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AUNTIE FLO / SARATHY KORWAR - SHRUTI DANCE
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Shruti Dance
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MAKEM021
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Vinyl record
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Tribal/ Deep / Tech House 6 Tracker - Propulsive tabla percussion and meditative drones collide in deep instrumental conversation on Shruti Dances, the debut collaborative album between UK heavyweights Auntie Flo and Sarathy Korwar, forthcoming on the newly relaunched, Make Music imprint.
Across six exchanges of dynamic electronic production and richly layered Indian classical percussion, Shruti Dances discovers two architects of rhythm and movement on an explorative journey through South Asian tonality and diasporic identity.
One an elemental force on drums, the other on the decks, London-based, Indian-raised drummer/composer, Sarathy Korwar and Scottish-Goan producer/DJ, Auntie Flo first connected back in 2019, unaware both were navigating opposite ends of the beat equilibrium. Where Auntie Flo (aka Brian D’Souza) was new to Korwar’s reimagining of jazz, Indian classical music, electronics and spoken word, Korwar was already a big admirer of Auntie Flo’s intl-facing club output, having first discovered D’Souza’s Rainfall On Red Earth off his Soniferous Garden 12” and 2019 SAY award-winning (Scottish Album of The Year), Radio Highlife. Once properly acquainted, Korwar invited Auntie Flo to remix a track off his landmark 2019 album, More Arriving, described by The Guardian as “a stylistic leap from jazz to hip-hop to spoken word…a protest record encompassing the breadth of immigrant experiences”.
The seeds of an unlikely yet powerful musical bond had been sown and when mutual friend, co-founder of Mixcloud, and Make Music label organiser, Nikhil Shah, asked the duo to inaugurate the label’s new live/electronic direction (previously home to Leon Vynehall, U and George Fitzgerald), Korwar and D’Souza hit the studio. Expanding on early conversations around traditional Indian instrumentation, practicing meditation and improvisation, Shruti Dances (a riff on free dance movement, Ecstatic Dance) was born. Meaning 'that which is heard' in Sanskrit, shruti refers to a note in musical terms, but in this case also references the album’s most prominent influence and instrument, the shruti box.
“The shruti box formed the basis of the sound of the project. It’s a drone instrument, similar to a harmonium, and it makes an amazing sound. I’ve spent the last two years studying sound therapy, and immersing myself in ambient and drone through the Ambient Flo project, and am particularly interested in how they can induce meditative states of consciousness. I was really excited to hear what the Shruti box could do with this EP.” Auntie Flo
Across six tracks, (each named after 6 of the 7 main musical notes in the Indian solfege system), Shruti Dances draws on a celestial mix of traditional percussion and processed digital effects. On opening track Dha, Korwar’s sparse tabla rhythms hop across D’Souza’s scattered, arpeggiated synths, where as on Pa, a Balearic shuffle channels Moroccan Gnawa music and Senegalese sabar meets Mark Ernestus’s Ndagga Rhythm Force. Harmonic speed tabla and roaming drones provide a sense of the ethereal and fourth-worldly on Ma, a track that’s resplendent, curious atmosphere would fit snug into the deep listening-focused programming of Auntie Flo’s Ambient Flo online radio station, a curatorial platform and avenue exploring his interest/promotion of mental health, launched over the UK’s first lockdown. Ni sees Korwar pick up the sticks, thrashing toms in a spirited frenzy, whilst downtempo album closer Sa offers some room for reflection, its slow, swirling chords cloud our focus, leaving us with all but the distant sound of birdsong.
Across six exchanges of dynamic electronic production and richly layered Indian classical percussion, Shruti Dances discovers two architects of rhythm and movement on an explorative journey through South Asian tonality and diasporic identity.
One an elemental force on drums, the other on the decks, London-based, Indian-raised drummer/composer, Sarathy Korwar and Scottish-Goan producer/DJ, Auntie Flo first connected back in 2019, unaware both were navigating opposite ends of the beat equilibrium. Where Auntie Flo (aka Brian D’Souza) was new to Korwar’s reimagining of jazz, Indian classical music, electronics and spoken word, Korwar was already a big admirer of Auntie Flo’s intl-facing club output, having first discovered D’Souza’s Rainfall On Red Earth off his Soniferous Garden 12” and 2019 SAY award-winning (Scottish Album of The Year), Radio Highlife. Once properly acquainted, Korwar invited Auntie Flo to remix a track off his landmark 2019 album, More Arriving, described by The Guardian as “a stylistic leap from jazz to hip-hop to spoken word…a protest record encompassing the breadth of immigrant experiences”.
The seeds of an unlikely yet powerful musical bond had been sown and when mutual friend, co-founder of Mixcloud, and Make Music label organiser, Nikhil Shah, asked the duo to inaugurate the label’s new live/electronic direction (previously home to Leon Vynehall, U and George Fitzgerald), Korwar and D’Souza hit the studio. Expanding on early conversations around traditional Indian instrumentation, practicing meditation and improvisation, Shruti Dances (a riff on free dance movement, Ecstatic Dance) was born. Meaning 'that which is heard' in Sanskrit, shruti refers to a note in musical terms, but in this case also references the album’s most prominent influence and instrument, the shruti box.
“The shruti box formed the basis of the sound of the project. It’s a drone instrument, similar to a harmonium, and it makes an amazing sound. I’ve spent the last two years studying sound therapy, and immersing myself in ambient and drone through the Ambient Flo project, and am particularly interested in how they can induce meditative states of consciousness. I was really excited to hear what the Shruti box could do with this EP.” Auntie Flo
Across six tracks, (each named after 6 of the 7 main musical notes in the Indian solfege system), Shruti Dances draws on a celestial mix of traditional percussion and processed digital effects. On opening track Dha, Korwar’s sparse tabla rhythms hop across D’Souza’s scattered, arpeggiated synths, where as on Pa, a Balearic shuffle channels Moroccan Gnawa music and Senegalese sabar meets Mark Ernestus’s Ndagga Rhythm Force. Harmonic speed tabla and roaming drones provide a sense of the ethereal and fourth-worldly on Ma, a track that’s resplendent, curious atmosphere would fit snug into the deep listening-focused programming of Auntie Flo’s Ambient Flo online radio station, a curatorial platform and avenue exploring his interest/promotion of mental health, launched over the UK’s first lockdown. Ni sees Korwar pick up the sticks, thrashing toms in a spirited frenzy, whilst downtempo album closer Sa offers some room for reflection, its slow, swirling chords cloud our focus, leaving us with all but the distant sound of birdsong.
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Last FM Information on Auntie Flo
Please note the information is done on a artist keyword match and data is provided by LastFM.
Auntie Flo has become a central figure in the ‘new strand of club music fusing electronic and world influences alongside the likes of Daphni, Four Tet, Romare, Sinkane and John Wizards’ (Joe Muggs, The Wire, 2013).
Auntie Flo presents a monthly show on Rinse FM London and is resident and co-founder of the Highlife parties/label.
In 2018 they released Radio Highlife, described by Juno Download as "brilliantly fuses studio-created sounds with field recordings of vocalists and musicians made during almost seven years of journeys to the four corners of the globe. "
https://www.mixcloud.com/auntieflo/ Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
Last FM Information on Sarathy Korwar
Please note the information is done on a artist keyword match and data is provided by LastFM.
Sarathy Korwar is a US-born, Indian-raised, London-based drummer, percussionist, composer and bandleader. He works predominantly in a jazz and Indo jazz field but also incorporates elements of hip-hop, and other fusions.
Born in the US, Korwar grew up in Ahmedabad and Chennai in India. He began playing tabla aged 10 but was also drawn to the American music that he heard on the radio and that leaked through the doorway of his local jazz music shop, Ahmad Jamal were John Coltrane early discoveries. At 17, Sarathy moved to Pune to study for a degree in Environmental Science, but instead dedicated his time to music: practicing tabla under the tutelage of Rajeev Devasthali, translating his skills to the Western drumkit and playing as a session musician. Finishing his studies, Sarathy began to think about pursuing a career in music and moved to London, where he trained as a classical tabla player under the guidance of Sanju Sahai and graduated with a MMus in Performance from SOAS (School of Oriental and African Studies) focusing on the adaptation of Indian classical rhythmic material to non-Indian percussion instruments.
Working the angles in London’s jazz scene, Korwar connected with Shabaka Hutchings (Sons of Kemet, The Comet is Coming), Cara Stacey (Kit Records) and played with clarinettist Arun Ghosh. He was, however, itching to create under his own name and he started researching and formulating the concept for Day To Day and planning a trip to India to record the Sidis. It was late in 2014 when Korwar heard about the Steve Reid Foundation. He applied with a three-minute video explaining his vision for the record and was accepted onto the project to be mentored by the foundation’s patrons: Four Tet, Floating Points, Gilles Peterson, Koreless and Nick Woodmansey (Emanative).
On 26 July 2019, Korwar released his second studio album, "More Arriving", through The Leaf Label. Recorded over three years in Mumbai and London, the album incorporates rappers from Mumbai and New Delhi with spoken word and his own Indian classical influence and jazz instrumentation. The album featured the Jamaican-Indian rapper Delhi Sultanate, the London poet Zia Ahmed and the Abu Dhabi writer Deepak Unnikrishnan, among others. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.