Available as an art print, iPad and iPhone cases, on mugs and rugs….and more
The indian master of percussions Zakir Hussain played some astonishing pieces at Nuits de Fourvières festival in France. Here is an extract with the flute artist, Rakesh Chaurasia.
Dub Kirtan All Stars was formed by David Starfire and FreQ Nasty to fuse bass-heavy underground dance music with Yoga Kirtan, the call and response chants of Indian devotional traditions . They are a live band/DJ collective that tears down the boundaries between bleeding edge technology and ancient spiritual techniques, performer and audience, the sacred and everyday life. Don’t think, just feel the bass, dance and hear your voice ring out above it – the real All Stars are the audience – your voices complete the band.
All proceeds from this song go to the Sambhavna Clinic in Bhopal.
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On December 3rd, 1984, an accident at the Union Carbide pesticide plant in Bhopal, India released over 40 tons of toxic methyl isocyanate gas, exposing hundreds of thousands of people in the shantytowns immediately surrounding the plant. Most safety systems at the plant were broken, or had been disabled as cost-saving measures. The best, accepted estimates say that 8,000-10,000 people died within the first 72 hours of the leak.
Vegan friendly and everybody loves it.
Preheat oven at 180°C
Mix all the liquids, heat it up to melt the chocolate:
½ cup of olive oil
2 cups of liquid, (soya/rice /coconut milk, apple juice or water)
“Raga Bhairav,” starts quickly, with a wobbly, almost apocalyptic bassline. It is a raga, according to Indian tradition, that is meant to be played early in the morning. You can hear a (vocodered?) robo-voice in the beginning of the track intoning “Om Namah Shivaya” — the traditional prayer to the god Shiva.
In 1982, veteran Bollywood composer Charanjit Singh visits Singapore and gets his hands on the now holy trinity of a Roland 303, 808, and Jupiter 8 – the core of acid house and arguably the precursor to electronica as we know it today.
The thing is, he does this four years before the clubs of Detroit, Chicago, and Manchester do.
Later that year, EMI India releases an album limited to a few thousand copies: “Synthesizing: Ten Ragas To A Disco Beat”. It presents Charanjit’s effort at using what was then entirely new technology to bridge the gap between programmed beats, synth lines, and classical Indian music motifs.
It essentially sinks without a trace.
In 2010, Dutch label Bombay Connection re-releases this LP to an unsuspecting and wholly ignorant public, convinced that these beats were established in the clubs of Chicago, Detroit, and Manchester in the mid to late eighties.
What is Tabla VJing? Visuals controlled by the beats played on the tabla drums.
While playing the tabla, Rajinder Deo recorded this live demo using Max which is a visual programming language for music and multimedia. Max analyses the beats and displays selected images. The outer circles correspond to the bass drum (bayan) and the inner circle to the higher drum (dayan).
After the rise of the Dark Knight, comes the Indian Super Hero, the Tablaman who fixes the ‘broken rhythm’ of the universe. With a fantastic 3-D animated video, music album Tabla Untabla- The Adventures of Tablaman, launched by tabla maestro Bickram Ghosh, aims at delivering a positive message to the youngsters that good always triumphs over evil.
Mainly centering around the rhythmic cycle of the universe, the series shows environmental disruption caused by the anti-hero, who is also believed to be the doppelganger of the Superhero Tablaman, leading to a battle between the two and resulting in rhythm triumphing over non-rhythm. The cartoon series, through the characters, aims at imparting good knowledge among the children through music.
Fashion Designer Agnimitra Paul says, “Bickram is always experimenting with music. In this album also, ‘Tabla Untabla’, the concept is very unique.
Tabla-man is being shown as a good man of the world who is trying to fix up everything and making the world a better place to live in. He is shown fighting against ozone-layer depletion. Children would get such positive messages from his cartoon series and music. I am very eager to see that. He is doing an extremely good work.
The aspiration of Fanna-Fi-Allah is to bring the magic of Pakistani Qawwali to the west in it’s traditional form, inherited directly from the grand masters. The group has been deeply involved within Pakistan & India, spending plenty of study time with Pakistan’s present day Qawwali greats, as well as performing regularly in the important sufi shrines & festivals (since 2001). They have been blessed to play qawwali at the beloved tombs of Data Ganj Baksh (Lahore), Baba Ganj-e-Shakar (Pak Pattan), Baba Bulleh Shah (Kasoor), Baba Lasuri Shah (Faislabad) and in India at the tombs of Khwaje Nizzam-Ud-Deen Aulia, Hazrat Amir Khusrau, Pir Inayat Khan (Delhi), Khwaje Mueen-Ud-Deen Chishty (Ajmer).
Combining Carnatic, Hindustani, jazz, folk, electronic, and drum-n-bass, Vivek Rajagopalan’s music creates rippling sound scapes that are edgy as much as international; and if world music today is a melting pot of cultures & genres, then Vivek’s music is a drop of spicy red curry in the concoction.
Two hands and fathoms of music – that’s Vivek. Vivek befriended the Mridangam at the age of 9 under Guru Shri T.S.Nandakumar’s keen supervision and grew up listening to Late Palakkad S. Mani Iyer,the legendary mridangam player, Karaikudii Mani Iyer, and Trilok Gurtu.
In 1996, Dinshaw Sanjana took a young Mridangam player to the world at The International Jazz Festival – Thailand, which saw Vivek, just 17 years then, brace the stage alongside some of the most talented jazz musicians from across the world.