Tumse Na Ho Payega
(Indi Graffiti):
Apparently, the album is named
after a phrase that the band has
heard directed at them a bit too
frequently. That in itself could
endear the four men comprising
the band, as derision and lack
of faith from those plaguing
one’s daily existence is a
phenomenon that almost no one is unfamiliar with.
The album is a mixed bag. Let me begin by saying
that having an entire album devoted to Hindi rock is
a delightful occurrence, simply because it does not
happen often enough. Indi Graffiti stays very faithful
to the “rock” part, and each song has solid melodic
frameworks to build on. The classic rock leanings
make every track worth listening. They are crafted
with an astute ear for fun, but never verging on trite.
Woh, however, is a bit self-indulgent in elaboration on
heartbreak. Despite beginning on an encouraging lyrical
note, it veers into a certain amount of catastrophizing
with regard to losing the lover. This is common enough,
but it lacks the lyrical elegance to impart it any aching
beauty. It's just a 5 minute bummer. Jeetunga has
great music (like every song) but the words do not
sound that far from a Bollywood-style montage of
hero rising to defeat arrogant rich guy at basketball
match. It strays into the realm of the unoriginal. Tum
Hi Ho is nice, but generates similar complains.
Safar, Haeli Maeri and Barsaat are genuinely
beautiful songs. They are balanced and achieve
the seemingly simple but hard-to-attain quality
of being deeply pleasant. Khwaab is a Hindi rock
ballad done right - a creature that has not been
sighted in this side of the wilderness too often.
The album is enjoyable, and the band deserves
encouragement. While they might not be breaking
new ground, they never risk devolving into
disinterest. The music is evidently a labour of love,
and the love is well-placed. One can, with good
reason, hope that their compositional ethos will
evolve into more experimental inclinations.
Impressions (Shorthand):
This band called itself “genre
free”, and justifies the qualifier
with it's debut single. Impressions
was create out of elaborate thought
- a fact evident when you juxtapose
the lyrics with the shift-heavy but
seamless melodic blueprint. You
have the tinkerings of blues, edges
of jazz, the mellow impugning of
pop-rock, all woven into unison by seasoned stringwork.
The song is emblematic of a mature musical sensibility
and expansive awareness. It surprises, soothes,
stimulates and satiates without depending on puff.
It presents an elaborate narrative, by virtue of not
only the musical arrangement but also the intelligent
lyrical focus. The song demands that you listen with
some intent, but no part of it is without charm.
Hear Me (Zephyrtone):
Apparently, Hear Me is a
song about a breakup sans the
melancholy. I’m not sure how
that works (unless you did the
dumping), but that certainly does
not eliminate the possibility of its
existence. Then again, you can’t
actually perceive any melancholy
in the track because it is backed
by upbeat electro-pop sheaths of danceable sound.
Vocalist Zephyr has a Selena Gomez thing going on. I can’t
comment on her overproduced vocal gymnastics, but it
seems to expertly croon mellow turns of phrase. Producer
Sayan substantiates her mellifluous minimalism with some
ambient synthwork. There’s not much in the way of musical
exploration, but it’s fun. Viewing separation without the
trappings of borderline-obsessional need is refreshing, and
the lyrics reveal more curiosity than anguish or longing.
It’s also good for a whirl on the dance floor, but also decent
background for drinks with fellow electronic music lovers.
Bullehshah (TAPAS):
More Hindi Rock! (This month is
turning out well.) Any review of
TAPAS’ single would be inadequate
without commenting upon the
delicate poetry of the lyrics. The
theme of “Dust thou art, and unto
dust shalt thou return” has been
done to death, but expan ding
upon it through the symbology of
the Punjabi Sufi poet Bulleh Shah warms the heart and
delights the mind. Also, whoever wrote the lines “Bulleh
shah tu hai kis firaq mein/Fakiri teri jaley kaunsi aag
mein” needs hugs, high-fives and extensive applause.
Musically, the song is extremely competent. I failed
to detect any real flaws. Vocalist Ninad Bhat impels
his voice into an intimate relationship with its
instrument-wielding compatriots. While there were
moments that the anticipation seems to resolve itself
in a somewhat disappointing chorus, all is well by the
time the final solo kicks off. A few listens reveal that
the insufficient release of quickly built sonic tension
is intentional - you stick around for satisfactory
catharsis and end up paying a bit more attention.
Bullehshah is an intelligently created piece of art that
carries deep emotional resonance. It exudes a certain
authenticity that is almost indescribable (or I don’t
have enough words). If this is quality that TAPAS
aspires to maintain and build upon, I can predict
some serious appreciation coming their work.
The
Score Magazine
highonscore.com
19