Tag Archives: Bansuri

Filter Coffee

Filter Coffee FCUK - Sangita web

Mumbai’s finest fusion ethnotronic outfit, FILTER COFFEE have arrived for their tour of UK which runs throughout July, including the Sangita Sounds & Inspiral Lounge event on 20th July 2013.  Untill now, most producers of electroacoustic indofusion music were not classically trained, but in Filter Coffe we hear the true fusion of two schools or traditions, the ancient North Indian Classical and the modern Electronic Technological.  Exciting music for exciting times!

SANGITA SOUNDS & INSPIRAL LOUNGE PRESENT : FILTER COFFEE

FACEBOOK

SOUNDCLOUD

Sangita-Sounds--Filter-Coffee---Inspiral-v7

Put together some guitar riffs, the sound of a bamboo flute, a tabla and throw in a funky electronic groove, brew it with some earthly vocals and you get ‘FILTER COFFEE’.

Filter Coffee is an Indian Folk – Electronic collaborative project brought to life by tabla player/percussionist Swarupa Ananth & flautist Shriram Sampath both who also double up as music producers. Their live performances include a unique blend of Indian Classical/Folk, instruments and voices with electronic grooves.

About Swarupa: – One half of “Filter Coffee”- Swarupa, a powerhouse performer, is one of the finest female tabla players in India. A disciple of Late Ustad Allarakha & Ustad Zakir Husain, a multitalented artiste, she plays the tabla, drums, djembe, bagalbaccha and a variety of percussion instruments from around the world.

About Shriram: – The other half of “Filter Coffee”, Shriram is a disciple of the World-renowned Flute Maestro Pundit Ronu Majumdar; Shriram specializes in playing the Indian Bansuri. Apart from the Bansuri, he’s also well versed with playing woodwinds like the Chinese Dizi, Bamboo Saxophone, Metal Flutes, Penny whistle, Didgeridoo, Ney – Egyptian flutes.

Filter Coffee 2 - Sangita Sounds Filter Coffee - Sangita Sounds

Cloud Shaped by Metasurfing

Metasurfing = Dubsahara = Evolution in metamorphose agglutinous phonemes.   In 1999 when this album was produced, only a handfull of sonic surfers had caught onto a new wave of sound. Granular synthesis is arguably the latest form of synthesis in the relatively short history of Synthesized sounds which evolved because raw computing power had allowed for high level Digital Signal Processing (DSP) to occur in realtime.

Metasurfing aka Greg Hunter was one of the sonic pioneers of Granular synthesis who produced what we know as the first Granular Synthesis Fusion album back in 1999.  The exceptional fusion of previously unheard granulated sounds and processed global rhythms & melody made for a novel Sonosphere that remain a uniquely enchanting experience .  It has long been on the Sangita Sounds playlist and we are in grains of delight at the re-release of this modern classic.

Metasurfing-Square

Listen to the complete Album here :-

An excerpt from an article on Granular Synthesis:-

Granular synthesis is a catch-all term for a number of different audio systems that work by using tiny snippets of sound that can be manipulated individually and are recombined to generate the final output. The majority of granular systems available use audio files/samples as their raw material. Samples are sliced up (behind the scenes) into a series of tiny sections, each usually between one 100th and one 10th of a second in duration. Each slice is known as a ‘grain’, and a sequence of grains is called a ‘graintable’. If the software made up a graintable which played back all the grains extracted from a given sample in their original sequence and at the original speed, then you’d hear the original sample reproduced. If the software played the sequence back more slowly, gaps would appear between the slices, so the current slice in the graintable is usually looped. Played back more quickly, each grain overlaps with the next one, or some grains get skipped depending on how the software works. To avoid clicks and glitches, each grain is faded in and out with a volume envelope, a process known as ‘smoothing’.

Taken from Sound on Sound Magazine :-

http://www.soundonsound.com/sos/dec05/articles/granularworkshop.htm

Buy the album, Support the Artist :-

http://dubsahara.bandcamp.com/

Dover Lane Music Conference 2012

Dover Lane Music Conference is the longest running annual Indian Classical Music festival in Kolkata and possibly whole of India.  This year the festival is dedicated to Swami Vivekananda on his 150th Birth Anniversary.  The line-up for the 60th Dover Lane Music Conference in Kolkata has been announced and it is, as always, something special.  It promises another 5 nights offering some of the Best of Indian Classical Vocal, Tabla, Pakhawaj, Sitar, Shenai, Violin, Rudra Veena, Bansuri, Sarod and Harmonium performances from an all-star host of performers.

Each program begins at 8pm and continues through the night.  Its a wonderful experience, to sit with thousands of others, opening ones heart to the subtle and stirring magic of India Classical Music.  As the evening gives way to night and night gives way to early morning, the Ragas mellifluously flow from one into another, often in accordance with the sections of the day.  The festival read more »

Ashirvad

CD

Buy the CD from Sangita Sounds •  Buy the CD from CDBaby

MP3

Download on iTunes •   Download on  Amazon •   Download on Last.Fm •   Download on eMusic


ASHIRVAD is a drop in the divine Ocean of Bliss.

Through the power and mystery of sound and music we invoke here a musical offering to the Gods.  The process was initiated at the turn of the millenium, with a cosmic calling to share majestic magic in music, transcendentalism in tone, tryptamine in timbre, revalatory in rhythm and mellifluous in mood.  With the Grace of the Gods we share the fruits of our labour with the residents of this, our Earthnation.

Featuring the following Guest Musicians :-

Gopal Bannerjee |  Sukhdev Mishra |  Georgina Brett |  Johanna Stein |  Haradhan Das Baul Shirin Sengupta |  Gopal Bannerjee |  S.K.Indu |  Debashish Haldar |  Dr.Ashwin Kalbag |  Shiv Shankar Roy |  Sadhu Seva |  Eugene Moriarti |  Debashish Haldar |  Noodreem  |  Kallol Mazumder

THE STYLES AND SOUNDS WITHIN ‘ASHIRVAD’

Sacred sound permeates the entire history of Indian culture. From the ancient Sanskrit hymns and mantras of the Vedas and Upanishads, to Medieval Drupada, Courtly Khyal, Amorous Thumri, Devotional Bhajans, Dhuns and Kirtans. Ashirvad is an attempt to weave together, some of the various elements of sacred sound inherent in the vast spectrum of Indian music in a sympathetic way with modern technological styles.

Ashirvad is a series of sonic landscapes inspired by Indian Ragas and various spiritual themes that will take you on a mystical journey to transcendental realms of wonderous splendor. Ravi Shankar once remarked, “A Raga is that which colours the mind”. Raga can also mean natural, spontaneous or intense emotional passion. A Raga is specifically a type of living force in the form of a specific arrangement of musical notes, containing an aesthetic mode of being called Rasa.

Kush Tea

Ashirvad – Kush Tea (Excerpt)

KUSH TEA

is a journey through exotic spaces, inspired by the devotional sentiments of Raga Bhairavi. The ambient intro opens to auspicious mantras with Sukhdev Mishra glorifying the holy name of ‘Hari’, followed by Gopal Banerjee praising the cosmic gurus of the Vedic pantheon with the famous invocation, “Guru Brahma, Guru Vishnu, Guru Deva Maheshvara, Guru Sakshad Param Bramha, Tasmai Sri Guruve Namah”. Gypsy guitar then introduces a melodic theme from a popular Bengali Bhajan, “Bhaja Hure Mana” by the 16th cent. Vaishnava poet Govinda Das, who advises his mind to be devotional  “My dear mind, just take shelter in adoring Sri Nandanadan (Krishna), at whose lotus feet there is no fear”. The journey then takes us through a mystical flight of fancy with dreamy cello, oboe, violin and an ambient incantation. The dynamics then rise with dramatic insistence to a Central Asian Gipsy jig, then turns East again via Varanasi to the grooves of Bengal. Concluding our mystical journey, we find the ecstatic bard Haradhan das Baul, wandering along the banks of mother Ganga, questioning his divinely inebriated state with the poignant finale, “Ki mode cowalo kishori ?” “What intoxicant have you given me?”.

Garuda’s Dream

Garuda’s Dream (Excerpt)

GARUDA’S DREAM

is the track with the most live feel on Ashirvad, giving it a sense of flying free. (Garuda is the winged, half man/bird carrier of Vishnu). The brilliant violin and vocal overdubs were created by Sukhdev Mishra after recording him also playing tablas live along with Mathura das’s twelve string groove, which was originally conceived during a jam they had together in a friends kitchen in Brixton in 2005. Sukhdev also added the main refrain to the composition and being a veritable one man show, later strummed the swaramandala. The basic guitar composition was quite simple but played in a sequence of open chords in mixolydian mode, allowing Sukhdev to have fun improvising with the flow, by sending it dancing to a mighty crescendo through a wonderfully spontaneous contrast of vocal inflections and dazzling riffs on his violin. Darren pulled the original recording out of the Sangita Studio archives when he returned from India in 2008, and went about polishing and setting the track with level upon level of magic ingredients to enhance the dynamic mood, along with some more guitars and percussion by Mathura das when he finally returned to London two months later.

Enjoy visual narratives of kaleidoscopic journeys in this excerpt of “Garuda’s Dream”:-

Magic Carpet

Ashirvad – Magic Carpet (Excerpt)

MAGIC CARPET

utilizes Raga Bhairagi, a melodic scale containing the notes used in the traditional chanting of Sanskrit mantras such as the Purusha Shukta, Vishnu Sahasra Nama and other sacred texts. The luxurious pulsating groove along with the seductive Bansuri bamboo flute playing of Shyan Kishori, entices us to an encounter with the primordial mystery of an ancient time, as the haunting vocals of Shirin Sengupta guide us on a sacred vision quest to the core of our being.

City of Joy (Excerpt)

CITY OF JOY

is an ode to the unique vibrancy of Kolkata. Cal. as it known by it’s residents and afficianados, has probably more artists, musicians and poets per capita than any other city in the world. It is also the state capital of Bengal, and was once considered the second most influential city in the entire British Empire. Darren wanted to capture the feelings of an unknown gem from the Calcutta underground music scene, and upon meeting Gopal Banerjee realised he had found a perfect example of the unblemished talent he was seeking. Mathura das and Darren somehow managed to coax the shy reluctant Gopal into singing along with an ambient piece Darren had composed earlier in his hotel room. And despite the busy street sounds outside his house and with regular friends in attendance, Gopal manages to completely submerge himself in the moody pathos of a Purvi type Raga alap (intro.). He then proceeds to introduce an amazingly unique example of swimming in the glorious nectar of the famous ‘Hare Krishna’ Maha Mantra (names of God), with the mystical depth and devotion of an ancient Rishi (Sage).

THE VISION

takes the form of a traditional light classical Thumri composition, enhanced with modern technological sensitivity. Sukhdev Mishra’s beautiful vocals, with a just a few lines of exquisite Hindi poetry, depict a romantic recollection of lover’s eyes meeting passionately as if for the first time. The soulful Sarangi of Dabashish Haldar echoes with masterful ease and refinement, that magical moment where magnetic attraction stirs in the hearts of lovers. The watery rhythmic pulse, is the sound of the clay bodied double ended Bengali mridanga drum called ‘Sri khol’, beautifully played by Govind Pandit in Navadwip, a holy town on the Ganges River situated three hours north of Kolkata.Allow yourself to be softly embraced by the mellow sounds of the ‘Vision’, while you drift gently on sacred streams of sonic nectar towards an infinite ocean of celestial blessings.

ASHIRVAD

continues the gentle flow with a Mirabai bhajan set in the light pastoral mood of a Pahari (mountain) folk melody. Mirabai was a 16th century Rajput Princess, who renounced her royal lifestyle due to her intense loving devotion for Krishna, becoming one of the most famous poet saints of North India. Dr. Ashwin Kalbag was inspired by a melodic theme we had developed, then lovingly created his own beautiful composition to accompany our theme with her poem, which describes the inseparable relationship Mira has with her unpredictable lover Sri Krishna. Mira finally implores Krishna to allow her to be a resident of Braj, (Krishna’s residential district) where every step is a dance, every word a song and the sound of His divine flute will always be her constant companion.

THE VALE OF AVALON

is an evocative instrumental piece originally created in Glastonbury, the ancient sacred spiritual center of England in the West country of Somerset. The sparkling sound of Sadhu Seva’s guitar picking along with the swaramandala harp, recalls an ancient Celtic brook, bubbling up from a sacred spring, refreshing the lush apple orchards of this mystical valley steeped in myth and legend. The river of life then flows East to Goa, where Eugene Moriaty from Russian joins us on our journey with his one take wonder sax solo, inspired by Raga Bhairavi and performed in Indian Shenai (Indian oboe) style while riding along the rolling waves of the tabla, linking the liquid spiritual pulse and flow of life from West to the East.

SOUL SEED

is a life enhancing experience, like plunging into a refreshing pool of healing nectar in an oasis of spaciousness. Dive deep into an exotic realm of tranquility, an esoteric shangrila within the inner regions of your the heart and discover the “Peace that passes all understanding”. Debashish Haldar proceeds to mesmerize us with his amazingly intuitive sarangi playing, spontaneously created on the spot while the track was running without ever hearing it before. Something only a master musician can accomplish. Debashish manages to  fuse so effortlessly and naturally with the Raga Bhupali theme, that his playing appears to be guided by hands of the divine.