KARISHMA D'MELLO
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ELEM
ENTS:
THE ROCK
ENSEMBLE
24
The
Score Magazine
highonscore.com
Music is nothing if not a
collective set of inspired
sounds. Genres tend to build
off from each other to create
new variations of the other.
Incorporating varying elements,
themes and sounds, they
leave each other in a constant
state of change. They evolve
into unrecognizable versions
of themselves giving rise to
whole new niches and genres
of music. These changes that
influence the subtle, but certain
evolution of music make for
a fascinating study. Every
slight variation, experiment
or a drastic deviation from
what is regarded as convention
within a given genre makes
for a new sub-genre. You can
start off with rock ‘n roll,
and build your way to heavy
metal. Metal then creates its
own subsets and subgenres
giving rise to glam, thrash and
extreme metal, to name…three.
We’ve journeyed enough to no
longer have genre monopolized
instruments. Challenging the
traditional rock band formation
of bassist, drummer, lead
guitarist and vocalist, artists
have taken to experimenting
with their ensembles. While
Vedic metal and psychedelic
rock witnessed the use of sitars,
tablas and other elements of
Indian classical, rock in general
has evolved to become incredibly
diverse in its use of instruments.
Linkin Park and Incubus are
perhaps one of the better known
alternative rock bands who
chose to include a turntablist
(DJ) in their ensemble.
Slipknot’s, three percussionists
aren’t as surprising as their own
turntablist, Sid Wilson, aka #0.
Yet another example is
melodic death metal, that
infuse symphonic layers
into their music, their roots
running deep within Western
classical influence. Musicians
largely influenced by folk and
mythology like America’s
Celtic rock group Dropkick
Murphys and Australia’s
“The Rumjacks” use flutes
and mandolins in addition to
a host of other instruments
to create a hard rock meets
Scottish folk crossover.
India’s own set of fused elements
within the genres of rock and
metal can be observed with
bands like Thaikkudam Bridge.
This Kerala based 15 member
band incorporate a plethora of
oriental, folk, metal and classical
elements to create subliminal
symphonic undertones within
their music. With three sound
engineers, a violinist and a
percussionist alongside six
vocalists creates the potential
for incredible versatility that
shines through their music.
Moheener Ghoraguli, (literally
Moheener horses), is another
indie rock band, from
Bengal. Co-founder, Gautam
Chattophadyay, adds to the
jazz sound with his saxophone,
creating what they like to
call “Baul Jazz.” Drawing
sounds from western, jazz,
rock and Bengali folk they
add a seemingly psychedelic/
folk tone to their music.
Mrigya, traverse genres like
blues, jazz, rock and funk, which
given their band formation,
is something one might
anticipate. Without sticking
to anything specific, they
manage to maintain a subtle
distinctiveness to their music.
Gyan Singh adds an interesting
percussive element to the band
with the tabla while Sukriti
Sen’s classical vocals create
an intriguing blend with the
somewhat western instruments
of the rest of the band.
A highlight for all of the
mentioned bands is the necessity
of these elements involved in
their music. The only way to
make it work is by creating
a definite sense of necessity.
Using or borrowing elements in
their capacity as a gimmick or
whose sole purpose is to stand
out without adding anything to
the collective sound would be an
absolute disaster. A perceptive
audience sees right through fads,
gimmicks and rebel musicians
without a cause. If each element
does not add value to the music
it creates, there is no point to
it. This of course implies that
the true value of an element can
only be measured in one way. Ie.
Is the song worse off without the
a single of its collective sounds?