Posts Tagged ‘ indiemusic ’

Collage Album – Vijay Durbha

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Vijay Durbha may be a one-man band but, on his first digital ‘Collage Album’, he utilises a stellar cast of singers for support: Kalpana Patowary, Karsan Sagathiya, KS Chitra, OP Rathore, Mahalaxmi Iyer, and Mohit Chauhan.  He focuses on their respective vocal talents through the gamut of various genres on this album: pop [Janana], dance [Boondon Ki Baraat], mainly instrumental [Mood Of The Monsoon, Togetherness], folk [Mera Dildar], devotional [Saraswati Invocation], a combination of new age with spoken words [Patjhad Ka Sapna, which also appears as an instrumental], and even jazz [Haseen Shaam]. All this is supported by what is now becoming Vijay’s musical style: a full dynamic sound overflowing with the power and passion of his musical influence[s], mixing intense rhythms and virtual grand-scale orchestrations with a flair for varied melodies, and poignant lyricism, courtesy his mother, who goes by the pen name of Swahili, on eight of the nine tracks! Vijay’s production is augmented by electronic instrumentation combined with the sounds of flute, sitar, santoor, violin, and what appears to be the ghattam, adding additional texture to Vijay’s compositions. This is a surprisingly pleasant album that retains an appropriate collage of warm feelings.

Listen and Download the songs here: http://www.artistaloud.com/vijaydurbha

– Review by PARAG KAMANI.

Out Of Control – Oz

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The Mumbai-born former Omkar Chikhalkar, who calls himself Oz, has now resurfaced as a solo artiste with a fresh musical identity and rap approach on “Out Of Control”. Getting help from hip hop new school producer Yantam and debuting a video on YouTube, Oz’s sound is lean, his rapping tough and fluid, and his subject matter – in a manner of saying – speaks for itself. The results seem to have worked well for this young rapper, who has sung, written the lyrics, and composed the music for “Out Of Control”, which is backed by the effective usage of keyboards, resulting in the musician becoming a kind of rap-synth wizard of Oz.

Listen and Download the songs here: http://www.artistaloud.com/OZOutOfControl

– Review by PARAG KAMANI.

 

 

Vaada Karo – Prajoth D’Sa featuring Adil Nadaf

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Prajoth D’Sa is an Udipi-born, Bangalore-based musician who lives a dual life shuffling between a profession [as a software engineer] and passion [music]. Although “Vaada Karo” has no distinctive style, it matters little on this song that is perfectly attuned to the essentials of pop sounds.  However, “Vaada Karo” still finds occasional flashes of ingenuity like the introduction of violin and the usage of flute that prove that Prajoth is a far more interesting musician when venturing outside a middle of the road comfort zone. Nevertheless, nothing changes the fact that “Vaada Karo” is a surprisingly enjoyable slice of organic pop.

Listen and Download the songs here: http://www.artistaloud.com/prajothdsafeatadilnadaf

– Review by PARAG KAMANI.

Love To Hate You – Grey Area

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Grey Area is a band based in Mumbai, consisting of Elton (bass), Sanchit (drums), Floyd (vocals, lead guitar), and Nestor (rhythm guitar). Apparently, the quartet’s music is inspired by first-hand experiences and, on “Love To Hate You”, Grey Area provide a hook-filled, smoothly strung simple rock song containing effective rhythm and lead guitar parts. Together, they provide energy to the song’s inherent grace and power of a constant shift between mid to quick tempos, offering up a hearty dose of the group’s obvious taste and, with it, injecting the indie movement with a shot of much-needed rock grit.

Listen and Download the songs here: http://www.artistaloud.com/greyarea

– Review by PARAG KAMANI.

Prison Cell – Subhrojyoti

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From Pune arrives singer-songwriter Subhrojyoti, who tackles reggae this time around on “Prison Cell”. While Subhrojyoti’s vocals often stretch beyond his bandwidth, exposing obvious limitations, even the smooth sounds, which are certainly rock-oriented, often appear too polished and slick. Paradoxically, Subhrojyoti’s rock-inflected reggae still remains bouncy and cheerful, resulting in parts of “Prison Cell” that might just remind listeners of a Jah-flavoured version attempt at vintage Santana, replete with multiple lyrical guitar breaks. But, then again, it is precisely these pan-cultural elements that set “Prison Cell” apart and provide a truly intriguing twist on reggae.

Listen and Download the songs here: http://www.artistaloud.com/subhrojyoti

– Review by PARAG KAMANI.

Teri Meri Raah [Unplugged] – Vijayaa Shanker

There was a time when “unplugged” spawned a new sound and, with it, a new audience too. Then it went commercial to the extent that it began to be utilised by aging rockers to revive their glorious past by providing consumers old wine in new bottles. Unplugged was soon rendered passé. However, on this occasion, singer Vijayaa Shanker revives the “original” concept of ‘unplugged’, if one can call it such, by revisiting a song from her past, ‘Teri Meri Raah’, and going primarily acoustic with it. With the sounds of sarangi entering and exiting the track, as required, it merely provides further enhancement to the ballad composed by the incredibly talented Leslie Lewis who, as the music director too, knows precisely how best to support vocalist Vijayaa Shanker’s marvellous voice. Leslie’s production retains its usual sharpness, the instrument playing continues to bite, and Vijaaya’s vocals are deservedly up in the mix, sounding perfectly engaged. Certainly, with this rendition of ‘Teri Meri Raah’, “unplugged” is a welcome return to nostalgia!

Listen and Download the songs here: http://www.artistaloud.com/VijayaaShanker

– Review by PARAG KAMANI.

Lonamati – Krosswindz

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Born in 1990, Krosswindz is a Kolkata-based band that primarily consists of the wife-husband duo of Chandrani [vocals, lyrics] and Vikramjit “Tuki” Banerjee [music composer, producer, guitarist], who have been churning out recordings since 1993. While they have varied their styles through the years, at the musical heart of the matter is what the band refers to as the urbanisation of Bengal’s folk music and, since then, they have developed a style all of their own. Keeping that in mind, “Lonamati” – which is sung in their mother tongue – shows a strong desire to experiment by guitarist Vikramjit and push the boundaries of a predominantly acoustic format, displaying progressive compositional leanings during the last minute of the song that takes a surprising tangent in tempo from its beginnings, supported throughout by Chandrani’s astute vocals. “Lonamati” is one of the lead tracks of Krosswindz’ ‘Jhora Palok’ album.

 

Listen and Download the songs here: http://www.artistaloud.com/krosswindz

– Review by PARAG KAMANI.

Saath – Franky Vij [featuring Momo Gangte]

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Franky Vij was born in ‘90s in New Delhi, and appears to have got his rock roots right. Soft-rock is his forte on “Saath” and, while it betrays overt influences on this mellow track, it nevertheless triumphs due to a competent debut production, Franky’s enthusiasm, and the overall flavour of enjoyable pop music. For those who appreciate potential talent [the marvellous guitaring prior to the song’s end is another revelation], “Saath” spells success.

 

Listen and Download the songs here: http://www.artistaloud.com/frankyvij

– Review by PARAG KAMANI.

Main Jise Odhtaa – Alap Desai

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From a family of singing parents Hema and Ashit Desai arrives son Alap who learnt tabla but decided to pursue another musical vocation in vocals. While ghazal traditions are closely tied on “Main Jise Odhtaa”, both historically and in contemporary sounds with the usage of keyboards and guitar [courtesy Soumya Seal], but the sounds from the past are not ignored as the piercing sound of flute from Pandit Ronu Mazumdar livens up this mid-tempo tune to wonderful effect. “Main Jise Odhtaa” is generally an enjoyable song for newcomers and the initiated alike, without being exceptional, as the lyrics from Dushyant Kumar are kept simple on a pleasant ghazal debut from Alap Desai.

 

Listen and Download the songs here: http://www.artistaloud.com/alapdesai

– Review by PARAG KAMANI.

Moriya – Rajnigandha Shekhawat

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With a Master’s degree in Hindustani music, Rajnigandha Shekhawat is an artiste that has origins in Rajasthani aristocracy backed by her interest in singing that commenced during school days. Not willing to rest on the laurels of her early days or – for that matter –  on her academics, Rajnigandha pursues her passion for musical ethnicity on “Moriya”. With largely contemporary keyboard instrumentation that contains more than a fair bit of influences from Enigma’s “Sadeness [part I]”, the German new age musical project formed in 1990 by Michael Cretu. But the Indian influences are the key differentiator as the monotones of electronic sounds receive a welcome break with a guitar interlude, as Rajnigandha’s high pitched voice is well conversed with the requirements of “Moriya”.

 

Listen and Download the songs here: http://www.artistaloud.com/RajnigandhaShekhawat

– Review by PARAG KAMANI.