Gospel, Paite, Video Cd, Gibeon Digi Records, Uptown Media: These girls quartet from Dorcas veng gave us this secondth volume after their first album Ka Zaideih Aw Va Leeng In in 2009. Of the mean time, they went about to prove their mettle – appearing in albums in other vernacular dialects of home including Zou (Lummei Jamna Gallam Ah), Simte (Taitom Lianboi Simte) and Thodou – becoming one darling of gospel music. Dove Quartet Volume 2 – Ka Tan’ Vualzawlna encourage to celebrate the Love of God in every way of life.
Dove Quartet had their own style which define them well. Featuring 12 tracks in the album, they did grasp their own style which set them apart from other. Talk about their style, it’s “celebration”: the opening title track Ka Tan’ Vualzawlna and the following tracks – Tawldam ing, Kris Ka Hausakna, Aw Lamdang e, Sem In Pang Ni, Gospel, Emmanuel and Halleluiah. A little departing of the style of Hon Ngai Veng, Sian Lem Gel and Hong Lungmuang Sak were redeemable with the energy the quartet had put into them; it’d shown their strength of what four vocals could do. It’s Tawldam Ing, Aw Lamdang e and Halleluiah which easily associated with the quartet defined style. Thangzangam music presentation was lively and synergistic with the Quartet “celebrating” style.
From the title track Ka Tan’ Vualzawlna by K Muan Guite which said “Lam-etna Van Kanaan gam hong chiam lai zaw,/Vuina ding omlou hi ka tan vualzawlna” to “Aw alamdang e, aw a thupi e!/Na itna aw Na hehpihna/Mimawlte nangawn jong aw Na tel lawmlawm/Lamdang in aw a thupi e| A chinglou a omlou, A siamlou a omlou,/Mi khempeuh I Toupa mai ah zaw;/Leitung mi adinga simmoh huai aneute,/Sil pakbang a lun Toupa a di’n” from T Pumkhothang’s Aw Lamdang e! show the line where the theme had been drawn. Again, while Dimzangai’s Sian Lem Gel which said “Sian lemgel hinkhua ka tuahte,/Sian phallou theihpihlou omlou;/ A honpi dan ka theisiamlou jong,/A honpitu ken ka theichian hi;/Jehovah Toupa’n kei honpi hi” comparably sounded the same with Tualkhanching’s Hong Ngai Veng which said ”Honpi zel in O Toupa, haksatna’n hon bawm,/Lungkia mangbang a ka om in;/Hehnemtu laukha nunnem,/Nang hong leng in hon ngai veng.” Though it would be rational to discourage the selections, but they’d had a whole album offering readily to enlarge the theme presented.
Shyamboi Kullian had done a good job handling the camera; whether with quartet or the various casts. It’s the editing which completely denied the virtue of the camera shots to HD-ed the look. The videos focus on the quartet alongside casting assemblies of children in most of them. Featuring children was a good called, for it successfully captured their playful and innocent being. They advocate the songs well and were genuine. Except that the second track Nun In Nuam In followed rather a different showcase with attempted glorification of thau; K Khamkhansiam song was not bad, but just for how it’d been presented. Also, the quartet had had included SSPP laapi in their first volume. It’s a regular trend to include one patriotic song even in gospel album as this. Next-it, to listen the rest! For you could missed out an endearing presentation of a boy journey in Tawldam Ing or of a girl in Emmanuel, footages of gospel centenary celebrations in Gospel and the uplifted narrative about a man living with a past in Hong Lungmuang Sak.