The journey of Na Hanyate (Rupam’s 2010 album from SaReGaMa) continues through Nishkromon. The album has been musically produced by Allan Ao. All songs have been written and composed by Rupam. The sound of the album is however very different from Na Hanyate. These edgy and aggressive songs have been recorded LIVE at Working Class Zero. While LIVE recording used to be the norm years earlier, all international bands are now returning to this method to capture the raw and organic feel. In India, particularly in Kolkata this is still largely unused. It is the first time many members (not only vocalists) from different bands have joined hands to record an album. Arka (ex-F.L.I. currently Ganesh Talkies) and Gaboo (Lakkhichhara) have played the drums, Sandy (Cactus) and Chandra (Fossils) - Bass and all guitars have been played by Allan himself. Suvojit (Lakkhichhara) has helped out Pom (Insomnia) to record Nishkromon.

The thought of Nishkromon or departure comes to every human mind at some point or the other. Be it a physical departure like departure from home, city, or country etc. or a psychological departure like setting free the emotions of pain, anger, depression, disappointment, jealousy, frustration and even love. Rupam too has been influenced by this thought many a times and has written several songs on this. 8 such songs form NISHKROMON- the album.

One of the most competent music journo of our time & place, I have known is Arka. As a very active member of the Nishkromon think tank, I have invited him to share with us his experiences revolving the album. I know, his document will be comprehensive enough for all those who desires to get a backstage entry!

by arka das

Creativity, fun, beautiful hospitality from Rupam and Rupsha, red-eye early mornings and an absolute rock-out of an experience: that, in a nutshell, is Nishkromon for me. An album that had a homework/rehearsal period of about a month and was then recorded within 10 days flat: that’s Nishkromon for you.

I feel very fortunate to be a part of a record that is destined to be a landmark in Indian rock music regardless of language.

In the fallow period following the break-up of Five Little Indians in May 2011, Allan, Sandip and I would meet up regularly at Allan’s home, often just to listen to music and well, discuss the next step. The seeds ofNishkromon were sown when Allan asked Sandip and me if we would be up to the challenge of playing on Rupam’s third solo album. I emphasise ‘challenge’, because though never a fan of programmed drums, playing to the click in a studio environment has never been my forte. Of course, I took up the offer. The three of us had been founding members of FLI, and the sheer excitement of being able to work together again was reason enough.

And then there were the songs. For about a two-week period, we worked on arrangements of scratch recordings at Allan’s home studio. But the real deal started when we commenced rehearsals at the Working Class Zero floor. Some of the scratch song arrangements were changed completely, because being the singer, songwriter and incredible performer that Rupam is, he always delivers 100%, whether in a live gig or rehearsals. It was a humbling experience witnessing someone who gave it his all, every time, all the time. Playing together pushed the envelope, egged us on to stretch what we thought were our limits.

I especially remember the first time Chadorwas played in its entirety in rehearsals, with the arrangement that you would hear onNishkromon. We finished playing the song, looked at each other, smiled like happy children, goosebumps on our flesh. In the smoke break that followed immediately, all of us still hummed the chorus. Allan said that the song reminded him of Ekla Ghor, how it basically started with a vocal melody and transformed into an entire, complete song in a single rehearsal take.

There was an option of recordingNishkromon at the HMV Studio on Jessore Road. Ultimately, Nishkromon was recorded, mixed and mastered at WCZ. The primary reason was maintaining the comfortable environment of the final rehearsals and carrying over that vibe to the recording process. From day one, Allan had stressed on recording the album live: with everyone on the floor itself, including Rupam: a throwback to the process used back in the 1940s through the Seventies, and something that is making a comeback to capture that raw energy of a band playing together, as if in a live performance. I have never felt comfortable playing in the isolation booth for drummers in most Kolkata studios: for one, the rooms just muffle out and kill the drum tone. Replicating the energy of four people playing on the floor itself is well neigh impossible in those booths. For the final drum takes, Rupam ended up singingTaakey Chini, Ghor Sajai and Wo Wo Songlive on the floor with us(Rupam also sang atmobisleshon live on the floor on which gabu played drums). That energy wouldn’t have been possible to generate if I did notsee him perform. And Subhajit and Pom made sure that my drum sound breathed, the toms sang and the overall sound of the kit was organic and raw, without being trashy.

My earliest memory of school is my first day at nursery. I was crying and not letting go of my mother. A chubby kid with curly hair wobbled up to me, took my hand and said, “Kendo na, kendo na.” That kid was Chandra. We have been schoolmates at Patha Bhavan since age 2, right from nursery school till Class XII. Chandra was the school team wicket-keeper later and used to play tabla at the annual programmes. Rock albums were not discussed till Class X; he was intrigued by the album cover of Guns’N’Roses Use Your Illusion I; I lent it to him and lo! And behold: in a year’s time or two, we were Sunday morning regulars at the Dutta brothers’ AJC Bose residence: I for Kochuda’s drum/percussion classes on the ground floor and Chandra for Amytda’s guitar classes up on the first floor. Curiously enough, though we have jammed a few times in all these years, we have never been in a band together. Nishkromon gave us that opportunity, to be on record, no less. The kids came full circle recording Wo Wo Songtogether.

On to the Lakkhichhara boys. Gabu’s work on Free Zone is some of the most creative drumming I have heard in a while in the contemporary scene, and then there was his high-energy playing on Atmobisleshon. It was a pleasure watching him play.

And then there was Subhajit Mukherjee. I sometimes suspect he has Red Bull flowing through his stream rather than, err, red blood. A supernova of energy and a gifted musician, Subhajit did end up for theNishkromon booklet photo shoot in a pair of tennis shorts. He also sang beautiful harmonies, nevermind getting into the mood of the song for end chorus of Wo Wo Songwhere he actually knocked the microphone over (We have kept the sound of the microphone falling on the album!). The guy who has probably had the toughest time all along Nishkromon was Pom. It’s not easy being an engineer: patience is a given. Pom is patient, quiet, always accommodating and open to ideas. He worked non-stop till the final masters till 6am on sonsecutive days during recording, mixing and mastering, went home, slept for a couple of hours and headed for his day job. Hats off to such perseverance and the love of music.

Rupsha was a constant support all through the process: she took brilliant photographs, created the amazing teaser video and has shot a video for Aalo that should, likeNishkromon, again be a landmark. Thank you, Rupsha: we felt part of your family at the dinner table. Rup and Jian, no matter what the latter’s mother feels, would probably end up being twin drummers in a band.

Allan continues to be the most inspiring guitar player I have played with in all these years; he is responsible for the musician that I am today. I have learnt a lot from him since founding FLI, and not just in terms of playing. Thank you, Allan, for believing in me. My brother in groove, Sandip, is the most inspiring bass player I have played with in all these years. We share a chemistry that is uberspecial as a rhythm section. Blame it on us being 90s teenagers. Thank you, Sandip, for reminding me time and time again that what we have is soul.

For me, Rupam remains the greatest singer/songwriter/composer/performer of our generation and a major inspiration as an artiste and a person. His sheer passion and dedication to music rubs off on one like magic. Thank you, Rupam, for making me push that envelope as a musician and believing in me.

I would like to thank my endorsers, Soultone Cymbals and the amazing Paul Mason of Tempus Drums, Vancouver, for providing me with some of the best instruments on the planet. If you want them too, do check out www.soultonecymbals.com and www.tempusdrums.com. You could be hooked.
And thank you, Subrata. The jhalmuri andchaa is what really kept us going.

I'd like to dedicate this record to Maa, who is no more and my loving family. Thank you for tolerating my antics.

Corrections

In spite of trying our best there are some typing errors in the inlay card :
* Rupam's note has ended up being Ruapms note.
* Last song- Bisisto hoye dimbanu r sukrano will actually be bislishto hoye...