You are beyond brilliant.  I have laughed so much on this and Rucking Fules... thanks

W😅s expecting nambaloda Seruppu Pongal 🤣🤣🤣

raghu thata... hindi class 😂😂 hilarious morning

as a hindi native but tamil at heart guy.. i can easily relate it.. hilariously.. this is how tamil friends learn hindi 😂

Tracks I have collaborated with other folks led by @krishashok.  Other featured collaborators in this set include raghuthaatha, @suryaragunaathan, @indian_music_fan, @ashwinvinayan, @ranjani-shanker, @hariflute, @sarthakdev and @anu-mccartney

collab

The politicians are corrupt and the journalists immoral. 
The country is going to the dogs and the people are fighting like cats
America is a superpower and Britain is a former power
But nothing can change the fact that
while democracy is in worldwide destitution,
the Indian constitution is a written constitution

Arranged by: @hariflute & @krishashok
Beatz & Keyboard: @hariflute
Guitar: @krishashok
Vocals: @krishashok & @hariflute
Rap: Vijaya Thesingu Rajendar
Guitar solo composed by: Kakarla Tyagabrahmam (http://en.wikipedia.org/wiki/Tyagaraja)
Ambient countryside background recorded by @mdeii (https://soundcloud.com/mdeii/canalside)
Mixed and Mastered by: Navaneeth (https://twitter.com/navneethnbc)


Constitutional TRap

A Violin, Cello, Guitar, Keyboard and Drum machine remix of Massive Attack's Teardrop blended with Thyagaraja's Brova Bharama (video here: https://www.youtube.com/watch?v=PGXIc3iwEM8&feature=youtu.be)

Key: A
BPM: 77
Raga: Bahudari (for most part)
Guitar tuning: Open-D (tuned to D major)
Song meaning and lyrics: http://www.karnatik.com/c1002.shtml

Poster credits: Original by Simon Stratford (http://www.simonstratford.com/portfolio/illustration/teardrop/)

Teardrop Bahudari

VIDEO: https://www.youtube.com/watch?v=-lMW4-jO3Wk
Arnab Goswami is a man of depth. He unleashes rationality and factuality by assembling 5-6 experts every day night and interrupting them at every step. Subramaniam Swamy is a professional Dream Stealer whose task is to infiltrate the subconscious realm of Arnab's own kingdom and interrupt the interruptor, name-call the name-caller and implant the idea that it is possible to reduce prime time news to even more unimaginable depths of ridiculousness

To capture the essence of his genius, we have adapted Hans Zimmer's Time from Inception. 

The source material is largely from this - https://www.youtube.com/watch?v=FykqCkDDrW0

Interrupception

Varnam

As a grand finale to this album, IndoSoul, Karthick Iyer Live presents ‘Rejoicing in Raghuvamsa’, ending it where it all started. Composed by Patnam Subramania Iyer, Raghuvamsa Sudha is one of the happiest carnatic songs. This is a classic violin piece in Raga Kadhanakudhukalam, and serves as a conclusion in carnatic concerts. This high energy piece is as much fun to perform for the musicians in the band, as it is for the listeners in the audience.

http://www.karthickiyer.com

Karthick Iyer Live’s 1st album "IndoSoul - Looking Within To Look Beyond" is now available on
OK Listen: https://www.oklisten.com/album/indosoul
iTunes: http://hyperurl.co/IndoSoul
Amazon: http://hyperurl.co/IndosoulAmazon

For enquiries:
Email:  karthickiyer.music@gmail.com
Mobile Number: +91 77009 08966
Facebook - https://www.facebook.com/karthickiyerlive
Twitter - https://www.twitter.com/karthickiyer

Performed by Karthick Iyer Live
Violins/Vocals/Lyrics - Karthick Iyer
Guitars - Vikram Vivekanand
Bass guitar - Naveen Napier
Mridangam/percussion - Sumesh Narayanan
Drums - Ramkumar Kanakarajan

Mixed by Biju James, Bob Phukan
Mastered by Andy Bartow
Recorded at VGP studios, Aura Studios

IndoSoul
The Indian civilization has stood the test of time, welcoming and absorbing numerous cultures along the way. It has reinvented itself with every addition, but never lost its depth. In a similar vein, IndoSoul goes beyond the confines of genre, seeks out and welcomes other musical influences, while retaining its core identity of Indianness. It breaks down superficial barriers between genres, instruments, cultures, languages to bring out deep commonalities that define great music everywhere.

Rejoicing In Raghuvamsa - IndoSoul by Karthick Iyer Live

An adaptation of Ilayaraja's "En Iniya Pon" from the film Moodu Pani with fellow Raja enthusiast @mediumcoffee . This project is called "Le Rogeur" and the idea was not to do a literal cover but improvise liberally while still retaining the semblance of the original song. Here we take Raja's original harmony/chord structure & use more jazzy variants. The other improv happens in the interludes, where we start out sounding like the original interlude but wander off into different territories. We hope to do a few more of these under the "Le Rogeur" moniker over the next few weeks. And oh, another thing. For this project, in recognition of the technical challenges of Ilayaraja's golden years (the 80s), we will only use real instruments live-recorded without any software programming. 

Piano, Tonewheel organ - @Mediumcoffee
Vocals, Cello, Guitar, Bass - @krishashok

En Iniya Pon

A moderately Chennai tamil revolutionary adaptation of Nirvana's Smells like Teen Spirit 

Lyrics: Raghuthaatha (https://twitter.com/raghuthaatha) & @krishashok
Drums & percussion sequencing: @mediumcoffee & @krishashok
Violin, guitars, bass, vocals: @krishashok

Ration arisi, queue la ninnu (Ration rice, we stand in a queue)
Vaangarom, vera vazhi illa (to buy, we have no choice)
Fulla Kushtu, black la ticket (fully drunk, tickets in black)
eduthu, padam paatha (we buy & when we watch the movie...)

Ayyo Ayyo Ayyo ayyayo x 3
Ayyo Ayyo Ayyo

TASMAC kadaila, appan mabbu (Dad's drunk at the TASMAC bar)
Kelvi ketta, periya thappu (if we question, it's a problem)
Current cut, yeppo padippom (power outrage, when do we study?)
Kerosene light la padicchu mudippom (we will study in the light of a kerosene lamp)

Naanga ezhai (We are poor)
eppadi vaazha (How do we live)
Kelaya pudichu (holding on to a branch)
Yeri vaarom (we will rise up)
Yeah, hey, yay

College Saentu, edho padichi (we joined college, studied something)
kizhichi, kadla potu (hit on girls)
vela thedi, gaandayi, (searched for jobs, frustrated)
Ola cab ottina traffic jam (drove Ola cabs only to get stuck in traffic jams)

Ayyo Ayyo Ayyo ayyayo x 3
Ayyo Ayyo Ayyo

Nirutthi ottina, horn tholla (If we drive slowly, everyone honks)
rash-a ottna, mama tholla (if we drive rashly, the police trouble us)
adaki vaascha, pammureenga. (If we stay docile, we are oppressed)
nimundhu keta, amuthareenga (If we question that, we are oppressed)

road-u illa (there are few roads for us)
medu pallam (roads full of obstacles)
ellam thaandi (we will cross all those)
yeri vaarom (we will rise up)
Yeah, hey, yay

Mayila pudchu, kaala keela (if you catch a peacock)
odachu aada sonna (break its leg & ask it to dance)
Kuyila pudchu, goondla geendla (if you catch a songbird)
adachu, paada sonna (cage it and ask it to sing)

Ayyo Ayyo Ayyo ayyayo x 3
Ayyo Ayyo Ayyo


Aana ippo Murattu Kaala (But now we are raging bulls)
Seeri paanja, merusal aava (as we pounce, you will be dazed)
Cykil gap la, Auto pola (in a narrow gap for cycles, we will drive an auto)
nozhanju vaarom, odhungi nillu-a (and come through, give us way)

Vasadhi illa (We have no opportunities)
Asadhi illa (No laziness)
muyarchi senji (but we will try)
yeri vaarom (we will rise up)

Yeri Vaarom x 9 (we will rise up)

Smells Like Kerosene

An acoustic arrangement of "Raah mein bicchi", a thumri that originally featured in the soundtrack of the Shyam Benegal movie, Sardari Begum

Vocals: @suryaragunaathan
Acoustic Guitar: @mediumcoffee 
Classical Guitar: @krishashok
Flute: @indian_music_fan (Vijay Kannan)
Piano, Bass, Violin, Arrangement, Mixing & Mastering: @krishashok




Raah Mein

An alternative arrangement for James Vasanthan's hit "Kangal Irandaal" from Subramanyapuram. 

Vocals: @ashwin-vinayan
Percussion & backing vocals: @mediumcoffee
Guitar, Keyboard, Bass, Arrangement, Mixing, Mastering: @krishashok

Kangal Irandaal

An ambient adaptation of Ilayaraja's "Mandram Vandha" (Cheeni kum hai in Hindi) from Mani Ratnam's Mouna Ragam 

@mediumcoffee - Electric guitar, Keyboards, backing vocals
@krishashok - Cello, classical guitar, bass & lead vocals

Mandram Vandha

This is a contemporary Hindustani Carnatic Jugalbandi with a bandish in raga Jog written and composed by Apoorvaa Deshpande, and a krithi 'Naadaanusandhana' composed by Koteeshwara Iyer in ragam Vaagadeeshwari.

This piece is performed by 2016 IndianRaga Fellows Vinod Krishnan, Apoorvaa Deshpande, Santosh Baynes, Shankar Iyer, Chethan Anant and Karthik Ramasubramanian.

TR would like to have a few words with all you on the recent & historical interference of North Indians into Tamil culture. He suggests that you stop being a Raghuthatha and embrace the "boiling over" (Pongal) of Tamil passion instead. 

We have a guest keyboardist on this track: @mediumcoffee

Ambududhaan Hai

Alaipayuthe Kanna | Kaanada | Carnatic Violin | Practice Session | Ashwin Vijayan

The first episode of Five strings and a few circuits brings you the grand Raga Sankarabharanam in a unique setting filled with electronic synths and beats. Experience a completely improvisational alapana and swaram duel between Karthick Iyer and renown flautist Vijayagopal over EDM based arps and risers.

Violin - Karthick Iyer
Flute - B. Vijayagopal
Mastering - Varun Taneja
Camera - Jayashree Ramamoorthy, Marq Gowtham
Edit - Reynold Krizil 
Creative Consultant - That Little Music Company
Artiste Manager - Rahul Ashok
Digital Media Coordinator - Aparna Sriram

For enquiries: 
Rahul Ashok : +91 87544 77925
Email: karthickiyer.music@gmail.com

Karthick Iyer
Instagram - https://www.instagram.com/karthick_iy...
Facebook - https://www.facebook.com/flowbykarthi...

Vijayagopal
Instagram - https://www.instagram.com/theflocalist/
Facebook - https://www.facebook.com/vijayagopal....

Duologue in Sankarabharanam feat. Vijayagopal

VIDEO: https://youtu.be/kSXD-JMPnoc
Download/presave:
iTunes: https://music.apple.com/us/album/shakti-sahitha-single/1523189235
Bandcamp: https://indianmusicfan.bandcamp.com/track/shakti-sahitha

The fourth release in the Carnatic Projekt is a Nottuswara of Mudduswami Dikshitar, A simple and beautiful composition in praise of Ganesha, Dikshitar had composed Nottuswaras similar to the western music ideas in the times of India under imperialist rule. I tried to do a string arrangement for this with Pianos, strings and flute.

Details:
Song: Shakti Sahitha
Ragam: Shankarabharanam (scale)
Talam: Tisra Ekam
Mudduswami Dikshitar

Arrangement, Flute, Video: Vijay Kannan
social links: https://compiled.social/VijayKannan
------------------------------------------------------------
Releases in Carnatic Projekt:
------------------------------------------------------------
Ep 1: Alaipayuthey Kanna - https://youtu.be/z56_VOYA_MY
Ep 2: Mokshamu galadha - https://youtu.be/yZ6H8gCpB_0
Ep 3: Mahaganapathim - https://youtu.be/wKmp930_jQY
Ep 4: Shakti Sahitha - https://youtu.be/kSXD-JMPnoc
Ep 5: Gaanamoorthe - https://youtu.be/e4DDfOsv75M
------------------------------------------------------------

Saint Muthuswamy Dikshitar is one of the trinity of carnatic music. His devotion to the Almighty, frugal mode of living, and unmatched range and skill in musical compositions (both lyrics and music) are well known. Born in Thiruvarur in 18th century, Dikshitar learnt music from his father, a celebrated musician. When iving in Madras (Chennai), he came across Western symphonies. Later, he became a disciple of Chidambaranata Yogi in Varanasi, where he became acquainted with Hindustani music too. 

It is said that, after the demise of his Guru, when he moved to Tiruttani, Lord Muruga blessed him and initiated him into composing music.

Several incidences of his life are known, that portray his deep devotion to the Supreme. 

As Saint Dikshitar played Veena, his songs are composed in a way suited to be played on instrument, or sung. 

He was well versed in philosophy, scriptures, yoga and other sacred ancient teachings. 

He has composed songs on multiple deities, including Ambal, Muruga, Ganesha, Shiva, Narayana. 

These songs reveal the Saint's intimate knowledge of the names and forms of divine beings (nama rupam), their stories and the spiritual significance of these descriptions. To him, these divine beings were all personalities, with their attributes, preferences.

As he visited temples in specific places, he would compose songs exclusively in praise of the deity at that particular divine place (kshetra)

He was a realised soul who could see all deities as manifested forms of one Supreme Spirit. His songs, even as they describe beautiful, exciting tales of the deities at their kshetra; stories of various divine forms, stories of the temples, also speak of their spiritual significance. In these songs, the moral, emotional relationship of the devotee with each name and form melds with the philosophical truth, of Divine Consciousness as the fundamental reality of the universe. 

The role of the Supreme Being as the Provider, Protector, and Controller of the Cosmos, His (or Her) nature as the Absolute Truth - Pure Existence (Sat), Consciousness (Chit), Bliss (Ananda) are evident in his songs.

Carnatic Projekt

Shakti Sahitha

Carnatic Projekt: Ep 4 - Shakti Sahitha - (Check video!)

Carnatic Fusion by Jayshri Prakash from Album Getting Closer

Brahmendral Kirtans - Pibharae Rama Rasam

We are a parody band with 3 members. 2 in flesh (non-veg) and 1 in spirit (alcohol). 
@hariflute, @krishashok and Vijaya Thesingu Rajendar


Ambududhaan Hai

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