The following video has already been viewed 3.2 million times on YouTube, so it hardly needs a link from me. But what the hell, it’s funny:

Penn Masala have a new CD out, and they were recently featured on NPR. But why do I have the feeling that they will now be best known — and beloved — by college students everywhere for “The Facebook Skit”? Continue reading →

Via Nirali, check out Shaair and Func. Shaair (think “Shayr”) is a desi girl who grew up in the DC area; Func is a Goan from Mumbai who grew up listening to Metallica. What you get when you mix the two is something that sounds like this:

She reminds me a little of Nikka Costa… what do you think? The best part of the profile at Nirali for me were these paragraphs:

And so began a relationship—”We fell in love with each other’s person first,” stresses Dogra—based on the mutual desire to make accessible music, free of the pressure to impose a contrived “Indian” sound (think twangy sitar solos and misplaced tabla beats). “Before I met Randolph, producers would be like, ‘Write a line in Hindi’,” says Dogra. “I can’t even speak Hindi! I’d listen to it and think it was so insincere.”

Give their debut CD a listen, and it’s obvious that Shaa’ir and Func are staying true to their mission of keeping themes universal. “We want to pave a better way for the next generation of not just Indian kids, but kids the world over who want to put out an idea. They can do it without having that ‘Who are you?’ pressure on themselves,” explains Correia. It’s increasingly apparent that the two are committed to their goal as they sing about everything from illegal-alien ancestry to the downsides of long-distance love. (link)

A video with higher production value than the one above is “Oops”. Lots of eye candy, but I’m not feeling the song as much as “Hit,” which I linked to above. Another one to check out is “Government,” a spoken word poem over music. Continue reading →

The Himalayan Project, consisting of the duo Chee Malabar and Raymond “Rainman” Lie (see some previous posts here, here, here, and here) recently released their third album, titled Broken World.

Himalayan Project’s third studio album, Broken World, is finally available for audible consumption!… The crew would like to thank everyone who’s waited patiently for this labor of love to get done, you won’t be disappointed. For those of you who would prefer do legally download your copy, hang tight, it should be a couple weeks tops before it gets to your favorite digital distributor.

One last note/favor, if you like what you hear, don’t be shy… hit up the comments page of the store you bought it from (CDbaby, itune, Rhapsody, etc.) and write a review. Hell, if you didn’t like it, write one too and let us know what you didn’t like (if you really don’t have a life and like stomping out the dreams of independent artists just trying to do their thing ;). [Link]

Here are the lyrics of the track Manchild (which can be heard on their MySpace page):

I read brown’s the new black, thanks to henna and bhangra,
Shit, I’m thinking lock-up in a Guantanamo slammer,
Geronimo Pratt style, panther type stances,
To keep raisin’ questions till they can’t suppress the answers,
Camphor based prose, C10-H16-0 flow,
I brandish the stress my pops’ handsome face shows,
Homes I don’t dance for dough or pamper hoes, case closed
No rest haven, I’m Wes Craven when they bring the breaks in,
Murderous Raven, staving off your blocks’ onslaught,
Playa, break down lines like Ray Lewis and make music,
That’s makes Buddhists embrace Uzi’s,
And let the spark from their shot light the darkest region in your
heart. [Link]

Nusrat Fateh Ali Khan has a new CD out. While that may seem unlikely, given that he passed away ten years ago, it’s true. Italian/British producer Gaudi took old master tapes from the early 1970s in the possession of Nusrat’s original Pakistani record label (Rehmat Gramohpone), and reinterpreted them with Dub/Reggae beats. The sound is fresh, if not technically new — a successful way to bring back the ghost of Nusrat in a recording studio. Dub Qawwali has recently been released on Six Degrees Records; Gaudi was interviewed by NPR here.

Dub Qawwali is a collection of Nusrat songs that, for the most part, I hadn’t heard before, though admittedly my Nusrat collection is hardly definitive. The production quality, for those who pay attention to such things, is flawless, and the sound is “warm” — mainly because Gaudi used live musicians and vintage analog equipment to create a rich soundscape. It’s most definitely not the cheesy Bally Sagoo remix approach, where you get the feeling that the whole thing was put together on a computer by a stoned teenager. Here is how the record label describes the approach:

The use of vintage analogue studio equipment and dub production techniques such as tape echoes, valve amps, Fender Rhodes, spring reverbs, Hammond organ and Moog, characterizes Gaudi’s production style, however it is not without its share of 21st century intervention and wizardry… Individual tracks from the original 70’s multi-track recordings often contained multiple parts together on them. These had to then be carefully cleaned up in order to make them usable in a way that would enable the composition of these new works. (This included much of the vocal parts which were mixed in the same track as the Harmonium and other instruments!) (link)

Continue reading →

Via Shivam Vij, Nicolai Rimsky-Korsakov’s “Song of India.” The song is performed here by Ayane Iwanaga.

This version is a more musically sophisticated, “professional” performance, but it somehow feels a little colder, less sweet. There’s also the vocal version of the song, which was originally part of an opera, in Swedish here.

Happy independence day. Continue reading →

People interested in Asian Underground music have probably already heard of Falu, a singer who first appeared on Karsh Kale’s Realize back in 2001. Since then she’s been featured on a number of other people’s CDs, but today she releases her own, self-titled CD. Rather than going for more in the way electronic beats, here Falu works with a live rock/desi fusion band, doing a mix of English and Hindi/Urdu songs.

It’s a strong first effort. Falu has trained in Hindustani classical music with Ustad Sultan Khan, and there are several nice Hindi/Urdu tracks on the CD. The strongest is certainly her version of “O Lal Meri” (aka, “Dama Dam Mast Qalandar”); here the music is traditional, and Falu gets to really show off her Qawwali chops. I found Falu’s version of Asha Bhosle’s “Dum Maro Dum” less exciting, perhaps because I’m too attached to the original — and to Asha Bhosle’s voice (still, Falu’s rock/fusion band seems to be having a good time rocking out a bit here). Also good are “Rabba” and “Poojan.” Ustad Sultan Khan himself shows up playing Sarangi on two tracks, and he joins in the vocals to “Copper Can.”

Thus far, I’ve been somewhat less excited by the English language songs on the CD, though there are some notable exceptions. The lyrics to “Without You” are a mix of English and Urdu, and it’s intriguing to hear Falu do Qawwali-esque vocal trills on the English as well as the Urdu parts of the song. “Hey Baby” is entirely in English (albeit with a desi musical touch), though from listening to the lyrics it occurred to me that Falu is replicating in a secular, English, rock idiom the themes that are also prevalent Qawwali music: longing, desire, and the inaccessibility of the beloved. The difference, of course, is that in Urdu the longing is for God, while in English the longing is for a lover. (Note: you can listen to “Hey Baby” on Falu’s Myspace page)

You can get this CD at Falu’s website; it’s also available on Itunes and at Amazon. Readers in the New York area might want to hit the CD release party at Canal Room tomorrow (more details here). I won’t be able to go; perhaps Falu and her band will come to Philly sometime…

[Disclosure: the folks at Press Here music sent me a review copy of this CD.] Continue reading →

Tipster Sparky left a link to an interview with MIA on the News Tab. The part that seemed most interesting had to do with the role producer Diplo has played in her music. According to M.I.A., the influence of Diplo has been seriously overplayed by the media, for reasons that might have to do with gender and race:

M.I.A.: Yesterday I read like five magazines in the airplane– it was a nine hour flight– and three out of five magazines said “Diplo: the mastermind behind M.I.A.’s politics!” And I was wondering, does that stem from [Pitchfork]? Because I find it really bonkers.

Pitchfork: Well, it’s hard to say where it originated. We certainly have made reference to Diplo playing a part on your records, but it seems like everyone plays that up.

M.I.A.: If you read the credits, he sent me a loop for “Bucky Done Gun”, and I made a song in London, and it became “Bucky Done Gun”. But that was the only song he was actually involved in on Arular. So the whole time I’ve had immigration problems and not been able to get in the country, what I am or what I do has got a life of its own, and is becoming less and less to do with me. And I just find it a bit upsetting and kind of insulting that I can’t have any ideas on my own because I’m a female or that people from undeveloped countries can’t have ideas of their own unless it’s backed up by someone who’s blond-haired and blue-eyed. After the first time it’s cool, the second time it’s cool, but after like the third, fourth, fifth time, maybe it’s an issue that we need to talk about, maybe that’s something important, you know. (link)

Go, Maya. As she goes forward, she puts more emphasis on the gender question, and less on the whether “people from underdeveloped countries” can have “ideas of their own”: Continue reading →