On 7th July, 2005, a series of terrorist attacks rocked London.
In October 2008, London-based musician, Nitin Sawhney, released ‘London Undersound’ as a reaction to perceived post-terrorist tensions in the capital. Now in 2009, it would appear that Londoners have just carried on as they would have always done. Though possible to capitalise on misfortune, by no stretch of the imagination did this ever appear to be Sawhney’s intention.
2009 also sees ‘London Undersound Instrumentals and Remixes’ surface, its need somewhat undetermined. With cover art designed by artist Anthony Gormley, the bold red-and-white colours that comprise the wartime ‘Keep Calm and Carry On’ poster come similarly emblazoned on the CD.
With remix albums generally servicing the requisites of DJs, it’s strange that Sawhney has felt the need to release this – particularly because, since ‘Beyond Skin’, Sawhney’s music over the past decade has never really been fit for dancefloors. Generally, his productions have been polished with such slavish focus, they’re more suited to designer coffee outlets than Fabric or Cream. If ever (and let’s pray this never happens) Richard Curtis put together a new romantic comedy, entitled it ‘Southall’ and cast Hugh Grant and Julia Roberts as lead roles, Sawhney would be first in line to write the soundtrack.
Nevertheless, this instrumental and remix album demonstrates that Sawhney isn’t completely out of step with his past. Now, deprived of the awful, mawkishly insincere vocals that plagued ‘London Undersound’, the instrumental pieces are given necessary space to shine. The space reveals Sawhney’s dedication to music, and, thus, his true talent. Choosing artists like Paul McCartney, Natty and Imogen Heap may have seemed a good idea last year, but this instrumental album only highlights their complete lack of interpretive ability.
Without miserablist and daft lyrics ruining the music, the new ‘London Undersound’ becomes a pleasure to listen to, and the listener can now gauge what it is that Sawhney himself envisaged when initially composing these frequently emotionally fulfilling pieces. Extras on the disc include five youthful dubstep and bassline remixes that may appeal to DJs, along with four quite unnecessary slices of glittering tosh masquerading as alternative vocal versions of the original songs.
Nevertheless, the new ‘London Undersound’ has an appeal far wider than the original and, though it will service listeners on yoga retreats and those with Land Rovers well, it will stay with me a lot longer than its predecessor which should, I believe, still be under the rails of Clapham Junction’s platform 12.
