Indian Classical Music Welcome

Firstly I would like to send a warm welcome to any visitors of this blog and those dedicated to Indian Classical Music - in particular North Indian Hindustani Classical. I started seriously listening to this music when I found a Ravi Shankar vinyl in a local store a few years ago. Although I had heard some Indian music in the past, this was really the turning point. My love for vinyl not only increased, but I found a speciality for my collection. I started learning more about the music and found the beauty in raga, all which have different 'flavours' or 'personalities'. This music now constitutes at least 80% of what I listen to on a daily basis - and unlike any other 'phase' or style of music I have been into in the past - the fascination has not worn off and I am convinced that I will be dedicated to Indian music for the rest of my life. Wherever I am, the sweet aura emanating from the tempura, the sound of the Sarod, Sitar or Bansuri will instantly calm me, and when the first tabla beats strike I begin to fall into a peaceful bliss.

To an untrained ear I can admit Hindustani classical music must sound all the same. Indeed as westerners we seek elements from our own music in Indian music and may be underwhelmed with what we hear, apart from the exoticism of the Indian instruments and their alluring timbres. Western music is mostly built upon foundations of harmony and chord progressions - which Indian music is not. Instead we are grounded in Hindustani music by a continuing tonic - usually sustained by the Tanpura, which also creates a meditative environment. This base note does not change throughout an entire performance and is usually customised to the range of the Instrument or Vocalist. Indian music is principally melodic and every note is relative to the tonic, also fundamental for accurate intonation of the intricate microtones not commonly employed in western 12 notes fixed octaves. As a result, this tonic, or base note, is constantly repeated. When the rhythmic repetition of this base note increases into a performance, we (of western music backgrounds) can often get distracted by this and conclude the music is too monotone. We don't understand why the same note is being played again and again... However, it is imperative to concentrate on the melody and notes of the raga for the real meaning and flavour of each raga.

Unlike Western music also, I think one is required to educate oneself about the music, learning all the key terms and basic philosophy of raga music. Though it is impossible to learn everything, and a deep understanding is only possible for musicians who learn a lifetime with their gurus, a good basis knowledge of the structure and elements of Indian Classical music will greatly improve the listening experience and stimulate further interest and fascination. The theory alone is an amazing topic and hobby to discuss.

Back to the purpose of this blog, many beautiful works by the Masters were never digitised to a respectable standard, or even at all. Many great albums only exist still on Vinyl. I have made it my mission to collect as many Indian Classical vinyls as I can to preserve this wonderful music and make it available to anyone else that shares this passion. Vinyl is inherently prone to damage, meaning a lot of this music will become lost without love and preservation. I commend other similar blogs such as 'oriental-traditional-music.blogspot.com', and 'flatblackandclassical.blogspot.com'.

I try to digitise the vinyls to a high standard. Being a little bit of an audiophile myself keeps my incentive to achieve best possible results with what I have. Unfortunately not every vinyl I have is in perfect condition, and even the ones that are will sometimes have surface noise, or unchangeable faults in the actual recordings (such as distortion). I will make most files available in 320kbps or 256kbps MP3's.

Thank you so very much,

Kirrin