#harmonium solo

[beenasarwar]

Sarmad Khoosat live; Celebrating love in Boston; Sapan News tribute to a harmonium soloist

Some updates about what we are up to at the Sapan network, including my latest venture Sapan News syndicated features, furthering the narrative of regionalism, peace, and dialogue. What can you do to help? Read on

A compilation of offerings from our Sapan network, including my latest venture Sapan News syndicated features. Together, we aim to further the narrative of regionalism, peace, and dialogue. What can you do? Read on Visual: Aekta Kapoor/Sapan Delighted to have acclaimed actor and director Sarmad Khoosat join us Sunday July 16 for Sapan’s first fundraiser, hosted by poet Dr Arvinder Chamak in…

[spockvarietyhour]

[tishant83]

[dustedmagazine]

Kelby Clark — Language of the Torch (Tentative Power)

Kelby Clark is an LA-by-way-of-Georgia banjo player who blends divergent styles and approaches to forge his own novel direction for the instrument. Over a series of mostly self-released home-spun recordings from the past five or so years, he has honed his approach, expanding the traditions of his point of origin in the American south to include free improvisation and eastern modalities — an alchemy familiar to Sandy Bull, a fellow stretcher of the vocabulary of the banjo and of the concept of “folk” and the traditional. His sparse and appropriately fiery new LP Language of the Torch, available January 10th of next year from Tentative Power, represents a significant milestone in his development of his own science of the banjo, a statement of intent for his artistic practice. It also marks the inaugural 12” LP release from the Baton Rouge, Louisiana label.

Across the seven searching pieces that make up Language of the Torch, Clark constructs a labyrinthine world of music from solo banjo and occasional, subdued harmonium, centered around two longform tracks, “Tennessee Raag Pt.1” and “Tennessee Raag Pt. 3” – there is no part two. These songs help situate the album among its influences, the titles suggesting an imaginational space where Appalachia and India overlap, an interzone frequently visited by practitioners of “American Primitive” music. The intentionally skewed numbering invokes John Fahey, another sometime-raga-obsessive, whose volumes of guitar music are numbered in a non-sensical, non-sequential manner, thumbing the nose at the very concept of numbers and of archiving or cataloging art in volumes. Clark improvises and composes, but on Language of the Torch, the two lengthy “Raags” and the six-minute opening salvo, “Time’s Arc,” feel like the compositions that anchor the shorter, more exploratory tracks that fall between them. Clark’s banjo twangs and drones almost sitar-like during these mesmerizing endurance runs, rough edges flattening over time like water-worn limestone.

In contrast to the patience of these bucolic “Raags,” the shorter tracks on Language of the Torch have an immediacy and attack to them and entertain more old-time flourishes. The concise title cut is perhaps the most traditional, the bends and swoops here feel related to Americana, a brief nod to and deconstruction of familiar forms. Clark is a fluid player, but the percussive nature of the banjo can run counter to fluidity — the most explosive of these improvisations, “Apis,” begins abruptly with an aggressive right-hand trill before it clatters apart and back together again like a musical version of Marcel Duchamp’s Modernist classic “Nude Descending a Staircase, No. 2.” This song is a stand-out and the heaviest example of Clark’s burning vision for the banjo, the “concert instrument” ambition expressed by his forebears in the American Primitive movement.

All traditional forms of music, from Indian Classical to Appalachian Old-Time and permutations between, seem narrowly determined upon a superficial look but reveal their universal nature to those willing to let go of semiotics and sink into their visionary streams. This makes these forms excellent starting points for experimentation, established structures that contain the instructions to build new universes, if one is bold enough to try to read them, and that is what Kelby Clark attempts here with the 5-string banjo and the various traditions from which he draws inspiration. The liner notes for Language of the Torch take the form of a poem by hammered dulcimer player Jen Powers, a fellow traveler on the path of exploding the scope of the traditional. I think the passage below illuminates the process at hand, the conversation between tradition and interpreter:

And maybe now you're wondering whether you are the conjurer or the conjured, and if you really want to know which it is

Josh Moss

[maditalksmusic]

An Analysis of Jeff Buckley's Grace (1994)

I still remember vividly the first time I listened to Jeff Buckley’s “Lover, You Should've Come Over". It was a rainy winter evening in 2021, and I was in a bit of a music rut. Everything I’d been listening to on repeat for the last month or two had become annoyingly redundant, and in a rather torpid attempt to reinvigorate my consumption of music, I decided to put my Spotify-generated “Discover Weekly” playlist. A few songs went by that, weren’t bad per se, but certainly weren’t all that memorable. When that opening harmonium passage graced my ears, chills washed over me. I stopped my Pinterest scroll, turned up the volume, then laid back in bed and just listened. Six and a half minutes later, I found myself uncontrollably weeping. To this day, “Lover, You Should’ve Come Over” is still my favorite song ever made. 

Jeff Buckley’s charm lies in the fact that, as it was best said by Dominique Leone in her 2004 review of Grace for Pitchfork, he was “a songbird, like the kind that used to receive roses and blown kisses from the debutantes in the balcony after performances.” While technically classified under the extremely broad umbrella that is rock music, Buckley effortlessly blurs the lines of genre on Grace. He incorporates a myriad of sounds characteristic of not only rock, but also jazz, blues, and folk. He got his start in Los Angeles and then moved to New York City and joined guitarist Gary Lucas’ band, Gods & Monsters, prior to entering a record deal as a solo artist. Buckley performed at cafés at tiny venues around Lower Manhattan through 1992 and 1993, most frequently at Sin-é, which inspired the release of his debut solo EP, Live at Sin-é, in 1993. A standout from the EP is “Je N'en Connais Pas La Fin”, which translates to “I do not know the end” is a sort of cover of the original Edith Piaf song, loosely translated to English from the French lyrics. 

Released in August of 1994, Grace is Jeff Buckley’s first and only complete studio album. Since his tragic passing on May 29, 1997, songs from projects titled Sketches for My Sweetheart The Drunk and You and I were released posthumously in 1998 and 2016, respectively. The original version of Grace, distributed by Columbia Records, features ten tracks. However, in 2004, Columbia decided to re-release a “legacy edition” of the album, featuring an eleventh track, "Forget Her", that was never intended to be released. The ethics of that decision are still heavily debated, as Buckley himself stated that he despised the song and did not want it on the album, despite Columbia’s original attempts to convince him to release the track. 

Grace opens with the hauntingly fervent track "Mojo Pin", inspired by a dream of Buckley’s. It’s title is a euphemism for an almost overwhelming sort of addiction to someone, to a point where you have to have them. The term “mojo” originated in the Southern United States in the 1920s, adapted from the Gullah word “moco”, referring to magic, and came to be used as slang for heroin and other drugs in the 1960s. I don’t think this track would have functioned nearly as well anywhere else in the album - it starts off softly, reaching a desperate crescendo by the end of song as Buckley lets his vocals soar with the repetition of “Black beauty, I love you so,” in tandem with an intense snare finish, driving in the sheer emotional power that is held through the duration of the album. 

Following “Mojo Pin” is the album’s title track, "Grace", which sounds completely different, yet still manages to encapsulate the same wretched yet hopeful yearning that is interwoven throughout the whole album. “Grace” was inspired by Buckley’s experience saying goodbye to his girlfriend at the airport. It explores the interplay between the struggle with the passing of time and the ways that love can carry a person through those difficulties. As Buckley croons “it’s my time coming, I’m not afraid / Afraid to die” in the first verse, it’s easy to see death as a sort of beautiful conclusion instead of a violent end. Listening to Grace very closely resembles a religious experience, at least for me. The cover of Leonard Cohen's 1984 "Hallelujah"  featured on the album brings this sentiment to a very literal level. While it isn’t my favorite song on the album, Buckley’s cover is the most beautiful rendition I’ve heard. It remains one of his most popular songs and for many, is a gateway into his music. 

Interestingly, three covers are featured on Grace. “Hallelujah” is known by the vast majority of listeners to be a cover, however "Lilac Wine" was composed by James Shelton in 1950 for the musical Dance Me A Song and "Corpus Christi Carol" is an English hymn written in the sixteenth century. Buckley’s version of “Corpus Christi Carol” is based specifically on an arrangement by Benjamin Britten. Both “Lilac Wine” and “Corpus Christi Carol” have become closely associated with Jeff Buckley as his personal sound still shines brightly through both songs, his unmistakable voice working beautifully with any variety of instrumentation. 

The juxtaposition of “Hallelujah” and “Lover, You Should’ve Come Over” immediately next to each other in the track list is a very clever sort of storytelling. Buckley’s cover of “Hallelujah” differs from others in that it doesn’t feel nearly as hymnal. The production is incredibly minimal, putting the width of Buckley’s vocal range on full display. It doesn’t feel like a church service so much as it is akin to finding yourself alone in a cathedral, reaching out from the depths of your soul to bathe yourself in the elusive notion of God’s love. It’s almost as if the music is trying to achieve some sort of salvation before it plunges into the heartbreaking ballad that is “Lover, You Should’ve Come Over”, a song that begs for forgiveness at the cost of mind, body, and soul. Much of Grace has its roots in Jeff Buckley’s relationship with Rebecca Moore, with some even considering her to be his muse. However, “Lover, You Should’ve Come Over” is most specifically about the end of their relationship. The track holds some of Buckley’s strongest songwriting, and quite frankly some of the best in history. “All my blood for the sweetness of her laughter” and “She’s the tear that hangs inside my soul forever” are some of my favorite lyrics out there. It’s a particularly gorgeous song on the record, but live, even if only seen through a decades-old recording, is soul-crushing. The performance Buckley did for JBTV Chicago in November of 1994 is forever seared into my mind. 

The conclusion of Grace has become a rather controversial topic due to the 2004 addition of “Forget Her” with the release of the Legacy Edition by Columbia Records. I enjoy the song independently, but I never listen to it as a part of the album. If  it was added at an earlier point in the tracklist it could debatably work, either between "Last Goodbye"  and “Lilac Wine” or between "So Real" and “Hallelujah”, though I believe Jeff Buckley’s original thought process on keeping it off the album was absolutely sound. The final two tracks, "Eternal Life" and "Dream Brother" on the other hand, tie up the album perfectly. 

“Eternal Life” is the ‘heaviest’ song on the album instrumentally, more aligned with a traditional rock song than anything else on Grace. It stands out considerably from the sounds on the rest of the album, even while those sounds are so wonderfully varied, but it does so well. Departing from the more autobiographical lyrics of many of the songs on the album, “Eternal Life” is focused on the struggles of being human, written as a product of Buckley’s anger, according to Genius over world events such as the assassination of Martin Luther King Jr, World War II, killings in Guyana, and more. It’s an expression of an anger shared by many at the time of its release, and an anger that many people today continue to feel as we see the horrendous effects of the Israel-Palestine conflict, the ongoing war in Ukraine, and feel the stress of the upcoming presidential election. “Dream Brother” is an ideal conclusion to Grace. The song serves as a warning in a sense, inspired by one of Buckley’s friends who left a pregnant girlfriend, telling him not to be like “the one who made me so old”, referencing his father, Tim Buckley, who only met his own son once and died of a drug overdose at 28. “Dream Brother” can serve as a reminder to us all to be accountable for our actions and allow ourselves to fully experience our emotions. 

The constant sense of raw and unbridled emotional vulnerability is what makes Grace what it is. I always do my best creative work after listening to some Buckley, because he’s an artist that can open you up and force you to dig into the depths of your psyche by means of song. That emotional vulnerability is the driving force behind Jeff Buckley’s ability to craft such enchantingly gut-wrenching music, and ultimately that is what every listener can take away from Grace. 

[ma-pi-ma]

Accendi la prima luce della sera, come in una stanza

in cui riposiamo e, con poca ragione, pensiamo

il mondo immaginato è il bene supremo.

Questo è dunque il rendez-vous più intenso.

È in tale pensiero che ci raccogliamo

fuori da ogni indifferenza, in una cosa:

entro una sola cosa, un solo scialle

che ci stringiamo intorno, essendo poveri: un calore,

una luce, un potere, l'influsso prodigioso.

Qui, ora, dimentichiamo l'un l'altro e noi stessi.

Sentiamo l'oscurità di un ordine, un tutto,

un conoscere, ciò che fissò il rendez-vous

entro il suo confine vitale, nella mente.

Diciamo Dio e l'immaginazione sono tutt'uno...

Quanto in alto l'altissima candela irraggia il buio.

Di questa luce stessa, della mente centrale,

facciamo un'abitazione nell'aria della sera,

tale che starvi insieme è sufficiente.

Wallace Stevens, da Harmonium, 1923

[depressedraisin]

song diaries: damon albarn edition

i thought i'd wait until the end of this week to do this weekly library entry for the music i've been checking out, but you know what? fuck it let's to it today, i've just got too much to say.

so this week i've been on a damon albarn discography expedition. listening to the ballad of darren over and over for like a month and consuming hours worth of concert and interview content has clearly broken something in my brain and this old geezer's music is my new hyperfixation. not complaining though cause there's just SO MUCH. there's like five lifetime's worth of music he's put out in 40 years give or take, and i can't think of one genre he hasn't dipped his toes into. also he's worked with so many SO MANY amazing musicians and artists!!!!! which is always so cool so many new people to discover and get obsessed with <3

now blur and gorillaz on their own are pretty much lifetime achievements but albarn also has such rich body of work outside them as well. i've kinda been familiar with those two for years, my recent forage has mainly been into his non-blur, non-gorillaz music.

here are some highlights i need y'all to be obsessed with just as much as i am:

The Moon Exalted (from the opera Dr Dee, 2011)

did u know damon albarn is an composer of operas as well?! i had no idea! a couple days back i heard him mention working on orchestrating one of goethe's unfinished librettos and i, of course had a very Normal reaction to that. (my obsession with classical music might be sleeping but never dead) so i went checking and learnt he already has 3 opera compositions under his belt. woah.

anyway this piece/song is from the 2011 production dr. dee: based on the life story of some elizabethan magic dude. there's a bunch of traditional elizabethan folk instruments- viola de gamba, lute, shawm, recorder etc etc, the wonderful kora (malian instrument, a blend of lute and harp), the harmonium (literally never saw harmonium being used in any music from the west lol im bengali so i get terribly excited abt this) and the iconic, the legendary tony fucking allen featured on this. the vibes are more folksy, earthy than renaissance-lite which i find pretty cool.

the moon exalted is such a lovely, lovely song though. one of the prettiest things albarn's ever written probably. the kora interlude makes me sob like a baby every single time.

check out this live from his solo concert at the globe theatre:

Go Back (feature on Tony Allen's album Film of Life)

legendary drummer tony allen (i've been listening to afrobeat a bit as well, that's for another day) and albarn has had a long working relationship and friendship. they've worked together on gorillaz, they were in two supergroups together, they worked extensively to champion western african music.

this track is a personal favourite already. wonderful afrobeat elements and tony's distinctive style coupled with some solid jazz keyboard-ing from albarn.

this performance tribute to tony allen makes my heart especially ache (he sadly passed away in 2020). albarn's talked a lot about how much allen meant to him, as a collaborator, mentor and friend, and it's all quite emotional.

This Is A Low (live from Shakespeare's Globe)

listen listen listen i said no blur- but. you gotta listen to this version of this is a low (from Parklife, 1994). he plays quite a bit of blur on the piano for his solo shows but they are kinda a hit or miss tbh. but this one works. for this 2021 solo concert albarn introduced a discordant piano solo in place of graham coxon's rather iconic guitar solo. and omfg it came outta nowhere and hit me straight in the face i love it so much

(don't tell anyone but ipreferthepianosolo)

The Nearer The Fountain More Pure The Stream Flows (from The Nearer The Fountain More Pure The Stream Flows, 2021)

damon albarn has two Solo ™ albums and the second, and lastest, one of these is the nearer the fountain more pure the stream flows released in 2021. initially starting out some sort of an orchestral piece inspired by the changing scenery outside the window of his home in albarn, it eventually ended up becoming this set of very melancholic and intimate set of songs. about so many things: loneliness and our changing relationship with nature and anxiety over life etc etc. post-pandemic feels basically.

it's a deeply emotional listening experience, with sweeping strings at places and gentle piano in others. quite a good showcase of albarn's pianowork imho (u see a pattern here right?). my fav out of them is the title track. the name comes from a john clare poem and it's absolutely stunning.

Mr. Tembo and The Selfish Giant (from Everyday Robots, 2014)

albarn's first solo record, everyday robots of 2014, is up there are one of his best works in my books. it's a set of autobiographical songs inspired by various moments in his life, with elements of triphop, folk and electronica and general themes of isolation and nature/technology etc: which are such quintessentially damon albarn, y'know?

mr. tembo is a adorable lil folksy song about this orphaned baby element he met in tanzania. aaaaannnnd, it features a gospel choir because mr. tembo grew up take care of by forest rangers who listened to a lot of gospel radio. cute.

speaking of the selfish giant........oooffff. big ooooffff. such a gut punching song, goodness. like when i heard the line "it's hard to be a lover when the tv's on" it knocked me out of service for a while.

Waterloo Sunset (The Kinks cover with Ray Charles, somewhere in the late 90s)

this one's quite a legendary performance. in the early blur days, damon albarn was often talked of as like a successor to sir ray davies, he of the kinks fame and witty observational character studies of english life.

this performance of them duetting the iconic the kinks song waterloo sunset was a passing of the baton moment of sorts. and when davies breaks into parklife in the end- all the feels, man, all the feels.

Mali Music (2002 album)

written in collaboration with afel bocoum, toumani diabaté & friends featuring ko kan ko sata, this album explores- you guessed it- music from mali. now i know next to nothing about mali or west african music really so i'm gonna be using this album as a reference point to learn and research more.

Poison Tree (from the 2018 The Good The Bad And The Queen album, Merrie Land)

the good the bad and the queen is 100% for sure one of the most underrated supergroups ever. i mean paul simonon (the clash), simon tong (the verve), tony allen and albarn- can you imagine the sheer level of awesomeness?!

they have two albums, and it's unlikely they'll ever have another. poison tree from their second album is perhaps my fav tgtb&tq song. merrie land was written about and as a reaction to brexit, and there's feelings of farewell and isolation and desolation prominent throughout. but poison tree also reminds me strongly of blur songs like battery in your leg and sweet song and no distance left to run. so yeah, emo hours.

(*for those uninitiated in blur lore the first two songs albarn wrote for/about graham coxon when he left the band in 2003, and the latter was written about his breakup with justine frischmann in 1998)

On Melancholy Hill (live from Matera, 2019)

blur got a cheat entry, so to balance things out, gorillaz gets one as well. on melancholy hill is a heartbreakingly tender song as it is but solo piano version makes it heartbreaking-lier and tender-er *sniffles*

[mywifeleftme]

268: Laxmikant-Pyarelal // Dosti

Dosti Laxmikant-Pyarelal 1964, Angel

Composing partners Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma worked together for 35 years and, per Hindustan Times,composed about 2,900 songs for 750 different films during that span—a level of productivity basically unfathomable outside of the specific context of the insanely prolific Bollywood studio system. 1966’s Dosti soundtrack was their artistic and commercial breakthrough, and as such it occupies a significant place in Indian music history. I’ve never seen the film, though its cover features two crying boys hugging so it may be up my alley. The Wikipedia synopsis makes it sound like a melodrama without parallel (aside from several hundred others made by Bollywood that same year). The movie opens with a boy’s father dying in an industrial catastrophe, his mother fainting and falling down the stairs (to her death), and then the boy getting disabled in an accident of his own. He then makes friends with a homeless blind boy, and the two chums are then rigorously wedgied by life itself for the next three hours until a happy ending imposes itself.

Working with lyricist Majrooh Sultanpuri (a notable leftist poet), Laxmikant-Pyarelal’s songs are strongly credited with Dosti’s enduring success, and while I’m neither an expert in their oeuvre nor Bollywood music as a whole, I can tell you this is beautiful music any fan of adventurous vintage pop should adore. The songs all strike my ear as happy, but with a tear welling in their eyes. It’s more subtle stuff than I associate with contemporary Bollywood: “Gudiya Kab Tak Na Hasogy” twinkles and minces to a gentle dance rhythm, leaving room for soulful flute and harmonium (or accordion?) solos and the melancholy lilt of a mandolin. Both members of the duo had a strong education in Western and Indian classical music, and these sentimental songs find the sweet spot between the traditions, with vigorous tabla rhythms and droning strings meeting melodies that evoke spaghetti western scores (“Janewalo Zara”) or practically quote “Ode to Joy” (“Rahi Manwa”).

It was the convention at the time for a reliable cadre of vocalists to dub over the singing voices of the lead actors, and Laxmikant-Pyarelal established long-standing relationships with their favourites. Dosti features two of their standbys, with Mohammed Rafi handling five of the six songs on the 10” soundtrack I own, and Lata Mangeshkar taking the other. Both absolute legends on the subcontinent, while Rafi and Mangeshkar were each well into adulthood by the time they recorded these songs they give such naively haloed performances that if you can squint (your ears?) just a little it’s easy to imagine they might have originated from the lips of children.

The scope of my expertise in this area is extremely limited, but if it’s not clear, Dosti gets my highest recommendation. If you should come across a ‘60s record with the Laxmikant-Pyarelal imprimatur at your local used shop, give it a shot.

268/365

[urapunk2023]

Was Nico a Nazi? 

Lena Kelsall 

Many of us know harrowing sounds of the Velvet Underground’s lead accompanying female vocalist on their debut studio album “The Velvet Underground and Nico” produced in part by Andy Warhol, but who among us has investigated the sinister origins and worldview of this beautiful and lonely proto-punk Feme Fatale?  

The longevity of her career as well as the allure with contemporaneous male artists make Nico a misunderstood but enticing proto-punk figure. She sold out a show in San Fransisco at the club Fab Mab as a solo artist almost 10 years after the album with The Velvet Underground debuted, but she played none of her folksier tunes made in collaboration with the Underground nor her solo album “Chelsea Girl” made with help from artists like Bob Dylan a decade earlier. Rather, she performs the eerily ambient and gothic sounds made with her harmonium and afflicted voice, produced with the help of John Cale from her albums “Dessert Shore”. What is troubling however, is her choice of finale at this performance at Fab Mab’s; a rendition of “Deutschland,’ the German national anthem including the parts which are routinely omitted for the national socialist connotations. A rendition entitled “Das Lied Der Deutschen” is the closing track on her 1974 Album “the End...” and a performance of it in Berlin is said to have incited a riot among students. Can we acknowledge Nico’s “Nazi-esque” leanings and still listen to her music? 

Nico was born Christina Päffgen in Cologne in 1938, she came into the war-torn continent with a Nazi-informed world view as her Spanish and Yugoslavian parents were coerced towards Hitler’s cause to their fatal end. Despite enduring trauma growing up in the midst of WWII, she was educated in France, Italy and Germany and pursued a model-actress-singer career across Europe from the age of 15. Although Nico’s biographer uncovered her diaries from her childhood in Cologne where she wrote sentiments of resistance towards the anti-sematic human degradation she witnessed, this is not a qualification for racist behaviors and statements from her recorded in the 70’s where she had a public platform on the continent which claims freedom and human liberty. As people debate ‘canceling’ and deplatforming problematic figures, and considering the use of swastikas in the punk scenes in London (in a critical method of Detournement, or in a white nationalist way by skinheads), we have reason to seriously consider the ideological implications of an artist's identity and perhaps separate it from their art.  

Bibliography  

Greg Turner, “Nico on th’west coast and other UFO sightings” New York Rocker Vol 1 No 11 February-March 1977 accessed via Special Collections at Charles Library  

“She'll Be Your Mirror: Who Was the Real Nico?” The Independent, Independent Digital News and Media, 4 July 2021, https://www.independent.co.uk/arts-entertainment/music/features/nico-biography-velvet-underground-b1875484.html.  

Fyles, Fred S. “Problematic Faves: Nico.” Felix, https://old.felixonline.co.uk/articles/2016-12-9-problematic-faves-nico/.  

“She'll Be Your Mirror: Who Was the Real Nico?” The Independent, Independent Digital News and Media, 4 July 2021, https://www.independent.co.uk/arts-entertainment/music/features/nico-biography-velvet-underground-b1875484.html. 

[superdeluxeaverage]

I have some new years resolutions but i forgot what they are well one for sure is i wanna try drawing again n practicing n to also start writing more which i had already started doing last year once i got my laptop but i wanna practice my doodling again by like reading n looking at pogo n moomin and mad magazine just stuff w/ nice cute art n rough looking stuff to kinda start imitating them so yea i dont kno if i wanna have more or less gay sex this year tho.. lol. I def wanna practice sax more today n yesterday i feel lile im hitting a wall at what i can actually do on the instrument but i just gotta keep it uo n develop something to grasp on it. N then i wanna read more this year n connecting to the other resolutions like wanna be artistically active cause its easy to not do anything cause of being drained by work like i gotta push myself to read on my breaks and play instruments on my days off or b4 n after work. Like i gotta think of minutemen n how i cool they were talking abt having 9 to 5 jobs n still having making music n being part of a band a significant part of their lives. I kinda well rly hope i get to actually play in a band this year but i also know its v unlikely for me to find likeminded ppl i genuinely gel w/ musically n whatever band i play in w/ prolly feel like just practice n experience. Like i feel i have a p solid decent grasp at playing n soloing that id wanna see how i go down playing n reacting to other ppl n actually playing over chords im not familiar w/ n stuff. I guess my best bet would be to get some more pedals for my crumar organ n work on my organ improvising n use that or the harmonium (if im feeling rly risky n confident) as my instrument

[john-william-12]

Explore the Unseen Side of Dharamshala Beyond McLeod Ganj 

When people hear the name Dharamshala, McLeod Ganj is often the first thing that comes to mind. Yet, McLeod Ganj is only a small part of Dharamshala, known for its trendy cafes and the famous Triund trek. But there’s so much more to explore in Dharamshala beyond the well-trodden tourist spots. 

If you're looking for unique experiences away from the crowded cafes, the following is an insider's guide to some of the lesser-known attractions and activities in this beautiful region. Read further to know more:

Discover the Art of Momo Making

If you’re looking to immerse yourself in local cuisine, mastering the art of cooking momos is a must. At a private kitchen run by Rita Kapoor, an experienced North Indian cook, you'll learn how to prepare this delicious dish. 

The cooking classes are intimate, with a maximum of 8 participants, ensuring a hands-on experience. These three-hour sessions are perfect for food enthusiasts wanting an authentic taste of local dishes, with clear, easy-to-follow instructions.

Location: Old German Bakery, 1st floor, Room #2, Opposite Buddha Hall, Bhagsunag, Dharamshala

Explore the Library of Tibetan Works and Archives

For those with a love for books, the Library of Tibetan Works and Archives is a hidden gem. Tucked away in a peaceful Tibetan settlement, this library houses rare and old books focusing on Tibetan and Buddhist philosophy. The space also includes a museum displaying important Tibetan artefacts, making it a must-visit for art and history lovers.

Location: Gangchen Kyishong, Dharamshala

Free Meditation at Tushita Meditation Centre

If you want to experience inner peace amidst the serene surroundings of Dharamshala, the Tushita Meditation Centre offers free, guided meditation sessions every day except Sundays. From 9:30 to 10:30 am, you can relax, clear your mind, and enjoy the beautiful hill views. The centre also has a library where you can rent books related to meditation and mindfulness.

Location: McLeod Ganj, Dharamshala

Dive into the History of Kangra District at the State Art Museum

For a cultural deep dive, the Museum of Kangra Art offers a curated collection of local art, artefacts, and historical items. The museum's collection includes sculptures, manuscripts, carved wooden items, and jewellery. You can even purchase artworks by local artists. It’s a compact but impressive destination for anyone keen on history and art.

Location: MDR45, Sudher, Dharamshala Note: The museum is closed on Mondays.

Learn Indian Music at Divine Indian Music Center

Music lovers can enhance their trip by learning how to play traditional Indian instruments at the Divine Indian Music Center. Whether you're interested in learning the flute, tabla, sitar, or harmonium, this centre offers lessons for all skill levels. The teachers, Nidhi and Hari, are well-known for their kindness and dedication to teaching music in a welcoming atmosphere.

Location: Upper Bhagsu, Next to Gypsi King Guest House, Dharamshala

Visit the Gyuto Tantric Monastery Temple

Located on the outskirts of Dharamshala, the Gyuto Tantric Monastery is a stunning example of Tibetan architecture. Perched atop a hill and offering panoramic views of the Dhauladhar mountains, this monastery provides insight into monastic life and Tantric practices. The 40-50 steps leading to the shrine add to the adventure of the visit.

Location: Sidhbari, Dharamshala

Retreat at Thosamling Nunnery and Institute

For a truly tranquil experience, a stay at the Thosamling Nunnery is ideal for solo travellers seeking peace and reflection. Surrounded by lush gardens, prayer flags, and bamboo trees, this serene sanctuary offers a welcoming atmosphere. A fortnightly weekend meditation course is held here, providing the perfect opportunity for deep relaxation.

Location: Sidhpur, Dharamshala

Explore India using Tourist eVisa

Before planning a trip to visit Dharamshala, you need an Indian visa that helps you to enter India. You can directly apply for a tourist visa with the validity of 30 days, 1 year and 5 years. For an e tourist e-visa, you need to know what documents are needed and how to apply for this e visa online. 

To apply for tourist visa to India, the process begins online through the official eVisa portal. Applicants must fill out the online application form, upload a recent passport-size photograph, and a scanned copy of the passport's bio page. Additional documents, such as proof of travel, may be required depending on the applicant's nationality.

After submitting the form and paying the applicable visa fees via credit or debit card, processing typically takes 3-5 business days. Once approved, the eVisa is sent via email, which must be printed and carried during travel. Visitors must enter India through designated airports or sea ports, and their biometric details will be collected upon arrival.

Why choose us?

Choose us because we are dedicated to curating exceptional travel experiences in Dharamshala. Whether you want to explore Tibetan culture, enjoy peaceful retreats, or learn something new, we would love to help you discover the hidden gems that make Dharamshala special.

[music-dmt]

The Global Influence of Bollywood Music

Bollywood music has long been a crucial element of India's cultural export, captivating audiences with its vibrant rhythms and heartfelt lyrics. The appeal of these songs goes beyond borders, influencing music scenes around the world. By exploring some of the top Bollywood songs, we can see how this genre is not just a product of Indian cinema but a global musical phenomenon.

Bollywood Meets World Music

One of the most fascinating aspects of Bollywood music is its ability to blend traditional Indian sounds with global music trends. This fusion creates a unique sound that resonates with diverse audiences. Bollywood's influence can be seen in the work of international artists and music producers who incorporate its signature beats and melodies into their own music, expanding their appeal.

The Impact on Global Artists

International artists like Bia have occasionally incorporated elements of Bollywood music into their songs. The use of tabla, sitar, and harmonium, along with complex rhythms and scales from Indian classical music, provides a fresh perspective in the global music scene. Bia, known for her eclectic style, represents how artists are embracing cultural sounds to enhance their music's depth and reach.

Electronic Music Synergy

In the electronic music arena, DJs like Tiësto have also experimented with Indian influences. The pulsating beats of Bollywood dance tracks provide a vibrant energy that complements electronic music's dynamic nature. Tiësto's incorporation of Bollywood samples into his sets during performances at global venues exemplifies the crossover appeal of these genres.

The Rise of Female Power in Music

The music industry has witnessed a significant rise in female artists who bring diverse voices and perspectives. From innovative girl band names that challenge traditional norms to solo artists like Cardi B, whose lyrics empower and provoke thought, the landscape is evolving. Cardi B's "Bodak Yellow," with its bold and assertive lyrics, mirrors the empowering themes often found in Bollywood music, where female characters frequently drive the narrative.

Cultural Exchange Through Music

The exchange of musical ideas contributes to a richer global music culture. As Bollywood music incorporates elements from various genres, it also offers a platform for international artists to engage with new sounds and audiences. This cultural intermingling fosters a deeper understanding and appreciation of music as a universal language.

Conclusion: A Melodic Mosaic

The journey of Bollywood songs from regional soundtracks to a global stage highlights the power of music as a form of cultural expression. It not only entertains but also connects and educates, making it a powerful tool for cultural diplomacy. By embracing and integrating different musical styles, artists like Tiësto, Bia, and emerging girl bands are creating a melodic mosaic that reflects the interconnected world we live in today.

In this exploration of Bollywood's impact on the global music scene, it becomes clear that music is not just an art form but a bridge that connects disparate cultures, allowing them to share a common language that transcends geographical and linguistic barriers.

[celtic-cd-releases]

https://duoelmar.de/

www.maria-nikola.de

https://www.facebook.com/maria.nikola.music/

www.ellazlotos.de

https://www.facebook.com/ellazlotos

You can find their Album on Bandcamp.

https://duoelmar.bandcamp.com/

[dustedmagazine]

Water Shrews — Red Eared Slider (Mossy Tapes)

Water Shrews are a Portland, OR based improvisational group with a line-up that ranges from founding member/organizer/Bud Tapes label person Emmet Martin warping tapes and droning on synths and reed organ by themself to a big band — the Free Water Shrew Ensemble — that creates half-hour or so bursts of ecstatic free-folk jazz. Most of these performances end up on a home-dubbed tape or CD-R, in true head fashion. The Shrew’s newest tape is on fledgling UK label Mossy Tapes, founded by artist Jonny Brokenbrow, recognizable for his artwork on many of the sleeves for the Worried Songs label, does not fit the above mold it lies somewhere in between the poles of the Shrew’s free-form galaxy. The music is still improvised, but this album features the original Shrew duo of Martin and multi-instrumentalist/producer Skyler Pia using mostly acoustic and folk-coded instruments in studio settings to go full arcane Pelt-mode over the four lengthy tracks.

Red Eared Slider opens with “Ambulation”, a factually ambulatory, wandering even, duet for acoustic guitars. Drifty, reeling fingerpicking cements the Fahey reference that is perhaps implied by naming the album after a turtle. This song crashes into the following one like a stone breaking the surface tension of a pond. “Water Refraction” fades in with a harmonium drone but begins to plant itself more and more in rhythm and melody over the 14-minute running time, with twinkling raga-like guitar in the background providing a territory for exploration by another guitar and a pedal steel in ruminative conversation. Peaks and valleys of reed organ sometimes bring the song into that heavy, dissonant zone of shadowy backwoods dread you might experience listening to the likes of Tongue Depressor, but Shrews don’t live in those moments, there is more ground to cover, the clouds clear, and by the end of the piece, the weight has dissipated into a call and response of staccato acoustic guitar notes, reminiscent of birds in the morning.

Side B starts with “Green Depths”, a song that evokes its title — if “Water Refraction” was the stone breaking the surface, “Green Depths” is that stone sinking and settling into the soft mud of the bottom. Electronic elements are introduced here; tape loops, a Shrew stand-by. They sound like a sub-aquatic alien om chant, mysterious and crackly, in a submerged temple with a harmonium for an organ. Surfacing from this space on a float of blown reeds comes “Aquatic Steps”, taking listeners full circle on this intra-terrestrial journey with another American Primitive adjacent guitar duet as sunny as the titular slider sleeping on a log in June — at least until it crumbles like a deadfall of noise to close out the tape.

Water Shrew’s discography is hard to pin down, owing to the habit of releasing a tape or CD-R of just about every time the collective sits down to jam. Red Eared Slider is a bit more intentionally produced but the performance is no less improvised, and the musical chemistry between Martin and Pia, their ability to move between sharp edges to smooth contours, is on full display. Red Eared Slider splits the difference between the minimal drone of solo Shrews and the joyful maximalism of the Free Water Shrew Ensemble, making it the perfect place to dip your ears in this group’s never-ending stream.

Josh Moss

[peacockstalemusicalstorytelling]

The Peacocks' Talking Christmas Card

Our favourite carol in a Peacock's Tale full band arrangement of Bert Jansch's Pentangley solo folk guitar version, prefixed here with the octave of my sonnet "Journey of the Magus". Also featuring bells from the church down our lane. The poetry of the carol (1872 ) is by Christina Rossetti and the tune (1906) by Gustav Holst. Rossetti has the distinction of having modelled the figure of Christ in the pre-Raphaelite painter Holman Hunt's "The Light of the World".lyricsTo have turned to the East is then to be Conscious of the chaos behind the plan, Mindful of the terror behind the calm, Eyeful of darkness in lit Western cities; Now I’m called at last to God’s own country Disbelieving in switch and tap and fan, A Western, hygienic, jetted Dis-Man Orientated by your love of me... In the bleak midwinter Frosty wind made moan Earth stood hard as iron Water like a stone Snow had fallen Snow on snow, snow on snow In the bleak midwinter Long ago Heaven cannot hold him, nor Earth sustain; Heaven and earth shall flee away when he comes to reign. In then bleak midwinter a stable place sufficed The Lord God almighty, Jesus Christ. Angels and Archangels May have gathered there Cherubim and Seraphim Thronged the air But his Mother only In her maiden bliss Worshiped the beloved With a kiss What can I give him Poor as I am? If I were a shepherd I would give a lamb If I were a wise man I would do my part What I can I give him Give him my heart.

creditsfrom PEACOCK'S TALES (The Sapphire Wedding Album), released December 1, 2024 octave from Journey of the Magus © Gareth Calway 2015 Carol lyric by Christina Rossetti 1872, tune by Gustav Holst 1906. Maz- Lead vocal, acoustic guitar. Gaz - Voice, bass, foot bells, foot tambourine, djembe drum, bodhran, hand drum, triangle, common flute, support vocal, hi hat, starry cavern angels harmonium, Fring church bells.

[labobineblog]

Seule Tourbe & Grangou (Co-plateau)

Vendredi 13 décembre, 20h30

GRANGOU : (Créole haïtien) : avoir faim, ressentir le besoin pressant de s'alimenter

Aurélia ÉTIENNE : Chant / looper / harmonium / piano Un spectacle musical en solo qui prend racine dans un climat incestuel. Aurélia donne de la voix, dit avec peu de mots, se déploie avec sa musique teintée d’ailleurs avec rage, douceur et réconfort. Elle construit peu à peu une maison, un lieu sûr avec sa voix, où elle nous invite avec beaucoup de coeur et de sensible.

SEULE TOURBE :

Mariane BERTHAULT, musicienne polymorphe et fantasque, sera accompagnée de ses fidèles instruments (flûte en métal, en plastique et en bois, guitare, ukulélé, et autres astuces électroniques) pour vous chanter une histoire surprenante qui se composera à votre contact, prenant des chemins de traverse dans des forêts inventées pour l'occasion et peuplées par nos soins.

LIVES https://www.youtube.com/watch?v=u09dDrJ9ZpA https://www.youtube.com/watch?v=RjeRbKW9GdQ

CLiP : https://www.youtube.com/watch?v=-2SIfJcc9-I

Restauration à 19h par Noria

Participation aux frais : Plein tarif : 14€ Adhérent à La BOBINE ou Moins de 25 ans : 10€ Chômeur, bénéficiaire du RSA - Adhérent de moins de 25 ans : 7€