The Score Magazine March 2019 issue

ISSN 0974 – 9128

Vol 12 Issue 03 March 2019

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India's National Pan-Genre Music MagazinE

BAND OF THE MONTH

IN INDIA

PARATRA

POLYPHIA ON THE COVER

ALSO INSIDE: INDIE REVIEWS, NAMM 2019 POST-SHOW REVIEW AND MORE.

CELEBRATING

music since 1842 MUSIC INSTRUMENTS & ACCESSORIES MUSIC EDUCATION MUSIC BOOKS

INNOVATE | ADAPT | OVERCOME Musee Musical Private Limited Chennai : 73, Anna Salai, Chennai - 600 002 Ph : +91 44 28522780, 28516474, Fax :+91 44 28585447, E : info@museemusical.in Hyderabad : Opp. Old Airport, Begumpet main road, Hyderabad - 500 016 Ph : +91 40 66101535, 66201535, 27762229, E : info@museemusical.in Pondicherry : Door. No.129, Saint Theresa Street, Pondicherry 605001 Ph : +91 0413 2223533, M : 9600009989, E : info@museemusical.in

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inside

12 24 25 29 34 36 39

ON THE COVER

TESSERACT

ARTIST OF THE MONTH

SUFIYAN MALIK

BAND OF THE MONTH

PARATRA

READ ABOUT

7 INDIAN RAPPERS THAT YOU NEED TO LISTEN TO FESTIVAL REVIEW

SULAFEST 2019 AN AFTERMATH

IN INDIA

POLYPHIA

KNOW ABOUT

WOMEN ACHIEVERS IN MUSIC

THE TEAM Director, Business Development Pragash VM Director, Marketing & Operations Sneha Ramesh Director Ajay Prabhakar Editorial Advisor Nikila Srinivasan Creative Director George Vedamanickam Creative Designer Manasi Doshi Content Contributors Shreya Bose Aditi Sarawagi Mukesh Amaran Souvik Chakraborty Navya C Gajendra Puri Goswami Cover Photo & Cover Story Photo Credit Steve Brown

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http://www.motherteresafoundation.org.in The Score Magazine is proud to support the Mother Teresa Foundation and urge our readers to join us in giving back a fraction of what we have been given.

Loud and Clear The S360 combines main monitor performance with compact size, delivering a true reference even at high sound pressure levels. And with our GLM software, the S360 will intelligently adapt to your acoustic environment.

So if you need to really feel the energy in your music – or are working with large scale immersive film production – it is no longer a choice between power and precision.

Find out more at www.genelec.com/S360

Distribution by Sound Team T: +91 22 2881 4041 E: info@soundteam.in www.soundteam.in

Dwells On An Obscure Sorrow In Their New Album - SHREYA BOSE

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In the midst of our conversation, I pressed Tesseract vocalist Dan Thompkins to qualify their music. He took a few seconds, stared at an abandoned beer on the table and called it "Meshuggah meets Textures meets Michael Jackson".

I gaped, but we were running out of time and I couldn’t ask for specifics.

As an artistic engine, Tesseract puts out music driven by wildly disparate influences and motivations. If you are looking for some kind of guiding ethos, the closest you could come to identifying one would be a brand of introspective honesty. They do what feels right for each concept they are exploring in collusion. For Polaris, Dan's harsh vocal throttle was discarded in favour of more brooding exhalations.

The harshness has returned on their latest album Sonder, but has been deployed with an almost calligraphic prudence.

Their albums are very distinctly "concept", obsessed with crafting worlds out of ideas, each tracing a prolonged meditation on some human tragedy or psychological wonderment. What do I mean? "Sonder" denotes acknowledgement of the fact that other people build and experience lives as immediate, as pertinent and as vivid as one's own. Essentially, it is a deconstruction of empathy, done with the intention of dismantling self-centered delusion. A sentiment drawn from passing through numberless unfamiliar lands, the band weaves the idea into a sonic combination of belligerent precision and stark minimalist withdrawal.

It is hard to have a lukewarm opinion about the band, because they offer no lukewarm fantasies. Despite being what guitarist James Monteith calls "still very much a bedroom-based band", their melodic offerings exhibit an effortless dexterity. Either they rehearse endlessly, or familiarity with complexity is just part of their creative zeitgeist.

In conversation, they offer generous expansions on ideas that they have possibly talked about far too often. On stage, they partake of stunning spectacle that invites exaltation. The headbanger standing right next to me in the 2018 Mumbai gig had brought his girlfriend who clearly hadn’t caught these guys before.

She tried to slip away from the jostling crowd, but he pleaded with her to not miss Deception. Within a couple of minutes, she was trying to slip into the moshpit.

Here’s what the band had to say when they carved out time for us in Mumbai.

We are aware that you don’t like to identify or label your sound as exclusively ‘djent’.

But since you tend to be as considered one of the bands representative of the genre, what do you think of the state of the genre?

More specifically, what do you think of the word in relation to your music?

Dan Thompkins: I’m slightly conflicted. I like the word, but I also don’t like it. Oversatured, I think, is a good way of explaining our reaction to it.

There’s a lot of bands doing it; playing within this genre. You can see, throughout time, how different genres have come into being on the back of each other.

They’re doing one particular thing, and then it grows as a genre. And djent has become, almost like a small version of numetal. I don’t think, necessarily, that any of us would ever refer to ourselves as ‘djent’, purely because every record we have created sounds very different from the first one, which was definitely more djent-sounding.

We kinda have different sounds, and it is hard to conform to the particulars of a single genre.

Tesseract is known for expansive, evocative storytelling, which is reflected in the length of your albums. In the light of this, why is Sonder only limited to 36 minutes?

Dan: Quality over quantity. It is one of those artistic ethics that we have always adhered to. Also, we like to do things differently.

To put it simply, people expect large albums. Whenever I listen to an album that is 30 or 40 tracks long, I get bored, sometimes straight away. For an album of that length to sustain the quality of music is also quite rare.

I also feel like the replay factor of Sonder is quite high, even for myself. By the time I get to the end of The Arrow, I often feel like I want to listen to it all again.

During the making, that was a certain aspect that we quite

liked about Sonder, and one we haven’t explored in the past.

Of course, that’s not to say that from now on, every album we release will be 36 minutes long.

But we are trying something different, thinking and crafting outside the box, trying to be creative with as many facets of the music as possible.

Who knows, the next album might actually be 20 songs long.

But it is still very much a concept album.

Ironically, it is possibly the most conceptual album that we have ever created.

Which one of you went to The Dictionary of Obscure Sorrows and found the word Sonder?

Dan: That was me. I came across the word about 6 or 7 years ago. I mean, I discovered The Dictionary of Obscure Sorrows a couple of years ago, but I have been aware of the word ‘Sonder’ for several years.

I just remembered the word, and I revisited it by googling it. I realized that it was coined

by John Koenig (the Swedish storyteller). The word has a feel, a vibe which each of us have experienced as touring musicians passing through different lands, different cultures, traveling the world.

And often, we are bystanders, perhaps driving through a town that passes quite quickly.

It’s an interesting way to be, looking in on other people’s lives like that. What are they doing? Where are they going? What’s happening in their day? Are they worried about something that we can’t relate to, or something that we can relate to very easily?

I also think it was just a nice way to include our fan base in a more creative way.

Right. You also invited your fans to send in recordings, some of which have been incorporated in the album.

Dan: Yea. So, it wasn’t just the concept of Sonder that we

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wanted to talk about. It was an inclusive exercise in which we drew people in to participate with their own unique stories.

And also, I guess there is an underlying message of trying to highlight the way we live these days – with an element of tunnel vision focused on our screens. In that light, I think it’s good to have a more expansive outlook on life, and this album tries, maybe, to instill a bit of perspective into people’s lives. Just take a step back, and look at how someone else is living.

Coming from my generation, I still remember telephones, the ones on a wire. There was no internet. Now I have kids myself, and seeing them grow up in such a technologicallyoriented world – it’s quite scary in a way.

I’ve seen how relationships develop around technology and how damaging it can be.

For example, if you have a face-to-face conversation with somebody, you get to read body language and get to know their reaction in the context. When it’s done through social media or technology, you miss out on a whole spectrum of emotions, and relationships resulting from that can be quite lacking.

A lot of this thought went into composition, and Sonder just tried to pin the whole cosmology of thought into one idea.

Are there any stereotypes attached to Tesseract’s music that you find irksome or incorrect?

Dan: Not really. We’re quite relaxed as individuals, even reclusive at times. We don’t try to dip into the world of musical politics.

But when it comes to stereotypes, I think one that still endures that is the one that describes the general metalhead as a male in their early to mid-20s. But that no longer exists for us. Our metal fans represent a huge demographic. Old, young, male, female, different sexual orientations – there’s a whole spectrum of people who love Tesseract.

Interestingly enough, we’ve discovered that the audience varies by album. So, you can quickly identify people who listen to songs from One, or want to hear songs from Concealing Fate or from Sonder.

I think every one of our albums has a different fan base, and I think that is born from the fact that we tend to be very creative, and always try to do something different with each one. We don’t try to recreate the sound of a previous album.

Is there a tedious aspect to composition and putting out music?

Acle Kahney: Composition is the fun bit. Its touring that can get a bit tedious because you have to keep doing the same

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thing every day. Composition is the fun bit even though it can be a long process.

So, the concept of Sonder – that other people live lives as vivid and as dynamic and your own- how did that become a topic of discussion for an album in the first place?

Dan: This was one of the first times that we came together as a band and confidently decided that this was the direction to go in terms of concept. Sonder is one of those ineffable emotions, one of those things that is especially hard to articulate or describe. I think this might be the first time when I remembered a word that really resonated with me. I brought it to the table, and everybody else related to it so strongly that we decided, as a band, that this was the way to go artistically.

Since good art is often interdisciplinary, if you had to pick a certain book or film to match the ethos of this album or your music in general, what would it be?

Acle: Charlie and the Chocolate Factory.

Dan: We actually have been listening to a lot of film scores lately, both before and during the creation of Sonder, so that would make sense.

Since you have been to India a few times, does anything really stand out anymore?

Dan: At this point, the one thing that does stand out is the traffic and the heat (laughs). It is completely bonkers. But needless to say, the diversity is always noticeable here. The energy of the people – its completely unique. You don’t see this anywhere else in the world.

What was the back story to the artwork for Sonder?

Amos Williams: So, imagine that you are walking down the street in Mumbai.

Now, you can imagine that straight away.

In your head, it’s a level of familiarity that is subconscious. The artwork was an attempt to replicate that – something that would represent humanity in such a subconscious and immediate way.

Everything that we have been, everything that we are and everything that we will be in the future - it was an attempt to create an icon that could represent all of that, perhaps even represent a concept of humanity. Hopefully, you look at it and it leads you down a path that takes you to a memory of who you are.

Facts About Tesseract To Impress Your Prog-Loving Date

Our Current Obsession AKA Tesseract On Loop

Smile (Sonder) Juno (Sonder) Of Matter - Resist (Altered State) Of Mind – Exile (Altered State) Of Reality – Palingenesis (Altered State) Perfection (Perspective) Cages (Polaris) Utopia (Polaris) Hexes (Polaris) Seven Names (Polaris) Deception - Concealing Fate, Pt. 2 (Concealing Fate) Origin - Concealing Fate, Pt.6 (Concealing Fate). Actually, just keep

· In 2013, Tesseract was slated to perform at NH7 Weekender Bengaluru. They couldn’t, due to a sudden downpour. · Tesseract took birth in 2003 while founding member and bassist Acle Kahney was recording and writing with his band Mikaw Barish. · They have toured with Megadeth, and asked Dave Mustaine to get them beer (He did it, too). · They have also opened for Devin Townsend. · The name for their fourth album Sonder comes from John Koenig’s Dictionary Of Obscure Sorrows. · For Sonder, they used about 37 or 38 field recordings sent in by fans.

hitting replay on Concealing Fate.

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CSP -150

The all-new CSP Series gives you the ability to play the songs you always wanted to play, featuring state-of-the-art smart technologies and concepts that let you fulfill your dream of performing on a piano.

Introducing an innovative new way to enjoy the piano • Operate with your smart device • Start playing a song you like. Stream Lights will show you which keys to press • Enjoy performing with accompaniments, or even sing along!

Intuitive simplicity Enjoy simple, intuitive operation from smart devices with the dedicated CSP Smart Pianist app. Smart Pianist can be downloaded from the App Store.

No more frustrations!

The CSP will dispel any preconceptions you might have about playing the piano being a difficult, frustrating experience. The dedicated CSP app analyzes the music

you want to play and then creates a music score for you. All you have to do is follow the Stream Lights!

STEP-1: Song Select Pick a song, any song...Choose any song you like from your audio/song library.

STEP-2: Audio to Score Load the song into the Smart Pianist app, and the “Audio to Score” feature will analyze the chords and create a score instantly.

STEP-3: Stream Lights Now you’re ready to go! Let the Stream Lights guide your fingers as you play along with the song.

For the more committed performer…

When you’re ready to take on the challenge of solo performance, the CSP offers built-in songs for immediate enjoyment, or additional songs for purchase from Yamaha MusicSoft (https://www.yamahamusicsoft.com). And even if you’re not confident in your own playing abilities, you can trust the Stream Lights to show you the way.

Solo, band, orchestra, and more!

The CSP lineup offer unrivaled capacity for musical expression, with a huge variety of instrument voices that belie their simple, elegant exteriors. You can also enjoy ensemble sessions with rock or jazz bands, and even bossa nova orchestras, simply by assigning Styles.

Want to sing as well? The CSP comes equipped with a mic input, and will even harmonize with you as you sing!

Flexible connectivity CSP Series Clavinova are equipped with a terminal for direct connection to PCs and iOS or Android devices.

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Products launched at

The NAMM Show 2019 yet again brought together the entire music fraternity uniting music, pro audio and event technology companies. This show gives exhibitors an opportunity to reach out to retailers, and also their end consumers.

With a display of thousands of synths, instruments, controllers and software on display, this show is the mother of music tech gear in the world!

Joe Lamond, President and CEO of the show commented on the key changes he has seen in the music industry “I see an interesting situation developing. On one hand, technology is driving incredible innovation, electronic instruments, recording, and technology used in live events are better, faster and less expensive as ever. It also becomes obsolete quickly as the next model is even better than the last. And at the same time, I see an insatiable appetite for handcrafted, custom made, beautiful instruments and gear that will last forever” We bring to you some of the key products launched this year at the show!

AKAI PROFESSIONAL FORCEStandalone Music Production/ DJ Performance System

ASTON MICROPHONES STEALTH Microphone

Trio 11 Be Monitors

• It is used for Broadcast, Stage, Live, Studio or Podcasting.

• It is a 3 way speaker with a tweeter, woofer and a sub-woofer.

• Universal Mic that works like a dynamic microphone.

• It is known for its extreme neutrality, precise stereophonic imaging and ability to resolve most

• Remix, mash-Up, DJ and produce with 6 Track types for complete audio / MIDI / CV sequencing and performance capability

• Class A built in mic preamp with audio detect 48V Phantom power.

• No computer required. It’s standalone

• Built in cloud lifting device.

• 7" full color capacitive multitouch display

• It has 4 voices on it that work on active and passive mode.

• 4 powerful, fully-editable synth engines • 16GB of on-board storage

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FOCAL

minute sonic details.

• Dynamic and power subwoofer • You can use the speaker in vertical or horizontal direction.

• You can use it as a 2-way or a 3-way monitor by switching the focus mode.

Mix Fi- Studio headphones were given an Emmy Award for outstanding achievement in engineering development.

These are the first headphones ever to have won this award!

FLUID AUDIO Strum Buddy- Mini Electric Guitar Amp Amplifier • 6 watt Amplifier • It comes with a 40mm neodymium magnet speaker • Has a personal guitar monitor/ amplifier for Metal.

• Rechargeable battery that comes for 3.5 hours.

• Plug and Play!

SRI-2: USB Interface • Home recording technology • Has a strong headphone output and can control two pairs of speakers.

• Used by world class artists, musicians, sound engineers and also popular shows like Westworld, NCIS, Grey’s Anatomy to name some.

• It has massive 40mm dynamic drivers inside to give you rich and detailed sound.

• They are custom moulded to your ears and contain up to six drivers in each ear

• Every pair is tuned and sculpted to give superior audio quality.

They come in four models: 000-28, OM-28, D-28 & D-18 • Includes a Sitka Spruge Vintage Tone System top, a dovetail neck joint, and natural protein glue construction that give it a rich tone.

ERNIE BALL

• Made from Aluminium and feature a lightweight rubber handle.

FX-50

• Acoustic space control lets you calibrate low frequency to your mixing environment.

MARTIN GUITARS

• They create s natural seal with your ear to block out ambient noise.

Axis Capo

• Seamless, transparent response in compact footprint.

• It comes in Black and Clear colors.

Modern Deluxe Range- These guitars have replaced the Vintage series and created to fit between the Standard Series guitars and the Authentic guitars. They are all about high performance technology with fantastic sophistication and traditional building.

• DSP controls with the crossover.

• Very similar to FX-8 but updated version.

• The strings are long.

ULTIMATE EARS

• USB powered and additional input for ipad or anything else you would like to connect.

• More EQ functionality.

• Most of them have a ball end which makes the installations faster and better tuning stability.

• You can see the unique design to be the most comfortable and personalized fit headphone.

It has a linkage system to keep the ear cups parallel at all times.

Ultimate Ears CSX- Customized In-Ear Monitors

• It has a plastic front that makes it look a lot cooler.

• They are suited for concerts and sopranos.

• Built-in audiophile amplifier inside so it’s perfectly matched with the drivers. You can turn on the headphones from inside and get the full power of the amp.

• Two channels

FX-80 Studio Monitor

Uke Strings

• Some featured include ultra-modern features like titanium truss rod, Liquidmetal bridge pins with red dots, and a composite carbon fibre bridgeplate that boosts volume without adding weight.

• The new neck shape is for maximum hand comfort up and down the fretboard!

• They are available in Black, Silver, Brown & Gold colors.

• These Capo’s are ergonomic and created to allow you to have a fast and accurate singlehanded key changes.

• Other features are similar to the FX-80.

Burly Slinky & Ultra Slinky Strings

BLUE MICROPHONES Ember Condenser Mic • Great for vocals and instruments.

• Great off access rejection to bring down noise.

• Open and detailed sound • It delivers strong, clean signal with ample headroom.

• The compact design keeps a lot profile on camera.

.018, .030, .042, .052”

Authentic Acoustic Guitar Strings

• Two sets offered in the classic slinky lines of strings.

• Known for superior performance

• Burly is a hybrid with a power and skinny top.

It has gauges of .011, .014,

• It comes with the tensile-strength core wire, then tin-plate it on all six strings for added corrosion resistance.

• Ultra is a combination of regular and power slinky sets. It has gauges of .010, .013, .017, .028, .048”

• The strings are engineered and designed keeping the performer in mind.

• They have excellent tuning stability, corrosion resistance and great playability!

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Powercaster- It has a different hardware than what you are usually used to seeing. It’s got a hard bar and an adjustable bridge, medium-high output hum bucking in the bridge and a nice pickup for the neck.

Different feel and overall tone!

CASIO MUSIC INSTRUMENTS

Privia PX-S3000

Electric XII- It’s a purpose built-12- string electric guitar designed for folk rockers. It has a hardtail bridge and a 3-position pickup selector. The best part is the deluxe gig bag that comes along with it!

• Comes with lot of controls and also a touch panel • LCD display to keep the player in control • 700 sounds and 200 rhythms and song writing tools to play with • Hands-on control

Sixty Six- The classic Fender tone meet cool visuals! It’s a downsized Jazz Bass body! It has a flexible HSS pickup configuration. Sixty Six delivers unique tones that are suited for any genre of music.

• Designed to work with the free Chordana Play for Piano iOS/Android app •Optional battery power (AC adapter included)

FENDER

Meteora- Comes with a HH solidbody with extreme curves! This guitar is perfect for adventurous guitarists as it provides a wide sonic range.

SENNHEISER Neumann NDH 20 headphones • Flat and linear sound and response • Memory foam ear cups and a nice smooth response.

• Transparent sound with high resolution

BOSE PROFESSIONAL S1 Pro Slip covers • Available in four different colors • Acoustically transparent play through covers.

• It allows you to protect the S1 Pro while you are on the go against scratches

Carry cases for Tonematch Mixers Fender guitar Pedals

SOUNDBRENER

• Lost Highway Phaser- These pedals bring powerful, flexible analog phasing to your rig.

Foot-switchable Fast and Slow speeds!

Core: 4-in-1 smart music tool

• Downtown Express- Is known for its killer bass tone. It has an all-original Fender circuit and is your one-stop-shop for tone shaping.

• The Pinwheel- It has three different voices including a vibratone effect.

• Bubbler Chorus- It has a classic analog effect to shape your tone.

a smartwatch

• Great design and can be used as

• A music tool that can be customized as per the musician and the beats they want

• It works through magnets. You can attach it to the tuning pegs and then use it.

• It also has a decibel meter to tell you how loud the song was after playing. You can set up an alarm to tell you when you are too loud.

SARA TRANS Alternate Reality Series Leather bags for musical instruments

It has only 4 strings and customized pickups and you can do anything you want musically.

• All kinds of bags are customized based on the customers’ needs • They deal with guitar bags, drum bags, percussion bags, wind instrument bags, string bags, and hardware bags.

• Customers can get bags with their logo, and specialized fabrics.

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• It can store the 4 or 8 channel with power supply cables.

• You can use it as a watch everyday

• Has a contact tuner that is very accurate.

Tenor Tele-

• Nylon protective carry case

• The inside of the bags keeps the instrument snuggled and is handled with care.

SONARWORKS- SOFTWARE THAT CALIBRATES SOUND TO KEEP IT CONSISTENT ACROSS ALL YOUR DEVICES Sonarworks Reference 4 • A piece of software that calibrates speaker and headphone sound so you can have the most accurate reference in your room or on your headphone.

• Best you can take for your studio sound that is easy and affordable.

• It will make your mix sound the best as it is calibrated specifically for you!

INDIE

SHREYA BOSE

REVIE Lean On Love (Ady Manral):

Imagine you have had a hard day. Shouldn’t be too hard, right?

Especially if you live in the concrete labyrinth that is a city. Your boss gave you the cold shoulder, the office coffee machine was broken, and the cute girl on Tinder did not respond to your right swipe. Your cooking isn’t that great, and you’re too tired

to stay up for the 45 minutes it will take for takeout to reach you.

Now retreat to your room. Lean against the wall in your favourite corner, try to brew a cup of tea and take the first uninterrupted breath of your day. Now press play on Lean on Love.

And, there it is. Acoustic flourish rushes in on you, and you can almost see it. Mountains rising into a glistening summer sky. An unhurried chai at a roadside tapri. Unrecognised, beautiful wildflowers in your path.

Playful dogs and children bundled under layers of fur and woollens. The air smells of budding foliage, and you spot green as far as the eye can see.

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Ady Manral sings of his own life, nestled in the idyllic Landour community that defines, for him, home. It is emblematic of comfort and familiarity, of the simple liberties we take with the small worlds that we grow up in. The point of the song is equally uncomplicated value love where you can find it.

While not stylistically or thematically groundbreaking, the song is an emphatic happymaker.

Give yourself the space to reward yourself with some reassurance that love does exist for you to take recourse to after that bad day.

Saansein (The Mallroad Project): Whatever takes your breath away is worthy of art. The sentiment of having your breath stolen is also equally worthy, and possibly a challenge to represent. The Mallroad Project, a Delhi-born rock outfit does attempt something similar, but manages to accomplish a somewhat half-edges execution.

Immediately striking is the monotone that marks the vocal intonation. The words suggest the appearance of an individual akin to an epiphany, who cuts through loneliness, ennui and despondence but the idea is not matched by the a tumbling, predictable soundscape. While one cannot point a finger at the melodic structuring and extract some massive gaffe, one is not driven to recall it too often either. Seeking to represent a life event that shifts your existential tectonics, the band manages to measurably underwhelm.

E

EWS Apocalypse (Adido):

A revolution has come about in our countries

Chango Tales (Jatayu):

For crimes caused by your hunger and need

To build what you’ve come to call The American Dream” The hilarity of seeking a new world (which is no longer a metaphor, since Elon Musk actually intends to colonize Mars) is also addressed.

We’re living through a dark time, and it has broken Adido’s heart.

This Goanese wordmaker introduces himself with a debut single that attempts to engender introspection from the first beat.

The crux of the matter is an accusation. Humanity has driven itself dangerously close to devastation. Now, that’s not news. Our world is playing with the possibility of annihilation, all directed towards the dream of a “first world”. This is a particular target of Adido’s ire, and understandably so.

“I see what you’ve done with your industries

“Not realising the irreversible damage you bring And now you’re looking for a new world?”

Adido’s ideology is impeccable, and his verbiage is admirable.

While his wordplay can be considered unpolished, it resonates with authentic anguish. At key moments, however, his delivery is more akin to the auspices of slam poetry than hip-hop. For one thing, his breathplay is still nascent, in the midst of taking form. The rage characteristic of street rhymes is not noticeable, and one will have to revisit his subsequent works to seek the catharsis of spitfire poesy.

Interpretation is an exhausting exercise. Why else would millions of seemingly free will-laden people around the world agree with obviously awful ideas? Because paying close attention, formulating relatively unbiased opinion and going against the grain of popular agreement can be, if not fatal, distinctly tedious.

Why bring this up? Because to language-driven, communication-hungry humans, instrumental music can be simultaneously liberating and baffling. On the one hand, you are free to chip out your own tales around the sound. Conversely, if you are anything like me, you are obsessed with trying to figure out the artist’s intention, thereby googling too much and eventually bewildering yourself. Jatayu’s Chango Tales engenders this conflict, and keeps it going until the last minute of the EP.

Chango Tales is cunning craft, it's story vacillating between somber ominosity and sprightly skill. Like all good jazz, this Chennai-based quartet creates music that is deeply visual and redolent with story. Clearly, the band is aware of the history of the genre, as they take hold of their storytelling and expand it to slightly surreal proportions.

To quote Jatayu, “Who Is Chango?

Chango is I. Chango is You. Chango is the crimson fire that burns bright within.”

The promise of inclusiveness is delivered on throughout.

Through the lens of expertly woven jazz-rock offerings that are laden with Carnatic whiplash, they impart sonic tales that could range from Sunday morning stimulation to strange musings on a Thursday evening commute.

Basically, their music can be transposed to innumerable lives, and would fit with equal ease into each. Whatever the story playing in your head, it will find a pertinent soundtrack somewhere between Shingara and Pazhi.

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| ARTIST OF THE MONTH |

Sufiyan Malik Tell us how and when you decided to pick up the rabab ?

What are your thoughts on the Indie music scene?

After I mastered my spanish guitar skills and won the Kashmirs got talent bagging the 1st position, many people started playing the same style and I was told by my grandmother and other family members to pick up the kashmiri Traditional instrument especially Rabab. I also thought it is only upto us kashmiri youngsters either to let this culture die or to make efforts to keep it alive. After that picked up rabab and I’m in love with it till now.

I think after a year indie artists will create a boom in India. Hardly anyone gets in bollywood, all are independent and are doing great in music. Artists you’ve collaborated with and your experience

What’s your favorite thing about the instrument?

The sound of the instrument just touches your heart. The echo from the 16 sympathetic strings give goosebumps to the people hearing.

How did you enter the music scene at first? What challenges did you face?

After winning Kashmirs got talent I was already in the scene. I made a music video called Firdaus in which I played the theme song of Pirates of carribean and fused it with my composition. It went viral on Social media and got a lot appreciation from around the world.

The challenge was to make people except this change in music. It is tough to get appreciation from kashmir.

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I have collaborated with many musicians for music videos.

Collaborated with Yawar Abdal on one of his single ”Baal mareyo”. While on my USA tour collaborated with musicians from California. Performed a poetry set with reowned poet Zareef Ahmed Zareef. Collaborated with artists in pune and formed a collective band. Experience was amazing, all loved the concept of my music.

Who are you inspired by in your genre of music?

I was inspired by old kashmiri musicians. I used to listen to a lot of old kashmiri songs in mehfils(Gatherings) where Rabab was used a lot. Got inpired, transformed and fused it with western instruments that gave it a new sound. People are happy back home about what i am doing

Tell us about your upcoming projects Soon a collaboration with Gajendra Verma on a song and a collaboration with Alif Band is on the way. Scoring for a bollywood movie is also planned for this year and also some experimental music videos with Rabab is in the making.

| BAND OF THE MONTH |

PARATRA Tell us how you guys came together and started the band and current band structure In Oct 2008, Samron and me met at a common friend's party and discussed the idea of having a sitar player in his metal band System House. We started jamming and tried to explore the possibilities. As we jammed and discovered each other's music styles, we realized that sitar can actually be a mainstream instrument in any form of music rather than just fusion and we did not have to limit ourselves to thrash metal. There on we were joined by Daniel Dsouza in 2012 and together 3 of us started Paratra as an experimental psychedelic rock project. We came out with an EP in 2013 and started performing in Mumbai venues.

Daniel left the band in 2014 and we took a hiatus for 2 years to look for another vocalist and direction for the band.

In 2016 we started experimenting with electronic music and immediately got hooked on towards the new limitless sound, with vocals by Siddharth Basrur and production by Vishal J Singh.

In Nov 2018 post our maiden Europe tour, Samron resigned from the band. I will be taking Paratra forward along with producer Vishal J Singh, drummer Aritra Basu, guitarist Saakallya Biswas and vocals by Siddharth Basrur and Girish Pradhan.

What according to you makes your music unique?

Our biggest USP is we are not genre bound. We can play our music at rock concerts, electronic festivals, nightclubs, fusion gigs, metal gigs etc. All our tracks talk about positivity and inspiration. Some of our tracks are based on Hindustani Classical raagas that is very unique in indie music.

How do you leverage digital platforms in promoting your music?

Both our albums Genesis and Testament are available on all digital platforms. It's the easiest way for people to discover you if they are looking for something fresh. At the same time, depending for returns via digital sales is futile unless one goes viral, so it is a slow and patient process to build your followers and content.

Who are you guys inspired by in making music?

I listen to a plethora of artist across different musical backgrounds. Right form Paegen rock to Rajashthani folk, from acid jazz to Bollywood, there is inspiration everywhere! but to single out, my God of Music is Ustad Nusrat Fateh Ali Khan.

Tell us a little bit about your jam sessions and how they look Our production jams generally don't have all band members together. It's always Vishal and me working with 1 more member.

Practice jams for gigs are intense and generally end up in heavy dinners at junk food joints!

Which has been your best and most favorite performance till date and why?

Our show in Lisbon, Portugal on the 10th of Nov 2018 was by far our best performance. As an Indian band on our first Europe tour we were all going through a lot of physical and emotional stress and that day we all let it out on stage. We decided to play tracks off our set list and just go with the vibe. The audience was also very charged and within our set of 30 mins, we had made the audience head bang, sway, jump, growl and chant.

How do you keep abreast with the current competition in the Indie scene?

Indie bands in India are quite a close knit community and I do not believe there is competition within the community. We actually have to compete with cover bands / bollywood bands and that is our nation's harsh reality. The only way Indian indie music is going global is when we start focusing on promoting original music.

Upcoming albums 2019 will be releasing 2 new albums.

One is our third album in electronic rock while the second one is going to be progressive techno

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Interview with

MIKE BLACKMAN

Managing Director, Integrated Systems Europe

What were the biggest highlights from ISE 2019?

We had two very different projection mapping showcases at ISE 2019. The new nhow Amsterdam RAI hotel, just next to the exhibition centre, became a projection canvas, with specially created content mapped to the pattern of the windows. And we were able to augment this with video footage shot during the show, so the projection was a commentary on ISE as well as being a wonderful showcase for some of the technologies on the show floor.

There was also the world premiere of Sviatovid, Bart Kresa’s amazing projection mapping sculpture. This was an amazing spectacle, with highly detailed images, constantly changing, synchronised to a musical soundtrack.

Bart Kresa also gave the Opening Address at ISE 2019, which was another highlight. He talked about some of the pioneers of projection mapping – some of whom are not well known – as well as discussing some of his most eye-catching projects in recent years.

Finally, I must mention our Closing Keynote from Tupac Martir. Both he and Bart Kresa are creative people who use the technologies on the ISE show floor and put them to use to dazzling effect within live events. He is passionate not only about technology, but also in his insistence that it should be used to deliver original ideas.

We saw a lot of interesting and exciting technologies exhibited this year. What’s your take on the changing technology rapidly?

When ISE started, it reflected the changing technology landscape of the AV and systems integration industry, but it now helps to drive it. Exhibitors build their product development plans around what they can launch and announce at ISE, as they know it has a bigger audience and a greater influence than any other show. The show is all about systems integration – combining different technologies to create something that hasn’t been done before – and so many of our attendees come to keep up to speed with the very latest developments in their particular field.

And you’re right that technology is changing rapidly – the pace of change is probably faster than it’s ever been. That makes it a very exciting time to be involved in the industry, though the pace of change brings its challenges as well.

With regard to specific technologies on the show floor – we saw a lot of 3D projection mapping this year (as

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well as outside the RAI, as I’ve mentioned). Other significant areas were 8K displays; smart building and IoT technology; AI-equipped devices; conferencing and collaboration technology; LED displays in a huge variety of curved, flexible, transparent and narrowpitch options; and AV over IP and audio networking.

Through the conferences and summits at the show, what is it that you are trying to achieve?

Most of our attendee growth these days comes from end-users – people who use AV equipment in their working lives, rather than being employed in the AV ‘channel’ – and these end-users work in various vertical market sectors. So it’s important to us to provide content tailored to these attendees that addresses technologies and business strategies that are relevant to them.

The conferences and summits also sit within a broader framework of professional development at the show.

As well as being a place where the industry comes together to do business, ISE has always been somewhere where AV and systems integration professionals learn new expertise and skills – and AVIXA and CEDIA, the two trade associations that own ISE, have always been strongly involved in delivering this.

If there is one thing you would love to add on to this show, what would it be and why?

Another hall at the RAI! Regrettably the venue hasn’t been able to keep up with the pace of growth of the show, which is forecast to continue over the next decade. This is why we will be moving to the Fira Barcelona from 2021 onwards. We’re excited about the move to Barcelona, but we will be sorry to leave Amsterdam – both the RAI as a venue and the city as a destination have played a big part in the development of the show over more than a decade. We’ll definitely have mixed emotions when the show returns there for the last time in 2020.

Could you tell us a little bit about the number of attendees this year and how much has it grown from previous years?

We had 81,268 registered attendees, which is an increase on last year. Also, the second day of the show, Wednesday, saw the most people through the doors on a single day at any show at the RAI, ever. For ISE 2020, our priority is getting a more balanced attendance pattern across the four days

rather than increasing the overall number of people.

We’re making progress there: this year, our Friday attendance figure passed 20,000 for the first time.

Would you like to share what one can expect from the 2020 show?

It’s a little early to say. At this stage we are undertaking research among attendees and exhibitors at this year’s show, and their feedback will us help to shape ISE 2020. But it’s fair to say that we want our final show at the RAI to be a special one.

What’s one unique selling point for the ISE show?

Not only is ISE growing, it continues to attract new faces among both the attendee and the exhibitor communities. Just under a third (32%) of the registered attendees at ISE 2019 were attending the show for the first time, and around a sixth (17%) of the exhibitors were newcomers to the ISE show floor.

This is something that both communities appreciate – they know that they are guaranteed a different experience simply because they will encounter suppliers and customers that they haven’t met before.

How important is Indian market for this show?

We’re in the midst of analysing the data from ISE 2019: people from over 100 countries came to this year’s show, and I expect India will be in the top 20 once again. The country has one the fastest-growing economies in the world; economic growth and digital transformation go hand in hand; and AV is one of the key enablers of digital transformation. So we see India as a very important market, both now and in the future.

Your message to people in India?

ISE is co-owned by AVIXA, which organises InfoComm tradeshows all around the world – including InfoComm India, which takes place in September in Mumbai. If you can’t come to ISE in Amsterdam, then please visit InfoComm India. It’s the only professional AV and systems integration show in India with the backing of this major global trade association.

Even better, come to both shows! That’s not as fanciful as it sounds: even though the USA hosts the largest InfoComm show anywhere, we find that numerous US integrators and other AV professionals come to ISE as well, to keep fully informed about the latest technologies and solutions on the market.

No other show on the planet has the breadth and depth of professional AV technology that ISE has.

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MUSKAN GOSWAMI

7 Indian Rappers That You Need To Listen To T

he Indian rap scene is at its best in today's times.

A couple of years ago, rappers weren't given much attention. Fortunately, the situation changed with time and now rappers like Raftaar, Badshah and Yo Yo Honey Singh are a household name. There are various other artists who have been doing remarkable work and you need to listen to:

1.Naezy : Naezy a.k.a. Naveed Shaikh rhymes in Hindi and

Marathi. He was brought up in the chawls of kurla, a suburb in Mumbai by an orthodox Muslim family. At the age of 22, he released his debut album “Aafat” in January 2014 on YouTube.

The videos were shot on D zero budget on an iPad. Bombay 70 is a documentary based on this rapper. Gully Boy, a movie directed by Zoya Akhtar is inspired by him.

Famous songs: Afat, Aane De and Asal Hustle 2. Divine: Divine a.k.a. Vivian Fernandes is a 25-year-old Hindi rapper from the slums of Mumbai. He rose to fame with the release of his single ''Mere Gully Mein” which featured Naezy.

From then onwards, Divine has collaborated with many famous artists and sung for various Bollywood movies.

Famous songs: Mere Gully Mein, Apna Time Aayega and Kaam 25

3. Brodha V : Brodha V a.k.a. Vighnesh Shivanand is a Bangalore-based English rapper who started rapping at the age of 18. He released his first mixtape ''Death Punch” in 2011. He organized the first Indian cypher in Bangalore in 2014.

Famous songs: Aathma Raama, Aigiri Nandini and Let Em Talk

4. Pardhaan : Pardhaan is a Haryanvi rapper who is known for his versatility. This 25-year-old rapper has being singing since he was a child. Over the years, Pardhaan has collaborated with various popular singers including Bohemian.

Famous songs: Haryana Roadways, Power Peg and Gaddi

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5. Smokey the Ghost : Smokey the Ghost a.k.a. Sumukh Mysore is an English rapper who started practicing about 12 years ago. He's a former protein biologist with a patent in his name. Smokey gained popularity with the release of “Machas With Attitude” on YouTube. He has worked with many artists and commercial movies like Chennai Express and Byomkesh Bakshi.

Famous songs: It Doesn't Hurt To Be Nice, Aerate Sound and When I'm Gone

6. Emiway : Emiway a.k.a. Sharukh Shaikh is a Hindi rapper

based in Mumbai. A 23-year-old artist, who gained popularity with his song “Aur Bantai”. Recently, the rapper came under a lot of spotlight due to his Rap Battle with Raftaar on YouTube.

Famous songs: Kadak Ban, Samajh Mein Aaya Kya and Boht Hard

7. MC Mawali : MC Mawali a.k.a. Aklesh Sutar is a Marathi &

Hindi rapper who is a member of the Swadesi crew. Swadesi is a rap movement which aims at reaching out to more people in India by rapping in their mother tongue. The singer is known for composing songs which talk about a society which has gender equality. Mawali's songs also discuss about respecting women and westernisation of Indian culture.

Famous songs: Laaj Waati Kai, Gondhal and Kar Natak

A

t MICA, the School of Ideas, we find novel ways in which to express our individualities.

One way through which we make our ideas and opinions come to life is through a unique amalgamation of music and literature.

Kultura is a Polish word which means ‘culture’ in English, and it quite satisfactorily encapsulates all that Kultura means for us. The confluence music, poetry and literature is nothing short of an explosion of culture that comes every spring.

The second edition of Kultura, happened on the 24th and 25th February.

This year, there was something on offer for everyone.

And the scale and grandeur of the event was unlike what MICA had seen in the past. With one of the main driving forces of Studio7 being the championing of upcoming and indie talent across the music industry, Kultura proved to be the perfect platform to realise this.

Organised in association with Crossloop, the makers of India’s first designer earphones, Kultura 2019 was a spectacle to behold.

The two day fest began with a Music Pop Quiz held in association with Headbangers Merchandise. All music related trivia from all possible genres got representation as the contestants battled to reach the final prize, but it would be reasonable to say that Bollywood music got its fair share. However, with upcoming indie artists such as Prateek Kuhad, Ankur Tewari and the like making a slow but sure migration towards Bollywood music, while of course also retaining the indie flavour that got them where they are now, there is an increased interest towards the not much publicised indie music scene, driven mainly by the younger generations. Despite this fact, those of us who are less impressed by the mainstream Indian music scene and crave for a breath of fresh air that takes the

form of indie music, still find it difficult to search for good quality indie music which is so hard to come by, given how there is next to no publicity in this genre.

That being said, the music quiz proved to be the platform for quite a few music enthusiasts to prove their mettle, and also get rewarded in this endeavour. In the spirit of keeping the musical and pop culture tradition alive, Headbangers Merchandise sponsored the prizes for the winners of the quiz, who became the proud owners of a couple of very funky T-shirts from bands such as Poets of the Fall, and other official merchandise from bands such as Black Sabbath.

Day 2 had us exploring the ‘creation’ aspect of music. A guitar workshop was conducted in collaboration with Nidus Academy of Music and Arts, Ahmedabad.

Finally, in the night of Day 2, the final day of Kultura 2019, it was time for the one act that everyone was looking forward to. The pro-night, where the headline act was When Chai Met Toast, managed to exceed all expectations, making a night like never before. Described as creators of “honest, happy music”, whose tunes are reminiscent of the likes of Mumford and Sons, The Lumineers and John Mayer, When Chai Met Toast are one of the few acts that have successfully blended Western and Eastern influences in music and created songs that would make one smile.

Whoever called this neo-folk act the next big thing on the Indian indie scene was not wrong.

At Kultura 2019, When Chai Met Toast were able to prove that music speaks a language of its own, and nothing can defeat good quality music.

When Chai Met Toast talk of the ‘joy of little things’ and of ‘finding yourself’ in their tracks. And we at Studio7, having assumed the mantle of furthering the cause of music at MICA, believe that amidst the cheering and the singing along at the pro-night, we all found a little of ourselves.

When Melodies Reigned at MICA Devishi Dar, member, Studio7 MICA

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KARISHMA D'MELLO

Caught in a mosh:

The evolution of a ritual

A

long with the rock fists, the head banging and the crowd surfing, another ritualistic and more aggressive tendency that prevails at live concerts is “moshing” or slam dancing. While this has become almost inevitable at live metal concerts and continues to find its way into a lot of genres, it owes its roots to the hardcore punk of the late 70s in California.

Starting off as mindless dances, it soon found its way to a much more aggressive version of itself, thriving in the electric atmospheres created by bands like Minor Threat and Black Flag.

However, over time, while punk evolved into a less hardcore version of itself, metal continued to find its way into extremism – creating the widespread rise of trash and increasingly heavier metal. This in turn brought with it the infectious spread of active physical expression that would ultimately take form as mosh pits. The release of Anthrax’s “caught in a mosh” is popularly regarded as the tipping point for setting the practice into full swing.

Of course, no one expected crowds to sit cross legged, eating tuna sandwiches at a Slayer concert, but the ritualistic demonstrations of moshing have often taken things to the other end of the spectrum, becoming a breeding ground of violent, physical aggression that gave rise to brutal repercussions.

In 1996, in the very first instance of its kind, a girl lost her life at a Smashing Pumpkins concert, after being “pushed too hard” into the pit, triggering what was a fatal heart attack. The band, have since then taken a strong stance, advocating against the practice, along with several other musicians. This was by no means the last of tragic incidences, and soon other artists began to follow suit, and ban mosh pits at their own shows. The animalistic frenzy within the crowd, often likened to demonic possession, has often pushed its own limits and caused a number of fatalities at live concerts.

Triggering a curiosity within “non-moshers” (for lack of a better word) and their counterparts alike, the psychology behind this hardcore ritual has been studied for a long time. One of the most notable (and oddest) of discoveries owing to a study conducted

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by scientists at the Cornell University in the United States of America, where they concluded that individuals within the mosh pit behave an awful lot like gas molecules – moving and coming in contact with each other in the way that particles do.

Another analysis inferred that the crowds were mimicking tribes of Papua New Guinea, where communities would divide themselves into groups and behave in some sort of “controlled chaotic” fashion.

Ultimately, most of these studies seem to fixate on the presence or desire to foster a sort of internal spirit of community and camaraderie within fellow fans of a specific genre of music.

This is especially prevalent in genres that tend to attract a more alternative audience, that perhaps find themselves alienated from the public in more conventional situations. The freedom to exhibit uncontrolled, pent up emotions in a (non-literal) “safe space” can also be extremely cathartic and is often regarded as a “mentally healthy” practice, for a lot of people. Now of course, this isn’t always the case and sometimes, it can also be a result of “peer pressure” or an accidental shove.

With the increase of injuries, legal allegations and the growing lack of space at concert venues, this practice seems to be dying out. Some countries along with a few organizations and concert venues have sought to ban mosh pits completely. However, much like any questionable ritual, the world hasn’t witnessed its last pit, yet. While the practice might be restricted to a few select, underground venues, they exist nevertheless, and probably always will – in some nook or cranny of the world, for those looking to find them.

How different it is to express emotion via an instrument like Sarangi?

How was it performing for the 24 Hours millennium concert in Paris?

Please share your experience.

Sarangi used to be known as SAURANGI, an instrument with hundreds of Colours, and considered as the most expressive and emotional Musical Instrument, Closest to human Voice and the only Musical Instrument kept right next to the heart and played by the Cuticles (The top part of Finger Nails).

It was an amazing experience as I was the only Sarangi artist and there were many vocalists and my father was the only solo Sarangi Artist so I played around 9 concerts with all artists including my great Father. It was quite challenging for me but I was able to do that with the blessings of my Guru.

How did your father’s playing influence you in the world of Sarangi performances?

I grew up listening to my father as the most influential Sarangi Legend. I had the privilege of accompanying him on of his worldwide concert tours and he was the only Sarangi Player who had the maximum number of Sarangi Students. He was not only a great performer but also an amazing teacher.

What was one important tip given by your father which helped you as a performer?

He used to say Khushboo Bano Hawa sab jagah le jeaygi( Become the FRAGRANCE and its air will take u all over the world) and it's important to be a good human being before you become a great Musician.

How different and challenging it is to be a composer compared to a performing artist? What were the scenarios you faced when you became a composer?

When a musician starts to make his own music, he becomes a composer of the special genre. To be able to compose different genres of Music, one needs have the vast knowledge of Music by Listening and learning with other Senior musicians.

I became a performer at a very young age because of the knowledge given to me by my guru and the experience of performance he shared with me but slowly I started composing again with the help of my father, my Guru and my big brother Sarvar Sabri who is an excellent Tabla Player and a Composer living in Birmingham UK.

Your greatest influences in musicartists or musical personalities?

My father Ustad Sabri Khan sahb, elder brother Ustad Sarvar Sabri sahb, great Ustad Zakir Hussain sahb, Pt. Ravi Shankar, Ustad Ameer Khansahb, Pt. Bheemsen Joshi.

While communicating and collaborating with western musicians, what do you think are the biggest challenges faced by Indian classical musicians?

In conversation with

Kamal Sabri Indian Sarangi player

The most important thing is the openness of a musician to respect and accept other musical traditions and their vast repertoire of music.

Mostly, Indian musicians are trained to improvise and most of the Western Classical musicians are not trained to improvise so the biggest challenge with collaborations is to improvise in a way that it sounds like a great meeting of souls coming together.

Can we bridge the much present gap between Indian Classical and Western Classical music?

Well, I think we have bridged quite a lot and for more, we are still working hard.

Do you think a performing artist should confine to the crowd’s favourite raagas or get a bit inquisitive and try out rare ragas?

I think both would be nice to play for the crowds favourite ragas as well as rare ragas.

Your valuable piece of advice for young aspiring musicians who wish to take up Sarangi playing as a full-time career.

Find a good guru, respect his teachings and work hard!

My Father and Guru used to say Dikhya (to see) Seekhiya(To learn) Parakhiya(to practice) Kartabiya(Then the Miracle Happens)

Tell us about the stamp recently launched giving a tribute to your dad I think its great way to show the respect the contribution of my Legendary father and to Indian Classical Music by the Govt of India.

As he was also a musician who was part of India's Independence.

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NAVYA C

Carnatic Classical Raagas in Folk Music

T

he term folk music is quite obvious and to the pointthe genre which appeals to the common people and everyone can easily get hooked to it instantly.

The beauty of folk music lies in its utter simplicity and straightforwardness in presentation. The rhythms are quite catchy and keeps the listener entertained right from the word go. In a country like India where most of the population used to live in villages with agriculture as a main profession, folk music has its strongest roots with various regions and language dialects. There are very few instances where folk music couldn’t capture the listener’s attention because of this sturdy foundations and keeping up to external musical influences.

Interestingly, folk music is also dependent on Carnatic Music to get the base tune and make it simplified and more appealing to the masses. While the rhythms are much simpler, funky and experimental in folk music, the utter classicism is never out of the scene. Raagas like Yadakula Kambhoji, Shankarabharanam, Abheri and of course Madhyamavati were extensively taken into folk music to give it a rich feel. However, the presentation of these otherwise grand ragas is done in a brilliantly toned down manner by bringing a new dimension to the scale!

Another interesting aspect which comes in folk music is the literature involved with it. While Carnatic music is heavily dependent on the devotional aspect, folk music is more non-conformist and explores various contemporary themes. We have seen instances where folk music also threw light on socio- political aspects of a timeline with a tinge of funkiness and also revolutionized the way music is perceived.

Folk music also used Carnatic raagas in the most obvious scope such as mythology and devotional themes describing a famous epic sequence from Ramayana or Mahabharata in its own vigor and beauty. It also dwells in much personal scenarios such as romance, relationships and also yearning of the lead character who needn’t be a divine form. In one way, folk music has brought a new ray of hope to the world of music by giving it a lesser explored perspective which is fearless, appealing and unmistakably raw.

There is more than what meets the eye with this peculiar genre which is often kept back for being too simplistic. The rich usage of Carnatic raagas in folk music itself is an example that folk music is indeed amazing to relish and embrace.

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SOUVIK CHAKRABORT Y

W

hat happens when a rookie rapper comments on a celebrity rapper's daughter? The rapper shuts him up with his rhythm and poetry (RAP). What happens next, the rookie packs another blow calling the Girl's Daddy- 'Crazy'. The celebrated rapper gets back and this time the track makes history being the number one debutant track in YouTube; because the celebrated dad was nobody but Eminem the man himself.

Competitive rivalries have created some of the high esteemed specimens of our arts, literature and music. Any critical discourse, with respect to popular media and culture always accounts for the maximum impact in the generation of its times. When this dialogue takes between two creative people of fundamentally similar beliefs, it amounts to an exciting exchange of words, expressions and otherwise deep seated feelings.

When two hip hop artists subverts, attacks and jabs each other with the sharp blades of his pen. The song becomes a diss track. When the other artist/rapper gets back with his set of replies and attacks to the former track, then the tug of words become only intensified to a level where the scene is said to have beefed up. From TuPac, Eminem to Snoop Dogg, Jayz and Drake, everyone has been there and done that a lot many times now.

With Gully Boy releasing this month and the hip hop revolution being all the more high at its resurgent whirlpool it is only fair that India had its fair share of the pie in the diss tracks as well.

The diss scene however is a bit different than what it was in the US. A categorical difference being the fact that the hip hop and the rap scene in India has been mostly a sleeper if not

an underground hit! The rappers had their identity limited to a niche without a cause. In order to break the shackles and to be exploded in the media. The hype and the hoopla was not really enough until tracks like Samjh mein aaya kya? emerged. More and more people were now interested to know what was really up with these kind of people. Are we being programmed now for another reality show or is this for real? What really happened.

Emiway got miffed with Raftaar's comment on him, where apparently he said that he is not making enough money as he is an independent artist. So Emiway came up with his diss track Samajh mein aaya Kya, where he discredited Raftaar to a low and arrogantly posed himself as the underdog who made it big, without having a Godfather in the industry. Raftaar, is by far the more popular out of the two and has been the face on television for quite some time. So, more than anything Emiway's acerbic attack on the rapking actually shot him overnight to hall of fame. His videos and subscribers grew like a wildfire. So Raftaar came back with his blow, the Sheikh Chilli song, where people actually got to know the story of how Raftaar has previously helped the underground artist, Emiway.

The culture of diss is as much as the essence of hip hop in India- the fish can not be certainly taken out of the pond. But, hey can we not actually use our tongue and our voice to satire and attack something else. Raps have dealt with sensitive themes of power, politics and different ideals so why can we not spew some venom against the vices that prevail in our society and in us. Can we not use the same sting and nails to justify the creative medium for a constructive built of a music that knows nothing but truth!

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GAJENDRA PURI GOSWAMI

Sulafest 2019:

An Unlikely Melange Of The Past & Future Of Music

M

usic is a timeless piece of art, and anybody who thought otherwise would have changed their view had they been present at this year's Sula Fest in Nashik, Maharashtra.

Sula Fest has, over the years, built itself the reputation of being one of the better organised music festivals in the country, the quality of which is unparalleled by any other festival in the homegrown music scene. The festival in its 12th edition too, upheld all the virtues that has earned it the title of being India's no.1 gourmet music festival, be it the power-packed music performances or the flurry of irresistible food and beverage options. Although in this particular review, the writer, with extreme reluctance, has sidelined the palatable food and tasteful wines he's had the honour of salivating at the festival and delve only into the music realm, for the virtue of its its raw appeal and exalting diversity. Here's a complete breakdown of all the musical performances during the two days of Sula Fest 2019.

Divided by the two stages- Amphitheatre and Atmosphere- and united by a common yearn for heartwarming

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music, music listeners from around the country flocked to the Sula Vineyards in Nashik on the 1st and 2nd February.

Even at the beginning of Day 1, which gathered momentum rather slowly, the high anticipation for the headline act of the day - British neo-funk band Junglewas quite palpable within the crowd thronging to the venue. But before that happened, the stage would be graced by a bunch of other talented musicians that left the audience enthralled with their high-intensity performances. Amongst these were Indian electronic duo Nothing Anonymous, UK based Balkan music group Hallouminati, multicultural US-Israeli hip-hop collective Lucille Crew and DJs Nikhil Chinnapa and Diatonik. The writer of this review could not make the venue in time for the performances of Diatonik, Nothing Anonymous, and Spencer Maybe due the obligation of attending a highly informative and religating wine-tasting session presided by a couple of Sula Vineyard's most prolific wine makers.

Although he did manage to make his way to the Atmosphere stage- also dubbed as the electronic stage- well in time for Nikhil Chinnapa's heart-

rending performance. The sojourn didn't last long. About ten minutes into the performance he decided to make a well informed decision to trot towards the amphitheatre stage, where British band Hillouminati was swaying the audience in their trademark Balkan style.

Hillouminati stayed true to its uplifting party vibe and slayed the stage with a high-energy set featuring songs from their 2018 album Tonight, Is Heavy.

Armed with a barrage of bouzoukis, brass, guitars, keys, and deranged beats the band got the Indian audiences to its feet with their electrifying guitar riffs and unapologetic gipsy sound. Nextup on the amphitheatre stage was the Israeli-US hip-hop collective Lucille Crew, which in our ingenuous opinion was the most striking highlight of the day; although this may be the unpopular opinion. The band were travelling to India with the New York MC Snowflake Black, who effortlessly reverberated their funk-soul sound with his flawless flows and gritty rhymes. There were many moments in the Lucille Crew's performance which would have a lasting effect on the audience's memory. Lucille

Crew's performance was followed by the headline act of the day - Jungle a performance for which the whole amphitheatre arena stood up and cheered in unison. By then, even the relentlessly dedicated techno listeners from the Atmosphere stage had gathered near the main stage to witness the band's India debut. Jungle's groovy set brought about a soulful end to the first day of Sula Fest 2019 - a day predominated by the sound of futuristic soul-funk and world music.

If Day 1 of the Sula Fest was dominated by global artists with their blend of futuristic music then Day 2 bred more familiarity as local artists took the centrestage. The former inspired jubilance while the latter dipped everyone in nostalgia. Together they transformed Sula Fest 2019 into an unlikely fusion of the past and future of music. Day 2 commenced with some chill, ethno-world music belted out by DJ Mike Akida as the crowds gathered in and by the time Mumbai based producer duo Paraphoniks took stage the groove for the day had been set. The stage set up took for Italian reggae band -Forelock and Arawak- took

some time and in the meantime rapper Smokey The Ghost and DJ Malfnktion kept the audience engaged. Forelock and Arawak, whose performance relied more on showmanship than innovation, kept the audience tapping their feet intermittently but failed to stand out in a line-up of remarkable performers.

While the reggae group tried every bit of trick from the mystery box to regale the audience, we ventured to the Atmosphere stage to dance to the liquid funk mixes of Oona Dahl. Her relatively small but loyal base of fans dancing next to the stage would agree when we say that the German DJ's performance would go down as the most underrated performance at this year's Sula Fest.

Following Oona's performance we once again headed for the main stage where Austrian rockers Mother's Cake had started belling out high baritone songs with Led Zepplin-esque bass riffs. More people maneuvered towards the main stage by this time, more to secure their seats for Gully Boy Divine's performance than to hear psychedellic renditions of Mother's Cake. Still in our post-performance interaction with them the band expressed no

regrets and maintained that their solo experience in India as overwhelming.

Familiarity breeds contempt but not as far as Indian audiences are concerned.

So, it was no surprise to see Divine's performance attract more eyes and ears than any other performance at the Sula Fest 2019. The desi rapper too, lived up to his reputation by giving out a wholesome music experience to his listeners, with a bunch of new tracks from the upcoming Zoya Akhtar movie added to his set. There's not much to be said about Divine's performance apart from - he came, he sang, and he conquered. Only a musical maestro and legend of the likes of Shankar Mahadevan could have followed a performance as powerful as Divine, and he did so with awe-inspiring ease. Sadly, the writer couldn't witness Mahadevan's complete set but whatever he saw did leave him breathless for a while. With that, we signed off from the 12th edition of the Sula Fest, bundling a swaddle of beautiful memories and hoping to return next year for some more.

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AMOGH RAO | IN INDIA |

Photo credit: Travis Postone

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What does it feel like to finally come to India?

I’m stoked as hell. We’ve been to a lot of dope places in the past few years and it’s unbelievable to me that we have fans in places across the world that like our music enough to want to come see us live. I think these shows are gonna be lit.

Can you talk to us about your third studio album, NLND? What's the story behind it?

Well with our most recent EP The Most Hated, we tried doing more of a hip hop/rap beat type of thing and mixed that style with our own, and ended up keeping a lot of the sampled drums and 808 bass lines and things like that, so with New Levels New Devils we wanted to transpose all of those aspects to real instruments. TMH was kind of our test run, and once we made our single G.O.A.T. we just rolled with it because it was pretty badass, and now I think we’ve really figured out how to transpose sounds to our instruments, so now the possibilities for future records is endless.

The Most Hated has had a pretty huge impact on your fanbase. How did you decide to come up with it?

We were really getting into rap beats and hip hop stuff and a lot of our friends are producers, so when we went to work with them they would make all this crazy dope shit, and we were kinda just like, alright I guess we’re doing this! Haha.

Our style at first was more of whatever genre you’d call our song “LIT”, but we knew that sounded kinda cheesy and at that time we had no idea what we were doing when it came to making beats, so when we went to work with Y2K for the first time he made all our cheesy shit sound dope, and now we have a much better idea of what sounds good these days haha.

There have been some massive leaps in sound and feel from the old-school, quintessential Polyphia to Renaissance and now NLND. Can you tell us about the journey?

We started out as a death metal band with our first EP Resurrect, and then jumped on the djent trend for our second EP Inspire, and once we got to our first full length studio album “Muse” we wanted to try all sorts of different stuff. We didn’t want to make another djent album because that shit got super oversaturated and we didn’t really like it that much anymore, so we focused more on poppy sounding music. It was also our first time working with Nick Sampson in the studio and he had a lot of sick ideas that we were down to try, so that definitely helped us make the album what it is, and kind of made us realize that we should start working with more producers and artists. With Renaissance we wanted to do our own thing in the studio with nick again since that worked so well with Muse, and The Most Hated is when we started branching out to hip hop/ trap and rap producers and started doing the real crazy shit.

And like I mentioned before, NLND was our version of all that stuff in full band mode played with all real instruments on top of the beats. So we really like experimenting with stuff and making new styles of music. I don’t think we’ll ever end up making the same album twice. The next one could be a country album.

Riffs! How do you come up with them? They're arguably the band's most defining quality and everyone would love to know the writing process behind them.

Our main goal with riffs is to make them catchy. We try to structure our songs our so there’s a good melody in the chorus, cool riffs in the verses and maybe a bridge or something to tie the last chorus in to the rest of the song.

So it’s more focused on melody and catchiness and how everything fits in with the rest of the song.

What was the experience of featuring so many incredible talents on the latest album? Any key moments that stood out during the writing and tracking process?

We didn’t do any features on Renaissance because we wanted to have an album that was just us, so for this next one we figured let’s just have a bunch of our friends on the record and make it as collaborative and sick as we can. We did our first song with vocals with Cuco too so that was fun to write to.

What was the inspiration behind the electronic and trap influences in your newer music?

Tim and I listen to a lot of hard ass trap music and it pumps us up, so we incorporate it into our music so people can jam out to our stuff like we do to other music we like. We work with producers like Y2K, judge and lophiile and they’re crazy good at working with our style.

Tell us the story behind your relationship with CHON. How did you end up crossing paths?

They were on tour years back and played at a local place we always used to play at called Tomcats in Ft. Worth, so we went to the show and hung out with them and we’ve been homies ever since!

How did you end up signing with Equal Vision Records? How has the shift from independent music to a signed band impacted your music?

One of our biggest concerns with labels is that they don’t try to control our style or our music. Equal Vision really understood what we were trying to do and knew the importance of us having our freedom and how that’s what makes us who we are, so I wouldn’t really say it’s affected us in any other way than just having a team of people help us do the shit we do and more.

What can we look forward to in the new year? Any tours or EP plans?

We have our Look But Don’t Touch headliner coming up in April through May, which will be sick, and our Polyphia Crazy Ultra Mega Macho Summer Camp for the Musically Gifted and Extremely Talented in June which is also going to be sick. As far as music goes, we’re always writing new stuff so when we get a chance to go hard on it and get in the studio you’ll know.

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ARITRO GHOSH

MUSIC OF THE LESSER PRIVILEGED HEROES It’s usually said that when he takes something away from you, something else is given back in return. There are many historical people who, while suffering from certain disabilities, have given us more than what most of us “general” individuals couldn’t. Let’s talk about some of them.

Music is such a field, wherein the past and present is witness to how names like Stevie Wonder, Ray Charles, George Shearing and so on. In India, we even have witnessed the famous lyricist and singer, Ravindra Jain, who helped lay the path for classical musicians of the present. Alongside his contemporaries, like Pandit Bhimsen Joshi and Jagjit Singh, he contributed heavily to the world of Indian classical music. Having built his career as a talented composer, he has contributed to several Bollywood films including Saudagar, Chor Machaye Shor, Chitchor and several more. Having worked with the great Raj Kapoor in Ankhiyon ke Jharoken Se, he ultimately went on to compose for other classic hindi films with the Kapoors.

He was an example as a composer, always showing strict dedication and devotion to every taal which he was trying to create. Apart from bollywood, he’s left a mark in other cultures as well; having sung songs for Telegu, Oriya, Bhojpuri, Rajasthani, as well as Haryanvi films. He has also contributed to Bengali films like Pati Param Raja and Bhalobeshe Radha.

Another cherished name is of Sri Mohan Chandrashekharan, a violinist who has performed various duets and given fantastic memories to the field of Carnatic music. Having lost his sight at a very early age, he found his solace in a violin; and thus gave us all the privilege to listen to his heart.

Some of the most prominent names in musical history however are Ray Charles, Stevie Wonder, and Art Tatum. They are still considered icons

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of their own specific genres of music; especially Art Tatum, whose skills as a jazz pianist inspire people to forego with their own love for piano.

In the world of blues, there was none who could make Why Did You Away the classic that it is today. Largely influenced by the great Nat King Cole, there were few at that time so influential, who could bring out the soul of soul music like a visual of temptation. The bass of his voice was one of unique style; much like Frank Sinatra, who's voice had a rhythm generations still remember. As Sinatra once said, that he was the only true genius in the world of show business; having had a career spreading multiple genres, and having records spanning decades of fame even after he's gone.

Stevie Wonder, the most talented of his generation and considered to be a child prodigy, gave over thirty top ten hits and has been placed in the Guiness Book for having won the most Grammys till date for his music, which is a whopping 25 among 74 nominations. Stevie Wonder, though one of the greatest living R&B blues icons today. The You Are the Sunshine of My Life singer, no matter how many records he’s sold, was and always has been a very simple man. He believed that just because a person lacks eyes doesn’t mean he lacks the vision. His vision was what Clarence Paul saw in him, and gave him the name “Little Stevie Wonder”, before signing him to Motown, and then becoming his mentor. To this day, Sunset is one of their most beautiful collaborations.

Superstition, one of Wonder’s most famous songs was fully improvised during the album session for Talking Book. Stevie Wonder had told Jeff Beck to keep playing the drums while he created most of the song on the spot; he even made the famous riff.

ADITI SARAWAGI

Women Achievers in Music There is so much talent in this country.

We all hear of the big achievers, the international celebrities but sometimes the small victories, which are actually the important ones, go unnoticed. This Women’s Day, we at Score, unearth some true stellar achievements by women who first and foremost paved the way for the artists to follow suit today. Here’s celebrating the women achievers in music in India.

all-women classical band who were also known as the ‘Indian Spice Girls.’ They opened Sting’s 1999 concert. Stree Shakti was founded by Anuradha Pal in 1996 to create a platform for women to perform.

She was also entered in the Limca Book of Records for being the first professional female tabla virtuoso in the world in 1991. She also went on to become the only female Indian musician to have performed at the Woodstock Festival in 2008.

A movie soundtrack would be incomplete without a female voice and yet one of the first female playback singers in the Hindi film industry was Shamshad Begum who had to fight her family and society’s pressures to enter the music industry. With a beautiful voice, she finally went on to sing over six thousand songs in Hindi, Bengali, Marathi, Gujarati, Tamil and Punjabi languages. Other female singers of the time include Rajkumari Dubey, Zohrabai Ambalewali and Amirbai Karnataki.

Singing and music direction go hand in hand and one of the earliest female figures in Indian cinema was Saraswati Devi who composed many popular songs between the 1930s and 1940s. She also trained actors and actresses in singing since playback did not exist then and she was responsible for introducing playback singing in Mumbai.

During these times there were hardly any women working in cinema but it was their sheer grit, determination and talent which got them through to the industry and opened ways for other women to follow suit.

More recently, 24-year-old Rafia Rahim became the first woman radio jockey on a private radio station from Kashmir's Budgam district. She has become a household name after she hosted various local programs on the radio station. This might not sound like a big deal but in the political upheaval of Kashmir, this indeed is a milestone moment for Rafia as well as Kashmir. India has always churned out phenomenal talent and the first Indian singer’s track to go platinum is a woman of calibre, Ananya Birla whose single "Meant to Be" is certified platinum in the English music category as per the Indian Music Industry (IMI) recognized criteria for certifications.

You might not have heard about the first female band in India but it sure broke many stereotypes when an all- girl beat group ‘The Ladybirds’ was formed by Farida Vakil in the late 60’s when the Western music scene in India was highly male-dominated.

Though there were female singers but an all-girl band was rare and The Ladybirds became extremely popular, and till date, this band is considered a milestone in establishing women’s presence in the Indian music industry. Another first was Stree Shakti which was India’s first

Talking about new-age music, one has to mention Archy J or The Snake Charmer who is India's first female bagpiper to play commercially. She is also a self-taught bagpiper who faced many adversities when she set out to learn the bagpipes as there were no teachers available in India.

Indian musicians are now global artists and the first Indian woman to win a Grammy, considered to be one of the most prestigious music awards in the world, is Tanvi Shah who was honoured for her contribution to the song ‘Jai Ho’ from Slumdog Millionaire in 2010 along with A.R. Rahman and Gulzar. She has also won World Soundtrack Award (2009) and the BMI Award (2009).

Music is universal and these women have inspired many women in the music industry.

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SNEHA RAMESH

The Pianist by Casio IndiaGrand Finale: An aftermath “It’s wonderful to have a platform to highlight all kinds of music across Tamil Nadu. They come from surprising places and we need to support them as there is so much wonderful music making happening with these kids.

It’s important to encourage them and make sure they don’t stop and cherish the music” added Adam Greig.

After three successful editions of The Pianist organized by Casio India Co. Pvt. Ltd, this year saw a phenomenal response in Tamil Nadu, the Tamil Edition. We were truly amazed to see the talent pool in different regions of the state.

The regions covered this year included Trichy, Salem, Nagercoil, Tirunelveli, Madurai, Coimbatore and Chennai. The grand finale was held in Chennai, judged by three remarkable musicians: Anil Srinivasan, Augustine Paul & Adam Greig.

“Over the last few weeks, I have had the privilege of traveling across Tamil Nadu in seven cities and listen to some of the most talented youngsters playing the Piano today. They come from a variety of backgrounds and abilities. It has been a learning for me too.” said Anil Srinivasan.

Palak Chauhan

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“It is a pleasure to listen to little children playing such beautiful music and to take into consideration that most of them are from districts and not cities. A good thing that is happening now is that when keyboard is thrown to children, they start meddling with it and end up playing. When you talk about Piano, it is not easy and for middle income groups in Tamil Nadu, it’s not easy to afford and maintain a Piano. This digital Piano is a great substitute. Casio has popularized this and it’s a great stepping stone for kids. It’s amazing that Casio has created a product in between a keyboard and a Piano.” concluded by Augustine Paul 35 participants battled it out at the grand finale to fit into three categories: Beginner, Intermediate & Advanced. It was a tough competition but the judges had to select six winners in total.

The winners were: Advanced Category: Aaron Alex Abraham from Coonoor: Winner Tavan Shah from Chennai: Runner Up Intermediate Category: M. Immanuel from Chennai: Winner Akshara Senthil from Chennai: Runner Up

Akshara Senthil

Beginner Category: Isaac Watts from Nagercoil : Winner Palak Chauhan from Chennai: Runner Up The journey through the competition: Aaron: I got to know about the competition through my music teacher, Mr. Ivan Enos. He sent me the details through WhatsApp. I began practicing a few pieces and selected two for the preliminary round. It was my first experience at a competition held at this level. On 16th Feb, was the audition at Coimbatore and everything went quite well. Two days later I got the news that I was selected for the finals. I just could not contain my excitement but I was equally anxious about the competition that I’d have to face in the finals.

So, I began practicing as much as I could (with just a few days left) to ensure that I’ll be able to give my best shot in the finals. It’s still hard for me to digest the fact that I actually won the competition amongst other equally worthy contestants. I felt extremely happy to see so many budding pianists, who might have been waiting for this opportunity to showcase their talent.

Tavan: It was a last moment decision to take up this challenge, but it was a lot of fun. I had to select a piece in such a way that it should come well within the 5 minutes time limit, at the same time ensure that it gave the actual feel of the music and showed the abilities of the pianist. I was surprised how I managed to learn it, memorise it and get it under my hands within the time.

Immanuel: I'm so grateful to receive this award for the Casio’s “The Pianist” contest. I'm very excited to have won the Intermediate category. I would like to thank Casio and all judges for giving me this opportunity.

This is a life changing moment for me. It definitely has assured me that I 'm good enough and has motivated me to further develop my piano skills. Music is my life!

Akshara: This is my first competitive Piano event and I was nervous and excited at the same time. I played the Hungarian Dance by Brahms at the Prelims and it was great to get Mr. Anil Srinivasan’s handwritten feedback (and a picture!). It was a very pleasant surprise to be selected among the hundreds of other great performers, especially being one of the youngest in the Intermediate category. Playing my favourite piece by Yanni at the Grand finale in front of the

Immanuel

Tavan Shah

esteemed judges and a big crowd was an amazing first experience that I’ll remember for a long time to come.

Isaac: I started lessons at the age of 5 with my Father, who got lessons from Mr. Cleophas Anthony.

Choosing to compete is a commitment. More than me, my parents committed a lot of time for my Practice, Learning, Recitals and Competitions. They encouraged me and my mind set was to win.

Palak: This is my first competition on a big stage. I enjoyed every minute. I have played on stage before but this time it was a different feeling. I was very excited and nervous. I thank God, my Piano teachers Dr. Surojeet Chatterji sir and Nitin Sir and my school KM Music Conservatory for this opportunity.

What were your biggest learning’s through this?

Aaron: It all lies in the head; and the hands too!

The ability to focus on what you’re supposed to do amidst all the attention is a major factor which affects our performance. Not only focus, but also enjoying what you’re doing and doing it the way it’s supposed to be done.

Tavan: The biggest thing I learnt from this competition was to keep myself composed, calm and focused in spite of the nerves, pressures and mental exhaustion I was feeling.

Immanuel: I learnt overall musicality. I practiced for more than six hours for every day during this competition. Then I got new ideas for this competition also overcame stage fear.

Akshara: My biggest learning from the competition was to enjoy and feel the piece while playing. I learnt that bringing out the dynamism of the piece is very important. I also learnt never to be scared before and while presenting yourself. I’ve made a few friends at the event that I’m looking forward to reaching out to!

Isaac: I can say it in one sentence: I believe that this competition will be a new path to my success.

Palak: My mother always says participation is important than winning. I met so many big musicians like Anil sir, Augustine sir, Santosh sir and Navneeth sir. I want to be like them one day. Also, I learnt that how much ever you practice, on stage if you don’t be calm you will never be able to perform your best.

Aaron Alex Abraham The

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Mixing with REVERB

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EVERB’s are the effect which creates an ambience in your tracks. In a treated room or at a home studio, the source would sound dry, sometimes its call this a dead sound or Broadcast quality sound if the acoustics are done well. Many a time, we overdub vocals, guitars etc on our DAW and then apply reverb on the Vocals and others tracks as per our need. To enhance our dry tracks, we need to create space or Ambience in our mix.

As we all record our tracks using closed microphone technique, everything in our whole mix will not sound like a reverb added even though the microphone is picking up the room tone. Sometimes, placing a mic far away from the source can create room ambience to use in our mix creating a natural room tone reverb. Mostly this is used in the Drum recording session. Just because you have a reverb plug-in in your DAW, it is not mandatory to use reverb on every track. It completely depends on the song’s context.

Here are some of my Tips on using REVERB 1. To start fast, choose any preset which you like from the Stock Plug-in or third party plug-in. I generally prefer the PLATE setting for my Vocals. But you can use anything as you wish and as long as it sounds good for your song you produce.

2. Try to set the levels with a medium blend and try not to over push the decay time as it can muddy your mix. A medium reverb or a short reverb is a good start 3. Try to use a separate AUX buss named “REVERB BUSS” in your DAW and send the dry signal to the Reverb buss as it can save your CPU load. 90% of the professional mix engineers follow like this only. But as i say there are no rules for this, you can also insert it directly on the INSERT of your Audio Track as long as you don’t face any Latency issue in your Session.

4. If you have recorded a room reverb track by placing a microphone far from the source, then try to use a HPF (High Pass Filter) and roll off around 80Hz to 100Hz to cut the rumble in your mix and then blend this natural Reverb sound in your Mix. This gives an overall blend and a good great sounding tone in your mix.

of production. Don’t just copy the same settings and blindly apply on all your projects! Just be creative in your usage.

Try to hear the tail end of the reverb nicely and not to get washed out in your mix.

6. To get a good reverb sound, use a HPF before your Reverb plug-in and then insert a Reverb plug-in so that they don’t get washed away in your mix.

7. Always find a patch or a pre-set which suits your mix and feel of the Song. There should not be too much blend of the Reverb in your mix. This can spoil your tone and it will spill over all the tracks and making it muddy and float everywhere.

8. Near field monitors help in finding your best tone for reverb. But this is not fixed, it depends on your need of your song and how well it sits in your mix.

9. Best tip to use reverb is to use a MONO REVERB Buss and send the dry signal to that, this way we can get a good reverb even in your Television MIX! Hope you have got some tips on using REVERB in your mix.

Happy Mixing!

5. Try to use the pre-sets and then always tweak more to find the sweet sounding reverb which suites more for your kind

Author: Baba.L.Prasad. He is the owner and chief Sound/Mix and Mastering Engineer at Digi Sound Studio. He also teaches Sound Engineering and Music Production courses. For more details, visit www.digisoundacademy.com

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BOSS ANNOUNCES VERSION 3 UPDATE FOR THE KATANA GUITAR AMPLIFIER SERIES Free Update Adds New Effects Types, User-Customizable Parameter Controls, and Stereo Recording Via USB

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OSS announces a free Version 3 update that further enhances the stage-class models in the popular Katana guitar amplifier series. This feature-rich update adds three new effect types that are perfectly matched for the Katana’s Brown amp character, bringing the onboard effects total to 61. Other improvements include the ability to assign favorite parameters to the front-panel effects knobs and connected expression pedals, as well as the option to record with stereo effects when tracking in a DAW via USB. All Katana stage-class amps include integrated access to a wide selection of BOSS effects, which are customizable using the free BOSS Tone Studio editor software. With Version 3, the legendary Roland DC-30 Analog Chorus-Echo, iconic BOSS GE-10 Graphic Equalizer, and expressive 95E pedal wah effects have been added to the mix. These classics work great with any of the Katana five amp characters, but offer special tonal magic when used in combination with the Brown character’s harmonically rich voice.

The Version 3 update also provides the ability to assign favorite parameters to the front-panel effects knobs, giving users greater flexibility for shaping their own unique effects

tones on the fly. Additionally, it’s now possible to control specific effects parameters from up to three expression pedals connected via the rear panel and an optional GA-FC foot controller. (The GA-FC is compatible with all Katana stageclass amps except the Katana-50.)

Stage-class Katana amps are equipped with analog and USB direct outputs with mic’d cabinet emulation, allowing players to send mix-ready amp tones to a PA system, computer DAW, or headphones. The Version 3 update further enhances the USB capabilities, offering true stereo sound with many of the Katana’s modulation, EQ, delay, and reverb effects, including the newly added DC-30 Analog Chorus-Echo.

The Version 3 update is available as a free download and can be installed by connecting a compatible Katana amp to a computer via USB. Supported Katana amp models include the Katana-Artist, Katana-50, Katana-100, Katana-100/212, and Katana-Head.

To learn more about the Katana Version 3 guitar amplifiers, visit www.boss.info.

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SREYOSHI GUHA THAKURTA

CALL FROM THE HILLSTHE NEPAL GYPSY JAZZ FEST G

ypsy jazz is a very strange genre of music to stumble upon- it is more of a lifestyle, than a musical style.

It is packed with strange harmonies and it is quite a feat to keep up with the fast rhythm. This music, which originally hails from India, after travelling all over Europe and the rest of the western world, has found its newest heroes closer home, in the foothills of the Himalayas.

The Nepal Gypsy Jazz Fest held in Kathmandu every year likes to take a leap of faith and shatter all stereotypes by bringing together gypsy jazz played in different techniques and styles from all across the world. The man behind this seven day long festival is Hari Maharjan. With no formal training as such, Hari started playing music at a very young age but never thought he would become the face of gypsy jazz in South-East Asia.

“I didn't choose gypsy jazz, it just happened to me!” says Hari, recalling how he would listen to Django Reinhardt and Stéphane Grappelli on mix tapes he would get from friends, without even knowing what he was listening to back then! Soon after his shift from rock music to gypsy jazz, he started incorporating Nepali folk in his music and gave it his own touch. This was exactly what prompted him to start The Nepal Gypsy Jazz Fest on his own, without any

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financial support from anybody. The festival kicks off in the first week of April every year.

He sees this fest as a melting pot for gypsy jazz styles and techniques spread all across the globe. Musicians and music lovers, not only from Nepal and India, but from France, Amsterdam, Germany and USA, come together and celebrate gypsy music in their own ways.

Additionally, the musicians also head various workshops and cater to the ones who want to incorporate the gypsy style to their specific genre of music, or have just picked up a guitar to learn the gypsy way. Notable figures in the gypsy jazz circuit such as Irene Ypenburg, John Rijsdijk, Daniel Givone, Jérémeie Pellaz turn up at the festival every year.

A typical day in the fest would start with you finding musicians, who might not even know each other’s style or way of playing gypsy jazz, jam together. The day ends with everybody playing together new pieces they have picked up during the course of the day- moulding it in their own style.

Hari says that this cultural exchange that manifests itself through the interaction of music is everything he stands for when it comes to this fest. He believes that music is a way of discovering self and others around you- it has no boundaries and one can never stop learning.

SENNHEISER evolution 800 series

evolution 800 Series

I

ndia is a music loving country, one which is also host to innumerable talent across. For some people, music might be a passion. For a lot of others, it’s also an aspiring profession. While a lot of aspiring music professionals would be investing their precious time and resources in acquiring the necessary skills and knowledge, the kind of equipment they use also plays an indispensable role in their performance. Created especially after understanding the needs of such people, Sennheiser’s evolution 800 series is the perfect companion. For the entry level musician who aspires to be a high-end professional, the evolution 800 series is meant to enhance vocals and speech.

What all of the microphones in this series have in common is efficient solutions for speech and vocals, solid sound, easyto-use and extreme ruggedness. All have been created in the best tradition of German engineering and are the result of the dedication of our engineers, of countless tests, and of the most meticulous manufacturing processes.

One of the main microphones in this series is e 835: Dynamic cardioid microphone designed for speech and vocals.

Produces a solid sound that projects well and cuts through high volumes on stage. Intended for home recording, semi-pro studios and live sound applications. This entry level model leaves no wishes unanswered in terms of sound, ruggedness and handling.

The key highlight of the evolution 800 series is its easy-touse features, rugged design and user-friendly components.

When one is looking for entry level solutions, complicated or cumbersome systems are not helpful. The evolution 800 series provide that advantage - all one needs to do is simply plug them in and experience better vocals and speech. Conceived of as a harmonically calibrated family, these easy-to-use microphones have a rugged design that makes it extremely user friendly. Every product of this series is equally efficient and powerful.

The e 845 is a dynamic super-cardioid vocal mic, which helps to reduce spill and feedback. Ideal for presentations, conferences, choirs, rehearsal rooms, and stage. Easily eliminates ambient noise. Superb high frequency reproduction.

Each series sees itself as the accompanist to a development.

And since demands can grow quickly, the evolution wired mics simply evolve along any sound.

The evolution 800 series have something in store to cater to the varying needs of all kinds of entry level consumers.

The e 865 is an electret condenser microphone with supercardioid pickup. Rugged, for live performance and lead vocals with natural, detailed sound. Sensitive to the slightest nuances. Precise reproduction for moderators and speakers.

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MUKESH AMARAN

ALBUM ARTicle:

AKANKSHA What are your thoughts on how other art apart from music is perceived in our music scene? (Like visual arts, album arts, photographers and the likes)

Hello, little bit about yourself and your background in arts and music?

Hey, my name is Akanksha. I’m a 22-year-old product designer and illustrator based out of Bombay. I’ve been drawing for as long as I can remember and I also took Hindustani vocal lessons for about 8 years as a child, so art and music have always been intrinsically linked to my life. On a daily basis, I can’t step out of my house without my earphones and a sketchbook.

Tell us about your collaboration with the Ramya Pothuri from conception to creation and the end product.

Ramya and I have been friends ever since she moved to India about six years ago; we have very similar tastes and also share a great working relationship. Whenever she has new music she’s writing, I get to listen to it from the first demo to the final mix so it’s super fun to be involved in that process. I’ve also worked on a lot of her album arts. When it comes to the process, she usually has vague ideas that we discuss and she doodles, and then it’s up to me to kind of interpret them and bring them to life. For Summer, there were actually two final options that I had sent to her and I didn’t know which one she picked till the song was out! I also did a simple animated visual for her YouTube channel which I really enjoyed making because it was the first time I made an animation.

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I think it’s great that the music scene and musicians in general appreciate visual art and the work that goes into it because at the end of the day all of us have similar struggles as creatives. I love to see collaborations with artists, whether it is for gig posters or music videos. I think musicians go out of the way to work with artists, photographers and filmmakers whose work they truly connect which makes the end result beautiful.

How is creating an album art different from creating other art?

With creating album art you really have to understand the mood of the song and try to bring that out in whatever you make. I don’t know if the process is very different for me personally because a lot of my art stems from some song I was listening to. The only difference would probably be that when I’m making album art, I listen to the music I’m making the art for on loop in the background and I think that helps.

Tell us about your art style and the concepts behind your artworks.

My favorite medium to work with is watercolors and I love to draw people and their exaggerated moods, fashion choices and gestures. I don’t think I have one particular style but maybe a few depending on the time frame I have while creating a piece and whether I’m drawing from life or using a reference.

Conceptually, it’s just giving tangibility to my own complex emotions to help me process them better.

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Gig Calendar MARCH 2019 MUMBAI

DELHI Mar 6

The Obvious Cats

The Pianoman Jazz Club, New Delhi

Mar 8

Qareeb

Flyp Café, Delhi

Mar 9

The Jass B'stards & Special Guests

The Pianoman Jazz Club, New Delhi

Mar 11

Deemetoo

The Pianoman Jazz Club, New Delhi

Mar 9

Gino Banks Drummer Series : A Tribute to the Great Tony Williams

The Quarter, Mumbai

Mar 14

Prabjtojh Singh Trio

Hard Rock Café, New Delhi

Mar 9

Kitty Su Mumbai & sLick! present Cosmic Boys

Kitty Su, Mumbai

Mar 15

Kitty Su & Paradox present Deborah De Luca

Kitty Su, New Delhi

Mar 23

Kitty Su Mumbai x sLick! present KHEN

Kitty Su, Mumbai

Mar 15

Saturday in The Dressing Room

Kitty Su, New Delhi

Mar 16

My Kind of Blue

The Pianoman Jazz Club, New Delhi

Mar 20

Quentin Moore

The Pianoman Jazz Club, New Delhi

Mar 29

Kitty Su Delhi presents Danny Howells

Kitty Su, New Delhi

Mar 30

Shorthand

The Pianoman Jazz Club, New Delhi

BENGALURU BlueTree Tours BLR // PLINI live at Fandom

Fandom, Bangalore

Mar 7

Breezer Vivid A+ K Tour - The Best In The World (Band)

Fandom, Bangalore

Mar 7

Perfekt Pillows

Hard Rock Café, Bangalore

Mar 13

Radio City Freedom Concert Bangalore | Chaos & Big Deal Live

Fandom, Bangalore

Mar 14

Perfect Strangers

Mar 17

G SHOCK Fireball Bangalore

Mar 6

Mar 06

Vinayak Duo

Saints N Sinners, Gurugram

Hard Rock Café, Bangalore

Mar 08

Women's Day Special with Sujatha & Lekka

Saints N Sinners, Gurugram

Fandom, Bangalore

Mar 13

Rigmona Duo

Saints N Sinners, Gurugram

Mar 14

Blue Meadow

Hard Rock Café, Gurgaon

Mar 15

Crooner's Collective

Saints N Sinners, Gurugram

Mar 17

Dhruv Sharma

Saints N Sinners, Gurugram

PUNE Mar 7

Fiddlecraft - Thursday Live!

Hard Rock Café, Pune

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