original German version here.
Author: ElJay Arem
ElJay Arem during the May show
(IE-m/HH -05052010) – Since its start in January the topics of Indian E-music like “Indian electronic music on the European continent”, “women in the Indian electronic music” or “the first 10 years of the Indian electronic music” gave us an impression of the typical sound of the Asian Underground since 1996/1997 with perspectives of its progress. I would like to seek out today with a time leap the current tendencies in Indian electronic music and to present the latest releases from the year 2009 and 2010. We have freshly squeezed Vinyl on the table, which saw the light of the world two days ago on 2 May.
Hereby a term will accompany us constantly: Dubstep. With Dub music a category of the electronic dance music is marked, which is dominated by bass lines and drum patterns which have developed since 2001 from the Londoner scene. It becomes funky with so called breakbeats herewith a dub track receives a very dark shade of sound. The dub conquered within shortest time originally as garage music a genuine fan club in approximately 2005. Music labels, legal file sharing platforms such as Barefiles.com or Internet radios – all in front SubFM and DubstepFM – contributed to the fact that dubsteb was established in 2009 world-wide.
The art-workers of Indian electronic music have thereby no fears of getting in contact with the dub genre. It is amazing how quickly the sound structures of DUB have been assimilated for sampling and mixing and perhaps with Ethno Techno (see below) a new sub category will be borne soon.
A pioneer of the Asian Underground is Osmani Soundz, already since 1988 as DJ in a musician collective he was roaming the neighbourhood of London East End. His composition Spiritual Masterkey of the year 1996 found place on the compilation album Anokha – Soundz of the Asian Underground. It was published in 1997 by Talvin Singh, co-founder of Indian electronic music. Already the Dub character can be heard in Osmani SoundZ’s early recording clearly. How his work continued to develop in the years towards real Dub is documented with the compilation album “Nasha V3 “, which published Osmani in 2009 together with the DJ Ges-e (spoken as guess-e) who is the founder of the label Nasha Records.
The Nasha Experience…
Ges-e’s label Nasha Records services also the musician collective The Nasha Experience (with Osmani Soundz and Sukh Knight, Shandy and DJ Sqarewave). Its new track “Greasy spoon” was published on 2 May 2010 in Vinyl (12”). “The Nasha Eperience – V005″ is very typically for the Dub, rather of darkly mood. – It’s dirty.
Not only The Nasha Experience with its latest release is very dub oriented, also the sound artist DJ dimmSummer went quickly into the studio shortly after his first Compilation album “Ethnotechno.com Vol. 1 ″ with the designated title Revolution Rising. In January 2010 dimmSummer’s own label ethnotechno.com published Nu Asian SoundZ.
Does the label name EthnoTechno.com let assume that we are tracking a new sound? Ethno is more dimmSummer’s first attempt of a global centring. Under Ethno he sublimates a multiplicity of artists from the Asian Underground who widespread globally and are determining the scene: Karsh Kale (Tabla), Vishal Vaid (Ghazal), DJ Cheb i Sabbah, Asian Dub Foundation, Transglobal Underground, State of Bengal, Niraj Chag, Midival Punditz, Goonda, Nucleya (former member of Bandish Projekt), Genetic Drugs and Rohan.
The musician and composer Anuj Rastogi who published on his own Omnesia as his debut album in 2007 and who is appreciated for his melodic sensitivity turns heavily to Dub beats and a sharp-edged sound with the track Rogue Justice on “Nu Asian SoundZ”… Anuj features the vocalist Falitta Chhabra.
What is Ethno Techno or what might Ethno Techno be ? Recently this question was arosed by Tony Naylor; he is a free-lance journalist for the British daily newspaper The Guardian. To make it short: in his article Tony comes on 2 January this year to the result that picking up sound elements from the category of world music is nothing else than another form of cultural colonialism. African, Arabian style elements or Latin music which more frequently we can find in Techno music are taken up without a real readiness to learn from other cultures. Nothing needs to be added to Tony’s valuation. The new radio format Indian E-music was developed with the background of more than four years monthly broadcasting of Indian classical music. Indian Classics is the substantial backbone same as it is for the Asian Underground. So we want to hold it also in the future, in the effort for a fundamental understanding for what we hear and why it sounds in a specific way as it sounds.
On half distance between Bristol and London lies Reading. There a trio is working
meticulously probably the most progressive sound, which we can get to hearing in the Indian electronic music at present.
The Tabla player and percussionist Chiranjiv Kainth and guitarist Paul Hemani flock around the head Prashant Mistry on synthesizers and sequencers. In their biographic identity Engine-EarZ Experiment defines on their Facebook page as revolutionary, spiritual and “rank faced” dance music.
Engine-EarZ Experment has been nominated in February 2010 for the “Best alternative act” of the Asian Music Award.
Bandish Projekt, Beat boxing and Clarinet…
The recent releases of very progressive musicians such as Prashant Mistry (Engine-EarZ Experiment), DJ dimmSummer under his own label EthnoTechno.com or Osmani Soundz in the musician collective “The Nasha Experience” are enriched by artists, who bring in musical stiles with completely different elements.
Natan Flutebox Lee, flutist of Indian-Irish origin is substantially affected by Hip-Hop and Punk. The Beat boxing and Hip hopping on the transverse flute was created by Natan Flutebox Lee himself as new playing techniques.
The British-Indian Arun Ghosh on the clarinet in the typical sound characteristics of Klezmer music comes from IndoJazz. With Arun and Nathan associates Mayur Narvekar composer and multi instrumental residing in Mumbai known as “Bandish Projekt“. Bandish is a term of Indian classical music and means literally ‘composition’. Unusually as the raga music of North Indian Classics is improvisational music up of 90%.
All three musicians, Natan Flutebox Lee, Arun Ghosh and Mayur Narvekar bring along training in (Western) classical and/or Indian classical music.
The BBC recording of a live session in April 2009 and a collaborative performance on 10th/11th April 2010 at the Alcemy Festival (South Bank Centre, Queen Elizabeth Hall) both taken place in London impress with high dynamics and acoustic complexity, which range from Indian classics to pure Dub.
We may hope for some CD productions from these interesting formations coming soon.
Secret Archives of the Vatican – Transglobal Breakbeat Dub Science
The cloak-and-dagger name Secret Archives of the Vatican hides a small musician collective from the South of London, from Croydon. Since 1998 when the musicians attracted public attention with the 1st release reformation Secret Archives of the Vatican define itself as “transglobal breakbeat dub science”.
This labeling sounds very promising and might be assigned best to the term Ethno. Arabian and Indian sound qualities and funky rhythms are substantial components of this “Orientalist Dub”. The English label BrokenDrumRecords published the golden EP “The Glidepath“ two days ago on 2nd May 2010. Its an album with five music pieces which can be downloaded free of charge (here).
Notice: The next broadcasting of Indian E-music is dated on 1st Tuesday, 1 June – at 09:00 pm CET on Tide 96,0 FM and via Internet.
… and who is interested in Indian classical music, each 3rd Tuesday (monthly) same time. Thus next broadcasting for IMC – India meets Classic is on 18th May at 09:00 pm on Tide 96,0 (and via Internet).