Frostcraft (In The
Red): For a debut
track, In The Red
is exceedingly
adequate. The band
describes itself as
playing hardcore/
alternative rock,
but the semantics
of defining
genre has become quite useless when it comes to
identifying qualifying music. What they play is
interesting, their music emphasizing ragged riffs
on a foundation of clean, unvarnished bass.
Singing about a cruel world collapsing onto you can be
depressingly predictable, but Frostcraft does enough to hold
your attention. There is little that hasn’t been heard before,
but you listen to it with the quiet satisfaction of treading
all-too-known roads. There is no ominosity in describing a
broken mind, but you can hear them giggle at the absurdity
of it all. A nihilist viewer/listener might appreciate that.
The video also wades into the waters of predictability.
Black and white imagery of an unconvincing woman
trying to act out tired representations of terror, despair
and ennui. The energetic gyrations of the band is much
more pleasing to watch, because they actually seem to care
about acting out the point they want to make visually.
A first listen is recommended because Frostcraft
seems authentic, and do their utmost to express
ideas that they seem to take seriously. You will be
entertained and might be rendered curious about their
upcoming album, of which this track is a sample.
Polar Drift (Eashwar Subramanian):
The beauty of certain things cannot
be contested. You need no analysis,
no pensive rumination or jubilant
investigation to conclude that it has
aesthetic, artistic and sentimental
value. It just does, and it's the most
obvious thing in the world.
Subramanian’s album explores
silence as adequately as it plays
with sound. Every track is skewed towards fermenting a
meditative mindset, though the emotions being hinted at
are not always in the “peace and equanimity” family.
The two halves are neatly shelved into serene and ominous.
The first three songs Verdant Nature, Silent Brook and Gentle
Chimes careen about with whisperings of reassurance. They
paint worlds with the elusive ethos of still water, impossibly
alluring in their quiet temperance. Pause upon these and you
might just be drawn into an unfamiliar, heart-based wellness.
You feel good, because they are good feelings made into sound.
The soundscape then takes a gentle yet noticeable turn
towards melancholia, edging but not touching despair.
Lost Notes, Barren Soul and Broken Mirrors present
facets of everyday human tragedy. Instead of resonating as
thunderous revelations of agony, they choose to resemble the
hidden sighs that escape you when the world hangs heavy
upon you and no one notices the cracks in your voice.
Polar Drift has very little to break down. It is uncomplicated,
and offers refuge for feeling you have not had the time
or occasion to express, perhaps in a while. To hear
oneself being echoed in realms of incandescent sound
is, on most days, a gift we cannot afford to overlook.
Dil Mera (TAPAS): One in a while, it is worthwhile to step into simplicity. Nothing as simple as a
love ballad which follows all the rules of the mainstream, but manages to be pleasant nonetheless.
Take your time with this one, suspend your analytical mind and inhale the
unreal metaphors that frequently go with declarations of that ever-maddening
sentiment. Musically, the song covers all signatures of a rock ballad, and while
there is nothing new on offer, there is enough for momentary enchantment.
Do not bother with Dil Mera if you are looking for visionary music, but come to it when you
need to expel cynicism and delude yourself with old platitudes of “Love is all you need”.
The
Score Magazine
highonscore.com
23