DynoMan is Haamid Rahim, a producer from Karachi, Pakistan. Layed-back electronic Fusion of eastern and western music. You can get the full-length album on Bandcamp.
This World Is Unreal Like A Snake In A Rope
New DVD by Robert Millis, out on Sublime Frequencies.
Folk cinema from the eternal never-ending collage that is INDIA. A journey through the ancient Southern Indian state of Tamil Nadu featuring Hindu trance ceremonies, street music, festivals, nagaswaram improvisations, impossibly loud cities, ancient temples, processions, devotions, decay, fireworks, abstractions and more.
‘Fire Star’ with Tamil Electro Funk & Synth Pop sounds by South-Indian composer Ilaiyaraaja out on
Indian film music invariably manages to take you by surprise, time and time again. Hard electro-funk and sweet synth-pop are not genres you would expect from India. Yet, in the late 80s electronic beats and synths were eagerly embraced by the film industry of South India along with kung fu fights, aerobics, sunglasses and jogging outfits. The rich and funky Tamil grooves of early 80s transformed into stripped electronic synthesizer music. Composer Ilaiyaraaja, AKA ‘The Maestro’ used minimal beats and synthetic arrangements to create an addictive and captivating electro synth pop sound. His experimental mind, unfailing pop instinct and advanced harmonics make the songs a feast for the ears that will grow with every listen.
The Aghori Cult
The Aghori or Aghora are a Hindu sect believed to have split off from the Kapalika order (which dates from 1000 AD) in the fourteenth century AD. Many mainstream Hindus condemn them as non-Hindu because of their taboo violation of orthodox practices. Aghoris or Aughads command extreme reverence from rural populations as they are supposed to possess powers to heal and relieve pain gained due to their intense practices. Aghori are denizens of the charnel ground.
Fifteen children were each asked to watch a Bollywood movie prominently featuring a child character. During the shoot that followed, each child was asked to verbally portray the child character in the movie that s/he had watched, to describe the role and plight of that character within the movie’s narrative.
The edit avoids specific reference to particular movies or particular characters, instead weaving the fifteen interviews into a composite portrait of ‘the child’ within the Bollywood imaginary, as told with the input of fifteen young Mumbaikar cinemagoers.
Von Candice Breitz.