Danny began playing drums at the age of thirteen.Drummer of progressive rock band TOOl.
Carey's popularity among drummers and non-drummers alike stems from the diversity of his sound and dynamics, his technical ability, frequent use of odd time signatures, polyrhythms and polymeters. He has stated in interviews that he effectively treats his feet as he does his hands: he practices rudiments (used for sticking techniques) and even snare drum solos with his feet to improve his double bass drumming, hi-hat control and foot independence.
In search of new techniques, Carey has studied tabla with Aloke Dutta, who can be heard playing on the live version of the song Pushit (from Salival). This is especially apparent on tracks such as "Disposition" (Lateralus) or "Intension" (10,000 Days), for which Carey has recorded the tabla parts himself in studio. The tabla (and other percussive instruments) used in Tool's music are replicated live using the Mandala pads (in fact the pads are also used when recording in the studio, a notable example being the tabla solo of "Right in Two" from 10,000 Days).
He has also stated that when he is playing to an odd time signature, he tries to drum to the "feel" of the song and establish general "inner pulse" for the given time signature instead of fully counting it out.
SONAM SHERPA-lead guitarist of indian band PARIKRAMA
Sonam Sherpa appeared as INDIA's future great guitarists in 'ROLLING STONES' MAGAZINE's 1st edition in INDIA. Playing guitars since he was 9. The harp came only at around 15. Specialises in the Blues, Snores (no connection!) and some amazing slide work using a 9volt discard - both alkaline and dry, steel/brass/tin locks, broken glasses/bottles and a lot many more things BUT for his prized $20 SLIDE which he ever so slothfully presumes lost. And that shows in his size. He has played in many bands earlier, in hometown Kalimpong and in Darjeeling. But he saw his first EFFECTS pedal (read - distortion unit) in Delhi at around 21 something. Currently uses a Epiphone Les Paul guitar, sleeps over a Fender Mustang.
love its a long life we've lived Time is clocking to lay on the bed of fire Tulips and Roses seem to be worn out while the branches of oak have no leaves the birds are flying and the sun is shining while i search the path to heaven
As the farmer rides his cart through the meadows and the airplane roars into stratosphere the snow covering the northern hemisphere
My spirit is high,I find the way to heaven
Ridin on satan's back driving me dont stop me dont never
Neither a saint,nor the pains come in my way As i trail the path all the way up
leaving the land of my bad sins seeing an angel with shimmering light showing the way to heaven
at last the map is laid and did you know Im gonna touch the skyline on my way to heaven
Wednesday, December 17, 2008
Everyone has a life Under the blanket of darkness Imprisoned but commited no crime Unreachable Isolated in a world within Standing alone Sulking beneath Can someone see me ?? Can someone help me ??
Thoughts of laughter,love,courage,greed your eyes look at me but i cant understand rush of waves towards me have no vision Friends maybe strangers Water may be poison See no religion See no ambition Can i trust everyone ??
Sun sleeps Moon rises lights dim fading plants cheerful nature expensive champagnes greed deed do they exist ?? all these are just my interpretations
But there is a life in me Urge to desire is high my hopes are never to die embedded in my soul is a snapshot of life
wandering the prohibited land of unwanted things arriving at the melodious smell of lily summation of glorious moments of life dreaming about the sound of waves rushing up the walls
but everthyin appears black as my mind
black as misery sleuths upto mockery brain mapped to some serious treachery my son don preach the path of judiciary
layers of despair piling in winds of seasons change minds of bygones tatooed in the brains revolve around the mysteries of silent movers
but everthyin appears black as my mind
but still dont preach,dont teach the art of killing dont inherit,dont indulge in bribing blood drips from pain are short-lived tears from eyes are short-lived, and Im sure, this blackening too wil die
parading the land of bliss guard you from the forces of nature consecrating the cup of music do you remember the name of your love when in trouble never fall for hatred without a reason
my true desire dont run from me else im just another king of fools dont hide from me cause without you im just a barren soul
walkin in da lustful rains strolling under the ocean of tears watchin u runnin through the puddle of mud never fall for hatred without a reason
my true desire dont run from me else im just another king of fools dont hide from me cause without you im just a barren soul
faces in search of laughter leaves of trees dried sinful chocolates turn sour guitar hymns songs of pain glaciers deprived of snow
He is a musician. A versatile musician, who loves to take the tougher path, To begin with, he chose Santoor, an instrument with 100 strings. Then he chose the ancient and extremely demanding idiom of Indian classical music to harness and express his creativity. And, after diving deep within this time-tested ocean if Indian classical music, he chose to share the pearls he discovered with creative minds across the globe.
Rahul thrives on challenges, loves to crossover boundaries, take un-treaded path and try the never before. Result? A series of hugely successful ‘firsts' in the list of his musical adventures
or instance he is the first young musician (not to mention the only Indian musician) to collaborate with the world-renowned pianist Richard Clayderman to not just cut an album but give live concerts too. And, he is the youngest Indian musician to perform at the WOMAD (World of music, Arts and Dance) festival in UK, as well as the Edingburgh festival, Scotland (2001). And, his performance along with his illustrious father Pandit Shivkumar Sharma was the first ever concert of Indian music in Egypt. And, he is the first young Indian classical musician to give music for a commercial Bollywood feature
film all by himself. And, probably the youngest music director for whom Lata Mangeshkar, the queen of Hindi filmdom; agreed to sing in his very first venture.
Not just that, there are consistent additions to his list of awards like the Indo American Society Award (1998), Bollywood Music Award for promising New Music Director, New York (2002), MTV (IMMIES) Music Award for Best Classical / Fusion Album 2003 and so on.
Along with all these innovations, experimentations Rahul continues to give his concerts of pure Indian Classical Music across India and beyond her shores. Obviously, his is a vast spectrum where popular music, collaborations, sublime, new age music, high-energy trance, folk music, thematic music, psychedelic sounds and film music co-exist very comfortably with his first love – Indian Classical Music.
Heard it? No? Then you need to pay attention. Drop whatever you are doing right now - yea, Right now! And listen! YouTube is a good starting point (check some of the links below). Anyways, I do not understand a word in any of the Avial tracks, except few english background sounds. But the beauty is you don’t need to. At least to enjoy the music!
To me, Avial is a defining moment in Indian rock music history. Never heard a better produced album before. The most noteworthy quality of the album is its sound - an interesting combination of progressive rock with electronica, turntables with high-energy vocals (it makes sense even though you don’t understand a word). And moreover, it declares the arrival of the ‘Indian’ bassist of the millennium, Naresh Kamath.
The album is truly a bass solo. Naresh Kamath, apparently the only non-Mallu in Avial, provides some earthshaking, glass-shattering, rear-ripping foundation to all the tracks. You can also hear NK on the band Kailasa, where he is fronted by the sufi-rock singer Kailash Kher and is also accompanied by two other finest young musicians, Paresh Kamath (brother & accomplice in crime for all things composed at band K) and Kurt Peters, a (literally lean and) mean drummer.
As long as you are not listening to these tracks on your piddly computer speakers, you cannot escape the permanent scar Naresh Kamath will leave on your brain. So please, please, get up from your computer, or connect it to a better sound system that will do justice to all frequency ranges. Or get a headphone!
Bass-ically speaking, its got all kinds - walking, running, flowing, slapping, thumping, ripping! By far the best bass I have ever heard on any Indian album. Period.
Track 1: “Nada Nada”: (Does it mean “Run Run” by any chance?). Whatever it may mean, very well sung. Powerful! Upbeat track. Great rhythm section with the wah-wah guitar. And of course, all the tracks do have the turntable thingy (is there a technical term for this music instrument?), the wahka-wahka sound. Its done very well in this track along with the rhythm section. Perfect opening song to a great album.
(there are few other Nada Nada older version videos on youtube. But this one is the closest to the track on the CD. Interestingy, notice, how the same song has evolved from an older version to the newer version. The production quality makes the song come alive in the newer version).
Track 2: “Chekele”: Awesome beginning of the song. Draws you into the song form the word go: great wah-wah to begin with. Once the vocals begin, listen the entry of the bass there. Something to die for. Great acoustic guitar backing throughout the song. And the chorus is nice, easy for us non-mallus to sing along. The song breaks into a continuous sorta jam at 3:48. Cool tone of the acoustic guitar.
Track 3: “Njan Aara”: Love the reverb-ish, delay-ish acoustic guitar patch in the beginning. Listen to the bass line in this part, floaty, jazzy. And then the song suddenly switches to this dry-distortion on the guitars, And then again switches to the dreamy sounding acoustic guitar. Great dynamics. Just a superb execution. Also the song has shades of jazz in parts. 3:37 onwards, the song breaks into yet another instrumental jam.
Track 4: “Arikuruka”: These guys know how to arrange the opening of a song. This one starts mainly on the rhythm section and sparse guitar and keyboards, and slowly builds up. Before you realize, you land up in an intense vocals section. And during the verse, the rhtyhm pattern is quite interesting. Doesn’t quite follow the normal route. BTW, the only part where I could understand few words, notice at the end: seemingly a teacher asking a-square minus b-square =? - and a girl answering (a + b) into… into….. The part is pretty funny.
Track 5: “Aranda”: Fabulous beginning of the song. The most powerful opening of all the songs on the album.The bass in the latter half of the song is noticeably solid and ties the song pieces together.
Track 6: “Karukara”: This is actually the first Avial songs I ever heard, and it has such a magnetic appeal. Very radio-friendly single, it grabs your attention from the nice Sitarish guitar prelude. And what a transition @ 1:32 from that Indian sound to a power distorted guitar riff. Also, listen to the last minute of jam of guitar, bass and drums. Some awesome jazz-like phrasings of guitar & bass there.
Track 7: “Aadu Pambe”: The pure headbanging content here. The best part of the song is the transition from banjo style guitar picking to a very hard headbanging section of the song. Anand’s singing is nice. After hearing it many times, I totally love the transition @4:12.
Track 8: “Ettam Pattu”: The Enigmaish mix of a tribal chants with a slow rock song! Crisp guitar work there, and powerful vocals too. The only song in the album which has a little piece of guitar solo. Having said that, the other songs incorporate absolutely brilliant guitar work, but none follow the usual verse-chorus-solo-bridge-chorus routine.
In fact, that (last sentence) is in essence the beauty of the entire album, rebellious and unconventional, yet so musical. This is a showcase of arrangement and musical production. I am not sure, but it must have been some state-of-the-art studio where the album has been recorded.
Courtesy: Shankar, Shiv (flickr)
Avial is:
Anandraj Benjamin Paul — Vocals Tony John — Vocals, Turntables and Synth Rex Vijayan — Guitars and Synth Naresh Kamath — Bass Mithun Puthanveetil — Drums
Avial is a musical milestone, a masterpiece - not for the faint of the Art! Also, I am proud of the fact they have very well retained some of their roots in their music, some folksy music from Kerala, while giving it an amazing makeover. Check out facebook and youtube for some Avial live videos.
This is an interview by one of the best guitarists i have ever seen.He is only 12 yrs old. Sungha Jung from South Korea. Sungha: My dream is to become a professional acoustic fingerstyle guitarist.
I had been watching my dad play the guitar for awhile before I finally jumped on it myself three years ago. I just turned twelve in September, 2008.
Currently, I am taking weekly classical guitar lessons and teaching myself fingerstyle guitar.
I used to not have tabs for the music that I played in my videos. I just listen and pick them up directly from the sound source in videos available on the internet. However, recently, I have started playing with original tabs whenever they are available to me by courtesy of the authors.
My old guitar is custom made by Selma to fit my body size, and on it, Thomas Leeb( one can say he is an older version of sungha jung). check him on youtube : http://in.youtube.com/watch?v=pz5mMHJMr7s wrote "Keep on grooving to my friend."
I'm very grateful to those prominent guitarists who have had a great influence on my guitar playing. I'll continue to study them and learn more about interpretation of music and various playing techniques.
My daily practice routine lasts for one to two hours when school is open, but I play up to three hours a day during the school breaks.
It usually takes me two to three days to practice and videotape a new piece but sometimes up to a week for more difficult ones.
Last, but certainly not least, I can't thank Ulli Bögershausen enough for being my musical inspiration.
or instance he is the first young musician (not to mention the only Indian musician) to collaborate with the world-renowned pianist Richard Clayderman to not just cut an album but give live concerts too. And, he is the youngest Indian musician to perform at the WOMAD (World of music, Arts and Dance) festival in UK, as well as the Edingburgh festival, Scotland (2001). And, his performance along with his illustrious father Pandit Shivkumar Sharma was the first ever concert of Indian music in Egypt. And, he is the first young Indian classical musician to give music for a commercial Bollywood feature
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