The Score Magazine April 2018 issue! | Page 18

REVIEWS SHREYA BOSE 16 The Score Magazine highonscore.com Naked Soul (Madboy): Soliloquy (Komorebi): I confess that I am an overeager fan of Komorebi's sound. She directs electronic notes to incredibly fragile places. As in her earlier work, Soliloquy treads lightly but surely. Every track is dainty and mellifluous without compromising an inch of character. Tarana quite obviously plays with her sounds, not taking them too seriously or expecting them to adhere to the demands of a distinct message. Take ‘Little One’. It features Warren Mendonsa, a man with an unmissable sound. It morphs to becomes entirely different, serving the nuance of its context. But, by no means, is it lost. It is simply a different breed. The same happens with Mohini Dey in Hurricane and Real. Komorebi’s work is compelling, and builds its own world with no effort. She manages to express a vast spectrum of human emotion with inspiring, and possibly misleading ease. The songs are deliciously addictive. She does not pretend to cater to the thoughtless. Her musical sensibility is built on the cinematic mystery of shadowy whispers and batting eyelashes. Simultaneously, she does not shy away from creating a storm when the sentiment calls for it. Tarana is not just easygoing, she creates spontaneous enchantment. Smooth is a strange word. Overused but underrated. It is used to describe whiskey, satin sheets, first dates, and any number of things that feel good and inspire no hassle. I feel almost guilty ascribing the word to Madboy's unhurried, laid-back, polished single. The delicious texture of the sound winks and whispers of Madboy’s departure from the breathless, almost harried danceability common to fans of Madboy/Mink. He switches to paying heed to retro influences, coating them in the basics of futurism, and playing around until a delectable balance is materialised. The music video is impressive. I'm not sure I understand how the aggressive modulations of a skilled contortionist play into the repose-friendly and trip inducing signatures, but it is definitely a visual treat. It’s uncommon (unless you're into Glass Animals' Hazey) and unpredictable, both qualities easily attached to Imaad Shah. He abandons any overt Madboy/Mink sensibilities for his solo, tipping his hat to the Space Age frolics from the late 50's and early 60's. Despite the unhurried progression, Shah manages to infuse the irreverence that characterised his early acting days, as well as the boisterous wind of Madboy/Mink. He certainly does enough to hold his place in the quickly expanding oeuvre of good indie music in this country.