Rock Off!

A recent article in Tehelka claimed that the Indian rock scene is a sham. We completely disagree. Amit Gurbaxani explains why.

The headline was full of promise: “The Truth and Lie about Rock Music in India”. It intrigued us enough to pick up last week’s issue of Tehelka. “Could someone have really written an in-depth story about the Indian music scene?” we thought. Then we read it and realised that the piece seemed so under-researched, the arguments so hollow, and the conclusion so assumptive that perhaps it was not worthy of reaction. But this was Tehelka, one of the country’s most respected publications. Why would they be superficially provocative?

The truth is, we don’t know. What we do know is that we were quizzical right at the strapline. “The media’s hysterical coverage of Indian rock bands is a sham”, it read. “Why is everyone so desperate to sell a scene that does not even exist?” Sadly, the writer doesn’t even answer his own question.

We agree that the coverage given to rock bands may seem disproportionate to the number of people who attend rock concerts, but by extension so is the coverage given to your average Bollywood film when compared to the number of people who actually go and see it. But the writer does not direct his ire to the media alone. He attacks the music, saying in effect that Indian rock is quite simply not worth being written about. Now not only does that imply that he is indirectly against freedom of speech (ironic that this was published in Tehelka) but also that he violates the first principle of reportage: his personal bias seeps through the entire story. He interviews a number of musicians and a music journalist, but every quote is used only to add heft to a conclusion that seems to have been drawn even before the first phone call was made.

His opening paragraph mentions how bands are “wowing audiences across the nation, with exciting new sounds performing alongside such internationally renowned and critically respected acts as the Backstreet Boys.” We think he was aiming for sarcasm here but given that he mentions nothing about the backlash that followed the announcement that the boy band was headlining a festival called ‘Rock in India’, we’re not sure he succeeded.

We’re also not sure why his first point of comparison is the obsolete measure of CD sales. To say that because rock music accounts for less than one per cent of total music sales, “rock bands simply do not register on India’s musical landscape” is to put it kindly, foolhardy. Had the writer researched, say, what percentage of overall music downloads rock accounted for, we might have taken him more seriously. Relying on near-decade-old statistics, uncited at that, is just lazy.

In an article that attempts to deal with far too many issues at the same time, the writer then takes on the music journalist. “The vocabulary and context for rock criticism does not exist in India” he says, following it up with “In many ways, shoddy coverage is a symptom of shoddy music: what can you say about a band that doesn’t say anything?” We don’t know how many rock journos the writer has been speaking with other than the one quoted in his story, but most writers I know truly love the bands they write about. As the music editor of a Mumbai cultural magazine for nearly five years, I had little trouble finding a lot to say about bands that said a lot. The nature of the publication, Time Out, is recommendatory; it guides the reader to the best gigs out there. It was thus with some shock that I read the quotes from the sole journo quoted in the Tehelka article because he was, at one point my counterpart in the Delhi edition of magazine. I don’t know about him, but every band I wrote about, I did so because I believe they deserved to be heard.

In fact, because of the restrictive format of the magazine, which wrote about events in advance, I felt the need to write for another publication. At Indiecision, the editor, Arjun, and I not only write concert reviews, we also deliberate a pretty comprehensive annual best-of list. At the end of last year, we published a list of the Top 25 Indian rock songs and albums of the 2000s. It wasn’t easy, and as the comments testify, quite a few people felt we could have included a lot more acts in our selection. The writer could of course say that we have bad tastes, but he has no right to call us dishonest. Unlike the journo he quotes, we don’t “work in euphemisms”.

As for bands not having anything to say, here’s a sample of some of the track descriptions we wrote to accompany our decade-end list of the top 25 songs: –
“…the slow-burning electro-ballad, which they said was about Shaa’ir aka vocalist Monica Dogra’s troubles with cultural acclimatisation, captured the melodic depth of Randolph Correia’s songwriting and graceful power of Dogra’s singing.”
– “‘I, have I been wasting time?’ In one line Delhi’s finest alternative act summarised a crucial, terribly Indian parent-child relationship.”
– “Only Kolkata’s post-punk purveyors The Supersonics could take the most clichéd phrase of the 2000s and turn into a crunchy paean about not letting it all get to you.”
– “‘Yeshu Allah Aur Krishna’, an artfully biting comment on corruption in post-Godhra India, is the kind of song that makes you think when you’re not paying attention, a song so insidiously emphatic that it moves even the most unmovable of audience members.”

The writer has heard of some of the acts behind these songs because he quotes some of the members in his piece. We’re not sure if he’s actually ever listened to them.

Then, he makes the most vapid argument of them all: Rock, he says, was “built from the politics of the outsider fed up with the status quo and packaged in insecure, but sexually aggressive machismo. This strain still runs through western rock”. Without giving examples of current acts from say the US, where Nickelback has been the best-selling rock band of the past ten years, he goes on to say: “the rock idiom in India, by contrast, lacks any character. In a complete reversal of the genre’s origins, our homegrown rock is almost exclusively upper middle-class territory—and its practitioners don’t seem to have much on their minds”. Smacking of reverse racism of the worst kind, the article suggest that if you belong to the upper middle-class, you have nothing worthwhile to say, which the above examples, go some way in proving wrong.

But it’s unclear what the writer means. If he means that rock does not appeal to anyone other than the upper middle class, he’s never been to a free, outdoor concert. People across socio-economic backgrounds can be seen headbanging and headbopping to the music if it’s played right. If however, he means that rock is only played in towns and metros by rich kids, he needed to have made clear his definition of rock. If, for instance, rock to him means music that is played to the accompaniment of an electric guitar, neither infrastructure nor income levels across the country are conducive to the growth of such a genre. But if rock is such an alien Western concept that holds no relevance to Indian audiences, how does the writer explain the popularity of hip hop among for instance kids from Dharavi?

Next the writer says what countless music journalists (yes us hype machines) have said countless times before: that Indian rock bands fall short in the lyrics department. If only he had given us a better example than a love song written by Delhi band Them Clones when the band members were still in their teens. Yes, the lyrics are banal but when they started out, guess which band wrote such lofty verses as “Love, love me do. You know I love you, I’ll always be true, So please, love me do. Whoa, love me do”. Some call them the greatest rock band of all time, and to be fair to them, they wrote that song when they were in high school.

To confirm that is they not the bands that suffer from a colonial hangover, the writer and the journalist save their praise for but one band: Indigo Children. Their pretentious name notwithstanding, the Delhi group was one of Indian rock’s biggest hopes (we’ve heard they’ve broken up) but when our duo tells us they love them so because they “couldn’t believe it was an Indian rock band”, we’re left wondering if they’re unhappy with the state of Indian rock because the bands don’t sound Indian enough or because they don’t sound Western enough. It mirrors the same lop-sided thinking that says all Indian fiction writing in English is pretentious and inauthentic because English is a foreign language.

In the concluding lines, we’re told: “Where Indian rock is headed, if it’s even going anywhere, remains a sticky point of contention. Luckily, we’ll have the media to decide what’s going on for us.” We’d like to know which newspapers the writer has been reading. We can’t remember the last or the first time an Indian rock band made the front page of a national daily. You’ll find them all over the feature supplements and niche-interest magazines, where they are written about because of two possible reasons: writers have nothing else to write about, which might be true some but not all the time; or because their readers want to read about them. The writer perhaps believes editors and journalists have a personal interest in wasting valuable column space on “a scene that doesn’t exist”.

But that contradicts his opening argument. There’s little money in Indian rock. Journalists have nothing to gain by writing about rock bands. In fact, the bulk of writing on Indian rock is done on the internet, written by fans turned bloggers who do it out of their love for the music. So what then is the answer to the writer’s own question: Why is everyone so desperate to sell a scene that does not even exist? Maybe because most rock fans, however minuscule they might be in the writer’s eyes, belong to that lucrative advertising/marketing segment known as the youth. Why do Romanov and Kingfisher sponsor rock festivals? Why does Levi’s continue to back an annual competition? Why does the Hard Rock Cafe bother with staging gigs if, as the writer claims, only 30 people are actually interested in the band? These are some of the questions we were naively hoping for the answers to when we read that headline.

Amit Gurbaxani is editor of the webzine www.mumbaiboss.com.

Pic: Kunal Kakodkar, from this phenomenal set

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32 Comments

  • April 27, 2010 | Permalink |

    Hey Amit,
    Please send the guy an invitation to the upcoming I rock……………..some people write because they have too.

    keep it simple, keep it rock

  • April 27, 2010 | Permalink |

    Not to mention slum kids headbanging to Vishal Dadlani during the Bandra Fest.
    What a fantastic rebuttal to that piece of rubbish. Any mention of that article of course, is incomplete without TAAQ’s note on Facebook: http://www.facebook.com/note.php?note_id=383669496370&id=24633722832&ref=nf

    Excellent work, Amit.

  • anon
    April 27, 2010 | Permalink |

    Err..yep, Amit, the boy hasn’t heard a single band you’ve mentioned there, I can testify to that. He’s possibly only been to one concert in Delhi to watch – hold your breath – Indigo Children. And by his own admission, at the HRC gig, he hated it.

  • April 27, 2010 | Permalink |

    I guess your parting remarks are the most valuable. You dont need to answer the question; its slow progress but we are moving in the right direction. :) Keep up the good work.

  • dPsychc
    April 27, 2010 | Permalink |

    Nice write up but frankly the upper class may come up with good music due to their good production and instruments, but the best music comes out when it’s raw and made by the working class. Or else punk and hardcore would never have made the mark.

  • Karn
    April 27, 2010 | Permalink |

    You have a lot to learn from any half-baked journalist or PR person. The best way to handle negative publicity is to ignore it, rather than respond.

    I actually was with you until you got to the socio-economic bit. I tend to agree with him .. rock here is, unfortunately, a preserve of the middle class (if not upper-middle). If only because of the language! I’m not an expert on music, but i have listened to some pakistani rock … and it seems more accessible across the spectrum, if only because a lot of it is in hindi/urdu.

    Think about Euphoria, everyone listens to that band. I’m not sure it classifies as rock, really, but the point i’m making is that the language of rock in India, honestly, is indian. I’ve been to tiny villages in Jharkhand where people know Euphoria.

    When you rebut this point of the tehelka writer’s, you do the same thing you accuse him of : Not really stating any facts or giving examples. The one example you give (the hip hop in dharavi) is from a tiny, half-baked article. Step into dharavi and you’ll see for yourself what kind of music kids listen to.

    Really, your argument should have been : So what if it’s a preserve of the middle class? India is now largely middle class, and it really isn’t a bad thing to be part of this group.

    my 2 bits.

  • Lalitha Suhasini
    April 27, 2010 | Permalink |

    I was one of those who didn’t want to react to the Tehelka piece that completely lacked depth and perspective. The personal rant by Inder Sidhu was meant to provoke and amass reactions just to prove that the piece had ‘worked’ in some twisted sort of logic. The piece stated the obvious – rock in India didn’t sell cds, had a niche market – these are points that the hysterical media coverage that he refers to has been hammering in for a while. And what is the point of quoting a ‘veteran’ from a little known metal band and ex journo who clearly lacked balls to make a difference to music journalism when he was in a position to do so, just to serve his one dimensional piece? Sidhu needs to get out and listen to some of the new, original bands to be capable to make a comment.

  • Karnail Singh Ahluwalia
    April 27, 2010 | Permalink |

    SIR-
    I, for one, am outraged at the audacity of this Gurbaxani chap. If you’re going to make unresearched and assumptive statements like calling Tehelka one of the nation’s most respected publications, you’d better back that up with some solid FACTS.
    Also, shame on you for writing so many words about this so-called scene without even once mentioning TAAQ’s gloriously balanced response. As an erudite commenter has already pointed out, this renders your article INCOMPLETE.

    This piece reeks of the beige-ochre journalism that one might find in the sewers, alongside rodents that practice kung-fu. I would not be surprised if the author is such a specimen.

  • Rishu
    April 27, 2010 | Permalink |

    good stuff there Amit!

  • April 28, 2010 | Permalink |

    Oh, and. One of the shallowest arguments Inder uses in his Tehelka article is that there is nothing truly ‘Indian’ about Indian rock because they tend to sing in English, aping the west. Keeping aside for the time being bands like Avial, Indian Ocean and Motherjane who HAVE a genuine Indian sound, all I have to ask him back is: Are you going to say that the Scorpions don’t have a genuine ‘German’ sound, Europe don’t have a genuine ‘Swedish’ sound or Sepultura don’t have a genuine ‘Brazilian’ sound? I think the argument is rubbish. While yes, it is nice to have a certain Indian element in your songs (which is why I love the above mentioned three bands), it’s not always possible to implement these instruments. If a band like Them Clones, who’re from Delhi, but do a kick-ass job using Western instruments, why not, I say? The world today has evolved from only Americans doing American things (in which case all of us should be doing only traditional Indian jobs like agriculture and not get into software and banking). This is the globalization of rock so to speak, and saying that Indian bands should have an Indian element is nothing but shallow thinking.

    The best argument of course was given by TAAQ, who asked why the article itself was written in a foreign language.

    PS:

  • T
    April 28, 2010 | Permalink |

    Amit I understand that you want to defend the rock scene in India but I think you do not understand the article you have written such a tedious response to. I love music, rock and otherwise and I think you have done a diservice to the community by posting this utterly stupid response. If you have ever had doubts that you were **not** a good writer, I would heed those immediately.

    If I had to provide examples of the illogical statements you have made in this article I might have to copy and past the whole thing. So here is one example,

    He attacks the music, saying in effect that Indian rock is quite simply not worth being written about. Now not only does that imply that he is indirectly against freedom of speech”…

    Against freedom of speech? lol. He “implied” that he is “indirectly” against freedom of speech? Really? Is English your first language or did you snooze through all your comprehension lessons?

    Anyway, instead of trying to pick out the inconsistencies in the Tehelka article, which you did so miserably, you could have responded to the article by proving him wrong. Show him that there are rock bands in India who are worthy of notice, name them, post a link where their music can be heard. Name more than 20 such bands, their struggle to make music their life, their bread and butter perhaps. Answer the question: Where is Indian rock headed? What does rock mean in India without its original context in the race struggle in America? If Canada, Ireland and Sweden can have a rock scene why not here?

    These are some of the questions we were naively hoping for the answers to when we read that headline.

    I disagree with certain things Inder said but I am not outraged to the point of stupidity. But he is also right about many things like rock being a preserve of the middle and upper middle class. He has raised many valid points. Why not write a balanced response, an honest one?

    Most of the bands Hard Rock features are mediocre or worse, but maybe you just don’t know any better. In fact, it is obvious that you do not.

    Sorry to be so harsh, just keeping things real. It is not too late for you to change your profession and if there is such a thing as a miracle, you might even get better!
    peace,
    anonymous musician.

  • John Smith
    April 28, 2010 | Permalink |

    I would have to agree with what ‘T’ said. Having witnessed the music scene grow both from the outside and inside has been an amazing adventure. There is too much to say and not enough space to say it in. What Inder wrote was due to him being a headless chicken, misinformed and probably he is’nt even into the music. But the beauty of all this lies in the fact that since one did write about it, it has to exist even if it is at a miniscule level.
    Bands like Kryptos, Demonic Resurrection and Scribe have had gigs abroad. And DR actually bagged a record deal.
    So, quit ranting good things are actually happening.
    We are a small community and what hate to point out is that although it may seem like a good rebuttal at the end of the day you missed the point. There are too many good bands to only mention those you like.
    We are all in together. The brotherhood that music brings with it is immense.
    Peace.
    John

  • April 28, 2010 | Permalink |

    Lalitha,

    As one who was your (little-known) professional peer during my days as a journalist in Mumbai, I appreciate your work and that’s why I chose to engage you in conversation.

    You nailed it when you said the writer behind the Tehelka piece was a deliberate rabble-rouser. But then again, not responding to a mainstream media story would mean either that we humbly and shamefacedly agreed with that pompous and blinkered writer, or that we were so insular in our views that we ignored it.

    Both of those attitudes are unhealthy if our purpose is to speak up for this counterculture. If we resent it, we must find the appropriate channel to vent our resentment. And, of course, merely bitching about it among ourselves is as onanistic a pastime as any we are used to. This minuscule indie music scene is made smaller not by the number of bands inhabiting it, but by those that are undercutting one another. There’s more bitching and snarkiness in this indie rock community than active music-making. And that makes it easy for anyone in the mainstream media who wants to create a sensation (possibly to emerge as the “next big commentator” of Indian rock) to exploit it. Won’t you agree?

    That analysis led me to do two things – one, I replied on behalf of TAAQ and our music community in an open letter published on Facebook (http://www.facebook.com/note.php?note_id=383669496370&id=24633722832); and two, I wrote a counter-view for Tehelka (http://www.tehelka.com/story_main44.asp?filename=hub010510hear_us.asp) that wasn’t just an angry letter to the editor. Of course, while both those pieces may offend certain people they were not written with the aim of offending anyone but to clarify and validate a position that was not addressed by the Tehelka article. I notice some responses refer to at least one of those responses.

    I am disappointed by Amit’s piece, really. Having followed his work, I expected more balance and maturity but this sounds like just another adrenalized repartee from a wounded fan than a conscious and well-argued response from an experienced journalist. In fact, it only serves to alienate the mainstream media from the counterculture. Which is not what any counterculture really wants.

  • Bhanuj
    April 28, 2010 | Permalink |

    @T, pot, meet kettle.

  • anon kneemuss
    April 28, 2010 | Permalink |

    oh wow! T nailed it. It was with difficulty that I read the rest of the article, you know, after the bit about ‘freedom of speech’.

    No, I do not agree with the article in Tehelka.

    But by responding to it in such a manner – all you did was – point out your faults.

    The sense I get from your website, is, you guys are naive. You aren’t listening to enough music, and you aren’t reading enough of the rock journalism (the fucking crazy brilliant beautiful blogs out there i.e.) that is out there. Your opinions aren’t strong enough, [and while opinions do always differ and also do change with time], It’s clear from your opinions that, you guys just aren’t thinking hard enough.

    If so, you wouldn’t be making ‘Decades best lists’, and you wouldn’t be using a school teacher’s rating system to to review songs and albums.

    Anyway, if you haven’t read this one, please do – http://drownedinsound.com/in_depth/4137350

    Also, I was reminded of this video when you guys were offering the MGMT album – http://www.ippio.com/video/5358/Criticism-II-Music-Is-Math

    Wow, I love how the internet lets a random nobody like me be so righteous and lets me spout my opinion.

    Regards.

    P.S. Fuck Pitchfork! I just wanted to say that.

  • April 29, 2010 | Permalink |

    the tehelka piece seemed to me like it was written in 1999.

    case in point : my band’s last gig(last week) was in Dharavi for the ACORN foundation, an environmental organization at Maharashtra Nature Park which is fully solar powered and has a rain water harvesting facility. The gig was part of a month long campaign to educate kids in Dharavi about waste management, renewable sources of energy and environmental science. We played alongside Ankur Tewari and Band and it was fucking great! the kids went nuts! They understood clearly what the songs were about despite the fact that most of them spoke Tamil, some Hindi. Also, we’ve had a thousand villagers in the remotest part of South Korea – Jinang province, dance to our music. So clearly language is not an issue. You really cant stop people from enjoying live music, its human nature.

    Its good that we have journalists around who can set the record straight. In my opinion, sites like these are proof enough that something is happening; It brings some legitimacy to the scene in a way. The TAAQ reply was more in your face! This piece is much more articulate. Both saying the same thing – fuck this stupid 1999 journalism.

  • T
    April 29, 2010 | Permalink |

    Lol! True Bhanuj. Guess I just expected more from Indiecision -leading online resource for .independent music and what not…I don’t have those answers and if a music journalist who writes about other allegedly ignorant music journalists doesn’t have the answer then who does?
    TAAQ?

  • Rishu
    April 29, 2010 | Permalink |

    i have the answers. and i’m not telling. ;)

  • T
    April 29, 2010 | Permalink |

    Anon kneemuss, thank you for posting those links, particularly like the Crystal Castles piece.

    ps: I read Pitchfork but I understand why they need to be told to fuck off from time to time.

  • anon kneemuss
    April 29, 2010 | Permalink |

    @T
    Hey, I not sure I posted anything about Crystal Castles. But glad you liked them anyway :)

    Oh yea, I read Pitchfork too. Pitchfork (like this website) aggregates and puts out a lot of music that you wouldn’t normally get to listen to on the conventional streams. God knows I couldn’t walk into a record shop in India and ask for the album of the band that played Blue Frog the earlier night.

    But it ends there for me.

    I couldn’t in my right mind consider their opinion to have any value. For fucks sake they quantify criticism. I don’t know how, but they manage to bring a song or an album down to a number. Not just any number, but a very specific 6.2 or a 5.7, which for what I know, could have been pulled out from their ass.

    I’m guessing you are a musician. Would you ever catch yourself saying – hey I think we should open with this song, it’s a 8.64734. So, it just shows that their very basis for judging music is completely fucking skewed. Yeah, a song has technical aspect to it. But even then you couldn’t rate that part with a number.

    And, it’s not like the veterans have escaped this malaise. Rolling Stone are always rating albums with their star scheme and they keep making those goddamn nonsensical ‘Best of’ lists.

    That’s why I posted the Neil Kulkarni link earlier. That man, a fucking genius, puts down the innumerable complexities of being a record reviewer quite succinctly.

    But you know what is really pissing off? It’s this new breed of wayfarer wearing dickheads these websites have created. The only reason they would like the latest shit head indie band, cause man Metacritic gives it a 89, and everyone on HypeM keeps mentioning them. Cunts ever ready to show you their IPod full of artists they hope you’ve never heard off. Choots who could tell you which artists they hate, faster, than which artists they love. Scratch that I doubt they LOVE any band.

    Aah I needn’t have written down so much. I could instead have just pointed you to this article – http://thequietus.com/articles/02007-cats-on-fire-our-temperance-movement-album-review

    But I’d rather spew hate on the internet than work.

    Cya.

  • T
    April 30, 2010 | Permalink |

    @Anon Kneemus. who are you? lol. I could not agree with you more about the whole rating system. It definitely seems a bit arbitrary and I am not sure if all the reviewers on Pf use the same system. That said, some of the reviewers on Pitchfork are fantastic, like Marc Hogan. But I guess some people like things numerically. Will read the Quietus article, it seems you are a good resource yourself.
    Thanks.
    ps: I read the crystal castles review on Neil Kulkarni.

  • May 3, 2010 | Permalink |

    Great blog , love the design. Seriously considering migrating to this cms now!

  • May 6, 2010 | Permalink |

    Ok first of all I would like to say that this article is not complete in the sense that indiecision could have answered the very questions the journalist posed in his article. The other remarkable thing that i noticed was that they use this article for self promotion – the best of lists????…u kidding me??…I cannot claim to have an in depth knowledge of the Indian Indie..but I would expect indiecision to know about it. The least they could have done was not write about ‘freedom of speech’!!! and the best of lists….you guys could have easily written a few pages worth of material on this issue and that i think would be a great read unlike the biased Tehelka article. Or maybe when publishing about the decade Indie, address these issues that inhibited the growth of the Indian Indie. As far as Pitchfork argument is concerned…..these guys over there are a great resource of new bands as well as other articles. Looks like Anon just looks at the ratings and not the articles that are written on Pitchfork (also what a lot of people do irrespective of any country). Have you ever read their columns on The month in Dubstep/grime? or for that matter any other coulmn..plz do. As for the rating system…the 8.6/8.7/ etc. is very much possible. The amount of albums they listen to and the amount albums I listen to, I can very much present you a rating. Look at allmusic for example…each review is rated for the production, music etc. and they even write the moods associated with the album!…i think it’s similar stuff. Also, as far as Indiecision is concerned they have also introduced me to amazing artists like Boat Beam (only 2 blogs featured them completely on the internet). So it’s not that they are following Pitchfork blindly. Also, it’s not like Pitchfork is doing all the work here; Pitchfork also has to follow blogs like gorilla v/s bear or the music slut or ohcrapp.net to tap into the buzz and review albums. As far as the best of lists are concerned…thats where you find unheard of gems….coz each blog has some stuff that is exclusive to them because of the difference in the resources they tap into. There are way to many artists in the blogosphere to talk about. The idea is to sieve the best out of them and write about them.

  • May 6, 2010 | Permalink |

    Anon I on the other hand also agree with what this Kulkarni guy has written ( man! this guy’s on fire!) and the fact that everybody drops down these numbers and sound so cool you know without actually enjoying the album. It’s more like assuring urself that ur listening to good stuff, which may or may not creeping it’s way in ur heart. I think the best way to justify these numbers is by writing about what YOU actually like about the album and the stuff that stands out in the album.

  • May 6, 2010 | Permalink |

    I take my views about Kulkarni back..he’s written a review as if he’s puking disses…and look at his argument..all of the decade’s indie rock boils down to Franz Ferdinand and the likes..and the third grade bands he’s talking about – Oasis, Kooks and the likes..all they have done is hog the attention by producing hit singles, their albums as a whole suck…people wise enough will know where these bands stand – nowhere.

  • May 6, 2010 | Permalink |

    @Anon Kneemus I know Arjun would contemplate killing me for sidetracking from the main issue…but I have to say the vid was good. Man! i hate these fucking mp3 blogs. The fucking blogs i mentioned above, they use the same tactics to get attention….screw Hype Machine! They never post a review, but only mp3s..g v/s b is coming out with a label and people were crying out coz they were saying that this would affect their posts!!?? wtf???…they don’t review anything man. The music slut is indeed a slut..u go to her twitter page and shes fucking announcing tour dates of some douche band we’ve never heard of or care for that matter. Well, with some good music, the reason we follow such blogs, comes shitload of goo u don’t wanna listen to!!

  • Dax
    June 9, 2010 | Permalink |

    The acknowledged Dean of Rock Critics, Robert Christgau once remarked that ‘no one could escape parochialism.’ He was right but I did not know that we could escape objectivity. Period.

    PS: Can’t you see, guys. You, me, he, we are all on the same side and all agree that the scene needs to be better.

  • June 26, 2010 | Permalink |

    Nice rant, man :)

    Somebody gift him an RSJ

    \(>.<)/

  • bullbullbull
    July 6, 2010 | Permalink |

    I partially agree with what the guy has to say. Some of the early bands were more or less mere cover bands and whatever original compositions they had were absolutely pathetic (Parikrama, ThemClones, Indus Creed and a few more..not Indian Ocean though). Unfortunately, bands like Parikrama got too much attention and they were perceived as the “face” of Indian rock by the media (not the rock journalists).
    Someone needs to introduce this guy to bands like Indigo Children, Scribe, The Circus, Undying Inc., Bhayanak Maut etc. I agree they might have sounded like rip-off’s of their influences earlier, but they have definitely found a new sound now.

  • Ashish P
    August 10, 2010 | Permalink |

    Sir. having been associated with the countrys leading rockers and organizers- i hate to say it- but that inder sidhu guy is absolutely correct. The scene itself was never there. Even when it was- it was due to lack of other avenues- the moment mtv came in the 90s- the scene and the live audiences had evaporated. Actually Indians have been conditioned to run down other Indians- so even if once in a while something good does come up- everyone will ensure they pull it down by their standards- which by any stretch of imagination/talent is “low”. Its sad. I think one guy mentioned it at the victor wooten concert in Mumbai very aptly- too less talent- too fewer audience. I mean he was so right- for ANY concert in India in the non film space. It’s the same 101-15 guys you find hanging around. Old- sore, jealous and running down anything they come across. Its very sad. My personal urge to Indian musicians is ( and this is where I think inder sidhu makes a complete idiot of himself- no solution or proposed solution); go digital- try and break into markets where people will hear you i.e. abroad. Strangely once you’ve made t big abroad- people here will automatically respect you. Sad- bu true..

  • August 17, 2010 | Permalink |

    Guys please please make an edit and include this email address of the author.
    inder@tehelka.com

  • August 6, 2016 | Permalink |

    I Have Got New Best Mp3 Website Here You Can Download Songs As Well As Zip Files
    Mp3audiomusics

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