Talvin Singh

BRAND NEW FUSION Talvin Singh: `When you live outside the country, somehow you feel more passionate about the country's culture and do not take things for granted'

He is a DJ spinning electronic dance music records at nightclubs in London on the one hand and a Hindustani traditionalist playing the tabla on the other. He is the pioneer of a new brand of fusion that is famously known as Asian Underground — an innovative-derivative outcome of his two primary interests.

Talvin Singh believes that his music has a universal appeal. "The ingredients of my music may be territorial but the music itself isn't," he says. Talvin's magnum opus Anokha - Soundz of the Asian Underground (1997) is still seen as a landmark release. His `tabla-tronics' that drew exciting parallels between `drum-n-bass' and Indian percussion, was not just a staple at desi clubs in the UK and US, but also a wild craze in the South Pacific regions, especially Australia and New Zealand. His solo works Ok (1998) and Ha(2001) further illustrated his versatility.

"When you live outside the country, somehow you feel more passionate about the country's culture and do not take things for granted," says Talvin who was born and brought up in Leytonstone, East London, but had a strong and traditional Indian lineage. In fact his passion for Indian music was so profound that even after having been exposed to the vibrant London music scene in the 70s and early 80s, Talvin, at the age of 15, took his exams early so he could leave school for India to learn the tabla under Pandit Laxman Singh.

But on returning to the UK there was another problem. "There have been times in my life when I just wanted to play Indian classical music but that's where my identity crisis kicked in," says Talvin. "I didn't feel it was really me."

It was also a time when artists were experimenting with new sounds.

"London, in the late 80s, was celebrating its diversity and was witness to an integration of musical cultures. There was an open air for music and art all through. So, I of course had to be a part of it." It was thus that Talvin ventured into fusion.

Talvin's collaborations with artists like jazz composer and `cosmic philosopher' Sun Ra, Bjork and electronic music duo The Future Sound of London among others ensured that his brand of music was no more "underground" as it quickly broke through to the mainstream.

Various artists soon began using Asian instrumentation to liven up their music. But it was Talvin's efforts at the now-legendary Anokha club night, East London's Blue Note 1996-97 that took his music to the world and ensured his global recognition. His solo album Ok also went on to win the Mercury Music Prize in 1999.

In the city as part of the Submerge series of events (see box), Talvin's gig last week at Fuga showcased cutting-edge trends in electronica hitherto unseen on the Indian club circuit. "The idea of dance music in India is very different from elsewhere," he complains. "It's got to do more with drinking and bar culture than with music." Talvin also believes that the existence of an underground `posse culture' is essential for the growth of art forms. "Back in the UK, this is what helped me derive my own identity, but here, I simply do not see any solid platform for alternative forms," he says even while acknowledging the efforts of Submerge in breaking this rut.

Talvin also believes there is a similar problem haunting Indian Classical music. Having been closely associated with the Punjab gharana and other Hindustani traditions for many years now, he says that there is definitely more talent within than what is seen outside.

"To me the Classical structure seems a bit contrived. It is taking the character of a trade in recent times," he says. "I'd like to hear new musicians who don't necessarily come from privileged backgrounds."

As for his progressive fusion music that many still label as "ambient", Talvin is certain it is more subjective than anything and does not like his music to be pigeonholed.

"People who listen to Himesh Reshammiya might call my music ambient, but the ones who listen to Brian Eno might not think so," he smiles. "But on a more serious note, I like to think of my music simply as mood evoking. There is a space and colour to my music that is different for each listener."

So what does he have in store for his fans? "I am scoring music for Deepa Mehta's film "Republic of Love", working on a tabla solo album that is slated to release this October and music for a few short films." This is apart from being on the road for over seven months a year! And where does he believe electronica is headed today? "To be more in commune with nature — more natural sounds, minimal in style and tending towards acoustic and folk."