The Score Magazine - Archive April 2015 issue! | Page 45

Shreya Bose
I Am Alone
(Soul Inclination)
The instrumental structure is quite amiable, splicing aggression with relentless smears of
instantly engaging rhythm. The guitar work is more than competent and sombre in the way it
forges the song's central dynamic. Drums and bass do not totter an inch out-of-place, solidifying
the genre-specific blast beats into a cohesive unit. The lyrics, however, are a bit on the tawdry
side ( Somebody rescue me/ I need to live again ). Puneet's voice trips into melodic flaws but
quickly recovers. Conclusively, it's not a bad song, and certainly warrants more expansive
reception.
Tight composition, a treat for puritan rock connoisseurs.
Riffs you've heard before.
Exit Strategy
(Sandunes)
Sanaya Ardeshir lathers this song with crunched, slimmed down bass flickers, while inserting
pared down firecrackeresque clicks with a rich drone that would make Bass Communion proud.
The sound balloons up to be spliced with helium-hazed voices and a spacey synth progression.
Sandunes creates a tonal collective that could induce the effects of hallucinogens on particularly
receptive sensibilities, and for the rest of us, it has an isolating effect ; trapping you into a breezy
bubble of blips and swishes that conceal their own intensity. The music video testifies to Nikunj
Patel's visionary tastes, and feature animation done right. Smooth colours, soft lines and a
touching story of love wishes coming true. By the end of the song, one experiences a very specific
sense of artistic completion amid all the abstract teases that Sandunes likes to use as part of her
palate
Untiring novelty.
Nothing.
Komorebi
(Tarana Marwah)
Japanese anime often stylizes an enduring loneliness, broken through by others, but never truly
lost. Instead, it adds to a character's natural complexity. When Marwah takes inspirational
cues from anime and Japanese musical, she doesn't miss out on the same. Miyazaki's Dream
glows with a conceptual warmth that includes precise jabs of sound plopping like rain on sheets
of quiet but firm refrains. Flight is just as precise in its melodic placement, but the warmth is
replaced by a more seductive lilt. Cracked rhythms entwine around each other in metered, easily
breathing spools and scattered, punchy beats. Rain is nostalgia, awe and restful contemplation
wrapped into the most visually stimulating three minutes on the EP. Marwah uses fewer sounds
to return you to a space in which you are comforted by your own company. Kyoto Breeze could
embellish a Tsubasa Chronicle episode; what with Marwah's piercingly practised vocals and a
steely tones that wallow off into crinkled beats that match the catchy with the uncommon
Graphically positioned sounds that stokes the imagination.
Too short.
Recommended: Kyoto Breeze, Miyazaki's Dream.
The
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