Naren's indie round-up/ Aug 2025, Ep 1

BY NARENDRA KUSNUR

aswekeepsearching/ Kyun? (Album)

Label: Self-released 

Rating: ****

After five years, Ahmedabad post-rock band aswekeepsearching are back with a full-length album. That should be great news to those who've heard Khwaab, Zia, Rooh and Sleep, released between 2015 and 2020.

In the absence of founding member and guitarist-keyboardist Shubham Gurung, the new release Kyun? features vocalist-guitarist and co-founder Uddipan Sarmah, bassist Robert Alex and drummer Sambit Chatterjee, with inputs by violinist Ajay Jayanthi.

With 10 songs spread over 48 minutes, Kyun? takes listeners on a heady sonic journey with some marvellous guitar structures and tight drumming. There's a logical flow in the song themes, making it like a concept album. The opener 'Why?' begins with the chants of children asking questions on why certain things happen around us, leading to a trademark guitar coda.

The masterly 'You Left Something' has an innovative percussion start, followed by guitars, bass and violins, with Uddipan singing, 'Khudse naaraaz hoon main, tumse nahin, yeh jaan lo tum, ho koshish mein dooba hoon main, sabse alag fizaaon mein ghum, yeh dil kare hulchul toofaan jaise kabhi kabhi, hai bada mushkil samajh paana kabhi kabhi". 

There is variety, with a flute adorning 'Into The Heart', the English commentary on 'Nature Of Life' and the instrumental pizzazz and theme changes of 'Happiness > God'. There's an absolute beauty in 'The Search', with its lyrics, "Ho ho, baar baar kyon, ho, ho, laute hum yahaan, ho ho, koshish yeh rahe, ho ho, na hum judaa", leading into a stunning guitar, flute and keyboard climax.

The thrash-like guitars of 'Shaayad Bhool Gaye' (which ends with the line "Ghar se hum kyon Chale, kaun hai hum shaayad bhool gaye") and the ambient, keyboard-driven 'Of Unsaid Farewells' provide a marvellous finale. One should hear this music on headphones, at one stretch. Hopefully the band will play it live in the same sequence of the album. Kyun nahin?

Monali Thakur/ Ek Baar Phir

Label: Self-released 

Rating; *** 1/2

Singer Monali Thakur has the big film hits 'Sawaar Loon' in Lootere and 'Moh Moh Ke Dhaage' in Dum Laga Ke Haisha. In the non-film song 'Ek Baar Phir', she sings about how one can hope for another chance, even after heartbreak.

The words have been written in a free-flowing style by Kunaal Vermaa, who ends with the line, "Aaya hai kisi pe yaaron dil, haan ji haan, aa gaya hai dil, ek baar, ek baar phir". Monali has composed the song herself, and interestingly the main melody comes after a spoken commentary in the beginning, where she says, "Har andhere ke baad ujaala hota hai". Keshav Tyohar's production is subtle, letting the singer's voice rise above the arrangements.

The video has been directed by Saurabh Prajapati with Monali. Nothing unusual but goes with the song's mood. It's a good addition to Monali's discography.

iushh feat. Anway Gangawane/ Darbar

Label: Self-released 

Rating: ***

Bengaluru-based producer iushh teams up with singer Anway Gangawane on 'Darbar', a song that blends a classical base with a club vibe. Lyrics are by Sanchi Gangawane, who writes, "Khade darbaar mein laaga yeh raag,  bujhi bagiyan mein saare tan ki aag".

The  video alternates shots between the singer and producer. This song is a total contrast to 'Daud', iushh's earlier collaboration with rapper Slyde, which we featured last year. It's ideal for a nightspot, though it retains the roots.

Kitanu/ Carcasses

Label: Self-released 

Rating: *** 1/2

Delhi band Kitanu has an interesting amalgam of progressive rock and Indian classical elements, played on Rohan Prasanna's sarod. Last year's song 'How The Tables Turn', which also had crisp vocals by Siddhant Sarkar, was evidence of their energy.

Their latest track 'Carcasses' is almost like three songs played in succession, over nearly eight minutes. It begins with the vocal lines, "Heading into all these voices, pleading into all these choices; bleeding, I'll take my chances, fleeting, I'll steal your glances".

There's a tempo change after nearly three minutes, and a change in vocal patterns. The sarod is backed by Omkar Raghupatruni's guitar in the interlude, and harmonies fill the climax. Despite the length, the twists and turns come as pleasant surprises.


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