Ozric Tentacles

Only ever released on the Afterswish Compilation. . .

Abul Hagag

Pumpernickel

Live Nodens Ictus recording from the digital album "Live 89-91" available from the Ozric Music Shop 
http://www.ozrics.com/ashop/index.php

Gopuram (live)

From the digital compilation Early Daze Vol. 3 available at the Ozric Music Shop 
http://www.ozrics.com/ashop/catalog/Early_Daze_Vol_3.html

Chakra Tuning

Main Theme: Video Game - Journey Across Raava

Ballet On Time

Blue Collar Northern Funk_April 24th

flowering space

meeting uu

Ambient music that is super calm and beautiful :P

sbtracting time

Pickle (mastered)

Cue17_Throat Singing Collab feat. Nina Segalowitz

From the late 90's. inspired equally by 2 very different musics: the Brit electronica jam band Ozric Tentacles, who I was listening to a lot, and the Moroccan (by way of Brooklyn) gnawa musician Hassan Hakmoun, who played an amazing gig, really solid deep grooves, one night in San Francisco. 

Pre-C#, so it's in the key of E, and the two tracks of electric guitar are fretted. It would be another couple of years before I took the frets off (this Yamaha.)

Ozric Gnawa

Ozric Tentacles - Crackerblocks [Spiralmaze remix]

Spiralmaze - Crackerblocks (Ozric Tentacles)  [Spiralmaze remix]

I could just as easily have named this Talvin (Singh) or MIDIval (Punditz) as after Karsh Kale, as they've all been an inspiration for this style. 

Karsh

Composer with a classical composition degree from a jazz school (Berklee) and roots in rock and roll; a longtime student of North Indian classical music (raga), including a brief time at the Ali Akbar College of Music in San Rafael, Calif.  "World" music is a barely tolerable label, as is "electronica"; both are so vague and problematic that I'd rather not use them, but at least it points you in the right direction for understanding what I do. 

I began as a piano player; guitar and bass followed shortly thereafter. But the answer to the question "What instrument do you play?" is "The studio". Synthesizers and various other devices are my orchestra; fretless guitar, on which I study Indian music, is my personal, solo voice, but it would be a mistake to call me primarily a guitarist. (As Frank Zappa described himself, “I’m a composer who happens to play guitar.”)

About the name: in Indian music one usually has a preferred root pitch ("Sa"); mine is C#, which is a common Sa for male vocalists (such as Shafqat Ali Khan and Sukhawat Ali Khan, sons of the late great Salamat Ali Khan from Lahore, whom I got to know during my San Francisco days.) My teacher, a sitarist, also uses C# as his Sa. I tune my fretless guitars Indian-style, root-fifth-root-fifth-root-fourth (C# G # C# G# C# F# or Sa Pa Sa Pa Sa Ma), ascending. 

Not everything I compose is in C#; just the majority. Sometimes I tune the Indian guitars down to C or up to D.  Other keys as well appear when I’m not concerned with using the fretless. When I was collaborating more regularly with my fellow Indophile Ina (she studies in the Dhrupad vocal tradition), I kept a separate Godin fretless tuned *down* to G#, since that’s a typical Sa for female Indian vocalists.

Ozric Gnawa

C# Orchestra

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