A BRITISH-INDIAN man found guilty of the double murder of his mother and stepfather has been sentenced to life imprisonment with a minimum 36 years behind bars before being considered for parole.
Anmol Chana, who was said to be "fanatical about knives", stabbed his mother Jasbir Kaur, 52, and her husband Rupinder Singh Bassan, 51, multiple times at their home in Oldbury in the West Midlands region of England earlier this year.
The 26-year-old was convicted of the two murders after a nine-day trial at Birmingham Crown Court and sentenced on Friday (21).
"You claimed to the jury that you had killed them in self-defence. The truth was very different," said Justice Mark Wall.
"I am sure that the allegations you made at trial of your mother abusing you throughout your childhood were false and designed to garner jury sympathy for you," the sentencing judge concluded.
The British Sikh couple were found dead at their home in February, after West Midlands Police officers forced their way into their home following concerns being raised for their welfare.
''Chana carried out a despicable crime against his family in their own home which should have been a place of safety. Our investigation revealed that Chana was fanatical about knives and had previously expressed a desire to kill his mother," said detective inspector Hannah Whitehouse, from the West Midlands Police homicide team.
"Sadly we do not know what led him to carry out such a vicious and sickening attack. My thoughts remain with the couple's wider family and friends. I can''t imagine how they are feeling; the shock and pain that his actions have caused will stay with them forever. I hope the guilty verdict provides them with some comfort. Knife crime is devastating and this case has been a harsh reminder of the tragic consequences."
Kaur's daughter had been trying to reach her mother and sent a number of messages and even dropped by at their home but noticed Bassan's car was not there, and assumed they were out.
The following day she called police and said she was concerned having still not been able to get in touch and also having tried her brother Chana at his home in nearby Smethwick.
As enquires continued, the police called Bassan's workplace and, upon hearing that he had not attended work, officers forced entry into their home. Tragically, they found Kaur and Bassan dead, stabbed multiple times, West Midlands Police said.
"We immediately launched a murder investigation and quickly turned our attention towards Chana. CCTV enquires showed that he had taken his stepfather's car – a Toyota Aygo – during the early hours of Sunday morning (23 February)," a police statement said.
"Our investigation also determined that he'd received hospital treatment for a nasty bite on his thumb, sat drinking and playing pool in a local pub and deposited money into his bank account, which he'd stolen after the killing. We also discovered he had bought a plane ticket and dumped the car."
The police tracked down Chana to arrest him at his home soon after and a search of the property revealed the keys to the car, his passport with travel details and a combat style knife, and a sheath covered in blood on his bed.
"It's incomprehensible to think of what went on in those last moments as he murdered his mother and step-father," said Michael Dinsey, from the Crown Prosecution Service (CPS), which presented the evidence against Chana in court.
"The number of knife wounds that both victims suffered, the locations of the wounds, the use of combat knives, lack of injury to the defendant and incriminating messages found on his devices all proved that this was a calculated act.
"The case against him was overwhelming but despite this he persisted to trial with a defence of self-defence, trying to place the blame for his actions on the victims. The jury saw through these lies and convicted him accordingly."
The deceased couple's daughter paid tribute to her parents as "most loving" people and "beautiful souls".
"My mum went through hell and kept going to look after me and my brother. She’s the toughest woman I know. My dad was the perfect match for her. He was that person who was able to give my mum the space and warmth to relax and be loved in the way we all deserve," she said in a statement released via the police.
"I am sad that their lives were ended so quickly without a second thought by a person whom they both loved dearly. Their lives together had just started.
"Not only did he take their lives, but he has tried to defame them in court to protect himself. I am angry at him for trying to use such tactics against their memory and against the person who always did her best for us," said the unnamed daughter, adding that her only comfort was knowing that her parents were hopefully at "peace together".
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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