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Reviews Wed, 29 Mar 2017 22:49:05 +0000 en-gb As We Keep Searching-Growing Suspicions(E.P) As We Keep Searching-Growing Suspicions(E.P)

New post-rockers on the block from Ahmedabad As We Keep Searching are out with their very dramatic debut EP ‘Growing Suspicions’. The theme revolves around the modern man, caught in a conflict between destroying nature, failing on responsibilities and still daring to dream for a better future. Sounds heavy, but the band backs it up with intense guitar portions and spaced out vocals by frontman and guitarist/vocalist Uddipan Sarmah. Alongside, the album features Shawn Gurung on keys and Ashwin Naidu on percussions and is produced at the BlueTree Studios.


For a debut EP, Growing Suspicions has all the elements of a decent post rock sound, and dollops of drama and emotions to go with it. Push it in your playlists driving to and from work, or better, on a weekend trip, and run the risk of looking dazed and lost. But who cares, you may be doing a little soul-searching in that time. With eight tracks packed in a little over 40 minutes, the melodies run deep, the vocals are earthly sounding, and electronic effects come in too.


EP opener The Tattva was released in December last year and has all the elements of a terrific EP starter – melodious instrumentation, intense vocals and an engaging riff. In Circles has mellow guitar parts and vocals before launching into an onslaught towards the latter half of the song. Over to the quieter and instrumental pieces, Shimmer of Light is an atmospheric track that speaks of hope and longing amidst the chaos. When Will They Talk is another slow track with the keyboards driving the melody. Banshee is a signature ambient track which takes a break in the middle and picks up again with upbeat percussion and bass structures. In addition, the band breaks a tiny few Indian indie norms by including two remixes in the set, scoring high on the atmospheric components.


The tracks sound a little repetitive, but you can give it to the band for exploiting their new found sound completely on debut. More variety in chords and sound, and much more diverse lyrics would naturally follow. As for the listener, it’s time for some self-introspection with good melodies! 


Picks off the album: The Tattva, When Will They Talk, Aakorxon, Banshee


The album’s up for download at: iTunesAmazonOklisten & BandCamp.

]]> (Vishal Shah) Album Reviews Tue, 11 Mar 2014 09:01:51 +0000
Baiju Dharmajan Syndicate-Mindstreet Tour Baiju Dharmajan Syndicate-Mindstreet Tour

  I have waited for 5 years to witness The God of Small Strings – Baiju Dharmajan live and finally I got to see him live with his new project Baiju Dharmajan Syndicate at Hard Rock Café, Pune. It was the 2nd gig in the 10 Years of Mindstreet Tour. The band consists of The God himself on Lead Guitar, Backing Vocals and 3 other immensely talented musicians viz. Vishnu Ravi (Vocals, Rhythm Guitar), Sujay Suaharsh (Bass), and Avirup Bose (Drums).


Despite the launch of Blue Frog in Pune and Above and Beyond playing the same day in Pune, the turnout for the gig was quite good. The crowd mostly had hardcore Motherjane fans waiting to watch the band play the signature Carnatic progressive music. 


The setlist:

1. Demented – The Crossover

2. God’s Own Country – Wrenz United

3. Halo – The Crossover

4. By the Moonlight – Wrenz United

5. Philia – The Crossover

6. Broken – Maktub (motherjane)

7. Mile Sur Mera Tumhara 

8. Rainbow – Baiju Dharmajan Syndicate

9. Mindstreet – Maktub (motherjane)

10. Cupid’s Dead – Extreme (Cover)

11. Karna – Baiju Dharmajan Syndicate

12. Bliss - Baiju Dharmajan Syndicate

13. Vande Mataram

14. Fields of Sound – Maktub (motherjane)

15. Chasing the Sun – Maktub (motherjane)


The overall band performance was extremely acute and didn’t fail to mesmerize the crowd, especially, when the band played Mile Sur Mera Tumhara, everyone from the venue cheered. Fans are still very emotional and nostalgic about Motherjane and it was demonstrated when the crowd consorted with the band when they played Motherjane classics like Broken, Mindstreet, Field of Sound, Chasing the Sun.


Baiju Dharmajan Syndicate OCs from the setlist received good response from the crowd though the songs were being played for the first time. Subjectively, Karna is the band’s best composition from the setlist having the perfect progressive rock songwriting. 




Apart from the not okayish sound at the venue, the gig was superb. And I was very happy to finally meet Baiju Dharmajan and the band and have a talk. Everyone in the crowd went home happy. And I suppose, the wait is definitely worth for Baiju Dharmajan Syndicate’s album release.

]]> (Indrajeet Deshpande) Gig Reviews Thu, 05 Dec 2013 03:59:23 +0000
Gingerfeet-High And Above Gingerfeet-High And Above

While the rest of the country has seamlessly integrated into modern rock and harder forms of metal music, I can easily bet on a truth- when it comes to rock music of the 1970s and 1980s, East India still rules. And this has been proved over and over again with a large number of bands from this section of the country,coming to the forefront with their brand of glam-rock. And they never disappoint. People with an ear for Mr. Big, Extreme, Extreme, Guns N Roses still turn to cities like Shillong, Kohima, Guwahati, Darjeeling and Kolkata. It seems musicians here know their substance in and out, which is why when I first came across Gingerfeet's debut album 'High and Above', I was brimming with expectations. Naturally, they did not disappoint. Led by the finest of musicians in their own departments, this tight unit has churned out a memorable album that can easily be regarded as one of the best in recent times in non-metal categories. 


High and Above progresses very slyly through your conscience. It builds on you as you listen to one amazing track after another. At no point would you find any resemblance with any glam artist that you grew up listening to. Rather, you will find traces of them so intricately rendered that you'll be left marveled. Quite often you will come across bands comprising of amazing musicians, who cannot actually come up with something worthy together as a band. Well, this is one of the few instances where you get a feeling of perfection with each member contributing as per their excellent merits in the correct proportions. Peppy basslines, which is something that really stand out in the album, along with befitting guitar pieces and seamless drumming give the vocalist enough material to build on. And he rips his heart out in each of the tracks, specially when you consider how difficult it is to sing songs of this kind. 


Gingerfeet has branded their album as being Alternative/Funk and they are being modest. This is a treasured piece of art that transcends genres and time-frames. You can figure out the influences in their songs coming from Extreme, RHCP, Incubus, Mr. Big, Van Halen and even RATM but unlike elsewhere, these influences wont glare at you. You have to be an avid listener of these bands to actually be able to figure them out, and full points to Gingerfeet for achieving this. 'Am I Dreaming or What?', 'High and Above' and 'Stars' stand out among the rest. What really impressed me throughout the album were the flamboyant guitar solos-jazzy, flashy and masterful, and they complemented the high-pitched vocals so delicately. The riffs are well crafted-weird but never complicated. Full points go to the drumming-the dynamics and the switches are absolutely brilliant, and no wonder he's being hailed as one of the finest in the country now. The bass-line  couldn't be better, and it easily lifts the essence of the songs much higher. Vocals is of the highest quality, with a enviable texture that easily pulls off grunge/glam songs. Mastering has been very good but the album art may not seem too appealing though. 'Game On' has been punched in as a bonus track and this track was actually very significant in their significant rise up the ladder before coming up with this album. Winning Hornbill and Hard Rock Rising(India) don't come easy and they had done it back to back. The only downside of the album that can be said, is that almost all the tracks start off more or less on the same scale and they did not experiment much with the starting note,which again, very few bands do. It doesn't get monotonous as you listen over and over again, but yes, the structuring of the songs is such that you might just be able to predict what's going to come next. 


Although I'm personally all praises for this album, still it's not absolute. You need to have an affinity for this particular brand of rock music. The music is rich and layered with a lot of elements that will specially appeal to those who play instruments themselves. Starting off with a top-notch debut album is just the requisite for a smooth journey ahead, and they need to capitalize on this to edge out the competition in the future.

]]> (Debarshi Chowdhury) Album Reviews Mon, 04 Nov 2013 02:57:55 +0000
Gypsy-Twisted Levity(E.P) Gypsy-Twisted Levity(E.P)

A five piece band consisting of boys of young age twisting your mind to produce some great amalgamation of heavy metal/hard rock/glam metal. ‘Twisted Levity’ is the latest and the first product of their toil and fun. Providing them with the desired platform is ‘Salute Records’ from Sweden. This band has also joined hands with ‘Transcending Obscurity’, for management, re-releasing and touring, one of the oldest yet awesome organisation proving helpful to bands, across the world, since time immemorial. Deriving influence from basic main acts like Iron Maiden, Judas Priest, Deep Purple and the likes, these young boys are upto some real nomadic yet steady awesomeness. One of the uncommon yet great part of this band is the implementation of Sitar, the Indian Classical instrument, bringing out the best in them.


The teaser of their latest offering ‘Twisted Levity’, published on 5th already been approved and loved by all the people in and around. So I couldn’t resist but write few words about these free-spirited young lads and their heavy metal endeavor. The album starts with the song ‘Gimme Your load’ with the perfect hard rock feel, pumping up the listener’s ear for some more. The vocals are perfectly matched upto that 70’s hard rock feel and you could definitely find some resemblance with the likes of AC/DC. The second song ‘The Shoemaker’ is yet another song which is going to be stuck in your mind. The transitions in the song are subtle and definitely portraying the energy the whole EP is going to provide you with. ‘New Boy In Town’ is one of them signatory songs for the genre-lovers. Putting you into the retro-techno style riffing zone and you could live the 70’s all over again. ‘Turned Into stone’ is a modern take on this genre. All the people who aren’t much of a fan of this genre(which is unlikely) would definitely enjoy the song with breakdowns in the chorus and pleasant instruments and vocals. The last song ‘Judgement Day’, which actually happens to be my favorite is a beautiful ballad. The perfect powerhouse of an EP comes to an end with a very soothing ballad which matches the criterion of glam metal, like a glove. The best part is the Sitar which stands out in the last song, and keeps you awed for a moment.


If you’re wondering about the psychic artwork charming your mind, then that was done by none other than the Sitarist of the band, Swarnabha Gupta with the hep of an old photo. Releasing in the semi-chilled atmosphere of November, make sure to be ready with your leather and love, because Gypsy is surely travelling all across your mind to etch their 

materials, for good.

]]> (Rupsa Das) Album Reviews Tue, 22 Oct 2013 00:00:00 +0000
Fragarak-Crypts Of Dissimulation Fragarak-Crypts Of Dissimulation

Delhi, the hub for stellar acts such as Undying Inc and Joint Family never runs short of surprises. Just when you think you have heard it all, there comes a band which redefines one’s perspective, in a good way. Therefore, it comes as no surprise when Fragarak, barely in its 2nd year, emerges with a stellar debut. Fragarak, is a 5-piece Progressive Death Metal outfit, comprising of vocalist Supratim Sen, Arpit Pradhan and Ruben Franklin on guitars, Kartikeya Sinha handling bass duties, and Sagar Sidhanti behind the kit. 


Kicking off “Crypts of Dissimulation”, first track “Savor the Defiance” boasts of doom-laden atmospherics and acoustic work before nose-diving into the ominously darker part of the composition. “Savor the Defiance” is a gist of things to expect from the band, further into the album. Audible bass notes, carefully crafted drum-fills and heavy progressions which showcase where the band’s influences are firmly rooted in. The track has its tender moments too, incorporating acoustical melodies into the bridge segment where Supratim’s hoarse whisper guides us. The Opeth influence is obvious and a brownie point of course. 2nd track, “Insurgence” begins on a heavier note. With the vocals alternating between high pitch screeches and enviably low gutturals, while the duo of Arpit and Ruben carve riff after riff, “Insurgence” is a brilliant composition that validates the band’s heavier side and how: The outro solo is something that one might not have expected on “Insurgence” given the ho-hum, sombre mood, but then again the band brilliantly finds a place for this last jigsaw, as well. Fast shifting dynamics and intricately crafted drum patterns are the nuances to look out for. “Effacing the Esotery” boasts of all the attributes that Fragarak has established by now, add to that a particularly interesting bridge-section. A bit too frenzied, with a lot being cramped together towards the end, “Effacing the Esotery” takes more than a few spins to register the vast array of complex guitar work the band incorporates, punctuated by screeches here and there.


Granted how seriously Old School Heavy Metal musicians take their music, it is safe to expect a no-nonsense approach from them. However, Fragarak go beyond that to establish the maturity of their compositions. “Dissimulation, An Overture”, I believe, bears testimony to this. Not just because they have tried breaking the mould by treading into uncharted territory with an acoustic number in a Death Metal album, neither is it owing to the brilliance of composition (which is incidentally brilliant in its own way), but simply because of the several degrees of melancholy they have captured, unplugged.  


“Cryptic Convulsion” would be one of the stand out tracks from the album. Commandeering a dark, blackened feel throughout, the track boasts of some noteworthy moments. Kartikeya Sinha shines the most on this track for his consistent bass lines. The clean backing vocals complementing the screeches are a nice touch. “Psalm of Deliverance” concludes the album on an acoustic note. 


It’s not every day that a nascent band pulls off a debut, with such dexterity and intuitive musicianship. I for one definitely look forward to the time when Fragarak embark on gigs across the sub-continent. Not to place the band under unreasonable scrutiny and expectations but their 2nd full length will be definitely something worth watching out for.


Pros: Well-crafted compositions, Melodic intricacy.

Cons: Too long winded at times.

]]> (Arkadeep Deb) Album Reviews Thu, 22 Aug 2013 12:21:05 +0000
Dualist Inquiry-Doppelganger Dualist Inquiry-Doppelganger

The colourful artwork to Dualist Inquiry’s debut album Doppelganger is very interesting. You can make out vivid party lights and crackers bathed in a very dreamy, psychedelic background. Sets the mood for the album, which has all of this and more.


Atmospheric guitar sounds with electronica raises eyebrows at first, but ten minutes into the album and you realize Sahej Bakshi has taken electronica and rock and mixed it up pretty well. Doppelganger comes off his own recording album, Dualism, named after his debut EP that came out two years ago. Ever since that happened in 2011, Bakshi has created quite a niche for himself in the EDM circuit. His brand of electronica music comes with a tinge of progressive rock, and his fans have grown to liking that sound.


The album is a mix of a lot of genres really, and the good thing is it is very possible to want to listen to most of the tracks over again. The drop beats, the booming bass, the synth effects and the drum pads sound a little less monotonous and more interesting with the atmospheric guitar patches layered in the background. Sahej is self-taught and plays a wide range of instruments with the guitar being the primary choice. The rock influence is seen in Origin which reminds you of Green Day and clearly has a touch of Dualism in it, while Blitzkrieg and Specter go along the hip-hop line. However, dance music lovers can be happy with clubbing tracks like Exile that was inspired off a film score, and Isoterra that has little bits and pieces of female vocals programmed in the back.


Picking up a single theme on a guitar and laying a whole track on it, with electronic effects to add to the mood swings has the danger of sounding too monotonous. Soleil ends the album with such a definite finality that you can almost picture end credits in your mind. It’s a good start, but you find yourself wishing the track had something more to offer.


In a way, Doppelganger isn’t your all-out electronic dance music album. There are these tracks that sound great on a laid-back Sunday afternoon as well as chill-out singles that go easy on the bass levels and have sweeter melodies.

]]> (Vishal Shah) Album Reviews Fri, 21 Jun 2013 14:45:48 +0000
Sounds Of Isha-Alai(Wave Of Bliss) Sounds Of Isha-Alai(Wave Of Bliss)

Prelude: For those who don't know, Sounds Of Isha is the home band of the Isha Foundation, you can get more info here


Isha Foundation's or rather Sadhguru's spiritual influence is generally expected from the album. Written and composed by Sounds of Isha during a series of Mahasathsangs with Sadhguru across South India, Alai boasts of profound lyrics with deep inner meanings. Being made completely in Tamil, a dominance of native sounds and classical influence seems like an unavoidable element. A visit to Isha Foundations website thankfully gave the lyrics of all the songs and can't really help being a bit enchanted by the sheer eloquence of the lyrics!


Alai Alai is the perfect start, the fisherman's song presumably, a colloquial tune set to wonderful guitar riffs, enhanced with the nuanced sound of Mridangam and the spritely chants of the chorus!


Kanale Kanale is more folk in the core, both the singing style and instruments announces so, while the poetic lyrics of Sri Marabin Maindhan Muthiah gets a highly rhythmic and addictive tune!


Oru Anniyar is folk genre again, sounds more like a 'pulluvan song' going by the alluring sound of the violin like instrument(pulluvan pattu) and the constant beats ofpulluvan kutam, but then the nadaswaram comes in between resulting in somewhat a hybrid natured song, yet engaging in every way!


Oru Murai has predominant Carnatic classical base, the free flowing composition sung to grace by Narayan Parasuram given lift off by VV Ravi's brilliant Violin with some inspiring lyrics!


September 23 is perhaps the most spiritual of the lot, the haunting vocals merged with the deeply rich lyrics given classical treatment produces something with a resilient divine mood!


The absolutely graceful tune of Something Something works big time, an ample melody strong in the composition department gets to another high with the confident yet soothing vocals!


Un Padham sounds like a fervid prayer, the traditional temple rhythm backed by apt instrumentation (Mridangam and Flute) gives highly pleasing results!


Must Hears: The whole album!


Trivia: The name September 23 comes from the date on which the song was first performed!

]]> (Gokul Nath S) Album Reviews Thu, 13 Jun 2013 05:58:26 +0000
Reptilian Death-The Dawn Of Consummation And Emergence Reptilian Death-The Dawn Of Consummation And Emergence


When I was asked to review the new Reptilian Death album, I was a bit torn between wildly conflicting thoughts, what to expect from the album and in what terms to review it. As is obvious, Indian metal scene is still infant and need to spend more years still to match up to the global standards, in terms of both creativity and the will to create a sound unique enough to blow the minds of listeners, both Indians and those on the other side of the fence. But I decided to review this album on the same basis I judge other international releases and not how cool it sounds compared to the Indian standards, and honestly, I was a bit disappointed.


My first move was to evaluate the lyrical quality of the album, and all I found were some substandard rambling, just to serve a purpose. Just a lot of random clichéd death metal fare thrown here and there, without any meaning or without any relevance to anything et al. “Now open your scrotum and shower us down. 

With blood, semen and poison.

We drink your seed, your elixir of truth. 

Rancid and fecal, fit for a brute.”- (What does it mean? Does It have any deeper meaning than I comprehend?)


I don’t understand why bands work so hard on that oh so polished sound and don’t work on the lyrics. Maybe because they think no one tries to search for anything worth listening beneath the gruesome and guttural growls the albums of this genre feature.


When I started listening to the songs, I hoped for something new and something which would blow my mind to smithereens (something which the album arts points at, in a very subtle (sic) way). And then there was disappointment. Again!


The first track Prim Evil, is a very stock death metal intro which gives way to a bit more complete Inchoate( oxymoron alert)  featuring some very well done drumming by Sahil Makhija and riffs I have listened to a thousand times. Therein lies the next problems, which is that all the songs have very thin guitar sounds and drum arrangements which are in no way novice, but plainly, very boring. To me almost all the songs sound the same with same diminished guitar riffs and same blast beats with practically zero variations. “Stimulate. Hike. Impel. Tear” is a slightly better track, even the best track of the album along with “O” which also features a guest guitar solo by Daniel Rego. “Emerge, Hatred, Emerge” is the only other song out of the dozen songs, which I can instantly recognize if I was made to listen the album again and name which song was which. All the other songs “Distorted By Bondage, Blood And Bestiality”, “Unnervingly Perverted At The Altar”, “Marvelous Gods - The Apple Of My Eye”and “Patchwork And The Art Of Skinning” follow the standard death metal checklist-

1.Heavy riffs

2.Gory vocals

3.Nonsensical lyrics

4.Blast beats

Nothing more nothing less. 


The album ending track Emergence – The World, Your Playground starts of in a very predictable fashion but ends well, all thanks to a very melodic and opeth’ish guitar solo by Daniel again. But not all’s well that ends well. If I were to award this album a score comparing it with the Indian metal scene, it would have easily scored above 8. But it would have been unfair to the ultimate goals we Indian metal heads are striving for, which is to see an Indian metal band as genre bending and genre defining as Opeth, Death, Lamb Of god were to their respective eras or the to the regions they came from. But sadly we still have a long way to go. Maybe we need to suppress our altruistic nature and start making music which not only serves the purpose of making money but also something which is creative.


]]> (Sushant Dahiya) Album Reviews Thu, 23 May 2013 04:24:49 +0000
Grimmortal-Execrating Normality Grimmortal-Execrating Normality

Grimmortal from Mumbai, Maharashtra have finally debuted their first full length to much anticipation. Titled “Execrating Normality” and comprising of 7 tracks worth ruining your neck and spine over, the album clocks at a little over half an hour. The album has been produced, engineered, mixed & mastered by Nikhil Singh. Grimmortal is Prateek Keni (bass), Rahul Nair (vocals), Nikant Sharma and Elvis de Omen (guitars) and Emmanuel(drums). “Execrating Normality” is an amalgamation of grind, groove and hardcore and is a fine tuned example of a debut done right. Almost.

“Execrating Normality” boasts of some solid groovy sections and memorable moments. Right off the bat, the production pricks your ears too; though the band has mixed bag of fresh (read: original) goodies to offer, the production does accomplish commendable much given the crispness of the bass notes or the hard hitting slam-death styled drumming; sample second track “Abomination” for this. Mark 2:35 on this track also bears testimony to the bands knack for a little electronica/dub. “Tormented” is a personal favourite of the album, particularly because of the up-tempo breakdown it boasts of. “Pantomime” is where drummer Emmanuel shines the most, the interspersed clean melody lines and hardcore chugging complement each other well enough to be a formula prevalent throughout almost all the tracks, however inciting very little to no monotony. The pig squeal is another mainstay on the tracks and while at some points it rounds off the track in a fantastic manner e.g., “Tormented”, it does get a little bit predictable towards the end.

Grimmortal does little to hide the mockery with which they perceive the world around them and this ethic is best showcased in tracks like “Revolution” and “Why so Emo?”. Dexterity and maturity is present in spades and the band stays very much true to it's influences with the groove stylings of the likes of Lamb Of God combined with nuances from contemporary metal sub-genres. Monotony, if not completely absent, would still be hard to pinpoint when it comes to “Execrating Normality”, because when a band churns out bone-crushing numbers such as “Tormented” and “Why so Emo?” and round the album off with a track like “Fatality”, it is hard to find fault. “Refrag” although not the meanest track on the album, depicts the bands mature song writing skills, sparking the visualization of a Savage Messiah gloating his victory over the evils of a hopelessly brainwashed society.

“Execrating Normality” is not an album that plainly emulating Deathcore norms, it goes much beyond that. While the album bears all the tell signs of a nascent band, the conviction and dedication and no-nonsense ethic is very much evident from the strong structuring of the tracks. The compositions may not be the most complex ones or the most innovative ones but they are definitely thought provoking. Having caught the band live and being a witness to their presence on-stage massacre, it is safe to say that they have very much successfully captured the raw pulsating aggression with which they command mortifying headbang frenzies among the audience. Seven tracks spewing pure hate, condescending the commonly treaded social paths and empowering the stoicism of a generation that wears it's heart on it's sleeve.

Pros: Sick grooves and blood-curdling squeals. 

Cons: One too many pig squeals spoil the broth.

]]> (Arkadeep Deb) Album Reviews Fri, 12 Apr 2013 08:56:03 +0000
Suraj Mani-The Tattva Trip Suraj Mani-The Tattva Trip

Suraj Mani has been out of the scene for quite some time now, but that time has been spent creatively. Say hello to The Tattva Trip (TTT), the singer’s debut solo album, which is a lot more than just a good comeback – it’s an experiment, a novel approach to song writing, a good marketing strategy and all in all, an effort worth listening to.

The album opens with 'Whole', a very melodramatic piece and a very different person than the Suraj Mani we have known. 'Money' and 'The Tribes Of Babel' are slightly more of the Motherjane vocalist as we’ve known him. 'Your Epitaph' is overly melodious, and talks about how technology is stamping its feet across human relationships.

You’d think not having the likes of Baiju Dharmajan and Clyde Rozario would have been a hurdle. Nevertheless, the solo album features other veteran musicians such as Suresh Peters on the drums, Keith Peters on the bass and Aman Mahajan on the keys with well-known guitarist Alwyn Fernandes (ex-Pulse, Antaragni) taking over as producer.

Going solo has opened a Pandora’s Box as far as Suraj Mani’s musical prowess is considered; the instrumentation is diverse across songs, which lets him add a funky flavour in the alternative 'Rise Up' and even tend towards the growl in the heavy-metal-ish 'Money'. Check out my favourite off the album - 'Some Doors Have Opened', a refreshing single with catchy hooks and a pleasing solo.

Suraj Mani’s voice is not magical or extra-ordinary. It’s a very clear, mellow tone that finds itself stretching into long drones and rapid tempo changes, which makes it very apt for drama, and which you’ll find in abundance in TTT. Overall, the album should qualify as a decent soundtrack for an Indian version of ‘Dances With Wolves’. There’s drama, action, loss, despair and victory, in short, all needed for an epic film.

As for distribution, the singer resorted to an interesting concept – releasing a 40-page illustrated coffee table book featuring stories written by him, his experiences and journey through life, and in some cases, the stories behind the songs themselves. It’s a nice gesture, coupled by his constant blog updates which let fans know of the album’s progress continuously, and a way for them to ‘gift’ TTT tracks to friends or relatives. All this creates excitement around the final creative product, and I daresay Suraj Mani has not disappointed one bit.

Must listen: Some Doors Have Opened, The Gift, Money and Whole.

]]> (Vishal Shah) Album Reviews Fri, 29 Mar 2013 02:06:04 +0000