However, they've used it, you know, in some songs for a moment, but never really dedicated a song to it. In an exclusive interview with Deccan Chronicle, Yashraj Mukhate talks about his new venture and recently released single, 'Rasmalai'.Ĭan you tell us about the inspiration behind this track and what it means to you personally? People usually relate only as a dessert, never thinking of making a song on it. With this release, Yashraj embarks on a new chapter in his career, showcasing his versatility as an artist and his ability to craft music that resonates with the deepest of emotions. He recently started a new venture and unveiled his very first original track, "Rasmalai," presented under his own label, YM Originals. Known for his extraordinary talent in transforming ordinary moments into captivating melodies, Yashraj has become a household name synonymous with creativity in the world of music. Fierce Grace is beautiful in the same way as a stick insect.Yashraj Mukhate, a name that has transcended the boundaries of innovation and musical ingenuity, has captured the hearts of millions across the globe. Surely there were more consonant and ear-pleasing moments from the sessions that produced the albums, but most of those probably ended up on Gold. Jam curation is an underappreciated art ( Teo Macero, Carlos Niño, and Mark Hollis are among its greatest practitioners), and DePlume shows a knack for it here. As monstrous as tracks like “Greek Honey Slick” and “Fall On Flowers” are, they feel less like self-contained compositions than pieces of a larger morass of music only hinted at on Fierce Grace’s 42 minutes. Many of these tracks seem to start in the middle, likely because they were curated by DePlume from the best parts of endless jams and shoot-the-shit sessions. Cellist Hannah Miller imparts a sense of maudlin grandeur to “Fall On Flowers” and “Not Even Sobbing.” Vocalists bring light to this cracked and ragged landscape: Momoko Gill riffs thoughtfully on DePlume’s poetry on “Did You Know,” accompanied by a humming, musing choir of herself, while on the wonderful deconstructed jazz ballad “Fall On Flowers,” a circle of voices coos in mournful unison as DePlume’s saxophone flickers like a votive candle. Hotshot drummer Tom Skinner lays down a serpentine groove on “Greek Honey Slick” that moves like a Chinese dragon, or like those guys struggling to carry the giant snake through the meadow on the cover of Joni Mitchell’s The Hissing of Summer Lawns. The difference is that DePlume has some of the best jazz musicians in the UK behind him. It’s the sort of music people make instinctively, banging on whatever’s handy in pursuit of a common goal, be it communal joy, spiritual ecstasy, or rebellion against the status quo. Come With Fierce Grace aspires to a similar ideal in its composition-a raw, brutal immediacy as reflective of an egoless musical ideal as a drum circle, cacerolazo, or grounation. DePlume mostly plays tenor saxophone, and his most sustained burst of spoken-word inspiration comes at the end of “What Can it Take,” riffing on themes from Gold: being “brazen like a baby,” going “forward in the courage of my love.” DePlume’s music encourages an elemental purity of thought, unclouded by the emotional self-censorship that modern social interactions demand. Most of the album’s expanse is taken up by percussion: drum thwacks, rimshots, clicked sticks, woodblocks, sleigh bells, chimes.
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