Papon sounds introspective in Ubhoti aakou, and the song is classic alternative rock all the way. Papon excels with the singing, particularly the falsetto before the antara and the antara as well. The rock flavor is stronger, and instantly, likeable, in Herua baatot, with a particularly punchy percussion layer, fantastic imagination in the interludes and the way the keys straddle Papon’s vocals in both the antaras. Khel turns the album’s focus from moody pieces to a fun sound, complete with Robin’s trumpet and I.D.Rao’s sax fashionably sashaying through the song to complement Papon’s intentionally flamboyant rendition. If Sinaki Osinaaki’s Loko Motive was heartily folksy, the part 2, Eri thoi oha mur sounds like a spunky remix, but, interestingly replacing the former’s electric guitar with Humtoo’s flute for the extended interlude, while retaining the multi-layered vocal ending, with a twist. Jeenti Dutta’s guitar roars in Bohu baat, the album’s most inventive as far as instrumentals go, with the music accentuating the splashy tune. The title song ends the album on a glitzy electronic note, with Papon’s affecting vocals leading the way! Papon new Assamese album is decidedly less folksy, but has all the charm of the man’s familiar and compelling tunes.
Keywords: Notun Puhor, Papon, Angarag Mahanta, 200, #200
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