Sonor that is disrobing and writing that is wrapped in a translucent membrane of mystery, on his third album, Rounak Maiti has let the listener come closest to his soul. Wasting no time after his sophomore album ‘Waiting On The Come Down’, Rounak immediately started work on a new bunch of songs that would later be identified as his third full length offering. His previous album which centred around a shoe gaze palette, highlights an expansive ambient approach that’s relatively pristine, shiny and light. In comparison, ‘Brute Fact/Home Truths’ continues to take on the shoe gaze identity but is lent a warm, heavy and a tastefully muddy perspective.
The opening of the album is grand with ‘Scary Season’ featuring reversed electric and fluttering acoustic guitars and sumptuous synths co-produced by Siddhant Vetekar. Rounak’s delivery immediately draws you in and is palpably emotional. His voice has an intentional and stark presence that remains a crucial detail for the whole album. ‘Self Discipline’, the second track goes hard and already the album starts feeling populated. This track is also the most the different of the bunch in terms of palette, having a more driving electronic focus, carried by massive synths and powerful drums. It would’ve been interesting to see this track placed later down the order. ‘Phantom Vibration Syndrome’ calls back to a more familiar Rounak Maiti but far more fleshed out. It is here we listen to how deeply Rounak has imbibed American songwriting and auricular tendencies. The track features a sound that reminds me of Big Cities and its dreams tucked away in dark corners.
At number four we get ‘Learnt My Lesson’ co-written by Sijya and sung by singer-songwriter Karshni who fits in the song like a hand in a glove. Texturally, dynamically and in terms of delivery Karshni compliments Rounak’s sensibilities all the while acknowledging how Sijya has imagined this song-who compliments Rounak with her recognisably repeating chants. Their duet is refreshing to hear not just because it’s an almost forgotten art, but, because it feels unforced. At every point they are completely synced, taking their time building into their cyclical melodies. ‘A Thorn In Your Side’ is a radiant interlude captured inside a globule where it’s always pleasantly sunny. Even though it has a significantly shorter run time than the other songs, it’s moments like these that give away the effort and thought that has gone into this project. A moment of respite from the album yet gripping like in an interval when you’re in the line for popcorn but still locked in for what’s to come.
‘Hope U Do’ re-energises post interlude. A painfully triumphant song featuring a belting Rounak, who in this album-and this song especially-presents himself as a much more extroverted singer compared to his last. The song also features a lovely lead synth that is childlike and contrasts the track’s melancholic core. ‘Self Medicate’ , the juiced out garage pop banger featuring Shantanu Pandit follows up next. Presenting sweet vocal ideas expressed with a gritty outer shell, the track in a way perfectly captures the essence of the album-internal but external. Shantanu’s verse on this fits the vibe really well, while still being stylistically singular. It’s also worth noting that this album is the fist time Rounak has collaborated with other artists. What’s commendable is his choice of collaborators and also his ability to give them space all the while retaining the essence of his original ideas. The song is the most grunge-y of the lot and also brandishes a fearlessness that’s expressed chaotically through the instrumental.
‘Unworried’ is the second instrumental on the album and even though there’s no need I’d like to read into why this track was placed specifically after ‘Self Medicate’. Apart from the song serving us a well deserved hazy release, it’s placement suggests a curious subtext? Like the relief after medication? The song is tangential in the role it plays. The kaleidoscopic instrumentation is carefree and light which sets us up beautifully for possibly my favourite track on the album. ‘Blinding Light America’ the penultimate track, puts the spotlight on Rounak’s voice, which speaks the truth. I love the way the vocals have been structured, dramatising little observations which is very reminiscent of the 50s. The violins played by David De Menezes further accentuates the naked vulnerability of the song, which possesses a strong cinematic quality and is a lyrical montage of memories.
This brings us to the final song ‘2x Playback Speed’ which funnily enough sounds like a beginning. Wielding a lush instrumental led by a crystal clear acoustic guitar, the song is racing towards the finish line. But as it does the song becomes almost aware, that it’s coming to an end and that there is nothing that follows it except for what autoplay puts on next. The ending is resolute, composed and un-frightened. It goes gently into the silence.
With this album Rounak has outdone himself. Through the whole thing his voice possesses a desperation, pain and outwardness that I can’t hear in his previous albums. His soundscapes are warmer, richer and bring such a deep grit to all his songs. Even his collaborations are genuine and not just there as gimmicks. All the artists have contributed in such an original and meaningful way. Compositionally the songs feel very defined and memorable. ‘Brute Fact/Home Truths’ is probably some of the best indie music has to offer this year and maybe even longer. It is rare to hear an album that has been written, produced and executed to such a crisp detail. My genuine hope is when musicians listen to this they don’t immediately think of templatising this style. Instead take a moment, bathe in the sonics and just listen. It’s so good.
Photographs captured by Annette Jacob
Listen to ‘Brute Fact/Home Truths’ on
