ENTERTAINMENT

#ReviewRundown: April 2022

Take a look at out our capture on the latest from Shen B, Anirudh Varma Collective, Shashaa Tirupati, Gurbax and extra

Shen B – Kaafi EP

★★★½

Jammu-bred hip-hop artist Shen B doesn’t let things hotfoot, no longer in his lifetime anyway. There’s wisdom however there’s also openhearted raps on his latest EP Kaafi. On the intro “Khud Me,” he talks about self-acceptance, whereas the title note builds upon snarling Hindi, Urdu and English wordplay. The suppose-track quality of Shen’s hooks dominate however the production can design listeners in as properly – admire with the mercurial-paced beats on “Yaqeen.” He dissuades listeners from substance abuse (“Taaron Ke Neeche”) and spins a luminous, hypnotic beat on “Jazbaat.” The spoken-note outro is a refreshing addition that we don’t on the total hear on Indian hip-hop records. Shen walks the focus on on Kaafi EP – breaking the door down rather than knocking in a properly mannered arrangement.

Shashaa – I’m Sorry, Heart EP

★★★½

Singer-songwriter Shashaa Tirupati is upfront relating to the fact that her debut EP I’m Sorry Heart is centered round an imaginative relationship. There’s smooth loads that is relatable (“Faux”), intimate (“In My Skin”) and cathartic relating to the five-note sequence of songs. Launched in a piecemeal style, the corpulent image of Shashaa’s collaboration with guitarist-producer Keba Jeremiah is as unconventional as one would quiz from a singer otherwise known for main movie songs. Shashaa’s hushed vocals and acoustic preparations make for recent sonic territory and a puny bit unsettling melodies, easiest heard on “Medieval Minds.” Minimal but revealing, there’s loads Shashaa can conclude with much less. And for every thing else, there’s constantly her movie songs.

Aditya – Grha EP

★★★½

At the intersection of architecture, Indian classical song, put up-steel and science fiction (purportedly) lies composer Aditya Bhatt’s unique EP Grha. The ambient file contains three tracks – “Sankalp (Resolution)”, “Smaran (Remembrance)” and “Samarthan (Resolution)” – and journeys from a roving, reputedly abstract gathering of layers to something powerful extra intense. Where “Sankalp” would possibly per chance well living the temper as lightheaded with its subtle guitar plucking, “Smaran” is starrier despite the fact that slightly wonky and disjointed. At the tip of it, Bhatt does capture about a spicy turns on “Samarthan,” with darker sounds leaping out urgently, a cavernous roughly drone which makes the time out that is Grha that powerful extra wondrous.

Gurbax – Rebirth

★★★

Long is understood as a dubstep, trap and bass-song producer, Kunaal Gurbaxani aka Gurbax breaks out and strides confidently along with his debut hip-hop album Rebirth. He’s adept at fusion, absolute confidence, which comes thru on “Mere Warga,” a trap-meets-Punjabi folk-fusion note that opens the eight-note album. There’s hundreds of morphing given the room an electronic-song producer admire Gurbax can recount. With Los Angeles-based entirely Dayce (producer Devesh Dayal, who’s also segment of prog band Skyharbor) on board, there’s a chirpy, summery pop sound on “Runnin’ Away.” Buoyant trap and hip-hop power Gurbax’s unique sound further – “They Like” provides grandiosity to the Atlanta trap kind whereas “Yaariyan,” with singer Rashmeet Kaur and Amsterdam-based entirely producer GANZ, is gleeful and “Keep Lit” is one for the dancefloors. But then there’s a bass banger to retain the devoted followers crooked, as heard on “Namaha” with producer NDS. It confuses the drift appropriate a tad bit however Gurbax is wisely on his arrangement to global acclaim.

Ojonav Hazarika – Roots of Terracotta/Assam

★★★★

Guwahati guitarist and composer Ojonav Hazarika blurs the boundaries between the African form of guitar taking half in championed by Ali Farka Toure and Assamese string instruments on his instrumental album, Roots of Terracotta/Assam. Described as a “folk crossover guitar instrumental” sequence of songs, there’s something pastoral (“Heavy Overjoyed Heart,” “Axomia Melting Pot”) and meditative (“Into the Soul”) in addition to energetically nervous (“Floodplain Blues”) heard across seven tracks. Jazz permeates on “Mayong’s Spell,” and “A Parting Want” wraps itself across the ear for a palatable, escapist listening journey. It would possibly per chance be temper song or calming song for some, however Hazarika’s Roots of Terracotta/Assam is also a crucial addition to the insist’s folk song lore.

Eashwar Subramanian – Songs from Ether

★★★½

Maintaining his promise as a prolific ambient song producer, Eashwar Subramanian launches upwards into calming atmospheric preparations on his wisely titled unique album Songs from Ether. In nine tracks that span about 40 minutes, Subramanian leads listeners down diversified directions, whether or no longer it’s nostalgia (“Remembrance”) or a reputedly Rahman-esque acquire (“Misplaced Mermaids”). “Blues on a Rainy Day” isn’t in actuality bluesy however it makes a gathered point, whereas strings dominate “Melodic Dreams.” For the most segment, Subramanian leans towards capturing moments in time (“Sombre Tuesdays,” “Sands of Time”) and has new electronic prospers to leverage. “In Like With Silence” strikes emotional chords with its weepy violin, making Songs from Ether one other immersive hear from Subramanian.

The Anirudh Varma Collective – Homecoming

★★★★

A comely gathering of artists from across the country makes composer Anirudh Varma and his collective’s album Homecoming a formidable affair. Showcasing India’s faded songs across the spectrum, there’s something for everybody in Varma’s sonic storytelling. Carnatic guitarist Abhay Nayampally provides memorable hues on “Reports of Kalyan” and “Vasanthi,” whereas Varma’s piano and keyboard work lead “Bhimpalasi.” The ornate voices of Pavithra Chari, Rohith Jayaraman (“Jaijaiwanti”), Amira Gill (“Bihag”), Prateek Narsimha (the jazz-instructed “Baajo Re”) and Kavya Singh, among others, make Homecoming a fantastic-finessed file. Even supposing the songs practical properly above the five-minute value, none are laborious listens. “Chayanat” glimmers, whereas “Megh” brings in ace guitarist-composer Shubh Saran and saxophonist Abhay Sharma, in conjunction with Narsimha and singer-songwriter Sapatak Chatterjee. The closing title note goes moral into grandiose fusion territory, making Varma and his troupe among the most basic hopes for the future of fusion song in India. 

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