were hardly enough to satisfy the metal hungry crowd. It would be approximately another hour until the Bacardi Arena lit up with the second metal act of the evening.

In the meantime, over on the MTS Other Stage, local boys Ifs ‘n Buts were having a ball playing their brand of indie music with the help of a few friends. Unfortunately this particular stage was plagued by music “over-flowing” from the adjacent music arenas and it was not really the best way to take in the band’s acoustic set. While Ifs ‘n Buts were busy enthralling their faithful fans, city heavy weights and NH7 veterans Pink Noise on the Dewarists stage and Mumbai’s Zero over at the Red Bull Tour Bus were both getting ready to up the volume. Choosing which act to catch that evening was indeed a painful decision. The veritable flip of the coin seemed to be the only way to decide which band’s performance to watch.

NH7 Weekender’s Long Awaited Debut In Kolkata

Zero’s energy and verve on stage belied the fact that the band was making a comeback and playing in the City Of Joy after almost 10 years. In fact, it almost made it seem like they had never been on a break! For 40 odd minutes the band dished out a host of evergreen favorites like ‘PSP’, ‘Hate In Em’, ‘Lucy’ and ‘Mariachi’ – and for those 40 minutes the Kolkata crowd was in a complete state of trance. Zero easily delivered one of the best performances of the day and those who attended their gig at the Red Bull Tour Bus stage, left fully satisfied.

Amidst the Zero mayhem, another local musician and singer-songwriter, Tajdar Junaid, was getting ready for his performance at the MTS Other Stage. Tajdar’s recently released album What Colour is Your Raindrop has received critical acclaim from most musical quarters, and for fans of his mellow, lounge-influenced acoustic style of music, it was indeed a treat to see him perform in his hometown – more so since it was his first performance in Kolkata after the release of his album. Tajdar did not disappoint the crowd with his set that included tracks like ‘Aisle’, ‘What Colour Is Your Raindrop’, ‘Though I Know’ and ‘Dastaan’. One of the highlights of this gig was when ace guitarist Warren Mendonsa came up on stage to collaborate with Tajdar. All in all, this was a most satisfying performance.

Day 1 was mostly about the metal mayhem that was to take place at the Bacardi Arena. Judging by the number of metal-heads who had lined up in front of the stage and also taken up strategic positions in and around the vicinity, it was definitely not an advisable place for the faint-hearted to be. After Demonic Resurrection’s early evening assault, the next act to occupy the Bacardi Arena was Delhi’s masters of disaster Undying Inc. Right from their first song, these metal mongers were relentless and they forced the crowd into submission with their raw and powerful aggression. Front-man Shashank Bhatnagar was indeed in his elements that evening, and he had the crowd roaring with approval with his crowd-surfing antics. Shashank was like the conductor of a symphony orchestra, and he expertly orchestrated the crowd into one bloody moshpit after the other – and his efforts culminated in a massive wall-of-death during the song ‘Ironclad’. The fetsival had momentarily turned into a war-zone, and the number of injuries and blood stained faces around the pit area bore testament to this fact. Undying Inc’s setlist included the popular ‘Manimal’ and ‘Contagion’ from their album Aggressive World Dynasty and also their new single ‘Pit Mechanics’ from their new EP Ironclad – and their performance and stage presence that evening left an indelible mark on the minds of every metal lover in attendance. The band certainly upped the ante as far as performance standards go, that many Indian metal bands would find difficult to meet.

NH7 Weekender’s Long Awaited Debut In Kolkata

Meanwhile comedy rock band Vir Das’ Alien Chutney was over at the MTS Other Stage, busy regaling the crowd with their trademark sense of humor. It was the band’s debut performance in the City of Joy, but the huge cheers that followed each song they played would certainly have made it seem like they were Kolkata veterans. The biggest cheers were of course reserved for the song ‘Manboobs’, no surprises there! Vir Das’ on-stage banter, especially about the political leaders of West Bengal also had the crowd in splits.

Day 1 was nearing its end, but there were two huge artistes left before the day finally came to a close. Over at the Dewarists stage, Papon and The East India Company were facing some technical difficulties which delayed their show for approximately twenty minutes. Papon was on the check-list of most music lovers since many of them had never seen him perform live before. And true to their expectations, he and his troupe did not disappoint. This was one artiste who could sell out shows and still remain original and true to his music and he demonstrated this by enthralling the huge crowd with songs from his album The Story So Far and tracks like ‘Boitha Maro Re’ and the popular ‘Banao’. Papon and The East India Company were indeed a class act and hopefully they will be in town soon for more shows.

About 10-15 minutes before Papon and his band of merry men had started wowing the crowd at the Dewarists stage, over at the Bacardi Arena, the sea of black-tee clad metal maniacs had again started to huddle around the arena area. For the Kolkata metal community, THIS was the event they had been waiting for – finally, a metal band of international repute would be performing in the City of Joy, finally Kolkata would get to be on the international metal map.

NH7 Weekender’s Long Awaited Debut In Kolkata

Dutch metal giants Textures had previously been to India three times – and having previously performed in the south (Bangalore, 2009), the north (Delhi, 2010) and the west (Pune, ) in past tours, it was befitting that the band finally completed their Bharat yatra by being named as one of the headliners of Kolkata’s NH7 Weekender leg. And they gave to the city’s ardent metal fans a performance that they would not forget in a long time. The show began with the slow melodic instrumental ‘Surreal State Of Enlightenment’ but once this completed the band launched themselves into a set-list which pulverized the crowd with its sheer brutality. ‘Messengers’, ‘Old Days Born Anew’, ‘The Sun’s Architect’, ‘Laments Of An Icarus’, ‘Black Horses Stampede’ and ‘Sanguine Draws The Oath’ were just some of the songs that regaled the crowd that evening. However with the mosh-pits getting more brutal by the minute and with the metal-heads baying for blood, it took two of the band’s more popular compositions, ‘Awake’ and ‘Reaching Home’ to finally appease the crowd. Textures were truly majestic that evening and they won the hearts and minds of everyone who was fortunate enough to attend their power-packed performance.

And so Day 1 of the Kolkata NH7 Weekender ended with a bang – and there was not a single unhappy soul at the end of the day’s proceedings. Even the bunch of young metal-heads who were feuding over Textures’ drum sticks went home happy when the band finally resolved the situation by offering a plectrum to each of the aggrieved parties.

Another bright and sunny December day, and the expectations of the crowd were sky-high after the success of Day 1. There were some very big names scheduled for Day 2, including a few young acts from Kolkata. And in fact two of the day’s openings acts were The Monkey In Me on the Red Bull Tour Bus and Ganesh Talkies on the Dewarists Stage, the latter opening their set with the song ‘Style’. The band’s flashy style of music was accentuated by their colorful but loud outfits. Their catchy music had the crowd dancing, jumping and doing all sorts of crazy stuff, especially when the vocalist Suyasha Sengupta requested the audience to show some “Bappi Lahiri moves”. Their set included ‘Roadside Romeo’, ‘Pyaar Ka Tohfa’ from their EP Three Tier Non AC and some new material like ‘Dancing, Dancing’ and ‘Brother From Another Mother’. A fun band, especially if you aren’t allergic to the Bollywood style of music.

Day 2’s opening act on the Bacardi Arena was New Delhi’s The Ska Vengers. This 8-piece band was making their Kolkata debut and they were easily one of the best acts of this two-day music fest. Right from the word go, these merchants of ska got the crowd dancing to their compositions which included set regulars like ‘Rough And Mean’, ‘Bam Intifada’ and The Velvet Underground rendition of ‘I’m Waiting For The Man’. The Ska Vengers had a great gig, and special mention must be made of their female vocalist Miss Samara C whose charismatic stage presence hypnotized the Kolkata crowd.

Over on the MTS Other Stage fans of Gangtok’s Girish Pradhan were busy being enthralled by this singer-songwriter’s set-list that comprised of originals and classic rock covers. Girish started his set by playing an instrumental version of ‘Hotel California’, and followed this up with a string of originals that included ‘Loaded’ and the ever popular ‘Angel’. The set also included ‘Hey You’ and a brilliant cover of Led Zeppelin’s ‘Rock and Roll’. Girish Pradhan’s amazing voice and vocal range stunned the crowd and he easily won over the hearts of those in attendance.

NH7 Weekender’s Long Awaited Debut In Kolkata

As soon as Girish ended his set, it was back to the Dewarists stage because Swarathma was the next act to be performing. Their set included popular originals like ‘Duur Kinara’, ‘Topiwalleh’, ‘Kooraney’ and ‘Ee Bhoomi’. During the performance of their song ‘Pyaar ke Rang’ vocalist Vasu Dixit came off stage right in the middle of the audience, which got the crowd going. Despite the obvious language barrier in some songs, Swarathma’s gig was indeed a fun one and there was no doubt that the crowd would be remembering the band’s performance for a long time.

And over at the Red Bull Tour Bus, local lads Write In Stereo were getting the crowd to groove to their indie dance music. Heavily influenced by the band Mutemath, this quartet impressed the crowd with their compositions that were mainly instrumentals and included ‘Tokyo Kyoto’, a composition influenced by their love for anime, space and sci-fi.
The Bacardi Arena in the meantime was fast filling up, for Mumbai’s electro-rockers Pentagram, who were soon to start their set. It has been a while since this band has performed in Kolkata, and their fans were on tenterhooks waiting for the show to begin. But once it did, a huge roar erupted from the crowd. Pentagram began proceedings with their track ‘Identify’, and their set-list also included tracks like ‘Lovedrug Climbdown’, ‘Drive’, ‘Mental Zero’, ‘Tomorrow’s Decided’ and the popular ‘Voices’. The crowd had a ball, and this was evident from the number of bean bags being thrown up in the air and bouncing all over the arena area. Vishal Dadlani’s showmanship and Randolph Correia’s guitars were stand-outs in the band’s performance – with Randolph’s guitaring especially sounding raw and powerful throughout Pentagram’s electronica blended grunge set.

It was time for The Supersonics to join the Kolkata NH7 party and right from the word go this Kolkata quartet let fly a host of popular tracks – both new and old – much to the delight of their faithful fan following, who were attending in huge numbers. The Supersonics were playing in their home-town after a very long time, and not being familiar with their new material, their home support cheered the most for their older originals – ‘Hey Aloha’, ‘We Are We Are’, ‘In Memory Of’, ‘Fable Of A Lonely Fish’, ‘Have A Drink’ and the crowd favorite ‘Yeah Whatever’ were just some of the songs on their set-list for the evening. All said and done, this was a pretty good performance by these Kolkata homeboys.

The event was fast approaching its climax – after twp days of non-stop walking, jumping up-and-down, standing and head-banging, our legs were starting to feel a wee bit heavy and we also had this constant buzz in our heads. So running around the venue to catch the different performing artistes was turning out to be a tad bit difficult for our weary souls. In the final hours we kind of parked ourselves in front of the Red Bull Tour Bus area, which was pretty empty – but it also gave us a good view of the Bacardi Arena as well, where Delhi classic rock veterans Parikrama were already in the midst of their NH7 gig. Like Pentagram, Parikrama too were performing in Kolkata after ages – and these Delhi rockers were successful in wowing the crowd with a set-list that seemed to comprise of originals only. Quite a surprise, this, since the band have rarely played a set-list of predominantly original numbers in Kolkata. It was almost like they were playing a greatest hits compilation and for a change, the Kolkata crowd had the chance to savor their originals like ‘Am I Dreaming?’, ‘Vaporize’ and the ever popular ‘But It Rained’, which was the band’s closing number.

Kolkata’s Nishchay Parekh was up on the MTS Other Stage during Parikrama’s assault, and being one of the rising stars of the current indie explosion in the country, most people at the venue wanted to check him out. Nishchay’s music has a certain freshness about it, which adds to its cool quotient and it was these two factors which helped him to win over his audience that evening. His set-list which had the songs ‘Ocean” and ‘I Love You Baby, I Love You Doll’ were extremely well appreciated.

Back at the Red Bull Tour Bus Mumbai’s hard-core kings Scribe were busy causing mayhem and promoting the pleasures of moshing. Front-man Vishwesh Krishnamoorthy was in his usual over-the-top mood making the crowd laugh with his outrageous comments, although for the most part he let the band’s music do the talking. This was in fact quite a tame show as per the usual high Scribe standards – and the sound was also a bit muffled at times, although most listeners didn’t seem to be too bothered with the sound aspect since they were either too busy moshing or playing around with the beach balls that the band had thrown down from the stage. Scribe’s set-list was interesting but was well short of being “amazing” – and apart from the crowd favorites ‘I Love You Pav Bhaji’, ‘1234 Dracula’, ‘R.S.V.P.’, ‘Calender Khana Lao’ and ‘Cops!  Cops!  Cops!’ the band played a cover of the Fear Factory song ‘Edgecrusher’.

After two days of non-stop music, the Kolkata NH7 Weekender was about to come to a close. There was not a single unhappy soul at the venue, and India’s “Happiest Music Festival” had lived up to its reputation. As Karsh Kale Collective + The NH7 All Stars lit up the Bacardi Arena for the final time, the crowd totally lost themselves to the music, and the dancing and cheering seemed to go on and on. It was truly a wonderful conclusion to a festival that having promised so much was successful in delivering on all counts. To say that NH7 Kolkata did well would be an under-statement – this event was a rip-roaring success and for once everyone, including the fan, the organizer and the artiste, would seem to be unanimous about this fact. One can only hope that the success of the NH7 Weekender Kolkata leg will encourage other event organizers to allow this city to host similar such events in the near future. But if for some reason this fails to happen, well, we always have NH7 Weekender Kolkata 2014 to look forward to!

Reviewed by,

Prasanna Singh and Joy Chakraborty

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The Jack Daniels Rock Awards 2013

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The eighth edition of the annual Jack Daniels Rock awards was held on the 22nd of February at Mehboob Studio amidst little hype and no fanfare. The invite-only event hosted by Sameer Malhotra and The P-Man (Rohit Pereira) saw successful rock bands from the scene, across genres, being feted for their musical efforts over the past one year, by people who had little or nothing to do with the scene.

Bombay punk rockers, Blek kick-started the evening performing songs from their debut album, Hexes + Drama & Other Reasons for Evacuation to an audience of around 100 people. Their half hour long set included some of their popular songs like ‘Minus the Makeup’ and ‘Fog + Strobe’ which was also nominated in the best song category. Blek’s set was followed by the first set of awards which saw Shantanu Hudalikar win the best producer award. Advaita’s The Silent Sea and Swarathma’s Topiwalleh shared honours for the best album art while The Blue Frog, Mumbai was adjudged the best live music venue.  The emcee then made Michele Obama’s virtual presence at the Oscars seem less random by calling upon a Bollywood designer along with an eye-candy model to give away the next set of awards – Blek were back on stage to collect their award, after being declared the best emerging band of 2012. The next award handed out was for the best keyboardist which was shared by Jason Zachariah (Jason Zac Band) and Zubin Balaporia (Indus Creed). The designer-model duo then gave a priceless tip of advice in fashion to the musicians gathered (who, judging by the vibes, couldn’t care less), before handing over the best drummer award to Jai Row Kavi (Indus Creed). Bombay Jam band Something Relevant was up next on stage, playing a half hour long medley of songs from their second album, We Could Be Dreaming which was released last year.

Actor Suchitra Pillai was then accompanied on stage by Ken Ghosh (Bollywood director) to give away the next set of awards – Tony Guinard of the Ska Vengers tipped my personal favourite Roop Thomas of Blakc to win the best bassist award. Thermal and a Quarter frontman Bruce Lee Mani deservingly bagged the coveted best guitarist award, having being nominated alongside other stalwarts like Keshav Dhar, Baiju Dharmarajan and Mahesh Tinaikar. A clueless Mandira Bedi then walked onto stage to hand over the awards for best male and female vocalists – Vivienne Pocha won the award for the best female vocalist scoring over equally good singers Samara C (Ska Vengers) and Suman Sridhar (Sridhar/Thayil), while Angaraag “Papon” Mahanta overpowered the likes of Uday Benegal, Rabbi Shergill, Bruce Lee Mani, Gareth D’mello and Vasu Dixit in a star studded list of nominations for the best male vocalist.

The Rolling Stone all-star jam that followed, showcased artists from bands like Something Relevant, Split, Goddess Gagged and Colour Compound, recreate the magic of some of India’s most popular rock songs  – from Siddharth Basrur and Gareth D’mello’s duet take on Them Clones’s ‘Zephyretta’  to Rachel Varghese’s cover of Junkyard Groove’s ‘Imagine’, Saba Azad’s cover of  Orange Street’s ‘Candywalk’ to  Gareth’s beautiful delivery of ‘Lucy’ by Zero, Suman Sridhar’s horror screams and deafening screeches on Workshop’s ‘Pudhe Sarka’ to Rachel Varghese’s rendering of ‘Trapped’ by Indus Creed,  the wonderfully selected set list for the jam had something for everyone’s taste and gave the attendees a lot to cheer about.

The Rolling Stone jam session was ensued by the last set of awards that saw Keshav Dhar’s Skyharbor bag the recently introduced – best metal band award before Papon made it two for the night after ‘Boitha Maro Re’ was adjudicated the best song, overshadowing some splendid tracks like ‘Maeva’ (Skyharbor), ‘Fog + Strobe’ (Blek), ‘Dissolve’ (Indus Creed) and ‘For the Cat’ (TAAQ). Former Miss India, Yukta Mookhey was then called out of oblivion to hand over the last couple of awards – Advaita’s ‘The Silent Sea’ won the top honours bagging the best album award, however it was Indus Creed who won the bragging rights and took home the 5 lakh rupees prize money after being adjudged the best Indian band for the year 2012.

Despite oddities of the award presenters, a no-show by most winners and a kitty cat on the loose, the award show at large went off smoothly, thanks (largely) to the free flowing Jack at the event.

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Swarathma: What’s the colour?

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Swarathma

The lead vocalist made his way onto the stage wearing his blue socks and red sneakers- green laces on the left boot and yellow on the right, a green satin dhoti to go with a red top. The bassist was donning one of his many frilly Rajasthani Kurtas and the violinist his glittery suit and white Jodhpuri trousers. Clad in a flowery shirt with shiny purple bellbottoms, the percussionist cum vocalist seemed to have made his way straight out of the sets of a 70’s Bollywood movie. The guitarist though, was making a statement with his long locks rather than with his motley robe he usually wears. A diminutive figure with a huge gleaming smile on his face took his place behind the drums and music was all set to roll.  Welcome, Swarathma!

Yamunotsav’12- an initiative by a NGO Sweccha, saw the band performing in Delhi on their recent ‘Restless Tour’ promoting their latest album Topiwalleh. This time it was for the English-speaking-white-collared bourgeois munching on Blackberries and Apples at the India Habitat Centre. Commemorating the World Environment Day celebrations, Swarathma, with its kaleidoscopic brand of music was the perfect choice to preach some socially important, yet often ignored lessons with some fun, humour and wit.

The troubadours from Bangalore started off with ‘Aaj ki Taaza Fikar’; the band’s take on yellow journalism and the sensationalist-TRP-hungry media. The crowd was still shuffling inside the IHC amphitheatre and gradually picking up on the frenzy with Montry’s adept drumming and Varun’s fluency on his Gibson Les Paul. Meanwhile, Jishnu Dasgupta, the bassist halted to give a sneak peek into their next song, “Since we are at Yamunotsav, this song too has been written for the plight of a river and it strikes a chord….” To which Vasu, the frontman of the band and an eccentric oddball with curly hair jeered jocularly, “Which Chord is it by the way?” The audience exploded into a fit of laughter and Jishnu remarked, “D major”. ‘Pyaasi’– the song that saw the band rise into fame is the voice of River Cauvery, as it reacts to the violence that broke out during the water sharing issue between the two states down south.

Swarathma’s lyrics have always been the trailblazers of social change. Their latest sophomore album ‘Topiwalleh’ is their smirk at the topi-wearing corrupt politicians. Jishnu, who perfected his PR skills and the vernacular Bihari accent at XLRI Jamshedpur claimed, “Ab vaqt hai political debate ka” (Now, it’s the time for a political debate). They churned out many of their songs from the recent album, each one distinctly different from the other, be it the composition or the social message it imparts. ‘Topiwalleh’ is a cheesy number while ‘Koorane’ with its typically heavy metal riff unleashes the ‘animalistic’ instincts within. ‘Naane Daari’ is powerful and the latest heavy artillery in Swarathma’s arsenal these days.

Vasu, then suddenly with his Kacchi Ghodi (steed) that’s long been associated to the band’s brand image; ran through the stage amidst the huge cheers in the crowd and Jishnu who does most of the talking for the band declared, ‘It is story-telling time’. They shelled out their hit from the first album ‘Pyaar ke rang’ a song of love that has been on their set-list since the ‘Soundpad’ days. Another song that hardly ever gives a miss in their live shows is ‘Yeshu Allah aur Krishna’ which is all about communal harmony, Kabir’s teachings and ‘Devotional Atyachaar’And the latest addition ‘Duur Kinara’ -a sensational collaboration with Shubha Mudgal reverberates loud in one’s head long after the last note has been played.

Varun’s strumming on the guitar has heavy western influences and Sanjeev’s mellifluous violin lines complement the music to form an impeccable fusion of rock and folk. Montry and Pavan’s percussions are tight, Jishnu’s bass and melodies perfect.  Vasu’s powerful vocals and the raw acoustic guitar guarantee unadulterated fun. But, Swarathma isn’t just about their music. They have their marketing skills sharpened and they know how to sell their brand. The myriad colours they flaunt on the stage can be seen on their cover art or their promotional posters. Be it the ‘Action Replay’ concerts for the underprivileged and disabled kids or the concerts for social causes such as Yamunotsav, ever since they took the Indian folk-rock genre by storm, they have won many friends and earned accolades all along their way.

In the end, Swarathma’s colourful music does more than putting a smile on your face. It makes you think, it inspires you.

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Shubhodeep Datta

Shubhodeep is home to a lunatic in his head, who is on his own with no direction home. Tell him about his grammatical errors! Follow him on Twitter @datta_shubho

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Topiwalleh by Swarathma

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Topiwalleh

Swarathma is a talented group of musicians, just thinking about whom brings an explosion of colors in one’s head – not just because of the colourful dresses they don, not even because of the showmanship, the on-stage gimmickry or the props. These colours are of traditional art assimilated in an arrangement of largely western instruments, and the flamboyance with which the band rebukes the dishonest, mocks the ludicrous, and alleviates suffering through their honest rendition of songs that describe the world as they see it.

Their second album, Topiwalleh, is an experience where every word – spoken or sung, every pulse, beat, and measure, is a rush of colours of contrasting human emotions. Your senses are exposed to the entire spectrum in less than 55 minutes, if you listen closely. The melody is almost never melancholic, although when it’s dark, it’s ominous.

This album brought with it not just great music, but a lot of creativity in the album promotions too! Right from the colourful topis, the vibrant album cover, to running interesting contests on Facebook, and the launch followed by a ‘Restless Tour’ that took them to many cities over a period of one month, the band has done a fabulous job of promoting their new album.

Swarathma has six members: Vasu Dixit (vocals, rhythm guitar), Pavan Kumar KJ (percussion, backing vocals), Montry Manuel (drums), Varun Murali (lead guitar), Sanjeev Nayak (violin) and Jishnu Dasgupta (bass guitar, backing vocals), and for the sound that is more refined, all six members unequivocally acknowledge Loy Mendonsa (from the Shankar-Ehsan-Loy trio) who has co-produced this album.

One might as well call the band Swarathma 2.0, because of two noticeable things– one, a paradigm shift in the ‘sound’ of a recorded album, and two, a concept album with many societal messages being delivered within a span of 10 tracks. For the message to be heard and the outreach to be as vast as the problems addressed and solutions needed, their language of choice is Hindi, although they have sung in Kannada on two of the tracks.

Topiwalleh’ has an effervescent, Rastafarian reggae rhythm, a violin that can admiringly be called the second vocalist for the track, a laid-back 40-second guitar solo and the superb backing vocals. The lyrics take a dig at everything that’s wrong in the current political circles. There are many tongue-in-cheek references and no-holds-barred statements that the artists have taken the liberty to make on this track.

‘Koorane’, my favorite track from the album, starts with the sounds that we relate to crying of wolves on a full-moon night. Varun Murali finds a fit to display the rock in his guitar, which is alarmingly close to ‘Roadhouse Blues’ by The Doors. The song seems to draw a metaphor – the mention of a rare animal Koorane being hunted by the hunters (human or otherwise). Think capitalism, consumerism, how the society is fascinated by television and advertisements, while disrobing itself of tradition and a sense of judgment, hypnotized by the domineering supremacy of advertising duplicity.

‘Rishton Ka Raasta’ is pleasing, and contemplative, with an intention that’s driven straight to the heart by the expressive violin (the tone sounding almost like it’s a Saarangi) that opens this song which is about broken relations and the willingness to mend fences. For me, it delivers the most powerful message in the entire album.

‘Ghum’ is characterized by a sense of despair, urgency, and hopelessness, made apparent within the first 90 seconds of the song. The mood remains largely that, only you’d have to find an interview where the band mentions what this song is about. This is their voice against child sexual abuse, and is the gloomiest of all tracks on the album.

‘Naane Dari’ starts with a superb guitar solo but everything else plays second fiddle to the violin and to the terrific lyrics. ‘Naane Daari’ (I am my own way) talks about hope and leaving the past behind.

‘Aaj Ki Taaza Fikar’ may confuse you with the way it begins, if you ever used to trip on ‘Dil Chahta Hai’ OST (think ‘Jaane Kyun’) – and perhaps thank Loy Mendonsa? The highlight of this track is the juicy potpourri of all the overused or hyped snippets on the television (‘Sannate ko cheerti hui sansani’ and the like). It lands a sucker-punch on the sensationalism as created by the media.

‘Mukhote’ has got a fragrant, violin-drenched overture. This is a song about the two-facedness in human relations, the drumming stands out and is most imaginative among all tracks on the album.

‘Duur Kinara’, featuring Shubha Mudgal, has everything that is being and has been talked about already. Shubha’s vivacious vocals work perfectly with Vasu’s high-pitched recital of the Kannada lines on this track about separation from loved ones and the desire to unite, and about tales of a far-away land.

‘Yeshu Allah aur Krishna’ is where the arrangement goes back to reggae for most part, the violin speaks as if reinforcing the spoken words, and the vocals are dramatic and appealing. The song speaks about religious evangelists and communalism, but unless you are a in a mood to complain about the issue really, you might just end up dancing along with this one as well.

On a splendid album, where nine songs talk about one powerful subject each, ‘Khul Ja Re’ is one song that apathetically speaks of optimism with adolescent lyrics and ordinary singing. For being a keepsake from the band’s past, ‘Khul Ja Re’ is forgivable.

All said and done, social issues and worldly worries notwithstanding, Topiwalleh is a fun album. The sheer energy that makes the audience sway during their live shows is not missing on this record. Though the lyrics may seem juvenile here and there, the maturity that’s apparent for most part of the album compensates for it. The lead guitar has got to find a voice by bringing in more tones and risk-taking. As far as the percussion and violin are concerned, I would not want to change a thing. For the vocals though, my only sour point remains the habit of throwing the last note (for instance – at 1:29 mark in ‘Koorane’).

Swarathma has already started working on their third album and until that is out, buying a digital copy of Topiwalleh and listening to it is only the second best choice. The best choice is to land up at a Swarathma gig, and treat your senses to the musical mixture of colors, sights and sounds.

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Gaurrav Tiwari

Drummer at DIARCHY, and HR Manager at Genpact

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Swarathma talks about their new album ‘Topiwalleh’

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WTS got a chance to have a relaxed chat with the fine folk band from Bangalore, Swarathma. We caught them at the Hyderabad leg of their Restless Tour in support of their latest album, Topiwalleh.

Videography: Trinadh Rakesh

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Trinadh Rakesh

Trinadh Rakesh believes photography is a way of capturing life’s various reflections, which is why he loves to experiment in different genres. His effort is to tell a story with every moment that he captures!

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Swarathma, Topiwalleh Album Launch at The Blue Frog, Mumbai

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Parizad D

Parizad D is a photographer with a strange aversion to her surname and an even stranger affinity towards all things feline. When she isn't going click-happy you can find her obsessing over feet, good food, Radiohead, tea and dead baby jokes! Follow Parizad on Twitter @parizad_d

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Day 1 at The Mad Festival at Fern Hills Palace, Ooty

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The Mad Festival sprinted into its first few hours, admitting a respectable amount of people into the sprawling venue on a beautiful Thursday morning; at this point, there was only a hint of rain on the horizon with people (rather than the sky) rumbling warnings of possible rains.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Post the invocation, things kicked off at the smaller Callaloo stage with Vayali, a bamboo orchestra. Comprising a number of bamboo drums and flutes, one expected some good energy from these musicians from Kerala. However, their choice of songs wasn’t the most inspiring, and having the sparse crowd right at the beginning of the festival didn’t help matters either. We would’ve loved to see some more traditional stuff from these guys instead of picking up common, run of the mill material, as well as some more energy with the bamboo.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Across the venue, past the Mad Bazaar, old-school metallers Kryptos had the misfortune of opening the festival at the Blubaloo stage to a very limited audience. The sparse crowd, which had certain members from Indian Ocean in their midst, were treated to an unsurprising setlist consisting of concert favourites such as ‘Heretic Supreme’, ‘Revenant’, ‘Mask of Anubis’ and a few other tracks from their latest album Coils of Apollyon. Kryptos are no doubt accustomed to playing to packed crowds at Kyra but they did a fairly good job of trying to keep the energy levels high. Nolan was mostly tongue-in-cheek on stage as they launched into their closing number – ‘Descension’. Unfortunately, they slightly messed up their signature number – though you couldn’t really blame them for exhibiting some lethargy on stage.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Over at the Callaloo stage, Groove No. 3 took the stage right after Vayali, and showcased a brand of funk that one has come to associate exclusively with Chennai. Featuring some stellar vocals courtesy Benny Dayal, these guys pulled off some nice grooves, with some tight drum and bass playing. The crowd, sparse at the beginning, built up through the show. Save for Benny though, the stage presence was lacking. A funk band should not have their bassist sitting down for the duration of their set, especially with bass lines and music with as much groove as these guys. ‘Nowhere to Run’ was a clear stand-out, although their set was a tad disappointing on account of the number of covers in it. Among the covers though, the funky rendition of ‘Summertime’ stood out. The next time round, an all original set would be a welcome change.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

While Groove No. 3 occupied the smaller stage, Yodhakaa – a 7 piece-band that blend contemporary rock with Carnatic classical music – were initially scheduled to open the festival but their late arrival bumped Kryptos to the top of the schedule. They played after Kryptos instead and their set included the ‘Jnyaanam’, a song with a really groovy bassline that is arguably the band’s best. What really makes the song is the male-female vocal harmony throughout the track. They also performed ‘Shwetambaram’, which is another track from their eponymous debut album. The song moves from a sombre piece featuring slide guitar to a more upbeat one dominated by a classical guitar solo. Yodhakaa were extremely tight during their entire performance even on their new song- ‘Adhrijhadam’ – which featured a Cajon solo. Their music perfectly complimented the signature 2 p.m. Ooty weather. They closed out their set with ‘Jataa Kataa’, a song from the Ramayana that was sung by Ravana. Bandleader Darbuka Siva is a multi-instrumentalist and musical genius when it comes to songwriting. Their music (on the album and live) is crisp, catchy and rich and they deserve to be heard more. A hurried walk to the Callaloo stage takes us just in time to catch the much-touted Motherjane.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Motherjane has never really been the same since longtime vocalist Suraj Mani and guitarist Baiju departed the band. They’ve soldiered on nevertheless, with new vocalist Vivek who manages to sound exactly like Suraj. Their setlist played out like a greatest hits record but with the fizz taken out. Their performance was quite flat and it got monotonous very soon. New guitarist Santosh can really shred and his classical piece on the ‘Maktub’ intro was fantastic but his solos seemed little rushed. It also didn’t help that almost every Motherjane song follows a similar verse-chorus-verse-guitar-solo-chorus format. ‘Broken’ and ‘Mindstreet’ got some sort of response from the crowd more due to familiarity than any sort of energy from the band on stage. ‘Soul Corporation’, ‘Maya’, ‘Fields of Sound’, ‘Walk On’ etc. were few of the songs they mechanically played before finishing off their set with ‘Karmic Steps’ and ‘Shhh..Listen’. Ironically, not too many people did.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Swarathma played at what must be an unusual time slot for them, bang in the middle of the afternoon. Kicking off with what has become a crowd favourite, ‘Ee Bhoomi’, the energy one is so used to seeing at a Swarathma gig was missing somewhat, Vasu Dixit’s vocals not at their exuberant best. The first couple of songs had something off on the mix on the PA, with the bass drum too high, the guitar levels too low. ‘Ghum’ was executed well and ‘Topiwalleh’ brought some of the energy back, the levels seemed much better than before, and despite a major glitch with the PA, including a couple of seconds of shutdown, the band began to draw some more energy out of the still sparse crowd. ‘Koorane’, featured some Huli Kunitha (Tiger Dance), costumed actors, who seemed to take away from Swarathma’s already impressive stage act rather than add to it. Swarathma did bring some of their awesome energy back for the end, with ‘Pyaar ke Rang’. The little tete-a-tete between Amit Kilam of Indian Ocean and Vasu Dixit also provided some comic entertainment. The ghodi, so much a part of the Swarathma act, was missed though. All in all, Swarathma didn’t disappoint but didn’t exactly blow people away either.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

What followed was a close to two hour delay thanks to an incessant pitter patter of the rain. While organizers rushed around, mainly trying to keep things dry and, well, organized, people huddled near the food stalls and other forms of shelter; several even braved a stall with a magician in it! The stall kept the small crowd thoroughly entertained (and dry) and the magician watched with unabashed amusement as they tried to make sense of his various magical paraphernalia and failed repeatedly to the steady stream of self-conscious giggling.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Two hours seemed to pass quickly though, and World Music aficionados Moon Arra were finally taking to the Blubaloo stage. As the cameras hovered around importantly like lumbering giants in the twilight haze, members of the audience who’d run for cover to dignified (the Fern Hills palace) and undignified (Mad signboards serving as makeshift umbrellas) places returned to the eaves of the stage to the ever-welcoming MoonArra (“We don’t mind the rain if you don’t!” said a hardly phased Madhuri). While it strikes us as unfortunate every time we see them live that Moon Arra’s stage presence leaves something to be desired, they never disappoint by way of their music. Madhuri’s vocals are the perfect juxtaposition to the clean, smooth lines that Prakash and Jagadeesh carve with their respective instruments. After a few songs from their album Indian Accent, we realize that this is the perfect segue back into full-fledged performances at the festival after the rains. As a fan for life of Mr. Sontakke’s pitch perfect genius, we bristled when a passerby casually opined – “This Skinney Arra is not bad, man”. Persevering against the urge to strike said passerby, we focused instead on the meager compliment in that statement and re-immersed myself in the dulcet tones of the vocalist. The band didn’t have much of an audience to play to, with pockets of people watching from various angles – but it was borderline acceptable what with the rain pouring a damper on events.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Skinny Alley, over on the Calaloo stage, was quite the interesting act, clearly intent on keeping with the times. Fans of their earlier releases, such as 2003’s ‘˜Escape the Roar’, were treated to a wholly different rendition of some of their signature tunes. Gyan Singh’s basslines, a heavy dose of electronic embellishment, combined with Jayashree Singh’s vocals, layered at times with a harmonizer, figured prominently throughout their set. A big draw for several Skinny Alley fans is Amyt Datta’s guitar playing, and the audience at the Mad festival weren’t left too disappointed with some great albeit very different sounds coming out of his guitar. We would’ve liked to see some actual harmonies though. Highlights from their set including their opening track, were ‘Woman Who Is Me’ and ‘Used to Be Mine’. Skinny Alley managed to surprise a good portion of the audience, pleasantly and otherwise with their current sound. The visuals in the backdrop, however, at times seemed out of place with the music being played.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

The Raghu Dixit Project trundled onto stage and was one of the few bands who had a sizeable audience already gathered during sound check, pushing and shoving for prime place near the barricade. During any of his shows, it’s mandatory to show some love or Raghu makes sure he points you out and jocularly shames you into having some fun. His shouts of “Puma! Too cool to dance?” or “Madam! You can send sms to your boyfriend later” into the crowd did just that. Turns out that heckling the crowd makes them, (even people further back from the stage, far from the singer’s eagle eye) begin bouncing in real or faked enjoyment. Such is this band’s infectious enthusiasm and Raghu’s powers of persuasion. ‘Masti ki Basti’ (particularly loved the flautist’s section on this song) and a brand new Kannada song – the melody to which sounded suspiciously familiar – warmed the crowd up for their last couple of songs ‘Lokada Kalaji’ and ‘Mysore Se Aayi’. Raghu made sure to mention that the band was playing in front of the queen (you know which one!) later this month, which was met with the appropriate amount of cheering and smiles of national pride.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

It has to be mentioned that the crew from Cobalt were thorough professionals and utterly immovable when it came to the timing allotted to bands, big or small, after the downpour that affected the scheduling for the day. It’s a testament to their will that they persevered and said no to crazed TRDP fans screaming “One more” repeatedly. Once again, we tip our hats to the people behind the scenes!

And so we move on – with Raghu Dixit’s surprisingly nullified by the distance between the stages, Soulmate came on at the Callaloo stage in their usual sedate, unfussy manner, with Tipriti looking spiffy in a vested shirt ensemble. The air was now carrying a slight nip that made the atmosphere crackle with electricity – mostly static, thanks to the woolens being whipped out. The weather and the general mood would have turned been elevated into a higher experience if the band had decided to play ‘Sier Lapalang’, their usual opening number. But the audience was more than happy to settle for ‘Smile at Me’. Barring the slight over register of guitars that was fixed post haste, the band had a flawless run. Rudy’s slide on the intro to ‘Sunshine’ and his solo later gave the song amazing punch, outdone only by his laidback, easygoing vocals. What was an absolute shocker (that really shouldn’t have really been a shocker considering the talent this band has) was the fact that Tipriti’s voice sounded shot to hell when she spoke into the microphone between songs. But, we’d have betted unrealistic amounts of money that no one could tell from her singing voice that she had any trouble at all. She made it through the entire set like a trooper, hitting those high, loud notes and even maintaining that dreamy guttural quality that is so typically hers now. Soulmate’s lyrics aren’t a complicated battlefield of metaphors and hidden meaning but then that begs the question, why do they seem so gosh darned perfect? Our song pick of the set was definitely ‘Set Me Free’. They’ve got the performance of this song right down to an art form.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

At the Blubaloo stage, the lull in the wake of the boisterous Raghu Dixit welcomed The Electric Konark Band, which was quite frankly an unknown quantity for this reviewer. While the band as a whole didn’t strike a bell, the individual members were illustrious enough to generate the right amount of interest in the right amount of people. Their tagline – “Going Electric with integrity” served to remind us of reading about the genuine feeling of regret from fans and some in the musical community of the 60s at the tumultuous switch from acoustic to electric, this while the latter genre was still in its infancy. The band inaugurated the set with a meaty guitar-driven melody (thanks to the immensely talented Konarak Reddy) – notes bent to Indian classical that were merged into a Western scale backdrop. When the tabla and the bass (Rzhude David) came in and sparred through the mid-section of the song, we knew what we were about to experience was one of a kind. The first song ‘Mango Ripples’ was a masterpiece in timing, precision and technicality. Unfortunately, due to the rain-related delays, a visibly (and audibly) peeved Konarak Reddy groused that the band had only five more minutes to play and didn’t waste any more time on talking.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

On a side note, while it was apparent that we were in the presence of some seriously talented artists, one wonders how long the attention span of an (and stress on this) average listener would have to be for him to be able to be completely immersed for the duration of a ten-minute, non-vocal song. Some members of the audience were soaking in the music at the very front while others allowed themselves to be distracted by conversation, clearly taking a breather, in the wake of an energetic Raghu Dixit performance. Either way, it was a true pleasure to watch the maestros play off each other and genuinely enjoy their time on stage.

The Kabir Project, an eclectic bunch of musicians that take inspiration from the works of Kabir, was a breath of fresh air. While the crowd watching wasn’t particularly significant in number, those who did stay back to catch this eclectic act who performed after Soulmate were treated to some delightful interpretations of the 15th century poet they take their name and inspiration from. There were some nice harmonies incorporated as well, mixing nicely into the set up they had. Thanks to the rain earlier that day and the subsequent scheduling constraints their set was curtailed into a short, albeit, refreshing one.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

The last act of the evening was Indian Ocean on the Blubaloo stage. Despite a reduced set time and a plethora of sound issues including the rain earlier in the day ruining the mixer settings and their sound check, Indian Ocean sounded brilliant on the PA. Their setlist was short, crisp and rather energetic. ‘Bondhu’, from 16/330 Khajoor Road, their last album with late singer, tabla player and percussionist Asheem Chakravarty, a poignant track, drenched with emotion was probably the pick of the night for this writer. Evocative, the track showcased Indian Ocean at their melodic best. ‘Maa Rewa’, ‘Bandhe’ and especially ‘Kandisa’ got the crowd singing along and completely involved with the act, and displayed exactly why Indian Ocean are so revered in the independent music scene in the country. If we had to pick a crib, it would be that the band tends to stick to the staple crowd pleasers at the festivals. All in all, a thoroughly engrossing performance, that highlighted Indian Ocean’s professionalism despite the major glitches with the sound, and one that brought the first day’s action to a rousing close.

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

Day 1 at The Mad Festival at Fern Hills Palace, Ooty

The chilly Ooty air did nothing to deter large groups of people from lingering at the lawns near the Blubaloo stage as they soaked in the after-effects of a smashing day filled with too many good acts to pick from. After all manner of cat calls and one liners being screamed into the night (from “We want more!” to “Free smokes!”) in vain, the remnants of the audience began their journey home, leaving the warm glow of Fern Hill Palace to stand guard over a venue that had in its first day been branded indelibly into our memory.

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Sharanya Nair

Sharanya is a 'writer' and an 'editor'. You know the type. She loves her music too much to share.

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