The Score Magazine August 2014

ISSN 0974 – 9128

Vol 07 Issue 07 - August 2014

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India's National Pan-Genre Music MagazinE

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Cover Story

Star of The Month

LILLY SINGH AKA Superwoman, inspires us with love and humility

Keyboardist of The Month

LUIS CHACKO On the language of music

Quirks & Queries

Shilpa Rao

On her favorite food, pastime and hangouts

AMIT

TRIVEDI Self-taught and Self-Made

Yamaha Powers

BAND OF THE MONTH

Maatibaani

Gujarat to Canada, spreading the joy of India’s music

Fashion with Neha Bhasin • 15 Qs you do not ask a classical musician

the edit PAD Director, Strategy and Planning Ajay Prabhakar Director, Business Development Pragash VM Head - Marketing & Operations Sneha Ramesh Associate Editor Kanika Mishra Content Coordinator Nidhi Iyer Shreya Bose Honorary Editor Sidharth Vipin Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Lead Designer Nipun Garodia

Admiration never ceases to take over me when I think of the scores of people who join the music fraternity every single day to try make their mark and career. The monetary compensation is not always clear and the career path is fraught with uncertainties. The same goes for music businesses too, but here there are the frequent exceptions of the proverbial “rich boys” who spend their dad's black money on an industry they barely understand. They come, they splurge and then they wither away into oblivion.

But I digress: When we talk about legitimate ways to sustain a music based career and industry, there are roughly 3 broad points to remember: 1. If you are in the main-stream, public demand coupled with a well oiled delivery mechanism will keep the moolah going i.e. If you get lucky 2. If you are passionate about the classical arts, government agencies along with ancient establishments along with an age-old drive to keep traditions alive should tide you forward. But the competition is cut-throat and you might never get noticed 3. Every other contemporary art-form you need, but seldom get, a vibrant young community to actively buy into your art. You might get noticed or even wildly popular, but you may never be able to earn a living through this art-form.

Digging deeper into point 3, we must remember that the young are a fickle lot who are largely (mis)directed by trends. The incumbent music “cultures” of the west such as EDM, rock or metal might never get sustained interest in India because there was never a sustained interest to build long-standing establishments here. This might explain why we have gone through only phases of interests and bubbles of growth. If this theory is true, woe is us, for we might have to constantly reinvent ourselves, forever. But, if we aren’t fighting for art, what's life worth fighting for?

Ajay Prabhakar Director - Strategy and Planning

Cover Photography Parizad D subscribe to us at http://scorem.ag/buy-subscribe

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i nside Band of the Month POWERED BY YAMAHA 28 Maati Baani has scoured the world for talent and inspiration. Come join their bandwagon!

Indian Bands 101

Cover story Amit Trivedi

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Now a common household name, has made it huge in a short number of years, he speaks to us in detail about his journey through the B’wood, dig in!

Star of The Month Lily Singh 34

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From their conception to their boom, it’s all here. Read on to find out all you ever wanted to know about the rock scene in India.

Score Reviews

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Haven’t had the chance to catch up with your latest?

Let us narrow it down for you.

Quirks and Queries Shilpa Rao

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With innumerable super hits to her name, Shilpa Rao is the golden girl gifted with a golden voice.

Classical Segment

This Canadian-Indian YouTube entertainer provides with her videos the perfect example to ROFL!

Fashion Segment Neha Bhasin

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A quick heads up about the kind of questions you don’t want to ask a Carnatic Musician if you’re stuck in an elevator with them!

In India DADA LIFE

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Couldn’t catch your favourite EDM duo in town?

Don’t worry, here’s a snapshot!

The super sexy, super gorgeous Neha Bhasin will inspire you to get that ‘apple bottom’.

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Amit

Trivedi Amit Trivedi is without a doubt among the current and handful lot of Bollywood’s critically acclaimed music composers. Having worked on a diverse repertoire of work in less than a handful of years, his creativity has offered a new direction and sound to contemporary Indian film music. We caught up with Amit for an in-depth interview to trace his journey from pre-Aamir (2008) and Dev D (2009) days to now.

Photography: Nairit Sur The

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You’ve been a part of the music scene in India for a while. You had a band previously and now compose and sing for film projects. How have you seen yourself evolve as a composer and vocalist over the years?

It's a dramatic change actually. Let me start off with being a vocalist. I was never a vocalist and I never thought I could sing.

The first time in my life I actually sang was for my demos, to present it to directors. I did that for Dev D because I couldn't afford any big singer or anybody actually at that time because I was starting off so I had sung all my songs on my own and Anurag liked it so much he said you don't need to dub any professional singer—whoever sung this, the voice sounds good.

And, I was like, “arrey yeh toh main hoon, this is me,” and I never considered myself a good singer or singer for the matter of fact. So, he said keep this and that's how it all started. That actually started happening for every film. I used to present my songs in my voice and they used to like it, they used to get hooked onto it somehow, and clicked to something in my voice. That's how I became a singer. That's been the journey as a singer.

As a composer during my band days, which was 2003 and 2004, I never thought I'd be a composer and that I can compose. I never had that flair in me and I had no intention of becoming a Bollywood music composer or to do music for films. There was no such intention. I was going with the flow. I used to be a programmer and arranger and was doing work for a lot of people other than my band too for a living. I used to program and arrange and accidentally it happened. I met Mr. Anurag Kashyap and that's how this whole composing bit started.

How have you seen your approach to work evolve?

Obviously you are a lot busier now than when you started off. What are some changes you’ve noticed in your style or approach to work?

Every day is a new day, actually. Every film is a new film.

Every film has a different approach so it keeps changing and evolving film after film because the challenges are different. And, seriously for me every film is like a big challenge. Every film is like giving a board exam again because to score an entire film in itself is a beautiful feeling. It's a beautiful thing to do, that’s the good side to it, but it's like a massive challenge. There are times when you go right and sometimes instincts work, and sometimes they don't, so it is an everyday learning process. Trust me, even today I am learning the craft how to get it right. It's a process.

Seriously, it is.

So do you do a lot of research on the particular vibe the director is going for or do a lot of research on the era of a film? How does it work?

For me it first starts with the script. I read the script. That's where you know the world of the film, where it belongs to, so you automatically start reacting to the script or the screenplay and most of the times the songs are mentioned in it so you react to that. Then you have the next step to have a one on one with the director and find out what he has in mind and what world he wants to take his film in musically. These are two important aspects, and then I absorb all the things I've taken from the director and script and accordingly I react musically to it and if research needs to Soon to release is Bombay happen it does depending on the world of the film.

Velvet and Guddu Rangeela.

Bombay Velvet is jazz, I will also be doing a lot of Lootera is a period film. If it's a period film you have live shows for colleges. to go back in time, if it's contemporary have to keep that in mind.

Upcoming projects

Did you receive any formal training as a producer and arranger?

I’m self-taught and the basic, little training I’ve done was a long time back, 15 years back for six months, so majorly I’m self taught. I love listening and I've learned a lot of music just through ears and that's really helped me getting exposed to different genres, styles and artists.

Do you ever feel working on so many projects leads to monotony? Do you ever get composers block?

How do you feel about music schools opening up, like True School of Music?

It happens. Definitely. It happens because most of the times what we have to do is for one particular situation we have to do a lot of songs because a situation in films is such that anything can happen, so there are a lot of approaches. While doing that you're working on one particular situation but thinking of so many different ideas and throwing them towards that. So, that gets a bit difficult and jaded and feels monotonous. You feel like that block comes and you get tired until and unless you don't get the right one where everyone is happy, the director, me, the producers, whoever is involved in the project.

It's very helpful. It wasn’t affordable back then and in Bombay there weren’t as many institutions like Berkley or now in Chennai with AR Rahman’s conservatory. We never had that in Bombay back then and it was too costly.

What has been the most creatively refreshing project, besides Dev D?

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I think all of them. I'm very happy to b a part of some very good films like Udaan, Lootera—again the same director—Queen, Kai Po Che, Ishaqzaade. These directors, these filmmakers, these films were so inspiring that I enjoyed working on these films. English Vinglish as well with Gauri Shinde. So yeah it's been great actually, really liberating and you feel really cool.

Bombay Velvet is also coming out soon. It's an amazing film and an amazing world to venture into…the whole jazz scene of 50s and 60s which was quite functional in Bombay, so trying to create those sounds. Experimenting with sounds and ideas always keeps you on your toes so you’re charged always. That’s really exciting.

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So how do you think things will change if training is so expensive and available at few places?

That is changing starting from right institutions, such as AR Rahman has taken an initiative with KM Music Conservatory.

We don't have it here in Bombay, I wish if we had it here that would really have helped and as you said correctly the quality of music would definitely be much better.

Inspiring Influences Sailil Chaudhary, Madan Mohan, Jaidev, SD Burman, RD Burman. Beetles, Pink Floyd and for the past tentwelve years Coldplay and Zero 7.

Indie Scene I like Indian Ocean and Advaita and Avial is into good experimental stuff.

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Although you work primarily in Bollywood you also had a band of your own. A lot of bands see Bollywood as a competitive force eating away from the indie music audience here. But then you also see a lot of artists such as Agnee or Raghu Dixit tapping into films to grow their audience.

What do you think?

The west has separate film industry called Hollywood where only films are made and there is a separate music industry where you have all the artists of various genres. Here, (laughs) we call it Bollywood and borrow the name Hollywood and call it Bollywood that is so wannabe and combined both the factors and it is one. The Crème of talent has definitely been taken over by Bollywood because it’s a powerful tool and there is very less left for independent artists if they want to do something on their own. Consumers will definitely go for what Bollywood is offering them because the best has been taken over by them and, as you rightly said even Agnee and Raghu are going into Bollywood.

What are things you want to improve on or learn?

My programming skills: I am a programmer, producer, and composer at heart. I think it is important to keep improving that. I think I’m average and I want to be not average but very good in my eyes. In people’s eyes I might be good or bad but that’s my personal thing. It’s important for me to be exceptional in my eyes and I’m not (laugh).

When you’re composing, in instances where you are not recording your own voice, what is it that draws you to other voices, different textures?

I have heard so many voices that when approaching or composing a song somehow I can hear them, or sometimes a new singer whose demo I've heard, if that voice has really impressed me then I'll immediately call that person. That’s what happened with Kavita Seth while doing Iktara. She came with her demo then only, that’s when I heard it. Her voice was so pure and honest. It was so nice. We were doing Iktara a few days later and I wanted to try her voice. It’s trial and error, but most of the times has worked for me, with Kavita in Iktara or Shalmali in Pareshaan or Manali Thakur.

They’ve have swept the awards, all three of them.

Perfect studio environment

The fact that that it is very homely. We all are like friends here and we have fun! :)

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Where do you think things are headed? A lot needs to improve, doesn't it?

A lot needs to improve, baba, a lot needs to improve. Most importantly the taste of the audience needs to improve. (laughs) That’s something I can't

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understand when they make one song, one that isn’t so great, a big hit. I have done major studies on all those songs, ki aisa kya hai making it a hit, but I’ve never found an answer.

Do you think the growth of indie films and good music is linked?

Absolutely. Now there are directors, filmmakers who have become bold and experimenting a lot with stories they are telling and this is reflecting in every department including in music. Nobody would have dreamt to do a Rock On!! or Dev D or a Delhi Belly twenty years before. Now we have films like these and it’s reflecting in every department. Even the music we hear has a rock influence, this influence is spreading all over the country. In Dev D I could experiment like crazy and brought in a new sound that changed the ball game. It’s a great thing and needed. Evolution is important.

Any really memorable or crazy recording studio moments? Any interesting stories? (laughs) I don’t know where to begin. We had once done an insane track for Udaan called Motu Master was the most bizarre experience in my life. Amitabh and I had done one version which was pretty much decent but Anurag didn’t like it so he came and he started writing the lyrics and by the end…he started writing by 6/6:30 and was done by 10 and it was like I was reading a newspaper. So much content! And, he gave it to me to compose and I was thinking how the hell am I going compose so much? It was too much information, too many things, but I did record six singers at a time. It was the most bizarre thing I had ever done. I called them, they sat down and asked what are we supposed to do and I said, “I don’t know, go into the dubbing booth, we’ll see.” They were shocked and all six went in at the same time (laughs) and I kept the mics in a way so it doesn’t leak.

They were standing inside and I was looking at the Coldplay’s new album— script thinking it is a beautiful album. how do I start?

I composed And, I also bought Le there in real Kar Hum Deewana Dil time. It was the most bizarre because I am a huge AR experience of my Rahman fan. life and it brought us Motu Master. If you hear the song now it’s edited to 25% of what was actually given to me.

Playing now

Amanda Sodhi

MessaSAGE TO OUR READERS: “It’s a very, very, very tough place.

Earlier it used to be very difficult to enter and difficult to maintain. Now it’s very easy to enter, but it’s ten times more difficult to maintain.

Be careful, watch your steps and be patient and don’t rush seeing other people because glamour attracts you…money, fame, all these attractions.

Be patient, take it easy and it’ll happen.”

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In

s d n a B ney

r u n o J a d i e d tail A De

The 60’s and 70’s and the latter half of the 50’s found itself in throes of mammoth International rock music productions, heavily influenced by Indian Classical music, creating a brand new genre by itself, called raga rock and psychedelic rock. However post Indian independence, a decade or two into the subsiding political turmoil, we had our leaders heading a rather subtle movement against the fierce cold war between the two blocs and we had our own youth at the threshold of discovering a whole new world of Sex, Drugs and Rock n’ Roll. With candid influence from visiting legends such as the The Beatles and The Rolling Stone, it didn’t take long for India to develop it’s own rock culture.

Some of the earliest known bands that sprang up were The Mustangs from Madras - they sprang up as a college band from Loyola to Madras Chirstian College and played mostly instrumental music, The Combustibles and The Savages, Mumbai were bands that had already become well versed in delivering to what the audience wanted; The Cavaliers from Calcutta,were an extremely popular band in their hometown contributing significantly to the contemporary music scene. These bands laid the very foundations for the breeding of a separate platform for rock in itself in the subcontinent for the future years to come. As we move away from the 60’s and 70’s, the 1980’s had by and large a huge influence of Bollywood music and the hindi pop music supplementing to the growing disco scene in the country.

However with the advent of MTV in the music media industry in the 1990s, a lot changed. This was a turning point in the evolving entertainment culture in India. MTV gave the budding rock bands a rapport and the confidence to venture in to various sub genres of rock and pop. Bands that had already been incepted a decade or two ago found themselves reinventing the genres of music that they were composing, discovering thrash, alternative rock and punk. Some of the contemporary bands were Easy Meat

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from Pune and Holocaust, Morgue, Dorian Platonic from Guwahati, Grassroots Revival, Postmark, The Cannibals, Phoenix, Phynyx and Drixian Empire/Dark Crusader from Manipur. Stepping into the 2000s was a revolutionary whirl in the entertainment scene in India, with the world wide web becoming increasingly accessible to households, it became easier for the bands to promote themselves and increased their access to more than the limited set of audience to whom they were restricted to, they could now reach a wider base. This decade saw multitudes of technological advances which played a significant role in shaping the music industry. With websites like YouTube, giving free and unrestricted grant to it’s users to view as many number of videos possible, artists and bands extend to a larger viewership. This in turn created a fan culture which gained further foundation It’s called the country’s rock/metal capital. through websites Predominantly playing sub-genres of rock. like Twitter and Notable bands- Eunoia Soulscape, Maun, Raghu Facebook that Dixit Project, Arha, Thermal and a quarter (TAAQ), allowed the culture Kryptos, The Down troddence(TDT) (originally to breed and form from Kannur, Kerala), Culminant, Dark Light, a community of Alternative Ties, Neolithic Silence, Abandoned aficionados. These Agony, Theorized, Inner Sanctum, Agam, Slain, Clown With a Frown, allegro fudge, Black social platforms made Sun, All The Fat Children, J3, Thrash, it possible to share The Bicycle Days, Pralayh, The Usual information just within Suspects, Final Surrender, Crash a few minutes and a few TV, Eccentric Pendulum clicks. So if a band were to start touring, or was playing at a gig, the information was all there, accessible to their fans.

Bangalore scene

i Nidh

Iyer

here w e e in y, er m r n h o t t e s s c o u s a i s d k d u re in to In the in nd the Roc vario n e n e e o k g m i l a k e n r c h Rock 0’s. U ve their ma a decade, a y of t 6 e r n r o u s ’ o j lf ea 50 in the at failed to l been over ha ou a detailed cks off! y th so w genres ed. It has no e present to to rock your g .W ay Rock st try is thriving his one’s goin n :t the cou ent. Beware gm this se MUMBAI scene

DELHI scene The scene in Delhi has been constantly been grounded by the presence of the Rock Street Journal and festivals like Rock N’ India

Some notable bands which have made it big through the decades-

Notable bands- Parikrama, Hundred Octane, Indian Ocean, Them Clones, Menwhopause, Bandish, Advaita, Faridkot, AntarDhvani, Punkh,[19] [20] Midival Punditz, Undying Inc., Mrigya, Guillotine.

Indian Bands: A Detailed Journey

Indian Ocean- Indian Ocean was formed when Asheem and Susmit began playing back in 1984. In 1990, the band got it’s name.

It was the same year Susmit sold his guitar to raise money for their first demo recording. We will see that 20 years down the line, Indian Ocean is at it’s prime, regularly on tour to the US and Canada. Add to Playlist: Tandanu, Chand, Darte Ho. Parikrama- Is definitely the most popular Indian rock band to make it big. Like Indian Ocean, they were also a Delhi based band. And rose to fame through the nineties. Influenced by the legendary Led Zeppelin, Pink Floyd and The Doors, they managed to blend in such Indian elements, it set them at apart from the rest of the contemporaries. Add to Playlist: Whiskey Blues, Tears of the Wizard, But It Rained.

Pentagram - Which Bollywood fan does not know Vishal Dadlani? However only some are known to the fact that he’s a member of one of the biggest Indian bands, Pentagram formed in 1994, which rose to fame after contesting three IIT fests.

They have 4 studio albums to their name, the latest being “Bloodywood”. Add to playlist: ‘Voice’, The Price of Bullets

Avial- This alternative rock The pub culture in Mumbai has always band only has glory to it’s found favouritism with the band scene, name. Bagging 6 awards at with bars and pubs offering live music, the Jack Daniels Annual Rock many bands found themselves in the centre Awards in 2009 including the of attention. song of the year- ‘Nada nada’.

Notable bandsPentagram, Tough on The band’s turntablist Tony Tobacco, Bhayanak Maut, Demonic John says, “It was Rex who Resurrection, Split, Sridhar/ Thayil, came up with the name Avial. It Scribe, and Goddess Gagged and the truly makes sense as it a perfect recent much enthused reunion conglomeration of traditional of Indus Creed in 2011.

Malayalam folklore and rock metal.”

They take it upon them to revive the old folklores and spread the stories to the kids of this generation. Add to playlist: “Aanakallan” , “Nada Nada”, “Chi Me Sape” (collaboration with A67) Motherjane- Yet another band from Kerela has made its mark in the Indian rock platform. Motherjane was ranked No. 1 in Rock Street Journal’s bands of the decade in 2010. In the 2009 AVIMA Awards, Motherjane was awarded the Best Rock Act. They also opened for Megadeth and Machine Head in ’08. Add to playlist: Maktub, Blood In The Apple, Ode to Life, Jihad.

The future of the Indian rock scene looks highly optimistic, thought it hasn’t always been a Bed of Roses for these guys, it certainly looks like they are going to have a pretty incredible road ahead. Abheet Anand, the bassist at Clown With A frown, a local band from Bengaluru opines, “Music festivals, something very unheard of in a country like India, have just started to blossom all over the place and they provide an integral stage for international and domestic artists to perform and interact with each other.

Take the NH7 Weekender for example. The festival has just boomed across the country and is one of the best festivals that the country has to offer! International acts from various genres perform at the festival and it’s beautiful.”

We think he pretty much sums up what scenario the rock looks like at present. Entities such as the Rock Street Journal and the Rolling Stone India are two publications that have been heavily instrumental (pun intended) in promoting venturing bands.

Pages like theNH7, Headbangerz India, Unholy Maunder and even bookmyshow.com has made it extremely easy for fans to gain access to watch their favourite bands perform live and has helped the bands also perform to a larger crowd than they were used to.

Bhoomi - Playing a unique genre called “urban Music of any sort, is like a baby that needs nurturing and the folk” their music is inspired by the daily best conducive environment to thrive in. It is always like a city life. They are often found playing at two way street, the audience has to give in just as much as gigs abroad than in India. In ’08 they the band is offering. Their music has to be met half way with were the only Asia band to play at the the kind of response the audience is willing to give. I think it International Jazz Festival and a few would be safe to assume that India right now would be the Bands from God’s Own Country, are years after in 2010, they were asked to best place for rock music to grow to its full potential, with an play at the United Nations headquarters heavily influenced by folk and tribal elements infused with rock. audience at this point which is ready to absorb all that it in New York! Add to playlist: ‘Emon has to offer!

Notable bands- Motherjane,Avial, Manob Jonom’ and ‘Kancha Haarite’.

Kerala scene

Evergreen and 13 AD

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powered by

Luis Chico Louis Chaco, the keyboardist of the former band Something Relevant, is a genius with the keys. With a music degree from the Trinity College London, reveals to us why it's important understand the language of music and how it's helped him along the way, read on to find out more!

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Vishal Shah What are your current projects? What are we going to hear from you in the coming months?

I am currently working on starting a music academy for guitar, keyboard and drums which will be operational hopefully in Jan 2015.

I'm also working on a few jingles as well.

Besides, now that I am a freelancing keyboardist, I’m working with various bands and singer songwriters like Mr.Printer, Anushka Jagtiani, Manasi Scott, etc.

Couple of my friends and I have recently formed a band called The LuRuKris Collective. We’ve taken current and old English songs, rearranged them, changed the styles and added our own variations.

You can expect to hear interesting versions of all these songs.

What are your views on studying music as an academic discipline? Is it something musicians should absolutely have? Is the choice genre dependent – an absolute must for some genres while unnecessary for others?

Studying music is an absolute must according to me. Things like note reading, finger technique, sight reading, are basics which every musician should know. It’s like trying to write a composition without knowing proper grammar. Your composition wouldn’t make sense.

Music learning not only gives you a better understanding of the subject, but also instills a sense of discipline. You also begin to enjoy the music you’re playing better, when you understand what’s going on. Once you’ve mastered the basics, then there’s always scope to improvise and adjust, to suit your style of playing.

I don’t think music learning is genre dependent. Every genre of music is based on some theory and principles. One must need to know these principles if he or she wants to be a successful musician. In this day and age where there are tons of musicians around, what will make you stand out, is your knowledge of music.

Coming to STR, the band took a hiatus in 2011 for a course at SAM. You were not part of that. From the side, what change do you think that stint bring to the band’s sound, approach and quality of music?

At the time, I was studying the Trinity College of Music London Syllabus, so I didn’t go to SAM. When the boys returned, our song writing became more interesting. Being surrounded by musicians 24*7 at SAM , you tend to learn and share different ideas in terms of arrangement of songs, harmony and stuff like that. Also when you see others practice, you’re automatically motivated to practice on your own.

From then onward, we approached song writing in a whole different way altogether. The influence of Afro-jazz and Cuban Rhythms made us write songs along those lines.. We even changed around our old songs to fit in these new ideas to make it interesting.

We began to write melodies, hooks and riffs and then wrote lyrics around these melodies. Since this was still something new for us, initially it took us time to get used to it, but once we figured how to tackle these rhythms, it became that much more interesting.

Although we still maintained the “jam band” vibe, we incorporated these new rhythms in our songs, which resulted in us enjoying ourselves more on stage and our songs sounding better!

Tell us a bit about your background. You’ve been a classically trained concert pianist. Where did you learn music? How did you pick up the keyboard?

And why the classical approach?

I started playing the piano when I was 6. I used to enjoy playing classical pieces. Well in all honesty, at that age you play anything that’s put in front of you. I then followed the Trinity College Of London syllabus, and gave all the piano exams. I was given the Exhibition Award by the Trinity College Of Music, for my achievements. I learnt music from Blossom Mendonca who is an amazing music teacher.

I gave my first solo piano recital at the NCPA when I was 18. Besides that I’ve also played with the Bombay Chamber Orchestra and sung in a choral group. Being an I.T Engineer, in my mind I’ve always wanted to pursue music as a career. I chose the classical approach, because to me, classical music forms the base, from which other music is derived. I was also interested in knowing how the music was written.

I started playing keyboards when I joined STR. Being a pianist, it was difficult to have a piano on stage specially since many venues don’t have space on stage for a piano, and also because its easier to carry a keyboard around than a piano.

What are your influences? What did you listen to when you were growing up?

During my years growing up, my parents used to listen to a lot of Elvis, Beatles, Cliff Richards, Tom Jones,The Eagles, Bee Gees etc so I grew up listening to these guys.

When it comes to influences, I’m not influenced by any particular musician as such. For me it’s more about how the instrument is used to enhance a song. As a keyboardist, many times you have to play synth and string parts as well so when I listen to a song , I tend to analyze how strings are used and at what points synth lines are used to lift a song. I use these results in my playing. I feel that being influenced by someone , can sometimes change your style of playing.

I was more interested in figuring out how to improve my style, rather than be influenced by others.

What experiments do you run on your synthesizer?

Do you have a certain style, a favorite effect, a conventional approach towards song writing? Or you find it easy to fall into place with anything?

I generally use a software called Main Stage when I’m playing live.

I also layer different patches when I’m using a horn patch just to make it sound fuller. I love using Synth patches so I generally fiddle with different effect knobs to give that extra edge to the sound. My favourite patch though is the Rhodes organ patch. I love the full sound it provides to a song and the glizz effect.

According to me , there’s no fixed formula to song writing. Its more about being in the moment and trusting your instincts. Sometimes your 1st take is your best take. So I generally just go with the flow.

Tell us about your association with Casio.

When I first saw and tried out the new Casio Keyboards, I was very impressed with their sound mixing and recording functions. Their on board organ drawbar functions, digital effects and equalizer makes it unique and convenient for live performance. Besides , the ability to use batteries makes it a good portable keyboard. I thoroughly enjoyed experimenting with these keyboards.

Many people start off playing the keyboard because it’s easier to learn and satisfying. Now, with the advent of technology, the art of learning and making music is fast changing. What is your advice to beginners? How important is and how deep should they dive into the technology behind music?

My advice to any beginner is, don’t ignore the basics of music. Take some time and knowledge to read and write music. Take sometime in understanding your instrument. There are no short cuts to success.

Yes, it’s also important to learn the emerging music softwares that are available. There is so much one can do with these softwares, which makes music that much more interesting and fun to play.

Technology does enhance song writing, but it shouldn’t deter anyone from understanding the rudiments of music.

Also keep listening to music. There is so much music out there which we aren’t aware of. The best way in improving your skill is to listen to different genres of music. Use technology to assist your creativity.

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Asunder - Unohu Unohu’s debut 4-track EP opens with the immediately catchy A Billion and One, and right away the Incubus-influence is palpable in their riff- driven compositions and RHCP’s Kiedis-style staccato vocal delivery. Track 2, Bending Curves rests entirely on the guitarist and gave him ample opportunity to show off. As for Jinxed, Unohu manages to capture the signature alt-rock sound, power-chords coupled with angsty, ballad vocals. The Game is a textured listen but again, sticks doggedly to the alt-rock formula.

Unohu (Harry Potter fans?) are one of the many emerging alt-rock bands in India who are setting out to make their sound and seem to be on the right track, but perhaps they’re playing it too safe. Given the sheer amount of alt-rock music out there the landscape may have reached saturation, however, there's enormous scope for this band to produce some authentic music and perhaps the boundaries will be tested in their next endeavor.

The Good: Band chemistry, they play to each other's strengths very well.

The not-so-good: Playing it too safe.

Recommended: A Billion and One, The Game

Phir se? - Faridkot Following a change in line-up and a struggle to get back in the game, Faridkot’s new 10-track album ‘Phir Se?’ is an interesting makeover to their soundscape.

The album opens with Aaina, beautiful lyrics and a good opening but quickly descends into chaos and I'm yet to decide on whether that's a good thing. Jats is reminiscent of the original Faridkot with the right amount of electronic experimentation. Laparwah redeems my disappointment; with lovely lyrical nuances (the laparwah kabootar? How better to describe pigeons).

Bijli is probably the best off this EP. This is a step in a safe direction, instrumental skill with a smattering of electronic sampling; it really brings out the best in all the players without undue risk, same goes for Guls.

‘Phir Se?’ incorporates a quirky repertoire of samples; Amrish Puri talking about Black Dog in Titliyaan is an odd example and Nana Patekar’s rants are apt for Nuts. Faridkot is trying very hard to create a new sound by being on the wall with electronic sampling and rock, and they may have succeeded; however, they could do with subtly capitalizing on their strengths, an emotive vocalist, the classic, hazy guitar work and flair for dramatic Indian flavor.

The Good: Elegant, inventive lyrics and vocal driven melodies.

The not-so-good: Took their EP's name way too literally with their repetitive sampling and as much as they have created an authentic sound, the result produces some aural conflict.

Recommend: Jats, Laparwah, Bijli.

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Sabrina Adeni

Tails On Fire - Tails On Fire My discovery of the month, Tails On Fire is the best way to describe them, they’ve stepped on the pedal and there’s no letting up. The album opens by jumping right into it, aptly named No Need For Sugar, it is immediately likeable. Their tracks seemed tailored for live gigs, From Move to Happiness Is A Headshot or Monkey Messiah, it just gets you pumped, I'm sure their live gigs have people jumping all over the place.

If they’ve downsized their sound in their recordings, I definitely need to see what this band can do live. This album takes me back to campus live gigs that would leave you utterly exhausted and on an unnatural high.

The vocalist has a very confident presence and is distracting (in a good way). It isn't hard to pay attention to the words and appreciate the subtleties in the music. While the band's USP is predominantly high-energy, head-bobbing music, it has to be said that the guitarist and vocalist are the crutches for the sound of the band, everything else is predictable. This is especially apparent on Pyro (a fire-alarm on the guitar? Damn, son) and Super Glue.

Their "low-key" tracks like Girl and Wheeze are catchy and provide a fresh texture to the sound of the album, but I'm looking for the song when I can see the entire band exploit their immense potential.

The Good: The ADRENALINE rush! High-energy vocals and guitar work.

The not-so-good: While they have the scope to make it big, they're setting some high standards for themselves, and may get stereotyped as merely a high-energy band. It’ll be interesting to see some experimentation.

Deluge - The Burning Deck The Burning Deck is a downtempo, triphop project out with its 2nd EP, ‘Deluge’. If their debut ‘Kalinihta’ was a ship plunging into the depths, the album draws you out of its inky undercurrents onto the misty dawn of a solitary deck. The underlying theme of a melancholic journey at sea is tangible and pervasive. Sandeep Mahadevan paints surreal and vivid pictures with his tracks; Isla de Luna, projects the story of a woman in a lighthouse waiting for a lover to return from sea and Shoreline feels like it’s been taken straight out of a Massive Attack concert and washed up on a moonlit beach, serenaded by trumpets and a dreamy chorus line.

Undercurrents is an interesting departure from the mood, with its jazz-inflected galloping landscape. The album creates an atmosphere of an ethereal nostalgia and Mahadevan's bassist sensibilities make themselves obvious in Out Of Sight and Sheepish. ‘Deluge’ is perfect for those after-hour parties when the truly weird conversations happen.

The Good: Trippy and imaginative musical landscape.

The not-so-good: While it is a seamless album, it can be individually indiscernible.

Recommend: Isla de Luna, Deluge, Two oh Two.

Spectral Insight - Spectral Insight Spectral Insight is one of the few Indian ambient-progressive metal outfits that do the genre justice. For a one-man band, Spectral Insight has a surprising dimensionality and characteristic depth to all parts of the music.

Obdurate is an excellent example of a dynamic, texturized, prog metal track, the heavy parts flow smoothly into jazzy collages, the track justly serves to build up into a seamless transition to its climax in Continuum.

Remnant is the heaviest song on this EP and the teasing drum track is a good addition to the ambient atmosphere. Infinite is easily the most original & ambitious track off this album, saddling the fine line between ambient electronic layering and heavy, immersive riffs.

Siddharth Chakravarty imparts character to both his gravel and polished wood vocals while continuing to find his sound with his ambitious metal-jazz fusion enterprise. The riffs feel formulaic (which, I suppose, is the definition of metalcore) but there isn’t much unconventional, testing of the boundaries happening on this album, I reserve my judgment until the next.

The good: As good an example as any of the ambient prog-metal label.

The not-so-good: The album stands strong on the whole but individually the tracks tend to be lost in the mix.

Recommend: Obdurate, Infinite.

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Samjhawan unplugged (Alia Bhatt) Her husky voice is a departure from the conventionally saccharine female tones and holds up powerfully under minimal instrumental accompaniment. A combination of the both leads to a noticeable sense of loneliness to the song which is entrancing, to say the least.

Aj Phir Tumpe (Hate Story 2) The smooth sax sounds and the subdued, rolling beats do wonders for this sensual leadoff to the promise of thrill that was offered by Hate Story. Hopefully, the sequel will match its music in keeping up with hopes. Arko Pravo Mukherjee manipulates the voices of Arijit Singh and Samira Koppikar into lavish craftsmanship.

Banjaara (Ek Villain) Beautiful vocals by Mohd. Irfan and heartwarming lyrics by Mithoon makes Banjaara hauntingly touching. A perfect balance of strength and delicacy informs every tone and word.

Jumme ki Raat (Kick) Heavy, immediately infectious dance beats that make it very hard to stand still. No surprise, Bollywood rocker Mika lets it loose on this one, and you will infallibly imagine Salman dancing tapori moves everytime you listen to it. Just don’t expect any profundity because the song, while an excellent party number, lacks creativity lyrically and musically could have used more inspiration.

Mast Magan (2 States) We might as well just put Arijit here permanently because he continues to woo listeners with this soulful call to love. Chinmayi Sripada’s throaty melody completes the song and provides a perfect fit to Shankar Ehsaan Loy’s flawless composition.

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Shreya Bose

Shayraanaa (Holiday) There’s no taking down Arijit Singh. His voice transforms another composition into a melodic triumph. Sprightly and celebratory, this one will get you optimistic about love for sure. Pritam keeps the music simple and carefully light, and while it is pleasant it doesn’t really generate a wave of ecstasy that characterises his earlier works like ‘O Jaane Jaa’.

Raat Bhar (Heropanti) An uncanny combination of techno style party music and the intoxicatingly profound voices of Arijit Singh and Shreya Ghosal make this a must-listen for anyone looking for bob their head to a good time. While the music could have been tweaked a bit to substantiate the vocal superiority, it does allow Tiger Shroff to strut his stuff.

Johnny Johnny (It’s Entertainment) A naughty rendition on the nursery rhyme, this technofilled number is lives up to its tagline ( A new nursery rhyme for parties only) and is guaranteed to become a staple of party tracklists everywhere. Of course, it does share a certain celebration of unnecessarily repetitive sound-loops and slight redundant content with most top party hits of the decade.

Humdard (Ek Villain) It seems like half the film’s soundtrack might be featured here. This track has a quiet soulfulness that has a personal edge. Mithoon lets Arijit’s voice take the lead, keeping background music basic and carefully complementary. A certain brooding shine to the vocals makes it the perfect song for lonely days and lazy afternoons.

On the downside, it seems a topical repetition of songs like Banjaara or Gaaliyan – versions of redemptive love. As long as that doesn’t get old for you, it remains enjoyable.

Saturday Saturday (Humpty Sharma Ki Dulhaniya) This one is for DJ lists all over the country with its overblown beats that groove non-stop. Indeep Bakshi, Akriti Kakkar and Badshah unfailingly bring a clubstyle bash to wherever this song plays. However, the lyrics do very little other than merely providing a crutch for catchy music. The rap eventually tires you and adds a more superficial element to the song.

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Band of the Month

MAATIBAANI

MaatiBaani, the duo, is now over 15 videos old and has over 2 million hits under their belt on YouTube.

Their collaboration spans across the globe featuring artists from across Gujarat to Canada! We find out what they have up their sleeve for the coming year.

Maatibaani has made its name expressing the language of the earth and composing music that syndicates a diverse mix of melodies. How do you, as musicians,bring these together?

N: We are awestruck by the fact that there are innumerable genres and styles of music all across the globe.We often sit hours together on the internet scouting musicians, connecting with them and finally getting them on board! In this sense, we are like the chef that keeps on permuting and combining, till he hits the right recipe!

What is it about world music that inspires Maatibaani?

K: There is so much music in this world than we can imagine. Just in India, every state has a unique tradition and a distinct sound. We are fascinated with the idea of all the music in the world combining and to sung in one song. We feel that our existence is as small as a grain of sand, and love is the only thing that binds us.

How do you choose the artist for collaboration, especially when they are all the way across the world? I’m sure you have very interesting tales to tell which our readers would love to read.

N: The spectrum of the artistes featured in our songs are quite wide. We let the song decide the featuring artiste. For ‘Balma’ we used YouTube to track down artists!

K: The musicians shoot and record the song themselves and we quality control each recording. We believe that the visuals should clearly depict the place from where the person belonged and all the musicians worked hard on getting that frame right.

Do you believe your music makes a statement of Freedom of Speech? It is true that ‘music knows no language’. What does Maatibaani have to say about the boundaries of language in various cultures?

N: Yes, certainly. Music has the power to transcend all the boundaries; geaographical, cultural, linguistic, et al. We don’t make a deliberate attempt to make a statement of Freedom of Speech. However, if we find an exceptional vocalist who sings in a different language from ours, we don’t think twice of the feasibility. Our aim then, is to make such music that compliments that language in which they have sung. At the same time, Freedom of Speech shall never imply that we have vulgar lyrics.

Which Indian artists, if any, would you be interested in working with?

K: We believe that there is a lot of talent that is yet to be heard in the remote villages of India. Places like Shillong, Gujarat, Bengal, Orissa have unheard musicians. We would love to travel to these places and record them in their hometown! We want fresh sounds and talents to be featured in our songs as we believe that is the road less travelled.

N: Our dream is to collaborate with the legendary Pt. Jasraj!

Which artists can we expect to see perform with Maatibaani this year?

N: We have confirmation from some amazing musicians from almost all the continents who have agreed to be part of our songs! It is quite an exciting phase for us.

Maatibaani played at NH7 weekender last year. How was the experience? Do you believe that ‘NH7 weekender’, ‘The Gig Week’, and the likes provide a good platform for upcoming artists?

A good piece of art can elevate a person’s state of being, whether it’s a painting, poetry, music, dance or theatre. To experience a piece of art is to invite beauty and joy into our lives.

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Nirali Kartik

Anirudh Kanga N: It is extremely important to take your music to fans in person.

These various music festivals are a great way to connect with the audiences whohave already heard our music and also to the people who are unaware of it. Also we collaborate on stage with different artistes on every song just like our videos and keep the tempo high!

Your travels and collaborations have taken you around the world. Your music depicts Maatibaani’s unique perspective. If you had the power to change anything in this world, what would you do?

K: Recently we saw a very inspiring video by the Playing For Change Music foundation in Nepal. Some students studying under it have to travel 2 hours to take that music class and most of them are so poor that they can barely have their ends meet.

They take this music class because that is the only thing that inspires them and makes them happy. They look forward to music rather than their next meal and that’s the greatness of Music.

Any anecdote you would like to share with our readers during your travels?

All your videos form sort of a palette with such festive colours in them (thinking of the colorful buffalo). Do any of you paint? Would you say music goes hand in hand with art?

K: She is not a professional, but Nirali paints beautifully, especially the ones she painted for me! Fantasy is a very strong force in our life and we like to explore that aspect in our videos.

For ‘Funky Pawa’ we commissioned the talented collective ‘ Ekabhuya’ to do the animation. Their brush strokes gave a completely different dimension to the rustic visuals of Kutchh.

N: Today is an audio-visual ageexciting to the ears and eyes and in Maati Baani we make sure we have the right balance of both the worlds.

N: We were at the singer Mooralala Marwadas house in an extremely remote village in Kutchh and we had arranged this recording in the evening in his courtyard. Everyone from the village gathered to see the performance, including a lot of cows!

Everytime we were recorded the song, one cow kept mooing so loudly leaving me in splits in the middle of a take! This lasted for quite sometime till the cow realised it’s spoiling the fun!

What does Maatibaani have to say about the importance of cultivating Art and Culture for the development of a society?

N: A good piece of art can elevate a person’s state of being, whether it’s a painting, poetry, music, dance or theatre. To experience a piece of art is to invite beauty and joy into our lives. There should be cultural events happening in every nook and corner of a city - a definite mark of a society that experiences life in it’s totality.

Maatibaani is possibly one of the most extravagant faces of marriage existing today. Was the marriage also an amalgamation of cultures, similar to your music?

N: Really?! Kartik and I worked together for a project in 2003 in which I was singing classical ‘Aalaps’ on music composed by him for a documentary film. We have been pretty much hooked since then. We found Maati Baani, to share a commonplace for our different styles of music.

K: I used to sing my original compositions in a cafe owned by Nirali’s brother, and those CD’s were later played at Nirali’s house, so she was kind of aware of my musical styles. I was more into Funk and Blues and later I was into a lot of World Music, but I think after marriage we needed an outlet to let our styles meet in a liquid way.

We believe that there is a lot of talent that is yet to be heard in the remote villages of India. Places like Shillong, Gujarat, Bengal, Orissa have unheard musicians.

Kartik Shah

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Meet Your Best Friend!

The AT20 Series Anyone who’s anyone in the music scene globally knows and reveres Audio Technica’s prowess for creating an incredibly ingenuous range of high quality studio grade microphones, like the 40 Series microphones, that are tailor made to suit musician’s needs.

Admiration follows rousing success, as amateurs and beginners aspire to own an AT microphone like the 40 series on learning that their idols and other top notch musicians and studios world over rely on AT microphones to get their signature sound. Happiness meets those who have the means to afford one, and you’d think the rest are left yearning, right? WRONG! Enter stage right - AudioTechnica’s AT20 Series Microphones!

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THE AUDIOTECHNICA AT20 SERIES To begin with, you should know that the Audio-Technica AT 20 series studio mics (2010, 2020, 2020USB, 2020USB+, 2021, 2035, 2050) provide nearly the same professional sound as the premier 40 series, but at a fraction of the price.

Sporting a slick and a chic look, all the microphones in the 20 series are built to a very high standard, with the AT2020 already having proved itself to be one of the best value basic level studio mics ever, while the AT2035 and AT2050 being an evolution of the original 2020 design, proving their metal by retaining the same great signature AT tonal character (the vintagey, warm and slightly compressed mid range with a super smooth high end) and delivering technical performance with unprecedented versatility. Undoubtedly, the 2020 being one of the most easy to use microphones for the serious amateur musician is best suited for vocals and acoustic guitar, while the 2035 and the 2050 on account of being able to handle very high SPLs, can proudly face the brunt of loud guitar amps, pianos, wind instruments or drums (in addition to capably handling vocals and acoustic instruments) and still produce a sweet sound that’ll remind you of your favourite comfort food!

Sporting the addition of pad and low-cut switches, with a very practical shockmount, the AT2035 offers a flatter low-end response with significantly lower noise, at a slightly higher price, the difference of which would probably amount to the price of a shockmount on its own. On the other hand, the AT2050 takes versatility to the next level thanks to its three user-selectable polar patterns, with excellent side-rejection of the figure-of-eight pattern that avoids spill, and the omni pattern producing a more natural sense of space where spill isn’t an issue.

But if you’re a serious musician who’s working out of a tight space, on a tight budget and on tight deadlines, and are looking for the ‘no-frills, all-performance’ that the AT2020 provides, then the AT2020 USB is the solution for you.

THE AUDIO TECHNICA AT2020USB With a no-hassle, extremely convenient direct USB link to your computer – PC and Mac, and a low-mass diaphragm that delivers extended frequency response and superior transient response, the AT2020USB truly combines the best qualities of the original AT2020, in an enhanced, super-pleasing package.

Based on Audio-Technica's hugely popular AT2020 XLR microphone, the AT2020 USB delivers the same outstanding build quality characteristic to all Audio Technica microphones, and is capable of high SPL handling. And as mentioned earlier, it also sports a unique low-mass diaphragm as the original. Plus,the USB connects directly to your computer, without the need for an audio interface or preamp – which to a musician working out of a tight space is almost god-sent! Plus, with its built-in analog-to-digital conversion, the AT2020USB delivers 44.1 or 48 kHz 16-bit audio directly to the recording software, which makes it ideal for those musicians and producers who work seriously on podcasts, laying down voiceover, or recording demos at home.

And make no mistake about it, the AT2020USB delivers true on each and every promise it has made, providing a crystal-clear, real sound that is free of noise (self and background irrespective) which makes recording your ideas as easy as it can possibly be.

With reproduction value that’s as true as it gets, you can’t but help feel truly alive when you use the AT2020USB. Audio-Technica's innovative back-electret capsule design translates into an exceptionally thin, responsive diaphragm that's great at capturing the fast transients of acoustic guitars

or cymbals, in addition to other wood and wind instruments.

And with a maximum sound pressure level rating of 144 dB SPL, the AT2020 USB is a solid choice for tracking loud drums and screaming guitar amps. Of course, as a cardioid large-diaphragm condenser, the AT2020 USB is the massive home-studio hit because of its sheer ability to deliver extremely detailed and clear vocals.

Factoring in the USB output makes the AT2020USB’s flexibility a serious prize to keep.

Key Features of the AT2020USB Side-address style Cardioid polar pattern Fixed-charge back plate, permanently polarized condenser USB-type output connector Super-sturdy construction Excellent introduction to Audio-Technica quality Tripod desk stand, pivoting stand mount, USB cable, and storage pouch included.

What makes the AT2020 USB microphone the total package, and a solid choice for home recording is its flexibility.

AT2020 USB’s flexibility is the key to it being one of the hottest selling musician microphones world over – countless project studios and home studios pretty much run their entire live recording & tracking operation based on the AT2020 USB. And further building on the success and backed with a strong user demand, Audio Technica introduced the AT2020USB+ which apart from all the standard features of the AT2020, also sports a headphone output with level control to give the user a reference of what they’re recording - A true studio like feel at the comfort of your desk, anywhere!

In fact, the Indian market too has taken to the AT2020USB & AT2020USB+ with great enthusiasm, as many musicians and DJs across the country have the AT2020USB/+ as a critical part of their project studio and mobile studio inventory.

Chennai based Pro Visual Audio are the official distributors of Audio Technica products in India, and speaking on behalf of the company about how the AT2020USB and AT2020USB+ have fared in the Indian market, Mr. Balamurugan, Executive Director says “It’s been a while since the Audio Technica AT2020USB and AT2020USB+ have hit the Indian market, and people seem to be absolutely in love with them. We’ve had a lot of musicians and DJs telling us about how the AT2020USB and AT2020USB+ have made life easy for them, and how these microphones have given them the freedom to work from virtually any space, without compromising on quality! After all, in today’s busy world, flexibility, adaptability and consistent performance is what makes a winner – and the AT2020USB and AT2020USB+ are all of that.

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Star of the Month

Superwoman She is an entertainer, has a phenomenal screen presence and is SUPER hilarious.

YouTube celebrity, Lilly Singh aka Superwoman is a stand up comedian from Canada. Superwoman, is a constant reminder that we must remain positive and happy. She recently did a collaboration with Maati Baani, and her new music video LEH is out this July. The Score Magazine gets exclusive with Lilly, about life, being a YouTuber and much much more! Dig in to find out!

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Nidhi Iyer Why did you decide to start making youtube videos?

I decided to start making videos quite randomly actually. It was unplanned. My first video was nothing like my videos now. I was just discovering YouTube at that time. I posted a video super unplanned as I mentioned and fell in love with the whole process and part of me kind of recognized that it was an opportunity for a South Asian female to be on YouTube because there really wasn’t one at the time.

If you weren’t making videos on the internet or out there being an entertainer, what would you envision yourself doing?

Before I started making YouTube videos I was planning on pursuing my masters in counselling psychology. I have a degree in psychology now. I don’t think I would have liked that to be honest. I would see myself doing something with kids and probably something to do with psychology but not be as happy as I am now.

All throughout your videos, you’re constantly reminding your viewers the importance of one love and peace. Is there a particular reason?

Definitely. During the time I decided to make YouTube my career, I was coming out of a very difficult time in life and one of the hardest lessons I learnt was One Love and Peace and to love yourself and be positive. I feel like it’s such an important lesson that people so often forget and when I decided to start making YouTube videos consistently, I promised myself that I’d continuously remind people who may have forgotten that life can be beautiful.

Do you have any future projects lined up in India?

Hopefully, not going to say too much about it, because it isn’t 100% confirmed, but hopefully I’m going to be in a Bollywood movie soon. All I need to do is learn how to speak Hindi, minor detail.

(Laughs)

Professionally is there someone you’d like to be working with that you already haven’t?

Yes! I’d love to work with Shahrukh Khan, because I met him the last time I came to India and we hung out and he’s super cool. Professionally, it goes without saying that a phenomenal actor, but meeting him and getting to know him personally when I recognize someone is as wonderful off camera, I get really drawn to them.

MUST WATCH SUPERWOMAN

VIDEOS

1. How Girls Get Ready 2. Types of Kids at School 3. Difference Between White Girls and Brown Girls 4. Girls On Their Periods 5. My Kids Do This

On being a part of the youtube community, with almost 3 million regular viewers puts you at a pedestal, with so many eyes doting on everything you say and do. Do you feel that becomes a heavy responsibility/burden?

First off, it’s important not to think I’m on a pedestal for my own sanity and spirituality. Undoubtedly, sometimes it does feel like it’s a huge responsibility, but no, at the same time I don’t ever feel like I represent any community. think a lot of values that I hold true to myself take away that burden and responsibility. If I was pretending to be a certain way and being fake, that would be a burden to carry, but I’m like myself all the time. It’s really not a burden.

How do you handle all the negative criticisms one faces being a prominent figure in social media?

Anyone who says that hate comments do not bother them is 100% lying. All people are affected by hate comments

Whatever it is you want to do in life, you can one hundred and ten percent do, if you follow these two things in life

1. Work Hard 2. Be Nice to people whatever it is that you want to do. I promise you. End of story.

No ands, ifs or buts! and same with me. Initially, hate comments really used to bother me.

There could be like 500 positive comments and 1 negative comment that would upset me. I think it’s the understanding that no matter what you do there will be negativity, so don’t try to control something you can’t change.

On working with MaatiBaani during YouTube fanfest.

I think they are awesome and so cool. I did as many collaborations as I could in Mumbai when I was there and that was definitely one of the my favourite ones. I think they are phenomenally talented and they were so sweet and kind to bend over backwards to accommodated my busy schedule to collaborate with me.

Initially, when you had just started, financially did it cause any strains at all? With all the promotion and merchandise and everything?

Youtube is a very stressful and exhilarating job because it is very unstable. So starting off, it wasn’t anything that I could live off of.

Fortunately enough for me I live with my parents. So I was blessed to have that support in the beginning. Even right now it is my full time thing and I can live off of it, but it is very unstable.

When you first started making these videos did you think you’d gain so much popularity and support?

Not at all. When I first started making videos I never ever thought I would have 3 million people who could tolerate my face. It’s a surreal feeling and I think that’s why I’m so grateful and I always express that in all my posts and videos. That’s not an act or anything. It’s a total surprise that I’ve gotten this far.

What do you love most about your job? Most people would DIE to have one like yours! Do you ever get bored of it?

I totally agree that my job is phenomenal and I’m super blessed. The thing I love the most about my job is travelling all over the world because meeting people from so many places really broadens your horizons. It’s taught me that no matter where you go in the world, people are so similar but so different as well in the most strange way.

I love meeting new people relating to people and hearing their stories.

I’ve never gotten bored of my job thus far.

Have you considered doing a couple more songs or doing music more seriously?

Yes, actually I just released a song and the music video is releasing July 1st, it’s featuring my good friend Humble the Poet. It’s called LEH. This year I’ve finally decided to take the plunge and do music more seriously, because it’s something I love doing. I’m going to release a mix tape later on this year so hopefully my fans don’t throw tomatoes at me virtually. (laughs).

Have ever really given a thought to perhaps moving to India?

I love India and everything about it. I don’t know if my stomach can handle moving to India because I’m a little bit of a pansy, but who knows, I’m not opposed to it at all!

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M

usic is in your shirt and your pants.

Also your hair. No really.

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with

Shilpa Rao

With innumerable super hits to her name, Shilpa Rao is gifted with a golden voice. Songs like Khuda Jaane winning her the Screen Award for the Best Female Playback Singer, she has only gone ahead to produce more heart warming hits like “Ishq Shavaa” from Jab Tak Hai Jaan and “Yaariyan” from Cocktail, only to name a very very few.

Read on to find out her Quirks as she answers all our Queries!

Favourite artists: Amir Khan Sahib, Shahzeb, Sting, Eddie Vedder. I really want to attend a Sting concert, but haven’t managed to up until now.

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Favourite pastime: I am a movie buff. I like to watch and enjoy all kinds of films. A recent favourite is Nebraska by Alexander Payne.

Favourite hangouts in Bombay: Colaba, Marine Drive stretch.

Having studied at St. Xaviers, there are fond memories in Bombay. Especially the monsoons when the city becomes beautiful!

Vishal Shah

If not a singer, Shilpa Rao would have been....

Nothing. I am pretty much useless at anything else.

How were you as a kid? Were you the naughty types? Tell us about one fond memory that you have.

That of roaming the school corridors on the pretext of passing on a book to someone in the other class. I used to hate school. The thought of the strict atmosphere, the assembly in the early mornings and being in the designated place in the classroom used to be depressing.

The small trips outside the classroom were liberating, and I did that often.

How did music come into the picture? We read that your father was your first music teacher.

Honestly, I never thought I would be a singer. But growing up, music was always around me. My dad played some very good music. My father always let us do whatever we wanted. More than being a musician, my father taught me the art of deciphering good music.

Even if you’re not a musician, he said you should have training to appreciate good music. That support is what made me enjoy the process of learning music when I grew up, without any pressure.

What’s on your playlist these days?

I listen to everything. I don’t like getting limited. What I’m listening to largely depends on my frame of mind. It is good to have an open mind, so that you can make a choice.

What’s the most fun you have had recording in the studio?

Sessions with Vishal – Shekhar are the most fun.

Shekhar and I have this constant bad joke series going on that really bugs Vishal. I look forward to working with them each time. Pritam is another unassuming, chilled out person to work with. He is one person who is almost clueless about logistics in terms of who’s coming and who’s not, but it’s baffling how very focussed he is when it comes to music. He really knows what he wants.

We heard a tiny something about a solo album on the cards from one of your interviews. Tell us something about it?

It’s not really a solo album. It’s a playlist of my tour with Hard Rock where we travelled 6 cities across India.

It’s something that is very close to my heart, and I’ll be putting it out real soon.

Favourite food items:

What do you do when you’re not recording or doing riyaaz? What’s your plan when you want to escape singing for some time?

Dal-roti. The simplest and easiest to make of Nowadays, the industry is very all foods. And the most supportive and understanding. There’s no real pressure. So even though I’m delicious.

working constantly, it doesn’t feel that I am, really. Small things like traveling through the Mumbai local trains, looking at people around you makes you see things clearly. Moments of reality come to you from the most random places.

The craziest on-stage experience. Tell us in detail.

Every gig at a college/university is crazy.

The crowd is the best ever. They know all your songs, they sing along, shout out and really put you on a pedestal. They always want to hear new stuff from you which is encouraging.

Weakspot for: Golgappas!

You have mentioned that you are very comfortable working with Amit Trivedi and Amitabh Bhattacharya. That’s so great. How is the recording experience? Why do you think that is? Do you guys have a lot of fun, or is it a very serious environment where everything falls perfect?

There are no words to describe the experience. We really click together. The mood is serious, but the bad joke series still goes on there as well.

A classic song from yore that you think would have gone down perfectly with your voice.

‘Aaj jaane ki zidd na karo’ – also one of my favourite songs

There are a lot of covers going on around. What’s your take on this trend of picking up old classics and recreating them?

Doing a cover means you love the original song so much to care to cover it. There are people whose covers have gone on to become better than the original versions, so there are no guidelines per se.

It’s like that saying ‘Raag rasoi paagdi, kabhi ek jaisi na hot’. The only way is to do it your way, and no one has anything to say about it. Sometimes you hit the bull’s eye, sometimes you don’t. Look at ‘Nature Boy’ by Nat Cole – the covers are so successful.

What do you prefer - a big stage with a huge audience or a small, cozy venue like a jazz bar with a niche audience?

Your voice seems to be just perfect for both scenarios.

I would say I am still greedy, and I love to tour with a big set. I strive to make it newer each time for the audience.

The best compliment that you have received from someone in the industry for your work.

Deepika Padukone once told me at a Yashraj event that she was grateful to me for adding to the performance of the actors in her film that I sang for. I find her very grounded and simple, and this compliment from her was very touching.

Do you still perform shows with your band? Do you have any plans? How is the band atmosphere different? More creative freedom and less pressure than Bollywood?

With my band, the songs are about a lot of things I grew up with.

There is no pressure absolutely and a lot of trust between the members. The music is a lot of Indian stuff, folk bits, old songs and classics that are very close to my heart. I feel I am doing my bit to keep them alive this way. Having said that, the current Bollywood and commercial setup is very supportive as well.

Shows like The Dewarists and Coke Studio give the opportunity for exciting collaborations, plus providing a platform for many emerging artists. Your take on Deserted how the scene is shaping up for newbies? island question

The scene can be confusing at the (what would you take beginning for new artists. But it’s really up to you – what you with you if you were want to sing, how you want to stuck on an island): sing, etc. At the end of it, it’s you who makes your choices.

Mirza ghalib, only so that I Even today, during an ongoing can talk to him endlessly. project, I have to think what I Very posthumous, am going to do next, what is left to explore. I try to do newer things I know. each time, and this search never ends.

It is these everyday choices that shape you in the end.

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www.stringtemple.com

String Temple in this segment brings in its dedicated recording engineer Mr .Chandrasekhar where he takes us on a nostalgic trip about his experience in the music industry as a Musician for over 45 years also as a recording engineer in the recent years. He is a classical guitarist, harmonica player popular with the evergreen hit song “Ilaya Nila�.

The life of musicians were such hard as to do what they have to do in order to make ends meet and keep the audience happy at the same time.

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Manisha Bhat EVOLUTION OF THE MUSIC INDUSTRY WITH THE ADVENT OF TECHNOLOGY

to do in order to make ends meet and keep the audience happy at the same time.

In the beginning, the music industry started off consisting solely of classical music, with people singing devotional songs in temples, which had natural acoustics.

The recording process in those days was very difficult, the most difficult part being that all the studios were sound proof but not a single one was air conditioned. The experience was akin to being in an oven, especially in Chennai's heat, and in case there was an error in the take, the whole thing had to be done over. Most of the problems used to arise with the singers, for example they used to come late, had to get their clarity and diction right and so on. In addition to this the musicians made mistakes too. The sessions would start at 7 in the morning but wrap up only by two or three in the afternoon. These long stretchers would make the people lose their energy, in turn causing more mistakes. The process would be further lengthened in order to meet the demands of the various people, for instance, the singer would want to change the pitch of the song and more. After all the changes are made manually and the new takes are done with, the engineer will compile the three tracks which he has in order to make the finished product. The sweetest words that could be heard were 'We're done, you can pack up.' However, after that it was like jumping from the frying pan to fire, when the question of payment arises.�

Using mikes only came around much later, and the actual studio aspect of the music industry developed even later.

Recordings only took place during the shooting of films. Later when the studios came around, it was termed as a marriage between the audio and the video. Studios started recording only for films. The 35mm films, when magnified had a lot of light obstructing the screen. The editor was in possession of the start point and the end point which they polish to make the final soundtrack of the movie, containing both the audio and visual components.

This synchronization is a very technical process. Even to depict a single second, it takes 24 frames. These technical processes make sure that the audio is very smooth and in track with the film, in order to do this the audio must be played in advance, before the visual components appear. A difference must exist between the commencement of the audio and video in order to make the presentation smooth. When it comes to the audio recording track, although many mikes may be used, it all is compiled on to a single track, as in mono track records from the old days.

STUDIO RECORDING IN THE BEGINNING When I joined the industry only single track recording technology existed. Throughout my career I saw the advancement of the technology, and grew with it. I have recorded in single track machines and gone on to record on twenty four track machines as well.

Now, in this day and age digital hardware machines exist, the technology used has evolved and is completely different from what it used to be. However the respect and reverence that used to exist for the studios was in great proportions. It was not possible for just anyone to enter a studio, there were a number of restrictions imposed because all the recording studios that existed were not individual studios, rather they were attached with the production, which is to say that the studios had sets where recording, shooting and background score could take place as well. Some they had laboratories as well where the raw, exposed film could be developed and printed. For example, Gemini and Vijaya Vahini were such recording studios.

Then came the advent of three tracks and four track recording techniques. A new technology was developed thereafter.

In this technique, individual tracks could be put into play mode or recording mode. For example, seven tracks can be put in play mode and one track can be put in recording mode.

Therefore, the person, who wants to sing or mix, can listen to the other tracks and sing along with that. This made the whole process easier because in case there was a mistake in one of the tracks there was no need for everyone to rerecord all the other songs, the track with the error may be rectified individually (punched in or out).

THE LIFE OF A RECORDING MUSICIAN The life of musicians were such hard as to do what they have

ADVERSE IMPACT OF TECHNOLOGY AND THE DETERIORATION OF MUSICIANSHIP Though advent and advancement of technology has been majorly an advantage, the improper utilization of the same has led to deterioration of the musicianship. It is unfortunate that today, the technology is more valued than the artist unlike the earlier scenario where the craftsmanship of each individual artist was hugely respected. Today the situation is like anyone without proper knowledge or training can walk into a studio and record a song. We cannot blame the technology for this situation but only the improper use of it. And that is why live and Classical musicians gain more respect and are revered across the world than the recording musicians as they display high level skills without the support of technology.

ON ASSOCIATING WITH MR. VS NARASIMHAN AND STRING TEMPLE As far as I know there are only a few, performing South Indian classical and Western classical music in violin. I am very lucky to work with VSN who is one among them. I have learnt a lot in recording, editing and mastering by working on his projects. I felt very happy on his appreciation for my part in his projects. Since he is a man of perfection like me, time was not a constraint. Being a musician myself more than an engineer, every moment I spent with him on his projects was interesting and educative. When I came up with the idea of including Indian percussion in the album Raga Fantasy he at once liked it and also improvised by including Veena, Guitar & Voice! I also thank him for the opportunity he gave for me to play Classical Guitar in Raga Fantasy.

He likes experimenting and giving something new on his compositions. My DAW is SONAR. He had confidence in me when I wanted to do the project in my home studio. I thank him for the encouragement he gave me to do his International Projects like Raga Saga, Seamless Strings and Raga Fantasy. I am sure that we will be doing more exciting music in the near future.

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Nidhi Iyer

Neha

Bhasin

This month’s fashion segment features Neha Bhasin. Her video Apple Bottom from the album Tabaah, sure serves as an inspiration for girls everywhere to work out! Neha sports a hugging traditional LBD with netted stockings and black studded heels, portraying impeccable fashion charisma.The black ripped crop top and black leggings, compliment her toned figure perfectly. This, paired with pink pumps, loopy earrings and teased hair gives her a chic retro look. Her beauty, talent flawless sense of style gives her fans much to dote upon!

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World-class

workstation that grows with you

The PSR-S950 arranger keyboard effectively blurs the line between digital and acoustic sound, and the result will alter your musical perceptions forever.

Pro musicians can achieve authentic renditions of their instruments and playing nuances; now you can play alongside them.

The PSR-S950's other incredible features—including Vocal Harmony 2 and Super Articulation for thrilling instrumental and vocal support— will juice up your creativity and performances.

The Yamaha PSR-S950 is packed with amazing Voices, Styles and comprehensive features to help you create, arrange, perform and record your music in any genre.

Yamaha's cutting edge sound innovation takes a step further with "Audio Styles". Audio Styles give your performance greater expressive potential by adding real audio drum and percussion parts to Yamaha’s Guitar Enhanced Style engine. Additionally, the built-in Flash ROM lets you load new Voices and Style Expansions (VSE) from around the world.

Thanks to Yamaha’s new Voice & Style Expansion packs, players can take advantage of a wide and ever-increasing selection of authentic sounding Voices and Styles from around the world. Load them to the PSR-S950's built-in FlashROM (64MB) and instantly play authentic sounds, rhythm and backing in the musical style of your choice!

MRP- 99,990/-INR in.yamaha.com The

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PALM Mumbai 2014 successful in all categories exceeding market expectations The 14th successive PALM expo organised by Diversified Communications India fulfilled the scope and potential of the largest ever show in India. The internationally supported PALM India features the maximum number of manufacturers and leading brands ever – including Yamaha, Sennheiser, Shure, JBL, AKG, Soundcraft, Martin Lights, Robe, KV2, TOA, Bose, Bosch, Osram, Sonodyne, Phillips, Neutrik, among others.

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All international brands senior management expressed complete satisfaction with the PALM organisation, in providing satisfactory and very high standards in all services from registration process to a very high percentage of interested visitors of professional background.

“Participation is meaningful for international high quality manufactures only when we meet personally very knowledgeable professionals from the local market, who are also important buyers, in this respect PALM show gets full marks” these responses assure of the PALM attraction to the entire segment of the professional industry in stage light and sound, music production and AV integration.

All the winners of IRA Awards 2014

This year the show highlight at PALM was envisioned by Modern Stage Services - the Integration for Entertainment Demo, a Live 3-Dimensional Interactive Mapping feature, designed by world renowned video mapping designer, Bart Kresa. For the first time in India, Bart featured a live interactive 3D mapping video powered by hi-end 3D projectors, mesmerizing the entire floor. This was the most attractive feature PALM has ever produced. The Integration for Entertainment Demo received innumerable ovations.

Following was the feature that has reclaimed its name for many years at PALM. The HARMAN Live Arena was once again a huge attraction this year. The creation and construction of the Demo Qube exhibit at the PALM was a winner with the target delegates as this novel idea and its successful delivery at the PALM exhibited a tremendous effort and solution for the pro light and sound industry to provide original demo environment. “The Qube was very productive and leads to business and contributes to the growth and development of the market in India. The PALM deserves Kudos for fulfilling a need for professional demo space”.

Anil Chopra, Rajesh Sadarangani, Matthew Pearce, Ramesh Chetwani giving away the award to Tusshar Gurav- Winner of PALM DJ Championship

The PALM 2014 and its unique features covered a gross space of 18,000 sqm.

Stage Sound and Lighting equipment + DJ Gear + Music Production and AV Install was showcased in Hall 1, the Qube Ground, Line Array Compound and Hall 5 Annex featuring the Harman Live Arena. Hall 2A was specially dedicated to registration of 18,000 attendees and visitor services including the PALM Souvenir Store. The Conference was held in the International Lounge.

Concurrently the Music Expo was held in Hall 2B + 2C. Visitor Profile PALM 2014 marked a dramatic increase in turnout of pre-registered delegates and the highest growth for day one visitor registration at 57% with 6,353 visitors, with “very high quality profile”.

Total attendance increased 28% to 20,966 trade visitors.

The 14th Consecutive PALM show this year brought out not only the highest turnout ever but the largest component of industry buyers and professionals.

Predictably the Stage Sound and Lighting + Event Production and DJs comprised 55% of visitors, this includes rental companies, entertainment media and event management.

Toby Alington

A trend was visible in the second largest visitor profile registered, from the AV Install and Systems Integration segment, comprising 31% of 18,000 visitors.

This segment was from House of Worship, Education, Hospitality, performance Venues – Malls, Theatres, Auditorium, Theme Parks.

Music production and studio segment comprised of 12% including the project studio category.

Industry Awards The 8th IRAA (Indian Recording Arts Awards) ceremony was hosted at the PALM 2014 in the Features Hall. The renowned Andy Munro received the Global Innovation in Studio Design, applauding him was the largest gathering of sound engineers and studio owners. Daman Sood was awarded the IRAA Life Time Achievement Award.

The 3rd PALM Sound and Light awards were hosted at the PALM Exhibitors’ reception party. The 4th DJ Championship was held in the Features Hall with its highest participation. The DJ Soundscape with the added Conference and Workshop attracted hundreds of professional DJs. PALM continues to invest back into the industry platform with the objective to grow the industry and the international reputation of the Indian marketplace.

The PALM organisation represents a highly knowledgeable team that delivers a trade show by the industry for the industry, and a neutral and independent convention.

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15 questions you

do not ask a classical Musician

No matter how fulfilling Classical Music may be for a musician pursuing it as a career, often times they are bombarded with annoying curiosity and skepticism. Granted everyone is gifted with inbuilt inquisitiveness, but some choose to take it a step further and ask the most personal of personal questions.

Some questions step over boundaries, while others are just downright silly.

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1

How many ragams do you know?

Seriously? That’s like asking a mathematician how many math problems he/she can solve. Yes, there are so many ragas out there but then again, there are so many math problems to solve or different types of sicknesses to diagnose. When you take a chunk of your life to understand a particular field, chances are you’re going to get a firm grasp on the subject. So, next time you meet a musician and you feel the urge to sum up his/her expertise, the best way to find out is really by listening to them.

2

Why don’t you sing this piece instead of what you were going to sing?

3

Oh you’re a singer (child-like wonder)!?

So, what you do stuff like Ravi Shankar?

4

So, you practice everyday?

No. I think I like what I planned on singing. I’m the one giving a concert, right? Pretty sure that I am. Seriously people, it’s one thing to make special requests AFTER the main items of a concert. It’s a completely different thing when you want us to change our main pieces. It’s like asking us to change the plot in an already set storyline. Don’t. Just don’t.

Nope. I don’t play the Sitar and I’m pretty sure Ravi Shankar did ‘stuff’ like Ravi Shankar. A for effort, but let’s not open the topic with the sweeping generalizations, yes?

Noooo, I don’t practice at all. I just get on that stage and go for it. Like the Jackson Five once famously sang, “It’s like ABC… easy as 123!”

This is one musicians hear probably all the time at dinner party or an event filled with people who don’t involve themselves with Classical Music at all. The very idea of treating Music practice as actual work, doesn’t seem plausible to most folks. The reality though, is that Classical Arts is takes deep study, research, and practice to be really good. So, yes. Musicians practice everyday. It’s part of the job description.

5

You should try out for Super Singer / Indian Idol

No. I shouldn’t, and I’ll tell you why. Classical Musicians take pride in well, being Classical Musicians. If they wanted to be on a music reality show, they would’ve gone for it long before you even thought about suggesting the idea to them. Although, there are many Classical-turned-Mainstream musicians out there today, there are plenty more who don’t think Reality TV to be their cup of tea. Respect that.

6

Oh, you’re a singer? Ok, sing me a song now.

Oh, you’re a doctor? Ok, do surgery for me.

NOW. Okay, maybe that example is a tad on the dramatic end, but seriously ask yourself this question. Would you ask a doctor to prove their expertise?

A lawyer, dentist, engineer, or programmer for that matter?

It’s not that we’re against singing for you, but there is a way to ask.

Even something as simple as, “I’d love to hear you sing!” or “I love music, would you please sing a song for me?” sounds better than a direct order to sing something on the spot. Just as surgeons don’t offer surgeries on hot plates, be gracious enough to not expect that of a musician.

7

You sound like so-and-so...

Although the intent here is good, the fact is this type of comment is a hit or miss with musicians. However, in general musicians tend to like sounding original so comparing them with somebody else is generally a bad idea. By saying we sound like someone else, you’re in a way saying we sound unoriginal. This does have two sides. Sometimes you’ll find comparing a modern day musician with a stalwart from yesteryears is the greatest compliment

in the world, provided said modern artist actually admires/likes the yesteryear artist you are comparing them with. So, I guess compliment at your own risk?

8

So do you have a REAL job?

9

So… How much do you get paid for a concert?

No! You see, music is make believe. It doesn’t really exist.

All that you hear, it’s not there and is definitely not REAL. #SMH.

Oh we only accept the highest quality of leprechaun gold…

After all, if singing is NOT real, then why should payment

be?

Jokes apart, this is one of those issues people don’t generally discuss to random strangers. Salary and payment are private matters, folks.

Moreover, what could you possibly do knowing that information, other than pass some useless judgement on me as a person?

10

So, how many years does it take to become a professional?

11

So, how much do you pay your guru and how much time do they give you for class?

12

Have you ever considered learning from so-and-so instead?

13

So what, are you just going to do music forever? Can you sustain with that?

14

So, what do you think of such-and-such musician’s activities lately?

15

Do people even listen to Classical Music that much these days?

Let me answer that with another question. How many years does it take a person to become a mature adult? Some tend to mature quicker than others. Others are late bloomers, while the latter set don’t see the light anytime in their lives. To answer your question, Classical Music offers training, just like any field. But how one chooses to run with it is entirely upto the individual.

WOW. Why don’t you just crawl into bed with me and read me a bedtime story. A relationship that a student has with their teacher is personal and therefore any attempt to pry into the matters of that relationship is severely shunned upon. Don’t do that.

Ever.

They’re amazing, you should consider it.

When a musician is already learning from a teacher, please for the love of God don’t suggest ANOTHER teacher. That’s like saying, “Hey, I know you’re married, but you should definitely consider remarrying this other dude/girl. Really awesome person.”

Yes. Just like the millions of other musicians around the globe that sustain themselves through music.

What is this, an impromptu interview on NDTV? And even if it is, it’s nunyabusiness! Much less mine.

Well, I’ll tell you what. If I ever feel that is the case, I’ll let you know for sure! First off, Classical arts is flourishing worldwide. I mean FLOURISHING. If you don’t see how that is possible, the chances are you aren’t in that scene at all, which is OK but again, quit with the sweeping statements and go see for yourself.

The amount of initiatives for Classical Music preservation and study is probably the most intense ever in the history of Classical Music. So, in answer to your question: Not only do people listen much, but mass amounts create schools, organizations, and festivals to propagate the Classical Arts, all over the world.

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DADA LIFE in india live

Eat, Sleep, Rave, Repeat is the mantra for ever electro-dance music lover. The experience of watching a live concert at home in the comfort of your bedroom with a beer or two most obviously differs from the jarring music, feeling pulsating rhythm, being amidst the crowd of hundreds and thousands of fellow fans raving to your kind of music, with matted sweaty hair, a drink or two down, and waving your hands in the air, like you just don’t care!

However, your perception of this music of your favourite artist maybe heavily weighed down, after you’ve seen them play live at your most ‘convenient’ venue, and you can’t help but feel maybe sitting at home that Saturday night and just jamming with your friends would have been a better idea. Let’s find out if the Dada Life Tour of India was one of those concerts that let us down, or left us begging for more!

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Nidhi Iyer Who is this “Dada Life”, you ask?

And this was different from the usual, how?

Dada Life is a Swedish Duo from Stockholm. They are the creators of huge hits such as, “Kick out the epic motherf*****r”, Feed the Dada, Happy Violence, Rollingstone T-Shirt, etc.

The duo consists of Olle Cornéer and Stefan Engblom. This June, Submerge India brought the Duo to India for a three mini concert tour- Bangalore-Delhi-Mumbai.

Dada Life stands as a symbol of everything insane and crazy!

In 2011, Electric Daisy Carnival, they brought a full marching band to perform their song, “White Noise/Read Meat.”

I definitely have to say, that my expectations for this concert were far beyond than just met. Honestly, Dada Life among a lot of circles isn’t as popular as say Avicii or Hardwell and I guess that turned out to be more of an advantage than disadvantage in terms of the kind of audience we were expecting. The concert definitely did meet a couple of the criterion in the first go itself, held at the The Royal Orchid, Bangalore on Old Airport Road, certainly didn’t seem like I was driving over to another city, or didn’t seem to see formidable boards that pointed to - HYDERABAD 536 kms ahead. The concert being in the premises of the hotel allowed a moderate crowd limit which gave it more of an ambience of a larger than usual party than a concert. The venue also had a mini Jack and Jones merchandise outlet to purchase customized Dada Life concert T-Shirts on spot, which weren’t too obscenely priced either.

The opening acts were by our very own favourite, Nikhil Chinapa and Rohit Barker, and needless to say that this duo set the mood for the night right on track, having the audience chant, “EAT, SLEEP, RAVE REPEAT” over and over again till they couldn’t contain their excitement for the Swedish duo to fire up the console. What happened for the next two hours still remains a blur. I genuinely didn’t think there was a single moment that anyone was bored, and didn’t seem to enjoy themselves. There was so much going on, with Olle Corneer and Stefan Engblom making the audience literally dance to the rules and tunes of the Dada Land.

Ever wondered if you would be amidst a huge pillow fight in the middle of an EDM concert? Would that thought ever have crossed your mind? No, I don’t think so. Well, apparently it does in Dada Land! The crowd went insane, over the never ending pillow fight, with feathers everywhere on top of everyone’s heads even. Ever seen a huge blow up banana flung into the audience? With blow up champagne bottles? The rules of the Dada Land, will allow everything that’s crazy. These two hours, felt too short to pay a visit to the Dada Land, and it did most definitely leave the audience begging for more.

I’ve never seen an audience more disappointed that a concert was over than this one. Here’s the super cool part, not only was 6th June happened to be Nikhil Chinapa’s birthday as well, the birthday boy sure did kill it with his supporting act with Rohit Barker, it is indeed always good news to know that this duo is opening, for the main act, a level of comfort that allows you to presume that there’s not so much that can go wrong with the concert. Almost covering all the criterion for a good concert, the Dada Life duo most definitely had the most cheerful audience interaction with them screaming the laws of the Dada Land and having as great a time as the audience.

Though the tickets were slightly more than reasonably priced, honestly if you are the kind of person who would attend a concert once in 6 months, 2.2k for a concert as good as this doesn’t seem like a bad investment. However, for a concert this good, a venue bigger than just a hotel would have been a better choice. Overall, I would rate this concert a proper 8/10.

Submerge Entertainment have outdone themselves with this concert, their PR, their organization was thorough through and through! We would definitely want to see Dada Life Tour India again, maybe the next time on a larger scale than this one, hoping that this was merely a precursor to few of many to come.

“Hello India, we are Dada Life. We’ve heard that the Indian fans are the best and the craziest in the whole world. We’re coming down to Bangalore, New Delhi and Bangalore. So let’s get ugly!” is the message that Olle Corneer and Stefan Engblom have for their Indian fans.

What people expect in an EDM concert: A GOOD CONCERT

• • • • •

The perfect venue, not too big, not too small More crowd interaction Convenient location, not halfway to another city A decent, less drunk crowd GOOD, OPENING • Not extremely overpriced tickets • Most of all, we are here to listen to our favourite artists play, so if you’re going to be playing lousy sets, we would like atleast our drinks to be free, to get through the rest of the concert

What people usually end up settling for: BOO-HOO •

Extremely crowded venues, with barely any breathing space, and squished and squashed • BARELY any crowd acknowledgment • Passed out people to your left and your right • Such awfully boring opening acts, you feel like leaving half way in between • “It’s okay, I guess spending 2.8k for 6 hours is going to be worth it, what if they don’t come again?”

• A memory of a night spent in close proximity of your fav artist, even if the sets he/she played didn’t really cut it.

Though there may have been more than slight over exaggeration on my part, I’m sure every concert goer can agree with me at some level.

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INTRODUCES

GT-001 GUITAR EFFECTS PROCESSOR Flagship Tone and USB Audio Interface in a Stylish Desktop Device BOSS is proud to announce the GT-001 Guitar Effects Processor, a sleek desktop unit with premium sound and an integrated USB audio interface. Equipped with a huge selection of topquality COSM amps and effects, 1/4-inch and XLR inputs, and much more, the compact GT-001 brings flagship BOSS guitar tones and advanced recording features to any home studio or mobile setup.

Multi- Effect Engine Inside the GT-001’s streamlined body is a full-featured multi-effects engine, with COSM amps and effects equivalent to the GT-100 Version 2.0, BOSS’ top-of-the-line processor for stage performers.

Dual effects chains allow users to create sophisticated tones with two amps and series/parallel effects routings. Advanced parameters include a channel divider for A/B switching of effects chains, either via a connected footswitch or according to frequency or dynamics.

USB – Audio Interface The GT-001 also functions as a high-quality USB audio interface for a Mac or Windows computer, with four-channel operation for enhanced flexibility while recording, re-amping, and mixing.

Users can listen to the GT-001’s amps and effects while capturing an unprocessed signal in their DAW, record processed and dry tones on separate tracks, and listen to a mix while re-amping and adjusting guitar tones through the GT-001. Flexible power via the included AC adapter or a computer’s USB bus offers great convenience, particularly when using the GT-001 for mobile recording with a laptop PC.

Guitar to MIDI The GT-001 includes a newly developed monophonic guitar-to-MIDI function that allows users to play MIDI instruments in a computer using a normal guitar. This cool function is great fun when working with Roland’s free Guitar Friend Jam software, and also lets users experiment with soft synths and MIDI sequencing in music production software.

Multiple Input Options -XLR Input In addition to a 1/4-inch guitar input, the GT-001 also has an XLR mic input (with phantom power) for capturing vocals and acoustic instruments. Specially designed patches for vocals and acoustic guitars are included as well, providing great sound for monitoring and tracking.

There’s also a stereo aux input for connecting a smart phone or drum machine for jamming when the GT-001 is not connected to a computer.

BOSS TONE Available as a free download for Mac or Windows, BOSS TONE STUDIO offers an intuitive graphical interface for creating, editing, and organizing GT-001 effects patches on a computer via USB. The software also provides an integrated connection to the BOSS TONE CENTRAL website, where users can preview and download free patches created by top guitar pros directly into the GT-001.

For more information, visit www.roland.co.in or BOSS.info.

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GT-100 VERSION 2.0

New Features Added to the Flagship COSM Amp Effects Processor GT-100 Version 2.0 !!! BOSS’ top-of-theline guitar floor processor gets a big performance upgrade, adding even more great features for stage and studio playing. Available as a free download for all GT-100 owners, Version 2.0 makes the flagship multi-effects more powerful than ever before, with new amps and effects, enhanced USB audio capabilities, guitar-to-MIDI conversion, BOSS TONE STUDIO support, and more.

New COSM Amp Effects & MDP Effects Version 2.0 adds two new COSM amp models—BGNR UB Metal and ORNG Rock Reverb—to the GT-100’s onboard stable of vintage and advanced amps. The update also brings BOSS’ innovative Multi-Dimensional Processing (MDP) technology to the GT-100 courtesy of Tera Echo, Overtone, and A-DIST effects. In addition, Rotary 2 and Acoustic Guitar Simulator effects types have been added as options in the FX1 and FX2 categories.

Enhanced USB Audio Capabilities The GT-100’s built-in USB audio interface has been upgraded to four channels for more efficient operation while tracking guitar parts in the studio. You’re now able to capture both processed and unprocessed tones at the same time on separate tracks in your DAW. You can also re-amp dry tracks back through the GT-100 while simultaneously listening to your audio mix through USB, making it easy to tweak parameters to achieve the perfect tones for your songs.

BOSS TONE STUDIO Editor/Librarian and New Patches With BOSS TONE STUDIO, GT-100 users now have a full-featured software editor/ librarian for editing and organizing tones from a Mac or Windows computer.

Available as a free download, the software also provides a direct link to the BOSS TONE CENTRAL website, where you can preview and download a growing selection of free GT-100 Version 2.0 patches directly into the effects processor via USB.

www.roland.co.in | www.facebook.com/rolandindiaofficial Hotline : +91 9953968024

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