Swarathma is a talented group of musicians, just thinking about whom brings an explosion of colors in one’s head – not just because of the colourful dresses they don, not even because of the showmanship, the on-stage gimmickry or the props. These colours are of traditional art assimilated in an arrangement of largely western instruments, and the flamboyance with which the band rebukes the dishonest, mocks the ludicrous, and alleviates suffering through their honest rendition of songs that describe the world as they see it.

Their second album, Topiwalleh, is an experience where every word – spoken or sung, every pulse, beat, and measure, is a rush of colours of contrasting human emotions. Your senses are exposed to the entire spectrum in less than 55 minutes, if you listen closely. The melody is almost never melancholic, although when it’s dark, it’s ominous.

This album brought with it not just great music, but a lot of creativity in the album promotions too! Right from the colourful topis, the vibrant album cover, to running interesting contests on Facebook, and the launch followed by a ‘Restless Tour’ that took them to many cities over a period of one month, the band has done a fabulous job of promoting their new album.

Swarathma has six members: Vasu Dixit (vocals, rhythm guitar), Pavan Kumar KJ (percussion, backing vocals), Montry Manuel (drums), Varun Murali (lead guitar), Sanjeev Nayak (violin) and Jishnu Dasgupta (bass guitar, backing vocals), and for the sound that is more refined, all six members unequivocally acknowledge Loy Mendonsa (from the Shankar-Ehsan-Loy trio) who has co-produced this album.

One might as well call the band Swarathma 2.0, because of two noticeable things– one, a paradigm shift in the ‘sound’ of a recorded album, and two, a concept album with many societal messages being delivered within a span of 10 tracks. For the message to be heard and the outreach to be as vast as the problems addressed and solutions needed, their language of choice is Hindi, although they have sung in Kannada on two of the tracks.

Topiwalleh’ has an effervescent, Rastafarian reggae rhythm, a violin that can admiringly be called the second vocalist for the track, a laid-back 40-second guitar solo and the superb backing vocals. The lyrics take a dig at everything that’s wrong in the current political circles. There are many tongue-in-cheek references and no-holds-barred statements that the artists have taken the liberty to make on this track.

‘Koorane’, my favorite track from the album, starts with the sounds that we relate to crying of wolves on a full-moon night. Varun Murali finds a fit to display the rock in his guitar, which is alarmingly close to ‘Roadhouse Blues’ by The Doors. The song seems to draw a metaphor – the mention of a rare animal Koorane being hunted by the hunters (human or otherwise). Think capitalism, consumerism, how the society is fascinated by television and advertisements, while disrobing itself of tradition and a sense of judgment, hypnotized by the domineering supremacy of advertising duplicity.

‘Rishton Ka Raasta’ is pleasing, and contemplative, with an intention that’s driven straight to the heart by the expressive violin (the tone sounding almost like it’s a Saarangi) that opens this song which is about broken relations and the willingness to mend fences. For me, it delivers the most powerful message in the entire album.

‘Ghum’ is characterized by a sense of despair, urgency, and hopelessness, made apparent within the first 90 seconds of the song. The mood remains largely that, only you’d have to find an interview where the band mentions what this song is about. This is their voice against child sexual abuse, and is the gloomiest of all tracks on the album.

‘Naane Dari’ starts with a superb guitar solo but everything else plays second fiddle to the violin and to the terrific lyrics. ‘Naane Daari’ (I am my own way) talks about hope and leaving the past behind.

‘Aaj Ki Taaza Fikar’ may confuse you with the way it begins, if you ever used to trip on ‘Dil Chahta Hai’ OST (think ‘Jaane Kyun’) – and perhaps thank Loy Mendonsa? The highlight of this track is the juicy potpourri of all the overused or hyped snippets on the television (‘Sannate ko cheerti hui sansani’ and the like). It lands a sucker-punch on the sensationalism as created by the media.

‘Mukhote’ has got a fragrant, violin-drenched overture. This is a song about the two-facedness in human relations, the drumming stands out and is most imaginative among all tracks on the album.

‘Duur Kinara’, featuring Shubha Mudgal, has everything that is being and has been talked about already. Shubha’s vivacious vocals work perfectly with Vasu’s high-pitched recital of the Kannada lines on this track about separation from loved ones and the desire to unite, and about tales of a far-away land.

‘Yeshu Allah aur Krishna’ is where the arrangement goes back to reggae for most part, the violin speaks as if reinforcing the spoken words, and the vocals are dramatic and appealing. The song speaks about religious evangelists and communalism, but unless you are a in a mood to complain about the issue really, you might just end up dancing along with this one as well.

On a splendid album, where nine songs talk about one powerful subject each, ‘Khul Ja Re’ is one song that apathetically speaks of optimism with adolescent lyrics and ordinary singing. For being a keepsake from the band’s past, ‘Khul Ja Re’ is forgivable.

All said and done, social issues and worldly worries notwithstanding, Topiwalleh is a fun album. The sheer energy that makes the audience sway during their live shows is not missing on this record. Though the lyrics may seem juvenile here and there, the maturity that’s apparent for most part of the album compensates for it. The lead guitar has got to find a voice by bringing in more tones and risk-taking. As far as the percussion and violin are concerned, I would not want to change a thing. For the vocals though, my only sour point remains the habit of throwing the last note (for instance – at 1:29 mark in ‘Koorane’).

Swarathma has already started working on their third album and until that is out, buying a digital copy of Topiwalleh and listening to it is only the second best choice. The best choice is to land up at a Swarathma gig, and treat your senses to the musical mixture of colors, sights and sounds.