Nitin Sawhney
Prophesy

THE REVIEW

A record to rediscover for the very talented multi-instrumentalist with English and Indian origins, who at the dawn of the new millennium (we're in 2001) narrated the anxieties of a society cheerfully going off the rails in a true concept album. Prophesy is a record that openly criticizes the side effects of technology in our lives, yet curiously makes extensive use of technological resources to express itself, a paradox that in a way defines its charm. In full artist style, we witness a wild fusion of genres, drawing from Indian musical culture to trip-hop, even passing through flamenco (!). There are neither cultural nor stylistic barriers in Nitin Sawhney's universe, and the album, despite the years, always feels fresh, innovative, and light-years ahead of today's electronic music albums.

The album opens with the soulful atmosphere of Sunset, a steady beat, exotic chorus, strings, and hinted tablas define the fusion approach of the album and a fundamentally pop and sophisticated track, very pleasant, where Nothing casts a bit of shadow by openly citing Massive Attack, we're indeed in the territory of trip-hop, with an even closer nod to Teardrop. However, the track manages to be original enough to have a distinct personality, and it will also be revisited later in the album. Acquired Dreams is where Nitin starts getting serious; abandoning singing, the artist indulges in an instrumental piece that is a real journey. The choirs are limited to some vocal samples, while the arrangement marries Indian musical atmospheres with variable rhythms; the track quickly unfolds into almost jungle architecture, after a breathtaking climax of strings and flutes, we witness a further mutation, with a bass solo that seems to simply arrive from another album, certainly one of the best parts of Prophesy. Moonrise continues with surprises, taking us into flamenco territory and the seductive voice of Smoke City's Nina Miranda, we are probably at the pinnacle of stylistic fusions that the album daringly juxtaposes.

Street Guru Part 1 and 2 are surprising experiments by Sawhney functional to the concept nature of the album, they are two vocal extracts, seemingly recorded during a dialogue between Sawhney and a taxi driver, extremely suggestive. The narrative voice addresses the listener by examining the obsession with technology, productivity, impatience, and a growing increase in rudeness, all subjects of burning topicality, ending with the unsettling prospect of a revolt against technology. The title couldn't be more fitting. Breathing Light is one of Sawhney's most known tracks, which in this case holds more value as a single to attract the album's listening, but remains consistent overall: the voice of Nelson Mandela introduces dreamy atmospheres, with a piano line that represents a real backbone, repeated throughout the piece with strings, flutes, and jungle-drum and bass rhythms. Ripping Out Tears even ventures into hip hop and is the toughest moment, with abrasive vocal lines against the American dream, curious is the choice of a female vocalist for interpreting a track that might not look out of place on a Public Enemy playlist. Perhaps this is the least convincing episode of the album, which seems to move more gracefully when dealing with sophisticated and melodic atmospheres, but the desire and courage to venture into more challenging territories is commendable.

In short, a highly recommended album, fascinating and relevant despite the years since its release, certainly an important piece in understanding the skill of this musician.