Radhika Vekaria isn’t interested in merely entertaining listeners. However, she does that. Marvelously. Evidence of her entertainment talents abounds throughout the nine songs on her latest release Warriors of Light. Vekaria doesn’t stop there. Her songwriting and vocal art reach far beyond escapism for something akin to purification. It is a purification for both the listener and the artist. The cathartic power of Warriors of Light’s nine compositions invokes spirituality in a manner that isn’t doctrinal, eschews cliched religious leanings, and instead aspires to transformation. Her journey is intensely personal while resounding with timeless universal truths that every listener can appreciate. If they approach her work with an open heart.
BANDCAMP: https://radhikavekaria.bandcamp.com/album/warriors-of-light
It behooves us to do so. Moreover, it compels. “Asato Ma Sadgamaya (Purification Prayer)” memorably opens Warriors of Light. The low-key musical swell accompanying her voice throughout the piece gives Vekaria an atmospheric vehicle. It focuses our attention on her singing. The Indian-language lyrics prove to not impede understanding. This opener is inward-looking, without question, but invitation colors its introspection. The mood is reverential yet engaging and the warmth exuding from the performance draws us into its web. It’s a dazzling way to begin the album.
“Kali” pivots to a more traditional approach. Vekaria adroitly filters her Indian musical influences through those structures, primarily concerned with the length, and results in an unique “world music” perspective that proves accessible to everyone. Her voice is front and center in the mix. Double-tracking her vocals reinforces the initial mood without ever sounding ostentatious. “Liberate (Maha Mrityunjaya)” boasts the album’s first English-language lyrics. It follows the same structural template defining its two predecessors. It doesn’t sound like it’s retracing her steps but rather approaching the same goals from a different angle. The light atmospherics present throughout the cut are evocative and never heavy-handed.
Vekaria continues invoking understated atmospherics during “Aganitha Tara (The Dance of Countless Stars”). However, it eschews the same strong keyboard presence prevalent during the album’s first songs in favor of an approach led by stringed instruments and percussion. The Indian flavor remains as strong as ever. It’s the first track to feature a guest performer. Max ZT’s contributions seamlessly meld into Vekaria’s vision rather than accompanying it. Keyboards return for the title track. “Warriors of Light (The Call)” relies far more on spoken word vocals. There is a smattering of singing woven into the cut. Vekaria deserves considerable plaudits for incorporating such an approach without ever flirting with pretentiousness.
The finale “Lokah Samastah Sukhino Bhavantu (Peace Prayer)” provides Warriors of Light with a brief but evocative closer. Minimalist musical accompaniment offers listeners an appropriate amount of color for a last affecting vocal performance that summons mystery and magic in equal measure. The emotional heft present throughout the album’s nine recordings defies language and will leave all but the hardest hearts impressed. Radhika Vekaria’s Warriors of Light is her finest recording thus far, a coherent and spellbinding collection, and solidifies her standing as one of the most compelling performers active today.
Garth Thomas