music

Indus Creed, Unplugged: A review

Evolve
Indus Creed
Universal
Rs 175

Whoa! Indus Creed, the trailblazers of Indian rock who have both blazed the trail and trailed the blaze on the country’s soundscape, is back after a 17-year-long hiatus! And how! But, before I get to the how, let me look back at the who: A bit of the rock ‘n’ roll renegades’ history, just to freshen up your memory. Indus Creed, in its first avatar, was called Rock Machine, a sextet that was created in 1984 and featured Mahesh Tinaikar, Mark Selwyn, Ian Santamaria (vocals), Aftab Currim (rhythm guitar) and Suresh Bhadricha (drums). Soon, it went though many changes as its original members kept moving out and new ones moving in. It even changed its name and transformed into Alms for Shanti, a fusion rock band, that brought out a Hindi album, Kashmakash, in 2002. As Rock Machine, they cut two albums, Rock ‘n’ Roll Renegade in 1988, followed by The Second Coming two years later.

Uday Benegal, who had taken over Santamaria as lead vocalist soon after the band’s inception, is perhaps the best thing to have happened to the act. In its current avatar, Indus Creed has Uday (vocals, acoustic guitar) as its frontman, with Mahesh Tinaikar (electric and acoustic guitar), Zubin Balaporia (keyboards, vocals), Rushad Mistry (bass) and Jai Row Kavi (drums) joining the pack.

Now, back to the how. If you have a soft spot for rock (and poetry, if you swing and swear by Floyd and Morrison and Dylan and Cobain and Cohen), the band’s latest album, Evolve, proves to be a revelation. A revelation you’ll revel in, and feel glad and grateful you had. After all, how often do you listen to an Indian rock band belting out tracks — not imitative, but inventive and original — that are eerily reminiscent of songs that are anthems in the world rockdom, part of the vocabulary of the legions of the genre’s admirers?

It was Indus Creed unplugged as I hit out, with headphones in place, hours after the album arrived, transported, transfixed to the strong and deep undertows of their music, getting swayed  away by, and subsumed in, the sheer expanse of their sound. Granted, much of the magic Creed weaves is due to the Grammy-nominated venerable mixing engineer Tim Palmer — who’s famously mixed tracks for musicians and acts as varied as Robert Plant, Mark Knopfler, Pearl Jam and U2 — and New York’s Andy VanDette, who’s mastered it, but, certainly, there is more to an album than its mixing and mastering works.

The trip begins with the very first track, Fireflies, that picks up pace after a soft, soothing start, with a delightful guitar riff preceding the beautiful blend of the lead male voice (Uday, sonorous), alternating between frenetic and slow pitch, and drums (Jai, astounding). The song speaks of “dancing iridescence” in someone’s eyes like “fireflies”. The repeating strain, “Oh, the sun went out today, for reasons you won’t say and I just can’t look away, from those fireflies,” with some variations in the lyrics, is delightful.

Fireflies is a suitable precursor to the fireworks the Creed strings together subsequently. Next to follow is Dissolve, a lovely ballad and the album’s longest track (7.38), that is high on lyrics: “No more to run, I am one with my destination. I surrender, my throne I disown, this is my abdication.”

The Money makes electronica enjoyable. The strain, “Why did you take the money”, is angry and rebellious and a powerful statement on corruption in the public sphere. Even though the drums make the tempo flounder at places, the track reaches its glory towards the end.

Take It Harder is the real winner. A quintessential rock track, it’s Floyd-ish in texture and feels all the more better for it. No Disgrace erupts in your ears with its progressions mixed amazingly well. Uday and Zubin make a virtue of losing the rat race: “There’s nooooooo disgrace, in loooooosing the race.” The song reaches the zenith of its beauty towards the end with the lead voice, the guitar and the drums strumming a crescendo that fades out somewhat abruptly.

Come Around is soaked in nostalgia. The guitar gently works, acoustic blending well with electric. The fusion of drum is the song’s another highlight. I loved the way Uday introduces variation with “If you come around this way, if you come around this way, say hello”.

Bulletproof (Uday, Zubin, Mahesh and Jai) is fast-paced and opens and unfurls like an explosion, with its great guitar riffs set to enthral the hardcore fan. Goodbye stands out for the variation and experimentation in guitar work as well as in the pitch of the lead voice. Together with Bulletproof, the track is a proof of just how much difference can good mixing work make. “Take a bow, the ceremony went beautifully, picture perfect, everyone had a ball,” croons Uday. Take a bow, Creed, I had a ball.

Evolve unfolds like the very best of rock albums. The eight odd tracks are electrifying, intense, addictive and groovy, with some of them growing on you each time you listen to them, and make for high-octane listening experience. In many ways, Evolve symbolises the band’s own journey and, of course, evolution from hard rock to alternative/progressive sounds.

This ambitious album, with slickly produced (what I’d call) “Eastern rock songs” seeped in a great variety of atmospherics and rooted in the realities of our land, will thrill you, and then thrill you some more. I kept flicking through the tracks, amazed and incredulous and enamoured (not to mention giving in to a  bit of head-banging), and kept rooting for Creed, as if I were at a live performance, issuing whoops of delight, their music coursing through my veins, stirring my soul.

To put it simply, Evolve is (critics should always steer clear of hyperbole, but, clearly, I can’t resist) mesmeric. It’s a well-conceived and, more importantly, well-crafted album, and I’d even go to the extent of giving a shout-out to anybody who listens: “Go, buy it.” And, that, even if you don’t have any ear for rock.

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Rajasthan International Folk Festival 2010

If music is your thing and folk the flavour you revel in, you should be in Jodhpur from tomorrow. To get soaked in the sounds of music. To feel your soul get strum. For tomorrow, on October 21, the ramparts of the magnificent Mehrangarh Fort in Jodhpur, the Sun City, will bristle with musical notes of all hues in a colourful celebration of music. The 2010 chapter of the Rajasthan International Folk Festival (RIFF) will see both local and foreign artistes play to their own beat, weave soulful tunes to soothe the mind and the soul.

Jodhpur RIFF — which has Mick Jagger and Maharaja Gaj Singh II of Jodhpur as its patrons and UNESCO, Taj Hotels, Resorts and Palaces as its partners — is ranked among the top 25 international music festivals in the world and is running into its fourth year. Like earlier, the spotlight this year will be on the traditional folk music of Rajasthan and the collaborations between Indian and international groups. The five-day festival packs a melodious punch with its cocktail of roots and devotional music concerts and interactive folk sessions.
A joint initiative of the Jaipur Virasat Foundation and the Mehrangarh Museum Trust, the festival is scheduled to open with a traditional maand (folk music which was sung in the royal courts of Rajasthan) performance by Ali Mohammed (Shekawati), Pt. Chirenji Lal (Jaipur) and Banarasi ji (Jodhpur).

The magnificent fort will then reverberate with the sounds of traditional abhangs and thumri rendered by Hindustani classical maestro Dr Ashwini Raja Bhide-Deshpande who belongs to the khayal-based stylised singing gharana of Jaipur-Atrauli. She will sing traditional abhangs of saint poets, like Namdev.

According to Divya Bhatia, the festival director, RIFF’s beauty lies in the fact that it strikes a balance between its texture and its flavour. While its texture remains traditional and Rajasthani, its flavour (and resonance) is “truly contemporary and global”.

We meet when Bhatia is in New Delhi for media interaction. The festival director, in his prolific and protracted career as an “arts professional”, has juggled between many fields. His resume runs into five pages, enlisting his works in theatre, films and arts. With 10 years experience in online design and branding, he also freelances as a consulting Web specialist. Reacting to my hyperbolic observation (“Your CV reads like a novella”), he laughs: “I’m usually not in the habit of sending out my CV.” Bhatia doesn’t need to. For the festival programmer, artistic consultant and producer is a venerable figure in the art and culture circuit in India and abroad.

The texture of the festival this year, he says, will be a combination of two factors: spiritual and percussive. “We are hoping to mix the devotional element with the tribal element. The texture depends a lot on the belief or the idea that in traditional cultures, the separation of spirituality from daily life is almost non-existent. Spirituality is part and parcel of the daily life,” he says.
The festival will string together a rhapsody of different, little-heard instruments — from iktaara by the maand singers and bauls to rudra veena played by Bahauddin Dagar.

Bhatia says that the tradition of haveli sangeet (the temple music practised in Nathdwara in Rajasthan) has not just got to do with music. “There is an element of musicality which has got to do with a larger connection of life,” he says. From the opening performance to the concluding one, which will see another musician from haveli sangeet perform, the entire spectrum is devotional.

Add to that the spell-binding, stirring performances by Pakistan’s Sufi rock band Mekaal Hasan and the genre-breaking sensations, Sona Mohapatra and Susheela Raman, and you have the promise of a soul-uplifting affair.

Talking about the lineup, Bhatia sounds upbeat. Each of the artiste in the festival complements its texture, its flavour. What Mohapatra, for instance, does is called desi soul. But most people don’t know where to locate her because she does “her own thing”. She has earlier collaborated with Aussie rock band INXS, pop legend David Bowie and Kailash Kher. “She has something which is so organic in contemporary sangeet. What is that something? We can’t quite put a finger on it,” says Bhatia.

Mohapatra, who sings Bulle Shah and Meera Bai, will perform at RIFF with three folk artists: Bhavanri Devi, Roshni and Suraiya, the bhopa-bhopi, lok geet and maand singers respectively. Her solo performance will see Mohapatra play along with her composer-producer-musician husband Ram Sampath.

The lineup, which will strum along magic and mysticism, also includes DJ Maga Bo from Brazil, the 16-member Warszawianka folk dance ensemble from Poland, Zawose Family from Tanzania and flamenco gypsy-jazz guitarist Augustin Carbonell “El Bola”. The sheer virtuosity and range of these performers will take those present on an electrifying trip.
Maga Bo’s claim, says Bhatia, is: “My laptop is my folk instrument.” His roots music have enchanted many. And at RIFF this enchantment is only set to find more takers.
If you have listened to percussion king Pete Lockett perform, you will find it hard to give RIFF a miss as Lockett will rustle up some magic with Rajasthani artistes and Latin harpist Diego Laverde.

All these acts may have music at their core, but you can’t separate spirituality from the performance. The texture is music. The focus is the celebration of music. But the kind of sense or feel you will get at RIFF will have to do with the richness of music which has a larger-than-life connection.

Bhatia says that the festival goes beyond the usual, “standard Sufi thing” which you witness at regular concerts. “That is being done a great deal. But the bhawna (emotion) is missing somewhere. Also, we wanted to avoid a Sufi label,” he says.
The festival may be a coalition of many performances under one roof, but what you will get to see and feel will be a “non-performative element” that lies at the root of the certain tradition that these musical forms come from.

For most practitioners of these folk forms, what they do is not just performance. And, Bhatia says, he didn’t want to present them as mere performances. “The urban audience sees it as performance. But it’s actually devotion-cum-music. You can’t take music out from the devotional element,” he says.

In a city like Mumbai (where Bhatia comes from), while an individual may have faith or belief, but unless you know where to look, it is quite “soulless” in the city. The texture of RIFF is such that people come out with a “feeling of soul”. And while they are there, they experience such a thing as soul.