The waltz-rhythmed European sound in Hridayathin Niramai follows a very tried-and-tested route but composer Govind Menon presents the whole package beautifully, and when it is a combination of accordion and mandolin and violin, it is hard not to fall in love with the song! Very well sung by Vijay Yesudas and Mridula Warrier. Also helping is the lovely video the song came out with a few days back. Something about Arike Pozhiyum makes me think of it as a Rex Vijayan composition, maybe the mandolin. Fabulous song by the way that follows the same rhythm as Hridayathin, though not in that pronounced waltz-y way. The guitars (by Mithun Raju) and mandolin (by Govind) lead the way in the backdrop with the occasional appearance by the clarinet (?), even as Govind sings his heart out.
It did, yes it did resemble the Zooey Deschanel-Joseph Gordon starrer 500 days of Summer, but it has borrowed very little apart from the title idea from the movie. And that could be good and bad news, depending on how you look at it.
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So, when I started working at the Film Studies Center in the Sensory Ethnography Lab in 2006, I did not have a background in film. I had a background and anthropology and music and anthropology of sound but not ethnographic film or any kind of film. So I saw Forest of Bliss at Harvard, which is his film from the mid-late \u201980s shot in Varanasi in Northern India and at first I hated it. I was coming from a background of having studied Indian religions and languages since undergraduate days and done fieldwork there and I thought it was terrible and had an arrogant, colonialist approach. It was from somehow who clearly had no expertise and was representing Varanasi in a way that would be insulting to anyone who loved Varanasi or was from there.
There was also a revelation to Lucien and V\u00E9r\u00E9na when they looked at the GoPros because they didn\u2019t go into the movie they were going to make it that way. That was something they tried along the way and saw the results later in a sort of old-fashioned way. With GoPros you don\u2019t see the images that are recorded. It\u2019s like in the old days of film when you\u2019d record something and then look at it later, and so they\u2019re looking at it later and are like, \u201COkay, I think we have something here, this is interesting.\u201D
Gil Sans\u00F3n: Song, the limits of song, getting close to song, hovering around the idea of song, being in and out of song, hearing a sound that reminds you of a song, imagining a song without delivering one, playing around the signifiers associated with song, messing around with the tenets of being in a rock band, levelling the field between instruments and everything that\u2019s not an instrument. I sense all of this when I listen to this record by the three-piece Maths Balance Volumes. The title clearly implies the memento mori theme that we find in most of the tracks of the album, emphasized by a delivery that\u2019s both proudly indie rock and indebted to the blues, without any purist ethos regarding the form but clearly intent on keeping all the emotional resonances available. The transient nature of the human experience finds expression in everything from the microphone hum, the mid range and the lo-fi ethos of the recording, but the weight of the songs themselves is enough to convey the message. It\u2019s a good call, and one that keeps the music away from the formalism of most blues based investigations of recent years; the feeling of arte povera fits the music like a glove and heightens the impact of the music. 2ff7e9595c
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