Indian prog is not something you come across every day; so, when the opportunity knocks to check out how the progressive aesthetic is filtered through the rich musical framework of India, it is imperative to take it. Hailing from the Bangalore music scene, RAINBURN is a progressive four-piece that draws from the Western prog tradition, yet adds a touch of eclectic Indian flavor to the mix. Their independently released sophomore full-length “Vignettes” is due out November 24th, 2023, and it is a collection of observations on life in a metropolis, with the events set over the course of a hypothetical, single day. The concept is obviously reminiscent of both the modernist literary classic, Ulysses, by James Joyce, and the haunting closer, “A Day in the Life,” on the epochal album classic “Sgt. Pepper’s Lonely Hearts Club Band” by THE BEATLES. Musically, this endeavor resonates with the vintage air of the pioneering prog-metal acts such as FATES WARNING and QUEENSRYCHE. To be honest, the choice of style was not perhaps what I expected – if the adjective, ”Indian,” is dropped with respect to music, it is almost like an automation that I start expecting wild, rapid-fire ragas in mind-bending meters with microtonal leanings or something. The Indian flavor is served a tad more moderately here.
The album opens with “Identity,” a staccato riffer that is layered with markedly 1980s-tinted synth and guitar textures. It’s been a while since the last time I bumped into these sorts of sonic leanings even in the demo crates. When it comes to the progressive approach, the Western metal paradigm has been all about raw brutality and polyrhythms for Devil knows how long, even among the atmospheric school of thought. Here, these proggers seem to have developed an affinity to the progressively tinged metal and hard-rock sound of 1987.
Next up, “Listen Through the Noise” gears up on the progressive, off-kilter grooves, kicking off with a somewhat cubistic, quintuple riff. Later on, the song alternates between different meters, triple and quintuple most notably. Depending on the musical diet you have grown up with, the vibe could be either that of the early 1980s KING CRIMSON or Hindustani music, obviously. This is the first occasion where you can sense slight Indian influences shining through the music.
The quintuple riffing intensifies a good notch on “Outrage-Seeking Generation Z Brain.” Then again, if I’m not entirely mistaken, the cyclically repeating patterns of both the Carnatic and Hindustani music of India are jam-packed with all sorts of quintuple cycles. Here, the main riff resonates with a somewhat RUSH-like aura. Vocalist Vats Lyengar‘s signature belting, however, does sound nowhere near as helium-induced as Geddy Lee‘s high-pitched singing. Apart from the off-kilter riffing, the song traverses waist-deep in the late-1980s hard-rock realm.
“Love Probably,” in turn, nods toward FATES WARNING‘s pioneering work in the prog-metal scene. Mostly, the song gallops forward in common time, although the riffs are nicely syncopated to keep things progressive! Then, the coda switches to a slightly more progressive meter – and the opening guitar arpeggios swing to and fro rather nicely! I could have spent a little longer listening to them, if only to figure out the meter…
Perhaps unexpectedly, “Siesta” is an instrumental guitar interlude, which obviously is way too short! There is something rather interesting cooking – and then, the song is just abruptly cut short. The guitar arpeggios have a somewhat math-rock-like air about them – and the tone is nothing short of pristine! Maybe it’s just me, but if you’re sandwiching an instrumental like this between two riffers, you’d better make it long enough!
The next couple of tracks offer little by way of novelty; first up, “Bad Cop – Bad Cop” is a hurried riffathon with an atmospheric break and, probably because the main riff is served with a warp-speed tempo, not all of the proggy twists and turn really serve the song. That said, the song drops some nice riffs here and there, so with a little bit more disciplined production this could still be a banger! Next, “False Positive” comes off as yet another RUSH homage, this time of a bit more atmospheric variety. Halfway into the song, the transition from the mellow verse to the biting riffs works particularly well. I’d say, of the album’s two RUSH flashbacks, this is the more banging one. Lyengar‘s somewhat Bryan–Ferry-tinged clean vocals dissolve the RUSH vibe a little. However, the song’s overall arrangement and the soundscapes still nod toward these Canadian prog elders’ 1991 album “Roll the Bones” rather deeply. Then again, why not? It is a banging album!
Just when I thought I had this bunch figured out, they dropped a funky banger with a slapped bassline and all! “Party People” also features saxophone outbursts, courtesy of Derek Serbin. The song steers clear from the prog-metal realm altogether and closer to the fusion-tinted, contemporary urban jazz sound of the independent record label, ECM. Then, closing the album, “Woofs, Purrs and Moos” is an almost yacht-rock-like ballad in septuple meter. Now, this is a song you would never hear on a Western prog-metal album – except maybe as a piss-take on STEELY DAN or something. I mean, not ever. I guess this is where their Indian background shines through – I’ve heard all sorts of ”no-holds-barred” prog endeavors over the years, but to close a distinctly metal-influenced prog offering with some tropicana balladeering is quite a stretch! I cannot really say whether I like the song or not because I am just so blown away by the sheer audacity to pull a stunt like this! Kudos to these guys for having the nerve. I mean, if you have a metalhead friend who boasts about his everything-goes taste in music, just put this closer on and see if there’s any truth in that claim.
So, what do I make of this album? It is interesting to say the very least. As unpolished as it is, the best songs are quite good and the weakest moments aren’t entirely beyond hope – not even the tropicana closer! If I understood correctly, these guys are celebrating their new lineup with this sophomore album, so I’m guessing that, with time, RAINBURN could well become an eclectic prog force to be reckoned with. They definitely have something quite unique simmering in the cooker.
Written by Jani Lehtinen
Tracklist
- Identity
- Listen Through the Noise
- Outrage-Seeking Generation Z Brain
- Love Probably
- Siesta
- Bad Cop/Bad Cop
- False Positive
- Party People
- Woofs, Purrs, and Moos
Lineup
Vats Lyengar – vocals, bass, electric & acoustic guitars, piano on track 9
Saakallya Biswas – electric guitars, backing vocals
Neilroy Miranda – drums, backing vocals
Derek Serbin – tenor, alto & baritone saxophones on track 8
Label
Independent
