 Did you eat? No. I mean, I've seen you eat at meals, but you don't like eat in between meals, do you? No, I do. You do? Mm-hmm. You just don't eat in front of me. Well, we're recording right now. It's family. You don't eat in front of family? No, and you're chewing like a monster. You're right. You're right. I'm Rick, and he follows on Instagram, Twitter, Twitter, Facebook. It's so juice. Squat. Follow us on our Facebook 2.0 channel as well. American stuff over there. Today, we are reacting to a quartet, but it's a percussion quartet. Indian percussion quartet. This is cool. We've not done this before. No, you have chocolate all over your mouth. Here we go. Wait, wait, wait, wait. Do we know it's percussion? So my first thought is, read all this. The Conjura Quartet. Indian percussion. Madrizzana Unplugged. It's percussion. Are we going to see the maestro? No, no. I mean, he's not in it. Okay. No, no, no. He's not in it. Let's see. I'm excited. I think it's just something different. This is awesome. Here we go. Come on. This is basically what it was, because that's the thing I can relate it to here. Like high schools or high school bands and college bands have drum lines, and they're awesome. Snares is usually what it is. Yeah, especially the really long ones. And you'll have them go all down the line. Yeah. That's what it reminded me of, but like with your fingers, which is real, because the synchronicity they had with going like, I mean, the same thing we're so impressed with with, like, who's saying, yeah, but obviously it's a completely different instrument. This just looks like a wheel of cheese. Right. Or a version of the pre, I'm sure it's something that inspired the tambourine. Oh, I know a lot of the tambourine, like the origins of tambourine. Let us know what it's specifically called, please. Yeah, the level of musical, the language, so for example, music is a language. It's also, it's math, it's science. But this was reminding me about how music is a language. And for like any language, using English, for example, there's beginner's English and then you become, you know, seventh grade reading level and then you can become conversant at a level that's college. And these guys speak at a language of music's percussion levels that transcends my, I have a pretty high language capacity in music. These guys are off the charts and they're hats off to the gentleman on the far corner who was being the metronome and was counting them. Oh, yeah. And one of the things that one of them did early on where I was recognizing that in-betweens, in early music classes that you take, you'll be taught how to fit rhythms together. So you'll just do something simple. Like you'll do one, two, three, four, right? Let's do that. One of the hardest things to do is do something that's in-between. You're doing one in between the two and the three. That's what that guy was doing. He was doing one even more crazy. It's like they were doing eights and he was falling on the upbeat of the five. It was, they're off the charts rhythmically. Yeah. Just crazy talented. Looks like they're severely under-followed. Only 14,000 followers. They see only 71,000 views. Maybe they knew. Maybe. It came out, no. Last year, 18, 2018. It did sound, maybe it wasn't, but it sounded for the spurts of it. Mission accomplished. Yeah, the accents were doing that. So if it's not, it just, that's what it sounded like to us. I think it gives a little explanation from here. In this video, we present Laia Chaturra featuring Vidwan's KV. That stands for something more than, and forgive me for mispronouncing any other names. Gopala Krishmam, Sri Sundekumar, Anradhu Athriya, and B.S. Pura Shafam playing their own version, Tri Kala Thalam, inspired by Aruna Ganathar, which is Kanda Ekraman II Kailaten, and Chaturra Ekraman I Kala IV. And this is Ekraman half Kala, 1.5. I believe those are musical notations and rhythmical communications in Eastern music and rhythms. Laia Chaturra is a unique collaboration of four of the most sought after and brilliant Kanjiri artists. So the Kanjira quartet, not Kanjiri, the Kanjira quartet, I guess the Kanjira is that instrument. This is an initiative as to how Kanjira, usually an accompaniment in Carnatic music. That's Carnatic music? Makes sense. Can be explored to its fullest potential as also a main instrument. So it's an accompaniment instrument with Carnatic music for vocals. Gotcha. And they were using it as a primary instrument. That's cool. Yeah, their synchronicity was off. Not just when they were playing, that's why at one point I said, you look at their heads, because they were feeling the music and expressing it in the same way with their heads as they were moving. I took my eyes off their hands and just kind of looked at it peripherally to watch their body language and their heads were almost like a machine. It's like incredible musicianship. They say they're apparently four of the most sought after of this particular which makes sense. Makes sense. It looks like they were all supremely talented at this instrument. Yeah. That was fantastic. It's so unique, too. Very unique. And I'd love to know are there, because they were on sync with everything. And I'm sure what they were doing was not just the memorization of a piece, but I bet they had, for example, like four particular segments of, let's say counts of 16. Excuse me. So you put those four counts of 16 together and you get a lot of music and you just do them. So, for example, you do, let's say you had these four segments and you named them one, two, three and four. So what we're going to do is we're going to do segments one, two, three and four and then we're going to do segments two, three, four and one and then we're going to do segments three, four, one and two. And all you have to memorize are four patterns. But because you're putting them in between, nobody else is going to be able to figure that out. And you still have to rehearse like mad. Yeah. And do stuff that only drummers and percussion people can do because I, like, drummers that play on a full kit and can do four different rhythm expressions, one, two, three and four. Oh, and some double bass and... Boggles my mind. That always boggles, like whenever I saw bands that the drummer would play a double bass and then do everything else. Yes. I was like, dude, how? Yes, there's times I listen to some of the drumming. For example, you listen to the police and Copeland's drumming is just... I listen to him and I'm like, I can't even lip sync it. You know, I can't even air drum it and match the rhythm he's playing. Yeah. It's so complicated. Yeah. So that was awesome. This was really great. Brilliant. It was so unique. We love that. That is so different from anything we've seen. Yeah. So as always, please send us anything that's unique, that's just different out there. Or if it's not unique that we haven't really seen yet. We need to explore more Carnatic music. Absolutely. We've only done a few of those. I'm reminded of what we were speaking to. The statue. The kid who sang it. Oh, we saw it. We talked to it? Yeah. You don't remember that? Oh, that must have been your clone. If we did, I'll put it up here. Okay. Wow, look at that. When we asked him about how important it was for him for Americans to be more exposed to Indian artistry because we hadn't heard about it and felt ashamed by it. Yeah. And his response was twofold. The first one he said was I want people to be exposed to everything. You know, there's music in Indonesia. You should open up and expand everything. But then he brought up what we've mentioned. It's like in America, we've been around for just about five minutes. The wealth and the richness of Indian artistry is a freaking ending. We'll be doing this 25 years from now and find out stuff we didn't know about India. Yeah. It's insane. Absolutely insane. Got a cool country there, India. Pretty freaking cool country.