Anbenum Peruvali
Let me start with a candid admission.
I don’t consider myself particularly religious or spiritual. Therefore, my familiarity with Vallalar’s (Ramalinga Adigal) work is primarily through a literary lens. Raised in a family that holds a blend of religious sentiment and a deep appreciation for Tamil literature, it’s no surprise that I am familiar with Vallalar’s work to some extent.
Thus, when Sanjay Subrahmanyan unveiled his latest album, “Anbenum Peruvali,” I initially perceived it as another honorobale endeavor by Sanjay in his ongoing mission to elevate Tamil songs within the Carnatic music sphere.
Then I saw the documentary the team released. The passion of the production team behind this album (Onemai Foundation) caught my attention first. Then learning about both Sanjay Subrahmanyan’s and Sean Roldan’s involvement with the project and their musical vision for the album combined with a few recording sessions that I got to witness in the video, totally blew my mind.
At the outset, I am afraid I would be doing gross injustice to the creators if I try to categorize this album. Maybe I should not try to and perhaps no one should try to box this album. The album falls under a broad genre called “Global Experimental” and I will leave it at that.
The album has six songs:
Orumaiyudan
Ithu Nalla Tharunam
Anjathe Nenjam
Arutperum Jothi
Kallarkkum
Vennila
Concept albums can be a risky proposition. Sean Roldan skillfully navigates the realm of concept albums with Anbenum Peruvali, harnessing its restrictive scope to great effect. I say restrictive only because working with a body of work like Thiruvarutpa essentially means one does not get to expand his or her musical imagination as much. Journeying through a landscape of heavy Tamil literature and verses that are not your typical in-your-face devotional stereotypes, Sean embraces a spectrum of exhilarating emotions while confronting the specter of love and peace that are the underlying message in all Vallalar’s poems.
Sean Roldan chooses to predominantly stick with the tropes of Rock music backdrop for most songs except for Vennila, where he brings out the Jazz composer in him very effectively. The album’s vibrant and diverse sound renders its conceptual underpinning almost superfluous, and I don’t say that in any negative manner. Every song has a very catchy intro — guitar intro to be specific. Be it the more energetic Ini Nalla Tharunam intro or the sugary pop indulgence that Sean treats the Anjathe Nenje intro with or the lovely bass intro followed by Sanjay’s humming for Orumaiyudan, Sean’s bold creativity serves to highlight the depth of his musical prowess and Sanjay Subrahmanyam’s sharp lyrical finesse. I really do not have to highlight what a singing giant Sanjay is and his powerful voice brings the expected authority in many places, where the words and their intended meanings pierce your ears and minds, breaking free from the guitar riffs.
Although I do not know how much creative liberty the makers have taken in order to tailor Vallalar’s words to suit the meter and the rhythm of Sean’s musical structure, one thing is for sure. This album charts a new trail by tapping into familiar sounds of Rock and Roll music and weaving them into a Tamil narrative that strikes all the right emotional chords.
You can listen to the album here:
