Readers of this column could be forgiven for thinking that I am interested only in music from north of the Godavari. Of course, that is not true. But I do admit to being more familiar with Hindustani-derived sounds than Carnatic ones. My ear loves the strains of the violin and the drummed beat of the ghatam but my head hasn’t yet developed the words to make sense of these sounds.

But in doing research for this week’s column I happened upon some stunning bands that may be just the doorway I need to lead me into a true appreciation of the musical tradition of southern India.

Panivizhummalarvanam
Karthik

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Up and coming heartthrob and playback singer Karthik was trained as a Carnatic singer and brings that training to bear on this cracker of a song. Most striking about this performance is the assurance with which Karthik sings. By turns he’s a smooth dinner club crooner, a scatting jazz man and a ragam-singing junior pandit. In all guises he sends shivers down your spine. Swirling around him, Bennet and Band, a studio/session outfit, keeps the atmosphere electric with magnificent violin solos, slap bass and guitar runs aplenty. This is exciting stuff.

Nalinakanthi
Layatharanga

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Bangalore's, Layatharanga mix Carnatic instruments and modes to create a powerful fusion Wall of Sound. The group has made a name for itself on the international music festival circuit in Europe, Australia, North America and SE Asia. Here they give a contemporary, fast paced gloss to ragam Nalinakanthi. The pulsating bass and lightning quick and energetic percussion, such staples of fusion rock, seem to suit Carnatic music equally well. The rhythm section creates a fast flowing sound stream upon which the flute and violin are able to explore the intricacies of the raga’s melody. Working in tandem, Jyothsna Srikant (violin) and Ravi Kulur (flute) make music that crests and falls like ocean waves in some imaginary dreamland. Exhilarating and thrilling!

KappiRagam
Balabhaskar

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Clearly, fusion rock has found a home in south India. While the genre scaled great heights in America between the late 1960s and late 1970s, its audience has declined dramatically. How fascinating then, to find that the concept of blended jazz, rock and traditional music played at speed and with high decibels is thriving on the subcontinent.

Balabhaskar, a Carnatic violinist from Triuvananthapuram, has a reputation for being a crowd favourite in addition to his formidable skills on the fiddle. This clip captures his natural stage presence, friendly smile as well as very melodic and at times funky take on ragam Kapi. This particular raga is designed to evoke devotion, pathos and sadness in the listeners, and is usually played at slow to medium tempos. I guess Balabhaskar didn’t get that particular memo!

Brahma’s Song
Agam

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With some of the same full throttle intensity of King Crimson or even Black Sabbath, Brahma’s Song is a tour de force by Bengaluru's Agam. Breaking into the rock/metal dominated scene of India’s IT City was not easy. Lead vocalist, founder and player of the miniature red violin, Harish Sivaramakrishnan toiled for years trying to get gigs – other than children’s birthday parties – in Bengaluru’s clubs. No one wanted to book a Carnatic band. But on the other hand, a Carnatic-Prog Rock band was a completely different deal. So with a new genre invented, Harish and friends from college, went to work composing music that was inspired by their love of Rush and Dream Theatre as well as classical Carnatic music. Today, they are acknowledged as one of the best bands in the country.

Delicately Tuned
John Anthony and Karnatriix

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Kochi’s John Anthony may be the most well known south Indian non-classical musician after AR Rahman. Which is not surprising. Rahman and Anthony played in the same Chennai band, Roots, in the 1980s until the former went off to recreate himself as an internationally renowned superstar. Anthony also plays the guitar beautifully.

Unlike the others in this playlist, he was not classically trained, though he did study music in Triuvananthapuram and has combined Carnatic elements with blues, and rock into his music. This performance, which includes a Hindustani sarangi rather than any Carnatic instrument, is Delicately Tuned indeed. Anthony’s playing on both electric and acoustic is emotional, controlled and sensitive. A lovely way to conclude.