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 Score Magazine www.thescoremagazine.com 43