I can't conjure up a word that would do justice to a band like Asian Dub Foundation. A melting pot of myriad styles--dub, reggae, bass beats armed with twisted riffs--all of it diverges into music that is both erratic and unique. As such, Asian Dub Foundation stands as testament to that brand of bands who go beyond their artistic urges to be a part of a greater, revolutionary story. Born in 1993 in London, to combat community unrest that rose against Brtions of Asian descent, ADF slowly rose to represent a voice that spoke stories of urgently required metamorphosis in society.
In 2009, Al Jazeera started what I firmly believe to be an outstanding documentary series, covering musicians who tried to communicate a radical political and social change through their music. Hosted by Steve Chandra Savale, better known on stage as Chandrasonic, the series told stories of musicians whose ambition lay in intensely affecting change on a macro level through their music, and covered ADF for the same. Asian Dub Foundation that began on firm grounds to channelize anger for and against racism to a larger collective goodwill has earned, time and again, the reputation of being a band that has remained unhesitant in its approach to make the right noise for the right cause.
Under the umbrella of ‘dub’ that allows them to branch out and incorporate many different patterns, Asian Dub Foundation continue to make music while talking about social ideas that are their inspirational driving force.
Here at Homegrown, Meher Manda caught up with Chandrasonic (the lead guitarist of Asian Dub Foundation and the man much acclaimed for tuning his guitar to a single note and playing it with a knife) to talk about the band, the music, the ideas that propagate them forward and everything in between.
I. MM: Asian Dub Foundation has now entered its 21st year in the music-making business, and has remained contemporary with every song and album. What would you attribute this longevity to?
II. MM: Your last album ‘The Signal and The Noise’ covers a varied range of topics. There is ‘radio bubblegum’ where the lyrics seem to thrash the ‘bullshit that is arranged by the pile’ on the radio; ‘Get Lost Bashar’ has you clearly making a statement on The Syrian situation. And with ‘Stand up’, you are strongly urging people to rise up, in sync with peoples' movements. How anti-establishment would you say the album is?
III. MM: In regards to Get Lost Bashar, I believe you have used crowd chanting as an introduction for the song. And many of your band’s previous works like ‘Naxalite’, ‘This Land is not for Sale’ and your work on Music for Resistance shows a greater ideological viewpoint. How important has it been for you to make a social statement through music?
IV. MM: You covered the issue of Naxalism with your song. How much is ADF affected by the social and political movements in India, or South Asia?
V. MM: Your song ‘Bnadh Bhenge Dao’ was used in Q’s Tasher Desh. And you have also collaborated with his band, ‘The Gandu Circus’ on your song, Straight Jacket. How did this collaboration come to birth? How would you describe Q’s sensibilities and do you relate to it?
VI. MM: You have used a great deal of bhangra in your music. Is ADF strongly influenced by Indian music, in general? Is it a serious incorporation when you work?
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VII. MM: How would you describe the music scene in London at this point of time? How are community bands shaping up now and are there still instances of prevalent racism like there were, when you started with your band?
VIII. MM: Do you follow the rise of the independent music scene in India? What do you make of it and what would your advice be to young talent?
IX. MM: This I ask with added interest, when will you be heading to India again?
