Regardless of their continually advancing sound that doesn’t avoid testing and experimenting Bangla rock music has been enduring by virtue of an extreme absence of assets, and a group of people is highly exposed to film music on TV and FM radio.
Bengalis during the 70s had gotten used to a melodic eating regimen of Rabindrasangeet, RD Burman, Manna Dey, and Hemanta Mukhopadhyay, so when Kolkata woke up to a misshaped guitar playing a Bengali tune in 1978, they were not yet ready for the social takeover that would happen twenty years after the fact. The primary Bangla rock tune — ‘Shono Shudhijon’ — was important for Ajaana Uronto Bostu ba Aa-Oo-Baw, the second collection by Moheener Ghoraguli, India’s first vernacular band.
The stone song of devotion later went on to ‘Prithibi’ become a hit, and the rest is history. After a year, they delivered their first Bengali stone collection, Poth Gechhe Benke. A fundamental record, this set the presence of Bangla rock in Kolkata’s unrecorded music circuit.
The following six years saw a blast in the scene, with groups, for example, Cactus, Abhilasha, Paras Pathar, Bhoomi, Chandrabindoo, Lakkhichhara, and Fossils thinking of their own sounds in the stone arrangement. While Cactus wandered into the blues and psychedelia, Chandrabindoo gave popular music a wise makeover with sarcastic verses.
Paras Pathar and Lakkhichhara inclined toward the gentler side of the range while Bhoomi developed dear to Bengalis with their people sound. In 2002, Fossils delivered their eponymous debut presentation collection and Bangla rock currently had a messy, substantial, and hard rock subordinate. Today, FM directors in Bengal generally disregard non-movie music.
That leaves groups with just the web as their methods for contacting their crowd. In any case, this accompanies its significant cons, as tunes lose all sense of direction in the ocean that is the Internet, as Chandrabindoo’s entertainer Upal Sengupta calls attention to.
So when Gaurab Chattopadhyay says that ‘Bangla rock is a lot of present despite the fact that it may not be standard any longer, one is convinced to trust him. “Indeed, even today, when we act in places outside Kolkata, you should see the response of the group when the principal note of the twisted electric guitar rings out. They go wild! You need to proceed to look at it to see how profound exciting music has reached the grassroots level.”
Text by: Adrita Roy, IBTN9
Follow IBTN9
Facebook:
Instagram:
