Chaar Diwaari is having one of the most interesting runs in the indie scene. With this release he has ventured on an arc grand in both scope and storyline.
Just look at the range of collaborators across genres spanning stars such as Sanjith Hegde, Sonu Nigam, Encore ABJ, Indian Ocean and Gini to understand the scale.
“My intention was never to create a multi-genre EP. My primary goal was simply to tell a story. While building that narrative, I used whatever musical elements and collaborators felt right. The process naturally led the project to span across different genres.” Chaar Diwaari reveals.
Banda Kaam Ka is a strong single with a hook that lingers long after release. The first half of the song is just fun, but Sanjith’s verse takes it to a different level. That’s a more divine take on love.
One of Chaar Diwaari’s greatest assets has been that he utilizes his collaborations extremely well.
“The collaboration with Sonu Nigam happened through Vishal Dadlani. He is incredibly effortless in the way he works and is also very quick in the studio. I had already written the entire song before sharing it. I had tried a few other singers but once I heard Sonu Sir’s voice it just felt like the perfect fit.” says Diwaari.
Tu Kyu Na Mujhe Dekhti is my favourite on the EP. The vocals are nonchalant, the production is layered, the melody is haunting.
“The easiest song to compose was Tu Kyu Na Mujhe Dekhti. It felt extremely natural, probably the most organic song I’ve made in a long time. Shamaa Interlude also came to me very naturally.” says Diwaari.
Shamaa Interlude is the turning point in the tale of the EP where the moth submits to fire. Just before Encore ABJ’s verse on Chaand comes a musing from Osho on being burnt in love. This is an important allegory.
When asked if there are any plans for a Seedhe Maut collaboration in the future, Diwaari says. “I’d love that. We haven’t created anything together yet, but I’m a big fan of Seedhe Maut. Hopefully, sometime in the future we’ll get the chance to work together.”
The EP finale is a stellar song fit for climax of an Anurag Kashyap banger. The collaborators fuse together so perfectly that the presence of the song is felt long after it is over.
“I wrote the first draft of Aashiqana at Gini’s house while sitting at her piano. At the time, the idea was to create it as a waltz. But as the EP evolved, the song slowly transformed into something more celebratory because that felt more fitting for the story. I wanted the project to end on a celebratory note after the moth’s death much like how tragic love stories like Laila-Majnu are still celebrated. I reworked the entire song with Indian Ocean, giving it a more uplifting and celebratory energy.”
Every song is connected in the larger narrative of the EP.
‘Banda Kaam Ka is where the attraction starts. Iss Tarah is where the attraction turns into love. Tu Kyu Na Mujhe Dekhti is where the attraction turns fatal & the desire to be loved back appears. Shamaa Interlude is where the desire to be loved back turns intense and becomes self-destructive. Chaand is where the self-destructive desire leads to total surrender and Parvana dies. Aashiqana is the climatic celebration of an immortal unrequited love affair.
“I hope that when I look back at Parvana, I still feel proud of it because right now, I’m very happy with the project. At the same time, I also feel there’s a lot more potential within me that I haven’t explored yet. There’s still so much more I want to experiment with in music and visuals. So hopefully, in the future I can look back at Parvana and say that I’ve grown into a better artist since.”
This is an artist breaking out into the mainstream while preserving identity and without isolating prior listeners. Like a moth to flame, Chaar Diwaari burns his past selves.
