‘Bangla Rock Compendium’ is a multi-piece collection inspecting the self-sustaining vernacular and cultural phenomenon of Bangla rock music unfolding in Bengal since the Nineteen Seventies, and the pioneering options and figures that proceed to energy the movement. Learn additional from the collection right here.
That’s piece 2 of the collection.
Undoubtedly one among my earliest reminiscences of a band efficiency became as quickly as after I became as quickly as 9 years well-liked. Chandrabindoo, the band whose shiny cassettes my mother would catch, became as quickly as performing on the park close to my home. Clutching her hand, I went to wait on the dwell efficiency the construct largely households and youths made up the personnel.
This became as quickly as spherical 2003. Regardless that I became as quickly as a child with out a clue as to what a band signified, I associated to the music. It gave the impression esteem Chandrabindoo’s music ‘Toilet’ — an indignant satire on the sadistic discover of now not permitting schoolchildren to make make use of of the bathroom in the important classes — became as quickly as written for me.
Such witty lyricism and incandescent dissection of matters esteem crass commercialism, creation of the pc applications and a really highly effective social parts, nonetheless repeatedly with a layer of humour, widened Chandrabindoo’s enchantment past the adolescence to heart-historical people too.
“Although we had been labelled for our humour, our songs maintain many layers — the additional you salvage into them, additional dimensions you’ll rep,” says vocalist Upal Sengupta, alongside with that their music additionally will doubtless be multi-hued. “Although we’re a pop band, we experimented with genres esteem reggae, calypso, blues and even opera and kirtan.”
Within 1997-2005, Chandrabindoo launched eight albums — a testament to how Bangla band music became as quickly as in question. Nonetheless in the early ’90s, when this make of music became as quickly as restricted to handiest a few bands performing sporadically in faculty fests and neighbourhood reveals, it became as quickly as scorned by established singers of newest Bengali music. Although the ’80s seen a few teams esteem Nagar Philomel, they failed to create a group.
Rebels with a trigger
“The assumption that of a Bangla band became as quickly as incredulous aid then!” exclaims Siddhartha Ray of Cactus, which became as quickly as usual in 1992. “There had been handiest English quilt bands. We had been in truth curved to the power, ardour and craziness of the music nonetheless pretty a few people did not price the lyrics constantly. So, the totally different became as quickly as rock music in Bangla.”
This resulted in Cactus speaking about untrammelled want, Kolkata, misfortune of failing in existence and even suppressed intercourse on a blues and psychedelic rock soundscape of their debut eponymous album launched in 1999. The sound became as quickly as an accurate away results of publicity to bands esteem Purple Floyd and Deep Purple.
Their songs additionally marked a crucial thematic shift because it went past the realm of unrequited want to paint as a lot as the second images of an an growing collection of commercialist, metropolis society. ‘Amra Bhishon Eka’ became as quickly as a annoying portrait of loneliness, which additionally introduced their political stand: ‘E shilpo biplob er shomoy’ (That’s the time for revolution through art work) — their act of revolt in the face of established norms.
Comfortable rockers Abhilasha, led by the slack Kutty Majumdar, additionally tread the similar paths. Their self-titled debut album, launched in 1997, had apparent intentions. ‘Swapno’ spoke of dreaming with out boundaries and overturning conventions whereas ‘Shono’ urged listeners to gash one’s destinies on unknown paths.
Nonetheless their philosophy became as quickly as now not appropriate restricted to their songs. When Bengali bands weren’t given slots to confirm on the authorities-organised cultural pageant Gaan Mela in 1998, Abhilasha construct up their personal stage beneath a tree outdoors the venue. They cranked up the amount so phenomenal that it drew a crucial share of the personnel in opposition to them.
“These people had the bravery to head up in opposition to the system and originate a unique one! They didn’t care with regard to the cash — they wished to study what happens as quickly as you occur to don’t apply the options,” says the band’s aged bassist Mainak Nag Chowdhury. He fondly recollects being formally inducted into the band with a priest putting a tika on his forehead, and handiest being dropped off home after practise when the senior individuals went out on a liquor scurry.
Nonetheless, the band that clicked the most with the plenty became as quickly as Paras Pathar, whose debut album Aajo Ache (1996) became as quickly as amongst the many earliest information. A purely pop outfit, they peddled esteem and hope with the sweetest that you just simply may nicely presumably presumably additionally think about melodies. A few of their songs esteem ‘Bhalobasha’ and ‘Bhalo Laage’ unfold esteem wildfire and grew to end up to be phenomenal cherished hits.
“We made songs adda’r chholey, in a free-flowing components — guests singing collectively in canteens and faculty fests. Of us who heard our songs cherished them, and that grew with time, reaching additional people as reveals elevated,” says the band’s aged vocalist and songwriter Anindya Bose, who would later spoil as a lot as make his personal outfit Shohor in 1998.
Impressed by Moheener Ghoraguli and Bangladeshi rockers esteem Suggestions, Miles and LRB, these bands — Cactus, Abhilasha, Chandrabindoo, Paras Pathar — usual the important wave, which made band music thought of and accessible to the total public. Informal performances surrounding the supply of Sompadito albums on the annual Guide Lovely proper through the mid-90s helped too. By the give up of the decade, bands had been taking half in to packed halls.
Nonetheless the band which in truth construct the wheels in movement by components of an excellent rock identification became as quickly as Krosswindz. Curiously, they’d began off as an English band and had even launched an EP titled Singles in 1994. “I had written a sequence of Bengali compositions. After we obtained some funds from a pal, we determined to account them and went into the studio for 3 days,” says guitarist Neil Mukherjee.
The ultimate outcome became as quickly as the important Bengali rock album Poth Gechhe Benke (1996), a Bible of varieties for the scene. From beautifully organized ballads and melodic tunes with flamenco facets to twin electrical guitar wizardry, this album proved that rock music became as quickly as that you just simply may nicely presumably presumably additionally think about in Bengali.
Traditionally, lyrics and melody maintain repeatedly been important in Bengali songs. Nonetheless the sheer audacity of recording the instrumental ‘Elomelo Hawa’ totally shattered this norm, very phenomenal consistent with the complete act of revolt.
Now, on the very similar day that Krosswindz recorded ‘Prithibi’ for the album Aabar Bochhor Kuri Pore in 1995, a band consisting of 12-One year-well-liked teenagers took the title Lakkhichhara and recorded the music ‘Porashonay Jolanjoli’. Six years later, they launched their debut album Meghmollar (2001).
This totally different rock album, adopted by their hit account Jibon Chaiche Aro Beshi (2003), signified an excellent shift in Bangla rock’s sound — riffs usual the spine of songs barely than melodies. These younger people, piece of the publish-MTV expertise, had been uncovered massively to diversified types of rock music and the output mirrored that.
Additionally, the presence of this type of younger band grew to end up to be the adolescence onto the exploding phenomenon of Bangla rock. “Lakkhichhara’s fan faulty became as quickly as closely rooted in colleges. Our contemporaries had been fascinated to study us sharing phases with bands whose individuals had been on the very least ten years older,” says the band’s drummer Gaurab Chattopadhyay.
Lakkhichhara’s upward thrust to repute ran parallel to the upward curve of Bangla rock’s repute on the flip of the millennium. Whereas city’s adolescence warmed as a lot because it, the music additionally stepped outdoors Kolkata for the important time.
Taking footage the creativeness of the plenty
In 2000, appropriate earlier than the supply of their 2nd album Ichhe Daana, Paras Pathar grew to end up to be the important act to salvage company sponsorship for a enlighten-extensive tour, informs keyboardist Raja Narayan Deb. This carried out a mountainous position in making band music economically viable. “After we went outdoors Kolkata, we realised how dinky we’re. No one knew us, or what a band is. It became as quickly as practically esteem instructing the plenty,” he says.
Step by step, band music became as quickly as inching into the mainstream and the required push obtained right here that very One 12 months when people outfit Bhoomi launched their debut album Jatra Shuru. From Bhatiyali songs of the fishermen neighborhood to the mysticism of the wandering baul minstrels, Bhoomi offered a composite sonic image of rural Bengal.
“We notion of experimenting with people the make use of of Western gadgets. It sounded appropriate, so we pursued it,” says vocalist-percussionist Soumitra Ray. He basically simple the songs with vocalist Surojit Chatterjee, whose ardour in people gadgets esteem khamok, dotara, flute and even mandolin added a number of dimensions to their sound.
“Bhoomi’s sound became as quickly as unstoppable – it became as quickly as esteem a juggernaut. We broke all boundaries and information!” exclaims Ray. Actually, they’d been prepared to attain throughout all generations — from well-liked people to adolescence. Bhoomi even impressed Krosswindz, whose lineup had now modified, to go in opposition to people rock.
Now, whereas all this became as quickly as going on, a slumbering beast became as quickly as biding its time. In 2002, it became as quickly as unleashed on the scene in the make of the album Fossils 1. An unhinged, roaring account, it gave Bangla rock a troublesome rocking and practically demonic avatar — the bhodrolok’s remaining kryptonite.
Chuckling, guitarist Allan Ao recollects scaring off a bunch of school teenagers when he carried out the important distortion chord in a single amongst their earliest reveals. The reactions had been anticipated — ‘gash aid the amount’, ‘why so phenomenal screaming’, ‘can’t hear vocals’. Nonetheless with time, this very album would poke onto flip appropriate right into a cult account.
“We broke pretty a few traditions on how songs had been offered, written and arranged,” finds Ao, explaining how their sound became as quickly as born. “It became as quickly as a tumultuous section — we had been appropriate out of school and didn’t know what we wished to originate with our lives. There became as quickly as stress at home to salvage a job and chilly down, nonetheless we wished to play music; then, damaged relationships. We wished to combat the system and had been indignant with all the items that became as quickly as going on spherical us. And all of this manifested in the music.”
With haunting soundscapes, incendiary guitar work, indignant rhythms and intense vocals that almost all steadily took to screams, Fossils represented the darker underbelly of metropolis society. Impressed by Nirvana, frontman Rupam Islam had no qualms writing about loneliness, uncomfortable, poverty and existential crises — parts that city inhabitants became as quickly as going through nonetheless became as quickly as too scared to truthful catch. Fossils introduced brutal honesty, which the disaffected adolescence immediately related with.
So by 2003, the Bangla band scene had a number of acts who championed certain musical genres. With the purple meat up of radio airplay, their attain would enlarge exponentially, penetrating all social and age teams. It had lastly shed its underground identification to rework into the mainstream.