Rap music has been around longer than we thought. `Arc Of Ascent (Part Two)’ brings again the rumbling blues over spirited synth flightiness (good quickie uptempo burst in the final moments too!), `Freedom Rider’ is a final marshy stoner rocker blast and `Neelum Blue’ is a placid and dreamy acid-folk/psych sitar/guitar rumination to gently come down on.
There appears to be traces of Western classical, bona fide Indo-raga (in the opener “Piece for E-Flat Soprano Saxophone, Guitar, and Thumb Piano), jazz, free-kind people, psychedelia and even unique Middle Japanese scales (as heard on tracks like “Giraffes.”) Tracks that lack percussion and deal with complex melodic counterpoint (such because the percussionless “Episode”) and those who completely depend on percussion such as the aptly named “Percussion Dance” which brings out an attention-grabbing array of drum interplay and cymbal action.
Workshops: A Contemporary Method to Navarasa: The Expression of the Emotion and Improvisation via Voice and Movement with Ravi Prasad and Monica de la Fuente on expressing inside feelings by gesture and voice, and Flamenco Singing, Guitar and Palos or Rhythmic Structures with José Salinas and Carlos Blanco, which seeks to carry Flamenco artwork with its palos and rhythms closer to the Indian public.
In spite of everything is said and finished, THIRD EAR BAND go away you feeling such as you’ve heard something that you have by no means skilled before and even well into the twenty first century, i still have never heard some other artist that sounds even close to the type that they displayed on their debut album ALCHEMY.
Out of this came chutney music, spawned within the early 1900s and coming into its personal by the 1940s, spreading to the Indian communities throughout Trinidad, Guyana and Suriname, among other Caribbean of the pioneers of this genre was Lakhan Kariya, a singer from Felicity who was a preferred artiste who took the music to Indo-Trinbagonian communities across the island.