The concept is excellent: a 10-year odyssey travelling the world recording sessions with musicians from as far apart as temples in Bhutan to street corners in Tokyo. Sadly, the result is somewhat incoherent and at times even bland. Tarun Nayar is clearly most comfortable with traditional Indian music and the opening and closing tracks “Rising Up” and “Water” are rich, deep and evocative. But the thread is lost in between, and too easily replaced with uninspiring dance music. Exceptions to this are the conversation between the artist and his grandmother about the creation of the universe on “Mamaji,” and the beautiful flute and harp on “Innocence.”
[etRating value=“ 3”]
[etRating value=“ 3”]
