Meet Simon Thacker, a Scottish composer defying borders through music

Born of Web

May 28, 2019
6 min read
Simon Thacker

Scottish composer and classical guitarist SIMON THACKER’s latest outing, Trikala, is a double album that celebrates various music genres from different parts of the world. In this interview with DIVYANI RAGHAV, he shares how he brought together 13 artistes and why India continues to inspire him

What’s the concept behind Trikala?

Trikala is a Sanskrit word representing the three tenses of time: past, present and future. The past inspires and teaches us, I am creating in the present but the music points towards and in some cases creates the future. It is a vast double album which was recorded in three locations (East Lothian in Scotland, Chennai and Kolkata in India) over three years. Trikala is the latest stage in my journey creating new sound worlds from my immersion in classical, folk and spiritual traditions of the Indian subcontinent. My vehicle for doing this is Svara-Kanti, which has grown from a quartet into a community of 13 musicians. The different line-ups focus on expanding on different influences: Hindustani classical (north), Carnatic classical (south), Punjabi folk (west) and the Bengali mystical folk Baul tradition of both India and Bangladesh (east).

When I compose there are conscious and subconscious influences, not just from all the music I have heard but from visual art, poetry, dance and particularly the natural world, observing how things around us are formed or interact. In terms of where the compositions come from, when I compose it is like the music is writing itself. You don’t consciously think, it’s like being in a meditative state. So, who knows where it comes from! I don’t question that, I’m just thankful that it does.

Would you call your new album a fusion?

I don’t particularly try to amalgamate, I think that leads to contrivance and “fusion”, which is often, but not always, a bit of a bland middle ground that loses essence. I don’t see Trikala as fusion, just part of an evolution. It is proof that homogenisation in music isn’t inevitable, it is so musically distinctive.

I find that if I immerse myself in something to the point, it becomes part of me and comes out naturally as “something else” (a semi invention of your imagination) anyway, a third direction that isn’t “east” or “west”. The magic happens because of the spiritual connection you have, that the music speaks and connects with you on that level.

With bringing together luminaries from Carnatic, Hindustani, Punjabi and Baul music on one album, unity comes from me as the compositional voice through which the influences are refracted and that sheer joy of searching selflessly together that all the musicians have. Musically, I haven’t found it difficult at all.

How did you discover 13 artistes from India, Bangladesh and Europe?

Often, I search videos online for weeks trying to find the right person, such as in the case of Raju Das Baul, Farida Yesmin, Afsana Khan and Sunayana Ghosh. One such search was of Farida. I had a clear idea of the sort of voice I was looking for, powerful, emotive, rich, somehow embodying the Bangladeshi Baul tradition. I couldn’t quite find the right person until one day, after weeks of searching I came across a video marked “Bangla Romantic song” with no name, song title, or anything and also the sound cut out half way through. But I was blown away by the singer, who it turned out to be Farida. The collaboration worked so well that I developed theline-up into a full programme, which is on the second Trikala CD.

It was similar with Raju, I trawled YouTube before finding his videos. I saw Afsana on an episode of one of those reality singing show, one of the very finest young Punjabi/Sufi singers. That’s luck more than anything. I am using my judgement to choose but ultimately you never know how it will turn out. With other performers, I had either played with them before or knew their work.

How do you process music?

It depends what the piece is, but the music itself should come from as little conscious thought as possible. I can usually tell quickly when someone has composed a piece with mainly conscious thought going on. I try to avoid that. Something Ialways consider is who I am writing for and their personality.

For me, the influences I have mentioned are the provocation that pushes my creative impulse into that area of excitement, inspiration and expansion, beyond the comfort zone. Part of choosing the right musicians for the music is sensing who can encapsulate their tradition and go beyond it. I’m very lucky to have found such an incredible group of performers.

Your inspirations in India?

In terms of musical influences, I was in Chennai in December for the Carnatic season and saw some incredible performances by Umayalpuram K. Sivaraman, who is 83. He, very surprisingly invited me to his house after a ‘hello,’such a generous and warm person. His moras and korvais have been a particular inspiration. Zakir Hussain is another whose playing I’m always inspired by and who has been so personable, down to earth and a wonderful presence whenever I’ve spoken to him after his phenomenal performances.

There are countless people I’d like to collaborate with. A new avenue is a beautiful chorography by Priya Kumar and Piah Dance Company on MaNNVasanai from Trikala.

What are you currently working on?

I’m just putting the finishing touches to the new album Ritmata, which will be out in June or July. Influences range from India, to Native America and the Middle East, but very much abstracted into very different forms. There is a spectacular special guest from the flamenco tradition. It is an intense album.

Tracks for the Roma album, with special guests from Romany traditions, will also be out later this year. I’ll also be touring internationally with Svara-Kanti when that’s done. It is going to be another busy year.

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