'Innovator', 'conceptual thinker' and 'artrepreneur' are just some of the accolades that have been attributed to Talvin Singh. And in some respects it's true - his incredibly successful Anoka club night in the east end of London did stop the traffic. It did inject some desperately needed worldly jest into the ambient dance music scene. It did arouse interest in what was happening in the busy world of contemporary Asian soundscapes.
But to put this classically trained tabla player on a heavenly high pedestal was asking for trouble. He is talented for sure, but he wasn't the only musician combining the musically resplendent India of old with western, electronic influences. Asian Dub Foundation, Joi and Earthtribe were all having a bash at it too, and actually, George Harrison and Ray Davies played their parts in the sixties with sitars.
After all the labelling, preconceptions about 'Ha', Talvin's second album, will have already been made. His last effort 'OK' scooped him the highly coveted Mercury Music Prize in 1999 but it tried too hard to impress. It felt like a barrage of potentially good ideas, both traditional and contemporary, were being flung into space at full force. But there wasn't enough time to step back, take a breath and really listen or enjoy.
The track 'Butterfly' from 'OK' is a good example of the album as a whole. Although in parts it is truly beautiful and captivating, it's fast, furious disjointed fluttering left you wondering where it was going to land, if at all. 'Ha' on the other hand, is a lot more chilled out and as a consequence is well rounded. Right from the beginning, the opening epic 'One' (an alluring 12 minutes long) sets the groundwork for a competent and enthralling listen.
The feeling of vast openness is what all the tracks on 'Ha' have in common. 'Mustard Fields' uses stunning yet melancholic sitar to pull you in and once immersed there are much darker dub-like tabla strokes under the surface. 'Dubla' has a slightly harder more techno edge to it and yet maintains a compelling and compulsive groove that shakes with great splendour. 'Abalonia' includes typically curious narrative initially and then transforms into carefully considered, luscious breakbeat with delicate touches of jazzy drum'n'bass - just gorgeous.
So, don't let the marketing spiel put you off. This is a great record and although Singh doesn't necessarily redefine Asian-influenced popular music single-handedly, you will want to listen to it again and again and again. And the most appealing thing is that every time you do stick it on the stereo, something fresh and new will glide effortlessly into your consciousness.
