| | Ativin Summing The Approach CD Ativin Discography of CDs
Audio Mixers: Ativin; Steve Albini.
Recording information: Electrical Audio Recording; Chi (03/1998).
Photographer: Matt Clark.
Some eight years since Slint's Spiderland forever altered the indie-rock landscape, it's arguable that any valid derivations can still be fashioned from its blueprints. To be sure, Ativin's members never denied Slint's influence on their music. But over the course of an EP, a single and a full-length album, Ativin moved well beyond the pummelling soft-to-loud transitions of Slint and toward a highly distinctive blend of treated, interlocked guitar grooves, firm rhythmic manuevers and electronically-enhanced atmospheres.
All of these elements are served at precisely the right temperature on Summing The Approach, a posthumous four-song EP recorded by Steve Albini that serves as a satisfying final chapter to the Ativin novella. Summing does not abandon the calling cards of 1998's dreamy German Water.
But it does mark a return to Ativin's more awkward side, especially on "Cy," which moves through several distinct sections with little regard for the listener's sense of balance. After an off-kilter intro, the band locks into a great, dark groove. An abrupt stop fades into the submerged melody of "Riding And Roaming," before another sudden change spins into a disorienting mix of Dan Burton's "high" tones and Chris Carothers' vaguely menacing low-end assignment.
As it evolved, Ativin developed a certain psychedelic edge, indulged here with a variety of tape effects. The humming noise barely audible underneath the title track's minimalist riff foreshadows the next transition, while the guitar tones on the beautiful "My Eyes Of Yours" ring like a wind chime in slow-motion. It makes for grade-A thinking music, and proof that you don't have to reinvent the Slintwheel to enjoy a ride on the post-everything express train. ~ Jonathan Cohen Summing The Approach Music Ativin Summing The Approach Songs Summing The Approach Review
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For generations, the sound of the Santoor has been used by the people of Kashmir to echo the vast beauty of its surrounding mountain landscapes. Until Shiv Kumar Sharma came along the Santoor was categorised as a simple folk instrument in India. Prompted by his father and teacher Pandit Umadutt Sharma, he set about re-inventing the Santoor, introducing a series of modifications to increase its tonal range and improve its ability to sustain notes; making it suitable to fulfil the demands of Indian classical music.The Santoor is part of a larger global family, which includes the Chinese 'Yag Chin' the Eastern European 'Cymbalon', 'Hammered Dulcimer', and Greek 'Santoori'. According to musicologists, the Santoor has evolved from the harp and was previously known by its Sanskrit name 'Shathatantri Veena', or the 'hundred string lute'. Kashmiri music is influenced by its Sufi tradition, being a combination of Indian and Persian cultures and thus the Shathatantri Veena came to be known by its Persian name 'Santoor', which literally means 'one hundred strains'.Shiv Kumar Sharma has been able to adapt all the major Indian ragas, and some lesser known ones, onto his eighty seven stringed Santoor despite initial scepticism from the critics who at first doubted the instrument's capacity to express the subtler melodic nuances of classical music. Over the last forty years he has captured the hearts of millions and successfully established the Santoor at the heart of Indian classical music culture.Shiv Kumar Sharma's contribution to modern Indian music is incalculable, composing music for some of India's most popular films. Over the years, his collaborations with masters like Hariprasad Chaurasia and Zakir Hussain have provided memorable moments for Indian music connoisseurs. Many of India's aspiring young Santoor maestro's have benefited from his teaching including his son Rahul, with whom he has performed several duets. At the beginning of the twenty first century, Shiv Kumar Sharma still remains the musician that all young Santoor players aspire to.Raga Kirvani is a favourite with Indian audiences, and has been successfully absorbed into North India from the Carnatic South Indian music system. The two musical traditions share the same roots, but have developed separately since the thirteenth century, when the northern part of India was invaded by the Moghuls from Persia through Afghanistan.Raga Kirvani is most conducive to the temperament the Santoor, ...
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