In action since around 2012, New Delhi duo Anindo Bose and Pavithra Chari have been quite the prolific songwriters with their signature contemporary-meets-classical sound. Including 2014’s self-titled debut, there are now a total of three albums in just under four years.
Their 2016 album Elements became a sort of benchmark for anyone seeking an evocative melange of Indian classical and contemporary pop, jazz and rock. In their third album Sabar , released via Saavn’s Artist Originals series, there’s a touch of perfection to their contemplative and celebratory tunes. For too many years, we have heard vocalists trying too hard to fit the jazz vocalist mould, but Chari owns it even though it’s not her primary background. Anindo Bose adds smooth-as-ever keyboard lines throughout, propelling the jazz side of things, not too far from his sonic techniques seen with fusion group Advaita.
In Dhadkan’, they present a sort of euphoric mix that’s equally balanced, while ‘Kahaani’ stays vocal-led, Chari longing for love over mellow string-like sections. It’s only by ‘Pathjhad’ that we see a change in mood in a sense, the organ patch and almost hidden psychedelic swirls making them as cinematic as you would like. ‘Samandar’ leads with a driving rhythmic pattern that remains the strongest on the album, while ‘Vaade’ allows for Chari to delve even further in her vocal range, a solid groove locking in from time to time, building into a seriously cinematic outro. ‘Yaad Hai’ leads with a playful vocal hook that guarantees a few repeat listens.
They end on a sombre note with the title track, a little wistful but never listless. To anyone who hasn’t been following Shadow and Light (or even just Bose’s regular work on the production circuit), Sabar sounds like it’s part of the ever-widening universe of Advaita and their other projects, standing strong next to Adi and Suhail’s Culture Code Landscape or Chayan and Smiti’s acoustic-led singles. It’s all worth the sonic treat it promises.
