Indian pop music originated in late Nineties with arrival of bands akin to Usha Utthup, Sharon Prabhakar, Baba Sehgal and others. As soon as the percussion kicks in though, all hell breaks free as Max Roach delivers a poetic rant about desperation and destruction that begins to sound something like a mix of an African-American gospel service and a tripped out Haitian voodoo ritual all dressed up with avant-garde jazzy time signatures, intermittent instrumental accompaniments and a crowd that gets increasingly more worked up after each spoken word assertion.
True that the album does sound like a bunch of hippies of the era getting together to jam without taking the time to instill any type of technical wizardry and manufacturing particulars, but personally that is what i discover fascinating about one of these music.
As one immigrant to British Guiana stated (as related to me by his grandson), “They tricked me into coming right here, but I might by no means return to India.” It might even be surmised that the ranks of the indentured included a disproportionate variety of particularly adventurous and enterprising individuals (as well as assorted fugitives and misfits) whose energetic inclinations may have contributed to the character of the expatriate community typically.
Although kinship networks had to begin from scratch within the new setting, the establishment of the family seems to have remained considerably stronger than among black West Indians and supplied a safe basis for social stability and gradual economic achievement.
While the tracks are principally the identical of their smooth and lullaby inducing guitar techniques, ‘Situation Of A Trance’ stands out with its startling digital ‘chirping’ that begins the track before it subtly becomes overpowered by lush and tranquil acoustic guitar chords that sputter along in somewhat off-kilter time signatures but never with something as freaky because the introductory electronica.