A Wanderer's Thoughts...

Cabbie recalls

noreply@blogger.com (Rohini) — Sat, 04 Apr 2015 19:26:00 +0000

Being a cab driver in Calcutta, or India as a whole, isn't an easy job. Underrated, yes, but definitely not the easiest. There's the navigating through our wonderful pothole-filled roads, the abuses hurled at you by customers and pedestrians alike, with the latter crossing at will, the lack of tips because of the failing economy and the most important, no family time. Life on the road can be fun when the destination is picked by you. Unfortunately, that luxury comes too few times in our lifetimes.

You get to meet some pretty interesting people in your travels though. Once, a Bengali man from Bowbazar willingly parted with his wife's special mutton curry because my 5-year-old son was sitting in front with me and the two hit it off discussing the India-Australia match that we lost in. It was really more for him than me, but the gesture was much appreciated. Then there was the lady in the burkha who got on near Park Circus and smoked a cigarette when no one was watching. Every time we stopped at a red signal, she'd hide it and politely smile at me. I'm no one to comment but I admired that woman's guts. Even my wife, who enjoys the occasional bidi, refuses to light one in public, let alone in broad daylight. But I think my favorite customer was Naushik, whose mother has entrusted me with dropping to school and bringing back home five days a week. He tells me, with animated gestures and eyes, about the lunar eclipse taking place that evening and the play of the earth's exact position in the solar system that leads to this phenomenon, about the differences in the way the girls at his school behave compared to his boyish ways, about the jazz music that his father often plays in the evening and dances with his mother to. As eloquently as possible, he paints me a picture of his world and the characters in it and the roles they play. To me, that's more than enough.

Late into the night, after the last shift by obliging a customer who was heading in the direction of my home, when I tell my own son the stories I heard that day and the people I met, he's mildly jealous. Excited, always, but craving experiences of his own to tell me in return. It makes this job seem not so bad after all.

A conversation with myself

noreply@blogger.com (Rohini) — Tue, 31 Mar 2015 09:51:00 +0000

Maybe it's a problem of our times but at 23, I find myself being slightly uneasy and skeptical about spirituality in any form. I've sometimes had conversations about it and even tried my hand and meditation a few times and often fallen asleep, which is supposed to be a great result.

But when my aunt, Neerja Poddar, who works with access consciousness and hypnotherapy, asked me to attend a session, I found myself wanting to explore. Understandably, I had no idea what these two terms entailed but I had a hunch it could work, especially since her Reiki powers saved me from possible death many years ago when I was burning up with 106 fever.

So I reached her chamber, was asked to pick a partner from whom I felt the right energy to receive and lay down. What happened for the next 45 minutes isn't something I expected or understood. But to me, that wasn't too bad a thing. As my giver accessed various parts of my brain by placing her fingers in specific positions on my head, I started to feel calm. No clear visuals stood out in my mind but the blankness was appealing.

During one of the positions, I started seeing a purple dot, growing and then shrinking and then growing again, while dark waters surrounded it and I watched out of a sailing ship experiencing turbulence. That was the best way to describe it to Neerja, the facilitator. She explained that the purple implied infinity and the boat was preventing me from reaching that infinity. Using the clearing statements of access consciousness, she asked to destroy anything coming in the way of this and as soon as I said yes, I felt lighter and the negativity went away. It's wonderful that certain thoughts and emotions can be removed so easily from one's system!

The same process worked at different parts of the session when for instance, I felt choked and she had already sensed that I would. Soon enough, my breathing was back to normal. We then switched places and I became the giver and my partner the receiver. 45 minutes later, she was a different person too, in the subtlest of ways that no one can pinpoint to.

It wasn't the kind of healing one would expect, especially since it's working with one's own mind and energy and body. But it's fascinating to see the effect, and I sure did when I couldn't stop yawning that night.

Thank you for the wonderful experience, Neerja Poddar. It's been a beautiful introduction into a fascinating process of making the world a happier, better place!

one cup too many

noreply@blogger.com (Rohini) — Thu, 09 Oct 2014 13:46:00 +0000

One, two, three, fifty!
I lose count sooner than planned.
Churning inside me,
The ajwain, goat milk, and ginger honey reside.
A strange concoction, I must admit,
Brewing quietly inside me.
I cannot, for the life of me,
Pick up another cup.

(No sooner did I write this that I included a chai budget for my trip.)

cold feet

noreply@blogger.com (Rohini) — Thu, 09 Oct 2014 13:42:00 +0000

Outside my damp room
A mystic sits.
Tunes from the heart afloat.
I cannot but be in awe.

In the distance there is laughter-
Amidst the ongoing silence of the hills.

Like the city girl who left her home-
Below, another wordsmith sits,
Taking in the sights and sounds.

Like me, he doesn't know
What he's here to find.

A place where forlorn lovers loved,
A shelter for my soul.
She strums away her restlessness,
The voices take me home.

Fluffy visitors

noreply@blogger.com (Rohini) — Thu, 09 Oct 2014 13:33:00 +0000

The clouds have arrived
At my doorstep.
The incessant knocking sends shivers down my spine.
Knock, knock, knock, they go.
"Come on in," I say.
They fill me with delight.

noreply@blogger.com (Rohini) — Thu, 09 Oct 2014 13:26:00 +0000

The guitar brings me little warmth,
As my hair takes on the smell of damp clothes.
The drenched walk up long and unknown paths-
Don't spell out happiness at all.

Too soon did we leave the spot,
There would be rainbows where we lay,
Between the tides and gentle breeze,
So many more conversations were to flow.

Yet the undeniable comfort of this monkey cap-
Soft against the cold, stone wall;
It sends me back to my happy place
Merely by sitting atop my head.

To the wonders of synesthesia

noreply@blogger.com (Rohini) — Thu, 09 Oct 2014 13:23:00 +0000

My dreams shall smell of black magic tonight
Fragrant memories of a not-so-distant past,

Between garbled talk and confessions,
I swim towards the shore.
No shark fins chasing after me.
It's just how dreams ought to work.

Thievery Corporation by two: a conversation with Rob Garza

noreply@blogger.com (Rohini) — Mon, 16 Jun 2014 11:46:00 +0000

Unfortunately this interview happened over the phone. But when I found out that I was interviewing Rob Garza, one half of ThieveryCorporation, my heart was in my mouth. 9.45 am, the call promptly arrived and the next 20 minutes were some of the best of my life. That I eventually met a drunk him at the after-party and chilled is a whole different story.

Rob Garza

What are you expecting from your India trip?

To be honest, I don’t know what to expect but I’m looking to go over, have a great time, share my music and just enjoy being there.

Have you heard any Indian music?

Not so much. I’ve not heard too much electronic music from India but of course, we have people like Anoushka (Shankar), whom we have collaborated with in the past. To be honest, I’m not so up to date with the current electronic scene.

How hard was it for you to create your own identity as a solo DJ after Thievery Corporation?

I think it’s actually been quite easy. After I moved to San Francisco, people started asking me to DJ, which I hadn’t done in a while. When they started asking me, a few years ago, I said ‘Yes’ and then I started saying ‘Yes’ more and more. And then as people found out I was DJing, they started hearing it and actually liking the music I was playing at the clubs. I was doing remixes and some original productions as well. People have just been inviting me and really encouraging me. It’s been great.

Is it more satisfying than Thievery Corporation?

You know, they’re both two different types of satisfaction. It’s always great to go out with a band and play live. But there’s also something kind of liberating in being able to go out by yourself, play other people’s music and just get into the atmosphere of the room and everybody’s just enjoying and getting off on the music. I really enjoy that too.

Has Thievery Corporation taken a backseat and only features as a few tracks in your DJ sets or are you and Eric still working together?

No, we have a new record coming up early next year. I’ve been recording with Eric and we’ve been doing a lot of stuff in the past year. Thievery Corporation is still in full form.

How do you decide what works for Thievery Corporation and what goes into your solo sets?

Well, Thievery Corporation has a specific sound, a certain kind of fingerprint. The solo stuff that I’m doing is more electronically inclined – little bit more up-tempo, deep house oriented.

When it comes to collaborations, what do you look for in artistes?

First of all, I’ve to be a fan of their music. The other thing is just getting along with them. There are some people who you meet, respect their music and really get along with them. Sometimes, you don’t know exactly what it is but it just makes a great collaboration and that way, I’ve been very lucky to have collaborated with some of my favourite artistes.

Do you have any lined up at the moment?

Right now, not so much. We just finished the new album and it’s still more about our love for Brazilian music and bossa nova – jazz from the late 60s. For the next album, we’ve probably get into some more collaborations.

And when it comes to picking vocalists for each song, is there a line of reasoning?

I think that there’s so many – we’re big fans of musicians and vocalists from all over the world. We have some Brazilians vocalists we love, David Byrne from ‘Talking Heads’. It really depends on the song – we have to really hear the song and then think of a voice and it comes more spontaneously. We don’t really think of it.

You call yourself an ‘international music explorer’ on your website. Care to elaborate? Does travel play a big part in your life?

I’m travelling pretty much every week to different parts of the globe. I love being in new places, meeting new people and playing music. Musically, even since when we started Thievery Corporation, travel’s been one of the inspirations for what we do. As an artiste, the music always comes first but it’s that sense of exploration that affects what we do and how we do it.

Do you remember the Nepal gig when you played for trekkers climbing Mt Everest?

That was a great gig. It was for a group of young ladies who were trying to raise money to get to the top of Mt Everest. I played outdoors, it was a beautiful world and I loved playing in that part of the world. The Himalayas were just stunning. That was one of my favorite gigs.

What’s the process behind naming your songs?

That’s a good question. I don’t know how that happens but usually, at the end, when we have to send the track out, we just come up with something while trying to be clever.

When you’re not touring or in the studio, what are the other things you enjoy doing?

I really enjoy just spending time with friends and family and going to the beach and mountains. When I’m not playing, I like listening to music.

What’s the songwriting process like? Is there intoxication involved?

(laughs) Sometimes we’ll have a few drinks, a little smoke. But in general, I just get into the studio and start playing around with instruments till stuff starts to happen. I don’t really like think about it. It’s just a natural, organic process.

Is it groove-based or sample-based? How does a track build up?

It’s more groove-based for my solo stuff and for Thievery Corporation. It starts with the groove and then it goes off from there. When we started in 1995, it was more sample-based but now, not so much.

How do you remember the early Thievery Corporation days?

I think when we started was really exciting because we were just doing it to have fun. We never really thought that we’d ever have a career of it. We were just making our music and decided to release some vinyl and then people started following us around the world saying that they want more vinyls. All of a sudden, we were traveling and getting to see different parts of the world and playing our music. So I remember those times with a great fondness. I’m still very happy doing what we do.

How do you keep yourself passionate about music over the years?

Well, there’s the challenge. For me, in this case, my DJ set and getting back into electronic music has kept me passionate. I started off being an electronic musician, making techno records when I was 19 in 1989. With Thievery Corporation, we really got into the organic side of music exploring that side of things which I really love. Getting back into producing has made me passionate again because it’s the side I wasn’t exploring for a long time and now, I feel so much great creative energy in me.

But are there still days when you feel uninspired?

Of course, it’s like life. There are days when you say ‘Nah, I don’t feel like doing this today’.

Which Thievery Corporation track are you most attached to?

That changes all the time. But one that we did with David Byrne called The Heart’s A Lonely Hunter – that’s because it talks about walking into my spaceship and being beautiful forever. I always love hearing it and always love playing it.

The interview was published in Deccan Herald on November 25.

The parallel worlds of Sampology

noreply@blogger.com (Rohini) — Mon, 16 Jun 2014 11:17:00 +0000

Sampology

I met Sampology in the pouring rain. It was ‘Hangover’ by Buraka Som Sistema that had pulled me to his stage and despite being fairly transparent, the audio visual experience from that floral shirt wearing young man still remains vivid. I told him I knew nothing about him backstage but had tons of questions to ask. He was nice enough to answer them:

Essentially, how does your mind work?

I come from a hip hop background and what I like about hip hop is that it takes lots of existing things from different areas and then combines them to make something new. Like just remixing and reworking things. I like juxtaposing things - taking something out of context and making it new.

So how does the visual aspect come in? Do you do that yourself?

Yeah so I take bits of existing footage and reapply them to music. I like things to flow through the set so one visual leads into another section while making sense.

Is it very drug-induced?

Not really. For some people it is but for me, a lot of the time, I’m editing in my studio and it’s really late at night and I’m sleep deprived. And in that state, it’s kind of like I’m tripping. So sometimes, when I’m really tired, it helps.

What’s your education background like?

I don’t come from a visual background. I come from a DJ/music background. I’ve been DJing for the last five years and then the technology became available for me to DJ with videos as well and I jumped straight on it. At that point, I didn’t know anything about videos. I had ideas of what I wanted to do and then had to figure out how to do it.

Are you always surfing the internet?

Yeah, I’m always surfing the net. Now you can find everything on the net. Back when I started in 2008, I’d go to this old VHS tape store back home and I’d keep going through those. And the owner of that store and me share an affinity for early 80s Bollywood movies. I like geeking out.

Where do you pick your music from?

Everywhere! I mean I worked in a record store in Brisbane for four years so that kind of influenced me. Icome from a hip hop background but when I started playing in bars and live music venues, I didn’t really like playing one style of music for an hour. I like things moving between genres.

What do you think of Bangalore?

I love it. I got in two days ago. Yesterday, I went to the market and found an antique shop and bought a bunch of records because in Australia, Indian records are very expensive. It’s my first time here and I bought a lot of 60s and 80s records. People are really nice here. There’s a big Indian population in Australia so I’m used to the food.

What did you think of India when you were making the special 3-minute visual package?

I’ve been into Indian cinema for the last five years. I’m a big fan of Mithun Chakravarty, Amitabh Bachchan, RD Burman, Sanjay Dutt and Bappi Lahiri. I love the cinematography - the big dance sequences how everyone is organized and the camera operator is so still is amazing. I realize that the era I’m talking about is really cheesy but I love it. All the Indian cover versions of Western tracks - some of them are actually better than the originals in terms of how the drums come in. I’m learning more now about newer bands here because my knowledge is more specific to the early 80s films for their soundtrack and stuff. But while I’m here, I’m going to try and catch some acts.

Does travel play a big role in your music?

Yeah it does. I think that if you’re doing any kind of art, traveling helps a lot. It’s just inspiration because I sample a lot of stuff.

Any albums on the cards?

I released an album last year in Australia and am working on releasing one next year. But I’m also doing a full Bollywood set in Australia early next year for some cultural festivals. It’ll be a full audio-visual set with the audio being contemporary remixes of Bollywood cinema. And then I want to come to India with it. To be honest, I wasn’t sure how the Bollywood segment would go down because sometimes, when you go to a country and play their stuff to them, they either love it or hate it.

Is there a non-musical side to you?

Umm, not really. It’s either music or visuals. At the moment, I’m scanning old magazines and making them into moving GIFs.

And do you feel that your brain is always working on overdrive?

Yeah. I’ve noticed it in the last few years that I’ll be having a conversation with someone and some situational topic will come up and I’ll instantly compare it to a scene in a movie. And it’ll be a bizarre non-famous reference. But it’s from working on the shows. Like I’m always trying to draw parallels!

The article appeared in Deccan Herald on December 12.

Chatting up the funny-toothed dubstep pioneer DJ Rusko

noreply@blogger.com (Rohini) — Mon, 16 Jun 2014 09:29:00 +0000

DJ Rusko

The thing about DJ Rusko is that he can talk A LOT. But that works for someone like me who loves finding out the back story to music anyway. I’m quite late in posting this interview but here goes nothing:

Has India lived up to your expectations? What impression of it did you have?

One thing I try and do when I go to a new place that I’ve never played before is try not to research at all. I know a lot of people Google where to go and what the crowd’s like but I spend most of my time playing shows in places I’ve been to before. So I already know the venue, the crowd, what they like. So it’s very rare these days that I get to go or play somewhere that I’ve never ever been to. So the best thing about it is the surprise. Even when I get to the venue, I’m not going to look at the crowd or anything. I just blind myself completely till it’s time to go on and then it’s the biggest surprise ever! When I’m writing new music, as I’m doing at the moment, I purposely try and not listen to other people’s music. Or you’ll end up making music like them. I try the same kind of blindfold there too.

You’ve been in reggae bands and played the saxophone and piano. How did dubstep happen?

Reggae is the middle path. When I was growing up, I played in rock and all kinds of bands. But I’ve always been a big fan of reggae and dub. So before I started making dubstep, I was playing the saxophone in reggae bands and producing reggae. The first dubstep tracks that people heard of mine and I put up were just dub-reggae tunes I was making. And people were like ‘huh, what is that?’

So was it much of a transition?

No! It wasn’t like I heard dubstep and decided to make it. There was no such thing then. People called the reggae that I was making ‘dubstep’.

Are there live elements in your performances?

No, my whole thing with the DJ set is that I try and play 100 songs in 100 minutes. My hands are a blur when I’m up there. I hate the DJ thing where they come on stage in sunglasses, press play, f*** around and look really cool.

How does your brain work in coordination with your hands?

Part of it, surprisingly, is muscle memory. Sometimes, I’ll walk off the stage and have no memory of what I played. It’s like I’m hovering above stage and watching myself sometimes. It’s that automatic.

Describe the feeling behind the consol.

That’s why I try and do the blindfold thing. Because walking up to the consol for the first time, having no music playing and putting in the CD is the best feeling in the world. So if I have no idea what to expect, it makes it even better.

Off the consol, what are you like? Is music always playing in your head or around you?

I listen to very little EDM. I listen to jazz and classical and stuff. I’m on the road a lot but I try and do it in blocks. I’ll do two months of playing every single night and then two months with no gigs at all, just in the studio. I know a few people who play a few gigs, then go back to the studio and then some more shows. But I can’t really do that. I’m pretty much the same person both in the studio and at gigs. It’s hard when I’m not playing shows because I’m used to that energy. So I need to do things to match that energy. I skateboard a little in California, where it’s sunny so you can actually skateboard. But I need that adrenaline, the rush everyday.

And cooking offers that?

Cooking is more of a necessity because living in Los Angeles, there are two things that I cannot find – good English food and good Indian food. My favourites are tadka dal, chickpea…I don’t want to embarrass myself by pronouncing the names wrong and stuff. I got really frustrated and so I just learnt how to make it myself.

You shifted from UK to USA five years ago. What are the differences you’ve seen?

The crowd is much, much bigger. Dance-wise, both are pretty much the same. But in US, it’s much louder. People really scream and shout and let you know that they’re having a good time.

And what prompted you to make the move?

Dubstep was just beginning in American when I moved. It was popular in Europe but in America, all they really had was us UK guys, going over there and doing a two-week tour, play Chicago, New York, LA and then go back. Every month, one of us would do that. It was supply and demand but also a business move. I thought that if I moved there, I’m not just going to play those cities but also the tiny cities. So for two years, I was the only dubstep DJ touring America. I played the first year doing shows everywhere. I did the first dubstep shows in so many cities – Denver, Houston Texas. I just kind of got there first.

But are you really business-minded given that you give out all your music for free?

I want as many people to have my music as possible. I get my money from the shows. If a 1000 people have my music because they got it for free, more people are going to buy tickets for my shows. The way to get more people in the shows is if they like your music. It kind of is a business move. People get it for free anyway; I just make it legal.

Let’s talk about the commercial DJ wave. Is it diluting the real sound?

Not really. It could get burned out because there are a lot of people jumping on it, if you know what I mean. There are a million house DJs, a million dubstep producers. There’s so much more of everything that it’s harder for someone to come into the game. I think I’m kind of lucky that I was there from the start.

Have you seen 24 Hour Party People?

Yes.

So in the film, there’s the music cycle theory where at any given point, one genre is peaking while another is dying? What’s going on in the music world now?

I think dubstep is getting a little quieter and drum n bass is coming back bigtime! Drum n bass was huge in the 90s and early 2000s. It was THE sound. And then dubstep came along and took that audience. The same people who liked drum n bass liked dubstep for the same reason. At the time, in the mid-2000s, drum n bass wasn’t doing anything new. It was still good and really popular. But it was a sound. It didn’t really change. And people got a bit bored of it and got excited by dubstep. And that’s what’s happening with dubstep now – it became too formulaic. It used to be a mixed sound, where you’d hear a dubstep song that sounded like jazz, a dubstep song that sounded like heavy metal. And then it all became the same thing – the same Skrillex-y, noisy rubbish. So people got bored of it.

How would you define your sound? Have you consciously stayed clear of dark dubstep?

Just dark music in general. I like things fun, upbeat and silly. Even in my dark band, it’s not dark, serious music. Most music I make has always got that happiness to it.

Did you pioneer ‘brostep’?

I guess that was the sound that everybody copied. Dubstep was my sound originally. That’s why people talk about it.

In that case, do you see it as a ripoff?

No, it’s inspiring people. It’s humbling. It’s nice to think that so many people liked what I did with dubstep that they wanted to take that and run with it. It’s very flattering. But that is the sound that got burned out. People need to make something different now. That had been the processed sound of dubstep for a long time now.

What’s your drive to keep experimenting? Drugs?

Honestly, yes but no. Inspiration wise, I like to switch it up. The music that people here is like 10 %. I play in a rock band back home, sax for my friend’s band, and this. So really, my drive is to keep it totally varied. People only hear the dubstep-y stuff that I make. I want to keep experimenting. There are still lots of places to go. It’s just that people got so used to that brostep sound being dubstep that if you try and do something different with it, people are like ‘huh, what is this’. They forget what it originally was.

You’re quite the globetrotter. What have been some of your best gigs?

Exit Festival in Serbia (2009) with Caspa was 500000 people. That’s probably the biggest show I’ll ever play in my whole life. That was insane. I’ve never played a show where you couldn’t see the back of the audience. Like it went on like the sea and the horizon. Playing in Japan was really strange because they’re just so polite that unless you tell them to clap or shout, there’s complete silence. That’s really, really weird. But it was awesomely fun because it was like a challenge. I didn’t know what to expect.

You and Caspa ended on good terms?

Yeah, I was at his wedding last year. We’re still best friends. One was the fact that I was planning to move for a year or so before I actually did. But we still do the record label together on the side. We were friends before we worked together and then we were working together all the time. Just as friends, we figured that if we carried on working as Rusko and Caspa, we’d probably hate each right now and saying bad stuff about each other. Now we’re just best friends, keeping in touch. I talk to his mum and Dad to see how they are. It was almost really just a way to save the friendship.

Any regrets in your career?

Loads! I say ‘Yes’ to everything. That’s usually my problem. People suggest things to me, ask whether I want to do a show or a collaboration and I pretty much always say yes, which isn’t always a good idea.

What’s next on the cards?

I just started working on the new EP. I’m working with DJ Shadow, we’ll do some cool stuff. I’m just trying to work with people who aren’t EDM artistes. That’s why I chose Shadow because he’s this 90s hip-hop guy who’s totally out of the EDM scene. I’m just trying to do something weird!

The shorter version of this interview was published back on December 30. Here's the link.

Oh Oh: A drenched interview with Noisia

noreply@blogger.com (Rohini) — Mon, 16 Jun 2014 09:03:00 +0000

Noisia

I just found out that I’m missing both the Calcutta and Bangalore editions of NH7 Weekenders this year. So I’ve dug up some of the craziest interviews I had done back then, half drunk and fully drenched. This one’s with Nik Roos of Noisia! (Oh oh, and check out their new material. It’s pretty f***ing mental)

What’s Bangalore been like for you guys?

It seems like the city is incredible. It was so crowded but the atmosphere was more relaxed than it is in Europe. Here, people look at each other but there’s no anger or aggression. We also loved the little nod that Indians do. Even the auto drivers talking to us shook their head in this particular way.

On collaborating with Foreign Beggars:

We’ve always wanted to work with vocals. But the vocalists we’ve tried out didn’t get our music. With Foreign Beggars, it was different but cool in the way it worked out. We’ve worked with vocals before but never as a full album. This is very different production-wise. We’re writing new material and hopefully, Noisia will write their next album in the coming year. We’ve been very busy with our label and touring of late.

How does a Noisia track come into place?

To put it simply, all three of us are perfectionists. At the same time, perfection is the most boring thing. So we’re never trying to reach a point of perfection but trying to make something better and better till the point of abandoning it. Personally, I always love doing whatever I’m doing better than the last time because I feel that I owe that to myself. It’s amazing to build an identity as a group - so even our label is quite international but we run it from home.

Do the three of you fight much?

Sometimes, there are fights. But the cool thing is that all three of us get into it. So if someone has an idea and one of us likes it, it’s up to the third person to take a side and make a final decision. We go back a long way and went to high school together. We became friends first and only later did we start f***ing around with music. So essentially, we’re running a business based on close relationships. We never set out to make a career of this. In school, I’d go to Tys’s house, smoke some weed and do the usual teenager things. We didn’t realize that somewhere along the way, we’d actually start loving it. Once I got older, I started feeling better than I did in my mid-20s. I’m healthier now. Time and energy have no autopilot and that’s when people start to fall off.

So what are the challenges?

Time is the enemy and continuing your personal life and balancing it with work is also tough. Sometimes, even if you’re home, a work day might mean 13 hours in the studio after which you just have to sleep.

What are your current influences? (back in November)

A lot of John Hopkins - he’s techno but very sensitive. And Tame Impala. The thing about the music we listen to is that it might be great on holiday but it might not come back into our music. But we are doing a lot of label work and have a lot of records coming up. We we’re always on the lookout for guys like Neosignal.

What’s the music scene like back home?

Holland has a lot of EDM. The difference between doing production or DJing solo versus the experience we have is in the splitting of the money and more importantly, the workload. I mean, Holland is crowded with EDM at this point. We’re from a small town in the country doing our thing and it will always be an island. Things that are boring are taken care of by the management. But there’s a big boom in EDM and it’s hard to keep your eye on what you want to make but not imitate or patronize them. I don’t mind experimenting with other genres. But what I’m enjoying at this point is the juke influence from USA, which is based on dancing completely. I don’t know whether our influences come back to our music but it’s all about dancing. A lot of EDM is just stadium-based. My hope is that out of this energy comes a scene that isn’t relying on hype but the right music that’s based on love. There’s a big wave in EDM but it gets pulled from the roots because of the cash flowing into the industry. I hope solid movements come out that produce solid music. Making a song with your heart is better than saying that this is how a song should be, this is how a scene should be. It’s great that EDM is getting the exposure that it deserves. But in Europe, Eurohouse has been around for years. It was big in the 90s and today’s music sounds just like that but with a twist.

The overly edited interview came out on December 4. Read it here if you must.

Engine-Earz Experiment: Into the mind of Prash Mistry

noreply@blogger.com (Rohini) — Mon, 16 Jun 2014 08:53:00 +0000

I had a rather long but enjoyable conversation with Prash Mistry of Engine-Earz Experiment recently.

Engine-Earz Experiment

Here’s how shit went down:

How pumped are you about returning to India?

It’s always a great feeling coming back to India and seeing how the music is moving forward. It’s a tantalizing experience because the love I receive is more every time. It’s also interesting to see the rapidly changing music scene here.

What changes have you seen here?

Musicians and producers are definitely more confident about their own abilities, creativity and musical product. They have to find inspiration in places where others aren’t finding it and I’m seeing that a lot in India. There’s also no as much fear as before and there’s even a healthy amount of competition.

How different is the new album from what you’ve done before?

Symbol’s very different and it might even surprise some people. A lot of the earlier stuff was for the dance floor and live shows but this one’s more for the listener. There are a lot of messages incorporated and a running theme of asking questions and finding solutions. It’s hopefully not too preachy.

Best festival experience so far:

I’ve played a lot of festivals and attended even more. But it was Glastonbury in 2007 that made me start my band. I’ve played there six times now on seven different stages and it’s genuinely the most brandless festival that focuses on the music and experience.

I want to see more people not caring about reactions and just getting lost in the music. I love people who act like idiots! In the UK, dance music is a sign of rebellion and like a ‘f*** you’ to the system. All good music comes from a struggle. But that hasn’t manifested itself violently in India, probably for lack of something to fight against.

Live versus studio experience:

The two are very linked for us. You can start something in the studio, take it live to see the emotional response and then go back to finish it. I love writing at home because nobody sees me or judges me. But when you perform live, there’s a rush because something can go wrong anytime and a band adding to the sound. Nothing beats that spontaneity.

What made you decide to make it into a live dubstep band?

The band guys are some of my best friends and it’s great to tour and work with people that you love. My experience teaches me things and then their experiences get added to it. And that’s what’s great about music regardless of how cheesy it sounds. Touring is a very high pressure thing but it’s a pleasure with such people. It’s also humbling because when you’re around friends who’ve known you for years, you get put down in two seconds if you try and act too cool.

Touring in UK verses other countries:

That’s actually a really good question and no one’s ever asked that. In UK, there’s just so much electronic music everywhere in every club and bar and even more in a metropolis like London. But that also implies an equally short attention span. Something can be respected one day and falls apart the other. Right now, UK’s at the end of its deep house phase and it’s too fast and ridiculous how it’s getting into techno and there are all these stupid words being used to describe genres that don’t mean anything. If the song resonates, it resonates. That’s how it works in most other places. But I still love it because it’s home and makes you work hard. As performers, it makes us try our best to be the best. With the internet and communication being so fast these days, you can be based anywhere and still do great things. I’ve seen that happen everywhere.

What’s the general songwriting process like?

It’s all very different. Sometimes, I just wake up one night and write a song or it happens more organically during a jam. In more collaborative tracks, we work together with the vocalist a lot.

The interview was published on May 28 in Deccan Herald. Check it out here.

I'm goin' home

noreply@blogger.com (Rohini) — Mon, 17 Mar 2014 04:19:00 +0000

You know how they're always talking about being the same person we once were but different because of the circumstances we're in. That we don't change as people because the core or crux of the person is always the same and unchanging like a rock. That's bullshit. I don't have the same pair of eyes as the one-second old me did (or however long it takes a newborn to open his or her eyes). That dumb punk wouldn't have looked at a dead honeybee and gaped at it in awe. She wouldn't have imagined a hundred different ways of manipulating the situation to give it a new perspective which she would then take photographs of, edit and put up to show her friends the way her mind works. (It's a fucked up generation that we're living in. Social awkwardness is the best norm.) That little punk didn't know a goddamn thought was and all (Yes, I'm rereading Catcher in the Rye).

We got the whole picture wrong is what we don't get. We change every second that we're alive in this world in. (Note: Kill me if I'm in a coma I can't get out of.) Change is the best thing we've got going for us as a race. And they're out to tell us otherwise. It's all a big conspiracy. It's only human nature that sticks. And it's making me call it quits. Take me home.

/not yet/

noreply@blogger.com (Rohini) — Sun, 16 Mar 2014 10:21:00 +0000

Hate the world you live in
Beat it black to death
Put it in a suitcase
Throw it off your head

Smash, Lick, Swoosh
Boom, Slam, Bang
Take a drop of heaven
Let it soak into your tongue

Cast ‘em menacing looks around
From left to right and back
Don’t listen when they start talking
Turn your back to them and walk

Watch your shoulders drooping
Can you feel the confusion’s weight?
Sin away to your heart’s content,
Don’t blow your brains out just yet

We’ve got the last leg left to go
Do you see the abyss ahead?
All the way down and deeper still
Till the puppet master’s dead

Who/What

noreply@blogger.com (Rohini) — Sun, 16 Mar 2014 09:54:00 +0000

Who am I writing this for?
Me? You?
By the side of the fence
Where punctured souls meet
We met in the meadow
You entered my dreams.
Desire versus Desire
Which one shall we pick?
How do you feel when you look at me?
There’s no answer, is there?
_______________________________________________________

Sharpened pencils
Fragrant words
The blank is filled
No story to tell

Chekhov's Gun

noreply@blogger.com (Rohini) — Sun, 09 Feb 2014 18:48:00 +0000

"If there's a rolled j in the room, it has to be lit. Kind of like Chekhov's gun but with no one dying at the end. Just a few happy faces looking around for munchies."

noreply@blogger.com (Rohini) — Sun, 09 Feb 2014 18:46:00 +0000

"I've come to a point where I just can't say 'I love you' to a guy till I'm ready to perhaps say 'Will you marry me' or 'Do you want to have my baby?'. Either the words mean nothing to me or too much."

Every roof has the same view

noreply@blogger.com (Rohini) — Sun, 09 Feb 2014 18:28:00 +0000

Ben Marriott

The red and blue 1 cm by 1 cm square was put on his tongue and he braced himself for what was to come. Would it be an explosion of flavours or sour or bitter? His guess was as good as anyone’s.

A slur of random thoughts and images filled his brain in anticipation of what was to come. Till this point in his life, he had been keen on dividing and categorizing everything that he could possibly place into boxes for the sake of convenience. What he had figured out for himself was that he was a lover of nature, art and life in general, a borderline romantic, offensive at times for lack of concern at certain 'third parties' being in his vicinity and experimental to a limited degree, though this was usually more in his head than he actually projected. The facts were what he had chosen for himself even though his sheltered childhood would have begged to differ.

He had always prided himself in his quirks, which he never found the need to hide. People around him may not necessarily have been interested in getting into the details of his morning dump, sex life or future plans. But without too much thinking, he would share his story with anyone willing to hear. And reciprocate. The latter was a matter of primary concern because of his need for knowing things. Observing and the little mental notes were one thing. But to see someone vulnerable enough to share a part of their darkest side of their existence with him turned him on. Almost. It wasn't something that could be brushed away, unlike the tags he had imposed on himself.

Once the liquids had entered his system, time and motion as he knew it began to find themselves in altered states. During the initial haze, he momentarily discovered his renewed hatred for the life. There had to be more words, more travel, more venting of the intriguing journeys that his mind seemed to want to go on though physically, he was stuck in the quicksand and seemingly comfortable. He felt released in a way that he had never experienced, unable to quite pinpoint what was happening to him, unable (for once) to put things down as black or white.

And without much effort, he fell in love with the alternately grey and technicolour world in front of him. There was a cyclone of thoughts with him in the middle, wading his way into the eye in search of the unnerving sense of calm and joy that he sensed was beyond the thin walls.

Once more, the lack of comprehension and the power of the images being presented in front of his eyes took over. And he let it.

There was a game he recalled playing as a child. There was a circle in which mercury globules floated in vacancy (or water, he couldn't be sure) and the aim was to get them into the five grooves made within the board. The toughest part was having all five of the holes filled without spilling one of them out out of sheer frustration and impatience. But today, he felt at ease with the pace of things within him and around. Sometimes, it got rapid but in his little self-woven cocoon, he played and won the game against the night sky. The stars, the little globules; his mind, the prettiest non-infested playground he had visited. And there were even swings! To play with it or perhaps, eat a star or two would have been nice, he thought.

Now he was drifting, zooming in and out without the blink of an eye and superimposing all the images of childhood that seemed to be hitting him one after the other. He was older than he remembered having become. Life had passed him by and he hadn't even had the time to stop and take a photograph, for memory's sake or something.

There used to be a silly dog that belonged to the neighbours. Named Ruby, she would excitedly go and pee everywhere that she went. Quite a nuisance. But his little brother, who was even sillier in his opinion if you asked him, took quite a liking to Ruby. The dumb three-foot-nothing would often take her out on a walk. Once, when the bikers passed by the village, they ran over her and did not even stop to look back. That was when he severed ties with them forever. Till date, his brother hadn't bought a goddamn two-wheeler, he smirked.

He used to have an uncanny, often annoying way of superimposing himself into stories that he had heard. This was the case too often, in far too much detail. The drunk girl who had been left on the street and his friends had taken her home to let her rest. Instead of being grateful, she screamed like she was being molested and woke the entire neighbourhood up. Had that been so long ago? Had he even been there to witness it first-hand or had he just been told the story too many times? He would never know. But the one thing he did know was not knowing whether she had been tall or short, fair or dark, big boobed or not so much. Not that it mattered. Nothing did anymore.

For no reason at all, there was a rush of similar morbid and awkward tales of growing up. He realized that these were the memories that he had thought were simply erased the day his father died. The intensity of that moment as a thirteen-year-old with no concrete dream at the time hit him hard. It was too tough to forget the face, the skin, the dampness of it all. So he held on to it with dear life and refused to let go. Before he knew it, it was gone, leaving behind a physical void as well as a mental one that he could not grasp. Where had his childhood gone, he asked the stars? But the stars had no answer.

They merely whispered 'Every roof has the same view' in a cryptic way that only he was supposed to understand. It brought him down to the situation he was in - alone on a beanbag in a stranger's terrace looking at the stars and seeking answers that were actually being provided in a simplified manner. He was just like the rest of them, regardless of gender, age, appearance, nationality or any basis of division that had been imposed on humanity since their concept of society started to take shape. He felt stripped down in the most natural way, cradled in the lap of the only mother that was presently breathing life into his otherwise dead body. He could be happy now, living in the carefree blissful oblivion that he had always dreamed of. Nothing could stop him, except the high wearing off.

Into the mind of a serial racist

noreply@blogger.com (Rohini) — Tue, 05 Nov 2013 12:02:00 +0000

From ‘interview girl’ who was offered free dinner (but declined) to ‘Roro’ by the end of the conversation, it was quite an interesting ten minutes with Russell Peters during his Notorious World Tour. Other than a peaceful side to the guy who’s made me laugh for years, there’s also the discovery that he’s terrified of bugs.

Russell Peters

What’s Russell Peters like when he’s not under the spotlight? Are you always trying to be funny?

I don’t think so. When I see something funny, I’m not going to not say something funny. On stage, it’s like an amplified version of yourself. So where I have to do for an hour and a half straight on stage, off-stage, I might do it every few mintues.

Can you imagine phasing out this profession?

No, I’ve been doing it for 24 years. I don’t think phasing it out is on the cards now.

Do you have a little black book where you jot down jokes as they come to you?

No, it’s all in my head. It’s all memory, observation and I like to talk to people in the audience because that’s how I find out things about people. Depending on who they are and how they react, it could go great or just be all right.

Do you think Indian comedians rely too much on stereotypes?

I don’t know about the other ones but I’m the first guy. Gotta figure I set the benchmark and the tone and the pace of it. So if anyone’s doing anything similar to mine or copying me, that’s not my problem. But if there was nobody else and it was only me, would you be able to say that? It’s my style of comedy – some guys do political comedy; some do whatever they know. I talk about what I know. What I talk about is culture and travelling around the world and stuff.

Have you ever/do you still have days when you imagine the audience in their underpants?

I’ve never done that in my life. I do it with chicks sometimes and picture them naked. But that’s only my own deviant mind doing that.

Then how do you deal with the pressure of entertaining a stadium with 3500 people?

Well, there are nights when I’m doing 18,000 people. There’s always pressure. But I’ve been doing it for 24 years. If you can’t deal with the pressure of your job, maybe you shouldn’t be doing it.

What are the best perks of this job?

Money, fame, chicks.

Wait, aren’t you married?

I’m divorced! But I have a daughter. *shows me the photograph on his phone*

And are you really that much of a pervert as you make yourself out to be on stage?

“It’s obviously not who I am off-stage. It’s like ‘I can’t say this in real life but I can say it right here’. I have my own degenerate behaviour but I’m not forward like that off-stage. I won’t walk up to a girl that I don’t know and start talking to her. I was never able to do that and I still can’t. If I sense that she may know who I am, then I’ll say something but it won’t be like a pick-up line. I’ll say something witty to see if she gets it. If she doesn’t get it, I’m like ‘ah, she’s an idiot. Never mind’.

What challenges do you face?

You gotta continue writing all the time. It’s a double-edged sword – it’s a challenge but it’s also what makes it exciting. If your job becomes not too much of a challenge to you, you should quit. In comedy, you’re never above anything. You can mess up on any night. You’ve never above it. It’s one of those things. It’s what makes it so daring actually. I can go up and I can stink it up. It still happens all the time. It doesn’t matter who you are but you always have the opportunity to fail.

Any Indian stand-ups that you know of?

I know Papa CJ, Tanmay Bhat.

Do you see yourself as better than them?

I don’t really look at it like that because we’re all doing the same job. I see them as all very new. There’s no above or below anybody in this game. You might be more successful than somebody else but it doesn’t mean you’re better than them. There are guys who are not successful who are way funnier than I’ll ever be. But for whatever reason, it didn’t click for them.

Do you look up routines?

No. You never look up others’ routines. The minute you start copying somebody else, you’re not being yourself anymore. You’ve lost your point of view then.

According to you, what’s the future of stand-up comedy?
It’s been there forever and it’s going to stay there forever. It’s not going anywhere – it’s social commentary. You watch the news – they aren’t telling you the truth. The bad stuff will always go away. It’s the same with music – we live in a time when music is shit. Whenever there’s a war going on, the music usually gets better because people are depressed. We’re in the middle of wars and depression and the music has somehow gotten worse. I don’t understand that. It used to be the complete opposite. But then again, it can’t stay terrible forever!

When you’re not doing stand-up, what do you do?

I DJ – I stay home and work my turntables. I play for myself.

Do you ever let the celebrity status get to you?

No, because I don’t really buy it. It’s nice. I like it. I always meet people. I don’t have a problem with it. Even if people ask on the streets if they can get a picture, I say ‘yeah, no problem’. You know what’s going to be annoying – when nobody wants my picture or autograph anymore. That’s going to be five times more annoying than anybody interrupting my dinner.

But that’s a legit fear at this point?

It’s always a legit fear. Nobody wants to not be on top anymore. It’s inevitable but it’s how you fall from grace.

Lastly, how do you keep innovating?

I don’t know. You just keep thinking.

How does your brain work?

I don’t know. If I knew, I would sell it as a blueprint! Or brown print.

The interview was published in Metrolife on November 5, 2013. Here is the link.

Interview: Symbiz Sound

noreply@blogger.com (Rohini) — Tue, 05 Nov 2013 11:43:00 +0000

I recently had the pleasure of meeting Buddysym and ChrisImbiss, two brothers who are making some brilliant future dancehall music back home in Germany. Some excerpts from the interview:

ChrisImbiss and Buddysym

Were you always inclined to this genre?
Buddy: Until three years ago, I didn’t really listen to electronic music. I always liked more bass-oriented music like ska and reggae and Chris would hear a lot of hip-hop and dancehall. We didn’t listen to only electronica and I didn’t listen to it at all.

Chris: Our parents (Korean mother and German father) made us play the violin and piano when we were kids. So it was not always like this. We grew up around all kinds of music. When we started to work together, dubstep was a nice way of playing music. So it had a big role. Now it’s kind of something that’s less dubstep, more dancehall.

What’s the dancehall scene back home?

Buddy: It’s quite big back home. It was bigger in the 90s but it plays a big role in our music because it was the first ‘club music’ that we heard. Now, there’s a lot of global local music that’s implemented in what we do.

Chris: There are all kinds of influences. I think the beauty of this project was that we weren’t too into the scene. So we could naively do whatever we liked. We didn’t have to follow rules of what is acceptable or not acceptable in a certain genre.

Describe the chemistry between you two behind the deck and otherwise.

Chris: Depends. We can be very good brothers. We love and we hate each other. Buddy’s the more musical one – he’s good with chords and stuff and I’m more into the technical production-related stuff. As brothers, there’s crazy fighting as one would imagine. But we’re also like best friends travelling the world together. We’re very blessed to have that situation.

Buddy: I just kept playing instruments and studied bass at university. I was more into harmonics and theory but Chris is more of the visionary guy when it comes to this music. There are a lot of songs I didn’t like when he showed them to me first. Later, I started to understand what it meant. So it’s a good combination. Even though it’s really tiring sometimes and we get upset with each other, it really helps having him double-checking.

Chris: The musical conflicts aren’t so heavy. We have discussions and stuff but it’s not like we 100% disagree or are angry or anything.

Your thoughts on Bangalore?

Chris: We heard that officially dancing isn’t allowed. But we expect some rules to be broken. It has to be shut early apparently. We’ve played in four other cities and all the concerts were good. They were up for all the games we play on stage, which isn’t always the case in Europe. Games are part of the great fun for us. We say ‘Do that’ and people actually do it!

Buddy: We have a guitar on stage but we aren’t DJs. There’s production and our custom-made equipment and we really play as a small live band. A concert going good or not is measured by the direction of the audience for us. At the end of the evening, if everyone’s voice is broken and they’re sweating like crazy, that’s a good gig for us.

Best/worst memories of the India tour ?

Chris: There are things that can be very shocking in India like poverty. But this is now my fourth time here since we visited ten years ago. The big culture shock doesn’t come anymore. But you can almost see the change in musical culture. For example, NH7 Weekender was something really unthinkable 10 years. Since we saw India then and we’re seeing it last year and this, we can really see that there’s a scene that’s growing. It’s interesting and really good to see.

Buddy: The slums around Bombay are crazy and it’s shocking how polluted some places are. It’s very strange but you don’t see the poverty so much after a point. I remember the first time I was here, there was a little girl following me and asking for money and it made me cry. But now it doesn’t anymore. People who live here do not cry about this everyday. It’s not because they’re blind or don’t care anymore. But it’s a reality check to see what the world is.

What’s the next step for you guys?

Chris: Our debut album was just released in Germany in May. We have the next one planned though we’re not sure when it’s going to come out. Hopefully early next year.

What’s your process for making songs?

Buddy: It’s very different for each song. A lot of times, we work with Zhi MC, who just became a father so he couldn’t come for the tour. There’s usually an idea, which one of us finishes. And then we start putting vocals and beats on it. In the last album, we had around 12 tracks and 3 skits and on the 12 tracks, there were 11 different vocalists from 8 different countries. We’d send them the beats, they would record something and we could change the beat according to what they recorded. Sometimes we record on the spot or since we travel a lot, we try to record with them and make it part of the project.

Chris: There are no Indian collaborations yet but I’m sure that’s going to work out. We’ve always come here for a very short time but we plan to come back. The plan was to have five off days on this tour but we got just one and that wasn’t enough to record. There’s no other reason for not collaborating with someone here.

Buddy: Collaborating is the nature of this project. Travelling, finding artistes and more than that, it’s about making relationships and friendships all over the world and keeping in touch through the magic of the Internet.

The interview was published in Metrolife, Deccan Herald on October 28. Here is the link.

Fighting a lost battle

noreply@blogger.com (Rohini) — Mon, 21 Oct 2013 17:19:00 +0000

It isn't fair but we have to leave the body someday. Some people get shot. Slightly messy end but it's quick. Others have their organs stop one by one as the cancer takes over till their heart finally gives up and then, all is quiet.

Too real is how I'd describe experiencing a death firsthand. I didn't think that once the first death you have to see or touch, there'd be so many to follow. But it's been a rapid pace at which they've come and gone. Once, I never got to see the body but visited the grave. Eventually, the grave was bought over for another and I had no say in it. Another, I never said bye but went about my normal life knowing that he was being burnt to ashes many thousands of kilometers away. With the distant one, I felt closer than I had ever before at the moment he left this world. But this once, I touched his cold hand and kissed his cheek before they took him away. And then the curtain fell.

I've said it to myself before but I know I need to say it again. I only wish I got to say goodbye.

Saying goodbye to someone you've known only for the few months that they've known they're about to die is strange. You hear stories and appreciate the way they're told, you wonder what habits drew them to this day. The smiles and tears become more precious all of a sudden. There is hope. And then, there is nothing.

One day, people will forget me: Irrfan Khan

noreply@blogger.com (Rohini) — Wed, 14 Aug 2013 09:55:00 +0000

Before the release of D-Day, I had the pleasure of interviewing Irrfan Khan. I walked into his room and he said to me ‘I’ve seen you before’. I was a little stunned at this and politely said that I haven’t spoken to him before, though I’ve certainly seen enough of his films to know what I want to ask. He smiled and said he had found me intriguing as I was the only girl with a camera in the press con. I blushed, said nothing and found myself a place next to him as he started rolling some tobacco.

Tell me about your character.

Irrfan: Wali Khan was picked up by RAW chief and sent to Pakistan. In the time he went there, he was a different person – he went with a mission, with a kind of conviction. When you start living with people, you have a perception about them. But when you spend time with them, it changes. So I find it very interesting how the concept he had about Pakistan changed when he went there. Then, he got married. But getting married to a Pakistani girl and living in that culture must have done something to him.

I’m not sure whether he was trying to test himself or what it was. But the interesting thing about the story is that at one level, it’s an operation where you have to bring back this guy from Pakistan to India. On another level, there’s a family line — Wali has a wife and kid and they aren’t supposed to know about his profession. They’re not supposed to know about it and that’s very interesting about these lives. I never knew how these spies used to work, what their living conditions are, why do they do these kind of jobs. Because there’s no reward in it – you don’t get medals, don’t get recognized, don’t get acknowledgement. If you fail or are exposed, the risk is ultimate.

Not specific to this film, how do you create a character sketch in your mind?

It’s the script – the way it’s written and what the director’s take on it is. Where does he want to take it? You try to understand that and then your personal inputs start coming in. Sometimes what happens is that you can push the story into another direction and the director is trying to push it to another. Sometimes it can create dynamics; sometimes it can destroy the impact. For me, it’s very necessary to work in collaboration with the director.

Have you faced such clashes in the past?

Yes, yes. Sometimes, I didn’t know what he was trying to do and I was doing something else. I thought that my detailing or homework was a hurdle. But it’s the director who has the final say. He’s the person who is telling the story. He’s in charge of everybody.

Did going to National School of Drama give you an edge over others? Because from most of your films, it seems like you always get the tougher roles to portray.

Maybe the tougher roles have come to me. Drama school gives you a kind of insight or training to do different characters. In India, we haven’t done too much of realism. So we don’t have a realistic school where you learn the techniques. Every actor has his own method. But drama school gives you exposure and prepares you in understanding and doing characters rather than cultivating a style.

Is that something you’re trying to bring about into Bollywood?

I’m trying to create my own space. That’s the only way – you don’t open a drama school and start teaching. An actor has to convince the industry and audience that they will be entertained when they see him perform. He has to convince the director and producer that he will do justice to the role and bring back the money.

You’ve worked in Hollywood in ‘Life of Pi’ and ‘The Amazing Spider-Man’. What elements of the industry would you want to see here?

We don’t reflect life in our films or explore subjects in a story. We depend too much on melodrama. There’s a large chunk of today’s audience which is dying to watch credible cinema. It’s high time that we start doing it.

But isn’t it happening now to a certain extent?

A little bit. People are in two minds. There are good subjects, biopics, lot of possibility to explore real situations. But suddenly, you see that the actor and director are deciding to go the other way. Even the talented and prominent writers go the other way to ensure that the film does good business and bring in elements that are not credible or interesting. We’ve been seeing that for ages! We are celebrating 100 years of Indian cinema. But do we have a point to celebrate? We can celebrate that we survived. But we didn’t go forward and we still need to evolve.

So what’s the Hollywood perception of Indian films?

Naach gaana, masala…I think it’s recently started changing because there are films that were based in India and they could see the Indian talent in the technical department and things like that. Fortunately, those films were acknowledged in the Oscars and so, the studios have opened up. Now they can base a story in India. The exchange can now happen and will influence the coming generations.

Diverting further, are you as serious as you’re made out to be in film?

(laughs) Not much. I watch comedy channels. The whole trip of my life is to make things lighter, happier and more enjoyable rather than broody. The industry gives me serious parts. But I try to find lighter elements even in those characters. Maybe it’s because of the way God has made my face.

There are a few characters that you want to come out of. In ‘Treatment’, a series I worked on, I was in America for three to four months. It was a heavy character who was too burdened and suffering. It’s not fun to do a character who’s suffering. It takes something from you. If the character demands that kind of involvement, I don’t get out of it. ‘Treatment’ was like that and the ‘Namesake’ character was like that. But in Bollywood, we don’t have a kind of writing where you need to connect so deeply. It’s a little superficial. We’re still not banking on nuances; we’re banking on louder things. They depend on the plot and the plot is their safety net. We still try to underline things. If a person is saying a sad line, the music would be sad. It’s over-emphatic and there’s no layering.

Would it be safe to assume then that you watch a lot of films?

Not Hindi films. Sometimes I watch documentaries or obscure ones that I come to know about. But I like to watch films in the theatre.

Fair enough. What are your upcoming projects?

I’ve done a film called ‘The Lunchbox’ by Ritesh Batra, who’s a new director. The film was in Cannes and got a fantastic response. I’ve wanted to do love stories but got few opportunities like with ‘Maqbool’ and ‘Yeh Saali Zindagi’. This is a special film and I suggest that if you are in love and want to increase that feeling, go and watch it. You’ll come out much more romantic. I’ll be shooting one movie after the other from August onwards.

So you have a romantic side to you as well?

(amused at the shock I ask this question with) I’m an out and out romantic. Romanticism is something that gives you a break from the mundane reality. So you try to find that in music, film, poetry or just create your own form. You can look at people and feel romantic. You seek that romanticism through different sources.

What are your thoughts on Bangalore?

I haven’t explored it but I’ve heard a lot about it. The apparent thing which I can experience immediately is the weather. But I keep hearing that it’s not the same as it was earlier. But that’s the story of every City. The way our planning in India goes, we don’t give too much importance to infrastructure. All the cities are growing in an unplanned way like a disease. We call it ‘development’.

I’m much happier when I’m in a forest or where I can’t see any man-made alteration. I love that. It just rejuvenates me and brings me back to myself. You enjoy city life if you go to New York or Paris or Istanbul. In New York, whatever interests you have, you will find like-minded people. There’s so much happening there.

What are the fears of a modern-day actor?

There’s no guarantee – this job is insecure and you have to keep working. Even if you’re on top, you keep working to remain on top. I’ve seen very few actors who are okay. The basic nature of an actor is to draw attention, to thrive on attention. So that is something that’s very risky. There must be very few evolved actors who could really do a transition in a smooth way and can leave the temptation of drawing attention and still remain healthy mentally.

But the good thing about acting is that it gives you a chance to explore your surroundings, your life, yourself. I wouldn’t have been a happy person if this profession didn’t have the possibility of exploring myself. That has saved me. Otherwise, I’d have gotten bored with it. The presence of destiny is noticed much more in this profession than others. Losing that attention is the biggest fear that an actor feels. One day, people will forget me and that’s the reality. In today’s generation, there are some people who don’t know who Dilip Kumar is. That’s the way it goes.

Thank you, Irrfan.

The lesser known side to Huma Qureshi

noreply@blogger.com (Rohini) — Mon, 12 Aug 2013 15:05:00 +0000

I have this image of myself 40-50 years down the line when I’m recalling my initial years of being a reporter in a daily. This image is completely assuming the fact that I make it as a journalist and go beyond writing about art shows that I don’t understand and bharatnatyam performances in shady auditoriums. But the one thing I will look back at with pride is the interviews I’ve done. About a year into working, I realized that I was better at getting famous people to divulge little pieces of information that the audiences they cater to normally don’t hear about. Huma Qureshi was one of those people. Here’s the full text of the interview with her before ‘D-Day’:

What’s Zoya Rehman like? How was your experience taking on this character?

Zoya is an explosive expert and an undercover immigration lawyer. On the surface, she’s a girl of very words and may come across as a little steely. But she’s quite human and fragile like anybody else. There are these choices that she has to make which are difficult. But she has to make them because if she doesn’t, it jeopardizes the whole mission. And in a way, she’s sort of the only girl in this all-guy team. Of course, it’s a very guy-heavy film and it is about the men and machines and espionage. But I think the girls, whether it’s my character or the other two, have a very special place in the movie and hold it on their own.

For me, it was just exciting to be a part of an action film. I’ve never done action before and I didn’t think anyone would cast me in an action movie. But I’m very grateful to Nikhil (Advani) for giving me this opportunity. I hope I’ve done justice to what he had in mind. I always say I’m as good or bad as the team I’m working with because I’m very raw. I’m still learning as we go by. It’s a medium that I’m still grappling with. Yes, you may say I’m four films old but it’s just been a year and there’s too much information I’m trying to cram. It’s all of those things combined.

Any character traits you could relate to personally?

She’s very pragmatic and I think I am too. Actually I’m very emotional so that’s not true. (laughs) Zoya’s very different from who I am. I’m a very emotional person but Zoya’s calm and collected and knows what she has to do. I’m far more volatile as a person that way. But Zoya also has the ability to put on these masks whenever required. I think I can do that because I’m an actress.

Can you compare your experiences with theatre and films?

Working in film and theatre are very different. I can’t say which my preferred one is because they both have their pros and cons. In theatre, I love the fact that you get an immediate response. You know exactly how it went. Films, of course, you reach out to so many people and so, the percentage of adulation and appreciation is much more, which is great. But technically, it’s just a matter of internalizing or externalizing. In films, you have to sometimes do very little to express. Theatre, on the other hand, just by the sheer design of it, needs you to project, express and ensure that the person sitting in the last row on the last seat is able to hear you as clearly as the first person. They’re both very difficult mediums.

And modeling versus acting?

I’ve actually not walked down the ramp that much. Ever since I started doing films is when I started being showstoppers. Before that, I was doing more of television commercials, which is more acting work than modeling. So I’ve never been a model in the quintessential sense of the word.

How do you feel when you look at the year that’s passed?

Honestly, I feel very cool. I don’t feel cocky or arrogant or that I’ve accomplished something. I don’t think ‘Oh my god, I’ve so much more to do’ or ‘Oh my god, I’ve come so far’. I don’t know what’s happening but I just feel it’s pretty cool. It’s one of those feelings. What’s really nice is that a lot of people tried to scare me. They tried to tell me that I was starting off in a very off-beatish space and I should wait. They said I have the looks and the talent and can be like the quintessential mainstream heroine. I could have chosen to get scared and rejected a film like ‘Gangs of Wasseypur’ and the other movies that I’ve done. But I’m glad because I guess that makes me different. That’s my USP and what my audiences expect and like from me.

At the same time, I’m very open to doing commercial films. I’ve never been bracketed as an ‘off-beat actress’. I think tomorrow, if I do a rom-com, which I am planning to do, it’d be accepted as much as any of the dark edgy films that I’ve done. I’ve not had an image that people associated me with. The kind of person that I am – very talkative and in my brother’s words ‘badtameez’, emotional, hyper - has not come out in my movies. They’ve been strong, contained characters and my brother says ‘That’s a fraud! That’s not you’ and I say ‘Ya man, they don’t even know how I actually talk’. I’m just waiting for a film in which I can be my mad self.

So there’s someone that you specifically want to work with in the industry?

More than actors and directors, the genre I want to work with is in romance because I think it’ll reflect who I am. I’m a very rom-com sort of a girl. I love movies that make you well up and cry. It’s great to do an action film - it’s a lot of fun, very difficult and takes your endurance levels to another threshold. But I like romantic films.

Is there romance in your life? (Hint: Shahid Kapoor)

If there was, I wouldn’t be able to tell you.

Do you see yourself growing old with films?

I do. I’ll act as long as I can. Maybe I’ll be wrinkled and nobody would want to cast me. Maybe I’ll turn producer or director or writer. But I’ll do something with the movies. They’ve always fascinated me as a child - just the whole experience of watching a movie in a theater. That’s what gets you hooked. And to sort of live the dream, where you sort of aspire for it but don’t know what’s going to happen, is what I’m going with. I don’t see myself not being associated with films.

Clearly, the Indian film industry is taking an independent direction these days. What’s the future of ‘Bollywood’, according to you?

What’s started happening in the last one year is the fact that there are very interesting and stories and characters that are coming out. Earlier, you had very simplistic notions of good/bad, right/wrong, superhero/evil. You had the vamp or the damsel in distress. It’s not that today. Now, you have characters that could be slightly grey - someone could be a heroine but could still be in love with a drug lord. Someone could be a thief but a nice guy who is just telling his story. Someone could be a sperm donor. The hero of the film could betray the heroine and rape her but come back and redeem himself. Those are characters we see around us because people don’t come in blacks and whites; they come in all shades of grey.

Our movies are moving towards that and audiences have started identifying with that greyness they see around them all the time. Once they have accepted it, it gives the directors and actors more confidence to experiment and explore. It’s going towards an independent approach because newer and braver stories are coming out. Who thought that a film about Paan Singh Tomar or Milkha Singh would be made five years back, forget ten? But they are being made and there is fanfare and interest about them. That’s the whole point. People have started accepting it, which gives us a lot of hope.

Even in the commercial space, you’re looking for interesting things. You don’t want to see a guy and girl fall in love at first sight because that doesn’t happen anymore. It happens in very unique and weird ways and film-makers are exploring that. Say, a film like ‘Yeh Jawaani Hai Deewani’, it isn’t your quintessential Bollywood film. It has so many shades of grey and all the characters are flawed. The set-up, in terms of your song and dance sequence, is there. But the stories have changed - the style and format has changed and that’s exciting!

Music is being used very interestingly. For example in ‘D-Day’, we don’t have any song and dance number because it’s not required. Hats off to Nikhil for not succumbing to the pressure and pushing in an item number suddenly where the heroine comes out dancing and the hero does a shimmy with her. He’s created the music with Shankar-Ehsaan-Loy and he’s cut it in the film in a very interesting way. You have maybe a lovemaking scene and an action sequence going on and a very beautiful track in the background. It’s real and that’s what people are looking for. Music is such a big part of our Indian culture, whether it’s in weddings or festivals. But it doesn’t happen in the way it’s been shown on screen. Finally, people are feeling that it’s being projected how it really happens.

From the way you’re talking, is it safe to assume that you grew up watching a lot of films?

I was very balanced growing up. We used to have a cinema theatre close to our house and my mother would take us every weekend to see a film. But they were quintessential normal films. My brother and I used to sneak up and watch those cheesy films at night on Star Movies - like ‘Back to the future’, ‘Wizard of Oz’ and ‘Bill and Ted’s Bogus Journey’. We used to love those films and I used to watch them on repeat. I wouldn’t say I was a film buff while growing up. In fact, I was quite the contrary. My parents always thought I’d do something more academic like sciences. But I quit that and did humanities instead because I told them I wanted to be a civil service officer. I didn’t know what I wanted to do but I had to tell them something.

But being an actor, what has helped me, is the extreme upbringing we had. We’d go to a South Delhi school where you have your cool friends and listen to music and go out partying and then I’d come back home where my parents used to be very strict with me. I couldn’t go out after 8 pm, no boys calling at home and I’d be like ‘fine, Mm. You’re so old fashioned’. Then I’d go to my Dadi’s house, which is even more conservative, and wear a salwar kameez, be a good girl and behave myself. For summer vacations, we’d go to Kashmir because my Mom is from there, which was another world where I had a different set of relatives and a different understanding. From a very young age, there was a political consciousness because of what happens there and the impact it has on our lives.

What happened was that wherever we went, my brother and I knew that we had to fit in. You couldn’t not fit in because then you’d miss out on all the fun. So when we went to Kashmir, we became Kashmiri. I think that sort of helps in acting today because we are adaptable people. Even today, when I prepare for a part and director tells me ‘this isn’t working, let’s try this’, I immediately get into it.

So was going into acting was seen as an act of rebellion?

Acting was more than rebellion - it was a form of acceptance of myself. When you’re growing up, everybody goes through these adolescent pains and feelings of self doubt where you wonder whether you’re good enough. Acting was something I really enjoyed doing. But it was also one of those things I could never accept to myself that I wanted to do. It’s not the easiest thing to tell your friends and family that I want to be an actress because they’ll laugh at you and say ‘tumko heroine banna hai?’ You get mocked and I did.

They tried to convince me that it’s a passing phase. ‘It’s just gone to her head that she wants to be an actress’. Coming from a middle class family, they feel it’s unachievable. They think actors and musicians come from some different tree altogether; they don’t come from us. So that took a while. It only happened because my father really loves me a lot. My mother thinks I have him wrapped around my little finger, which is not true. I told my father ‘Dad, if I don’t do this now, I’ll always hold it against you that you never let me try’. That’s when he got emotional and said ‘Do it. But if it doesn’t work out within a year, you better come back and sort your life out.’ I respect him for that because if he hadn’t given me the deadline, I’d probably have been lazy and bummed around and in a sense, Mumbai as a city can really spoil you with the parties and new lifestyle and the freedom.

For me, as a girl who had never stepped outside the 10 km radius around her house and was always chaperoned, I still remember the feeling when I got my first house. My friends dropped me over there. It was an empty flat and I bought myself two liters of water and a mattress which cost me less than 1000 bucks and I moved in. My friends were petrified but I knew I just had to do it. I felt so grown up and so cool.

It had more reasons for it not to work out than to work out. But I guess sometimes you just have to hang in there, do your thing and believe in yourself and be ox-headed about it. I’m an ambitious person and I like to be good at what I’m doing. Acting has given me confidence. It’s put me in touch with myself.

(There’s a knock on the door to inform us that the other reporters are waiting for their turn. I stop the recording, watch Huma put on makeup for the photograph and do the job my lazy photographer was supposed to do. She approves of the photo, gives me a hug and I leave.)

Arjun Rampal: from model to action hero

noreply@blogger.com (Rohini) — Fri, 02 Aug 2013 09:30:00 +0000

I had to interview the extremely handsome and articulate Arjun Rampal last month for his upcoming film ‘D-Day’. He appeared to be one of those really tough cookies to crack. But a few casual jokes and I got straight to the point.

Nikhil Advani’s been known for his romantic/drama genre. What made you agree to do his first action thriller?

All of us had the same question when Nikhil came to us and said that he wants to make a realistic action thriller about nabbing the most wanted man in India. But the real question was the difference between my level of realism and his. He convinced us that the way he wanted to do it was in such that when the audience watches this film, they will really experience the whole drama, the human side of these people and it will really feel like it’s all unfolding in front of their eyes. It’s not nice to compare but to give people a clearer idea - it’s almost like an ‘Argo’ or a ‘Zero Dark Thirty’ mixed with maybe a ‘Bourne Ultimatum’ and as Irrfan says ‘The Heat’. It’s got the right blend and we took these films as parameters for making the film just so that when we saw the film, it came across. To trust him was a good decision.

Tell me about your character, Captain Rudra Pratap Singh.

I don’t think there are any similarities. I can’t kill anybody. But if I had to really go into where he’s coming from, I think Rudra Pratap comes from a very dark space - from a space where he’s seen the worst situations. He’s been let down a couple of times and therefore, he doesn’t believe in working with a team because he feels that every individual has his or her weaknesses. So he likes to work on his own. He is extremely one-dimensional when you meet him - very cold cut, frank, he speaks his own. And he doesn’t see eye to eye with Wali Khan, which is Irrfan Khan’s character. I think what is really interesting in the film is the journey that he goes through through this mission. He goes to hide out in the red light district of Karachi - Napier Road - where he meets a prostitute. It’s a really beautiful relationship between an assassin and a prostitute and the dynamics of that are what I really enjoyed playing in this film. It kind of gives Rudra another layer where he comes out of it and he starts looking at life. Two hopeless people - one can kill, the other can sleep with someone for money - find each other and start giving each other hope. A guy who doesn’t take things personally starts making this mission very personal.

How did you get into the character?

I don’t like to make a blueprint - I don’t want it to be like a building that just comes up and you say ‘Oh! it’s A,B,C,D,E’. I think you just go with the flow and feed off the energy of your co-actors, your director and his vision. For example, for this film, I had to go through two and a half months of proper training with Tom Struthers. Why? Because he said ‘I’m going to use the action in this movie in the drama’. The reason why Hollywood’s number one action director comes to this film is because he sees some credibility to this script. I really loved his approach to it, where nothing was pre-conceived and there was no choreography.
So it was all natural?

He put us in a camp where we were fighting with commandos - punching, blocking, fighting with knives, dismantling a gun, putting it back together, being timed while we do it, firing the gun; if a bullet got stuck in a chamber, how to dislodge it and keep on firing. Because you can’t stand up there (which I’ve done in previous movies) and say ‘Cut! My gun’s jammed’. I can’t do that because I’m an agent and guns do get jammed in the line of fire and I should know how to dislodge it. The scenes are there in the film. It was so good that we went through that practice. We met people who train the Mossad who told us how we should walk, how our mannerisms should be. They told us how alert you have to be all the time. For example, if somebody’s following you, you’re not going to look over your shoulder and see if you’re being followed or not. Because then, the enemy knows that you’ve caught on to something. You can’t lose the element of surprise. You have to surprise your enemy instead of your enemy surprising you. So you go to a reflective surface and see what’s happening behind you. If you’re in a restaurant, I could see the spoon and use it as a rear view mirror. These things don’t necessarily need to be in the film. But it’s the information you gather. If you feel that you can do it in a scene, that’s what’s nice because it’s real.

Do you think you could use this information in real life?

Definitely, if I got into a street fight, the guy would be cursing himself because he wouldn’t look very good. But yes, it gives you a confidence and that’s what I think it was supposed to do. Tom comes onto the set and says ‘okay, this is the set. There’s a sewing machine there, a pair of scissors, a newspaper. Rudra Pratap, you are disarmed. This guy’s picked up a pair of scissors. What are you going to do?’ He shows you how to make the newspaper a weapon - he uses the props within the set to choreograph it. Then he’ll say ‘okay, that move that we taught you. You’re going to do that. Irrfan, you’re going to do this move. Now go’. It’s all instinctive and the camera’s just moving and capturing whatever it has to.

Do you personally think that’s how it should be in action films?

No, it doesn’t necessarily have to be like that. There are people who choreograph sequences because it’s stylized. Some people do that. With ‘D-Day’, I didn’t want to create a blueprint because everything has to have this uncanny energy that will keep you on the edge of your seat. So even if there’s silence before you’re going to do something, it should be eerie enough to make you wonder what’s going to happen. If a finger’s broken in the film, you feel the pain. If a car slams into your car, you see how the guy inside shakes. And we were shaking because they actually slammed cars into our cars. But it was done in a very, very safe manner. They have the craft to do it and it was fantastic to work on that level.

And do you think this slick approach to the genre makes it a first in India?

I think so. I don’t think they’ve seen action like this. If you see the action in ‘Bourne Ultimatum’, he’s the same action director. But then he’s not done the action from ‘Dark Knight’, which is stylized in a particular way. But if you see ‘Inception’ or ‘Blood Diamond’, the way they use and guns and how they are, you see that here. These are all my favourite films. So I was really lucky to be a part of this film and experience this technician who gave so much to this film that supports the script that Nikhil Advani made. Because the action had to be credible since we’re not doing a James Bond kind of an espionage film. We’re doing a very realistic film.

Fair enough. This year, you’ve done ‘Inkaar’, there’s ‘D-Day’ and you have ‘Satyagraha’ coming out. How do you switch on and off from a particular character?

They’ve all been intense characters. I do one film at a time and I take at least three to four weeks off before I get into another film. So I think there’s enough time. Before you commit and say yes to a film, you’ve already spent three to four months with the script and you’ve tried to understand and see the film as clearly as the director sees it. So when you’re doing one film, you’re just with that film. Then you need some time to come out of it. And some characters don’t necessarily leave you. And sometimes, you like certain qualities of certain characters that you want to keep.

Can you point out any of these instances?

I think there was a lot of me in Joe Mascarhenas when I did ‘Rock On!!’. I think there’s a lot of ‘Rajneeti’ in me and it took me a long time to get out of that one because that came to me; it wasn’t me. When I was doing that film, my wife didn’t want me to come back home. She told me to go and live in Bhopal and come once the film was done.

What’s your character like in ‘Satyagraha’?

In ‘Satyagraha’, he’s an aggressive guy, a guy who has a heart of gold, who has political ambition. He is the voice of the youth but he is a zamin ka aadmi. He looks at this movement and joins satyagaraha, a peaceful demonstration, even though he’s not the most peaceful guy because he believes that society needs to change.

How do you like Bangalore?

Bangalore or Bengaluru? I really like it. Bangalore’s had some very lovely memories for me. I did my first fashion show here as a model and the first time I walked on the runway was with my wife. She wasn’t my wife then and I was so nervous on the runway that I held her hand because I thought I was going to faint and she thought I was trying to make a pass at her. But then, a relationship’s developed from there. It’s been lucky for me because the first time I came to promote a film here was for ‘Rock On!!’ and I won a national award for it. And then ‘Housefull’, which also did well. So now, I’m here for ‘D-Day’ and hopefully my dream run with Bangalore continues.

Do you prefer walking the ramp or is it easier to have dialogues backing you up?

What do you think?

I suppose I would want the challenges of acting. What about you?

You’re right. It really depends on how you approach your work and that’s what’s key in anything that you do. When I was modeling, my approach was that I had a lot of love and passion for it. Those were exciting times the fashion industry wasn’t as big as it is now. It was still looking for that industry status. There were few designers, few models and it was an intimate industry that was experimenting and I was lucky to be a part of that. It was a lot more than just walking the runway or doing a good picture. You spent a lot of time making the picture really good.

Was acting a secondary career? Did it ‘just happen’?

I loved watching movies since I was a kid. Unfortunately, from the 80s to the 90s, I stopped watching them because there were really terrible movies. I watched all of Mr Bachchan’s films. I was a big fan of his and still am. I remember I used to get completely transported into that world when I’d watch a movie and just get lost in it. Then I’d come back, enact it, maybe dress like that actor for a few days, depending on how it influenced me. I wanted to go to New York and study filmmaking and that’s when Ashok Mehta called me for ‘Moksha’ and Shekhar Kapur really pushed me in that direction. Once I was in front of the camera, the camera was like ‘okay, now you can’t get rid of me’.

How do you view yourself?

I’m comfortable and happy with the kind of work that I’m doing. I know where I want to move and in what direction. And I think I am different from the rest and as long as I know that, that’s good.

How do you brush aside the ego?

It’s all perception. I come with a lot of baggage of perception. My challenges have always been to break them because ego is the only thing that can pull you down; it’s your worst enemy. And I’m aware of that. I’m a Buddhist and that’s the way it is.

Thank you, Arjun.

The well oiled machine that is Iced Earth

noreply@blogger.com (Rohini) — Tue, 16 Jul 2013 18:56:00 +0000

I walk into the hotel and standing there is Iced Earth. I know it’s unethical of me to try and get the exclusive interview now but the journalist in me wants to know their story. Waiting for the press conference to begin just doesn’t seem that appealing. I wonder why. I try my luck but the band is reluctant and asks me to ask their tour manager, who says I'll get ample time after the conference anyway (he’s right). 2 photographs, 1 of which was blurry, and I let them go.

Iced Earth

The questions began flowing from the guy in front. He asks his questions. I’ve done my research and I start by asking whether the line-up changes over the years have helped or destroyed the original sound. Jon Schaffer, the only remaining member from the original line-up answers: "I think it’s necessary. Surviving as a mid-level heavy metal band is difficult and there are a lot of different challenges that go on for the whole spectrum of life and business. So, it does make it challenging but everyone that’s come into the band has put their unique personality into their parts. It’s in the execution of the parts where you see the individuals at."

Luke Appleton

I am curious about their art work, which seems to reflect their use of themes to cultivate their sound. "I’m involved in every step – from the concept to every step of the way. It’s actually a time-consuming job," says Jon. Is it as important as the music, I ask. "Yes, it’s all connected – it’s very important because there’s always a theme running through ‘Iced Earth’ records at least 90 percent of the time. I like to have the whole package so that the whole thing makes sense. From the kind of tones you choose for the instruments to the tones in the art, it’s all got to fit.”

They are in Bangalore a year later than they were supposed to be and from their press release with the cancellation then, it seemed like they really wanted to experience playing here. But they’re clueless about the City. "I really didn’t know what to expect. The food’s amazing and we’re going to a temple later today. I wish we had more time to check out the Indian culture but I hear Bangalore’s a metropolitan city so I guess there’s not a lot of that," says Jon.

The sound of this band is probably defined by what it was when it began its journey in 1985. But it's been a long time since and I'm curious if the songwriting process has change. "It’s not really changed. I don’t know, it just comes. It’s really hard to describe. It’s a different process from coming out and performing. That, to me, is a complete opposite of the way my brain works. I really like to get focused when I’m writing and not have distractions around me. To come up with riffs and stuff is one thing. But arranging and building songs and all that stuff is an emotional process and there’s a lot of pressure involved that I certainly create for myself. I think that’s the way you get the best performance. We’re all under a lot of pressure this summer because we’re playing shows and getting ready to record the new album. Raphael’s come into a situation where he’s had to learn a lot of back cataloguing and the new stuff. So we’re all feeling the pressure, which is a good thing because at the end of the day, people perform the best under pressure. It really shows the test of your mettle and what you’re made of," Jon tells me.

Jon Schaffer

I am content with this answer but I pry further and question him whether the lyrics precede the melody. "The lyrics are always last for me. It’s all about the music and the melodies. We frame the lyrics to fit in. Normally, it starts with a theme – like a lot of times, we come up with a title or maybe just a riff that ends up leading to a title. But the theme starts to blow up very early in the process and sort of unfolds.”

I look down at the questions I scribbled down an hour ago. I’ve asked many of them to other bands in the past. This isn't what I want to know, I admit to myself. Are you calm or angry when you write, I prod. The band laughs and Jon says, "Am I calm or angry while writing? A little bit of both. You’ll know when you hear the parts. It depends on what particular emotion is happening at that time."

There's a point in the conference where Stu confesses that the band is always jetlagged. Does touring become rehearsal itself, I ask. "You can rehearse as much as you can until you actually start making stupid mistakes because you’ve played it so many times. And then you get on the road and it takes at least another four to five shows before things really start to lock up. But in the last tour, we did a lot of shows and in the next tour, we’ll be doing a lot of shows. It becomes like *clicks his finger*. You don’t even have to think about what you’re doing. We’re a pretty well oiled machine at this point," Jon admits, visible pride on his face.

So what's the chemistry like in the studio? Jon says, "We stay till we get it right" and Stu adds, "Especially this summer." Elaborating their summer plans, Jon adds, "We’ve been living together at this place in Germany which is kind of like a castle. We’ve been rehearsing the old and new stuff. There’s a studio there we’ll be recording. We do like 9 days and then go and do some more festivals and then come back for 9 days and then more festivals. It’s like bam, bam, bam."

Is there ever a break from the music? All the band members shake their head. Stu decided to say more than just three words this time. “This is what we eat, breathe and live. If we’re not on tour, we’re preparing for other songs or writing. There’s always something going on."

Stu Block

I'm eager to know Raphael's story. He plays the drums for three other active bands and from the looks and fact that he has not spoken yet, looks the simplest of them all. In his Italian accent, he compares the experience with Iced Earth to all the other bands he has played for. "This is totally new and high level. Working with these guys means a lot to me and I understood so many things in the last month about why they are where they are. Because they work so hard. I’ve never met anybody who works as hard as they do. Nothing can compare to this," he says.

Is there a lot of pressure on you from the band? "We put him in a corner sometimes," jokes Stu. Then I hear Raphael's voice again. "It’s challenging but I always think that life brings you challenges and can accept them or not. But if you don’t, you always stay in the same position. There’s pressure but everything’s been great so far. In the first show, we had ten minutes to set up and after that, we started in the best way pressure-wise to perform to an audience. That’s rock ‘n’ roll."

The press conference is over. I get my autograph and while passing Troy, ask him if he ever speaks. "Not really," he tells me. After some TV interview they look tortured doing, I go up to Raphael and have a little chat. Excerpts:

What does it mean for you to be a part of Iced Earth?

I know the band since I was like 14. Iced Earth was one of the first few bands that I heard right after Iron Maiden. I know pretty much all the material. But knowing the songs and playing them are very different things. I played many of the old classics like ‘Watching Over Me’ and ‘Burning Times’ when I was a kid. I played with a band and I showed them how to play these songs on stage.

Raphael Saini

Is there a lot of pressure on you taking over where Brent Smedley left off?

It wasn’t easy joining them because I had to learn many, many songs. The new album is coming and during rehearsals, we practice mostly the new stuff. I’ve been doing this as a job way before this band. So I’m kind of used to crazy situations. Actually, I’ve had situations worse than this one. For example, I’ve been called 24 hours before a tour and had to learn 11 songs in one night. That’s why I think they have me - because they knew that in such little time, I could handle it. Jon was impressed by my playing and stuff.

You feel much pressure but you’ve to find a way to keep going. If not, you just get crazy. So keep it calm and do the best. So far, everything has been great but not easy. I’m enjoying it but not 100 percent because there are so many things I’ve to learn. I want to make it perfect for the people because I know they care so much. I care about doing the best for the people. I think, who is realizing this, more than me, are my friends. They’re all ‘Wow!’ and see the pictures. For me right now, it’s different because I have to make it right. That’s the main thing. It’s not about ‘hey, it’s cool’. It’s about people enjoying it. Brent was a great drummer. He did a lot and I want people to be happy with me. Right now, we’ve been practicing so much everyday for the last month – new songs, old songs. I care about making the new album the best I ever did in my life so people will really accept me.

I smile, wish him luck and then turn to Troy. I tell him I want to know his story. This time, he's a little more forthcoming. It's probably the cigarette he’s smoking that's doing that. Excerpts:

What kind of music do you listen to outside of Iced Earth?

To me, there are only two kinds of music in the world – good and bad. And I listen to good music. I mean I’m from Indiana! It’s where bluegrass started, jazz, Wes Montgomery. I’m pretty varied style-wise as far as the music I listen to - everything from the heaviest of heavy metal to jazz to bluegrass. And in all those genres, there’s good and bad that I consider in my own personal opinion. I like music. Period. And if you feel what somebody’s doing, I don’t care what kind it is, you feel it. That’s what music’s supposed to do – move you emotionally. The guys that are really talented at that, I don’t give a shit about what they’re playing, as long as they’re doing that. Guitar-wise: bluegrass Tony Rice, David Grier, Stefan Grossman; Fingerstyle players – Doyle Dykes. Heavy metal players, there’s everybody from Neil Zaza to Vinnie Moore.

I’ll go home and grab my acoustic guitar and play a bluegrass tune. I’ll go do a blues thing. I played the KISS convention before I came here. I’m not a jazz guitarist but I do play quite a few different styles. Iced Earth’s given me a really cool vehicle to explore all kinds of different guitar ideas, sounds, tones. A lot of people don’t realize how varied you can get inside of a genre if you want to, like if you wanna sneak a bluegrass lick on a metal song. I’ve done it but I won’t tell you which one. They never found out because it’s how you play it. An A chord’s an A chord but if you play it through a huge Marshall stack at a 110 decibels and cram the fucking shit out of it, it’s metal, you know. You play it lightly and it can be a jazz chord. It’s just how you play it.

I don’t narrow it down to metal. I play in a metal band and Iced Earth is Jon Schaffer’s vision. I work within that vision and do what I do. And I get to express myself as much as I want to musically within that that fits in Jon’s vision.

What is ‘Jon’s vision’?

Iced Earth. You’ve been listening to it for the last 25 years and it’s his vision. I mean, the songs move people. I’ve seen guys holding up their father’s medals from war over ‘Watching Over Me’ and falling apart right in front of me, making me fall apart on stage. And then you’re standing on stage with the guy who wrote that and ‘A Question Of Heaven’ and ‘Dante’s Inferno’ and ‘Dystopia’ and stuff. The guy’s a fucking amazing songwriter. I can come up with guitar riffs all day long but I’m not a songwriter. He is. He can take all those little things and turn them into a magical moment. That’s the stuff that separates the men from the boys. I’m very proud to be on stage with him because he’s an amazing musician. And he knows what he wants, which I bet a lot of fucking metal musicians don’t.

Is there any scope for a solo project?

Iced Earth is my life. It’s all I want to do. I dedicate every ounce of energy I have to it. But I do have other outlets like I said.

Troy Seele

Do you have days when you look back and can’t believe the direction your life’s taken? Does this lifestyle ever get tiring?

When you don’t know it, you don’t miss it. I played my first professional gig when I was 13 years old. There used to be bar gigs and stuff and you went back home to your own bed. But this is a lot different than that. I’ve been doing this for six years now and ‘normal’ is a distant memory.

Was the transition to a ‘big band’ tough?

It’s a different level. For me, it was a harder transition because you go from playing in a bar band, which is just jamming. You make a mistake and it’s no big deal because it was in the moment. Iced Earth is precision playing, timing and it takes a lot of practice to get up there and do it exactly at the level. Transition to a big band is a lot more dedication and a lot more focus on a setlist or an album. In Iced Earth, I just do the solos on the albums so, it’s a lot of focus on that one little part. But I’ll do it till I get it right. I don’t care if it takes me one night or a week or whatever. I’ll just keep going till I’m satisfied and Jon goes ‘I’m satisfied’ and I know I’ve done my job.

The 500 word article version of this has been published in Metrolife, Deccan Herald on July 16, 2013.