Gospel, DVD Video, Zou, Gibeon Studio, SZBVision: Dedicated to all pioneers of the village, the album carried with it an errant, that is reach the mass with the story of and from the village. Na Pasian Min Bang e? showcases what distinctive an album can be without any pestering effort. While the Male Voice could be a little un-encouraging, the appeal of the album lies in its content presentation.
The album heavily draw its strength on Dousianlal; more of leading the male voices than as Tenor/countertenor of the male voice. The male voice which marred by non-prime singing vocals have a designed repertoire of Dousianlal appearing as lead singer. ‘Gethsmani Huon’, ‘Khovel Nopsahna’ and ‘Zou Vontawi’ have specific vocal qualities in range, weight and transitions. Not that the all-male voices appearances, as in ‘Na Pasian Min Bang E?’, ‘Tanglai Mimasate’, Simlei Tung’ and ‘Khristian Khanglai’, lacking quality; but the huge impairing of the vocal immaturity – non-prime vocal – was addressed and maintained. Maybe, by the third volume that impediment could be omitted naturally and that too without any effort. But the only effort require is that whether there will be another volume from the male voice.
The two song writers Dousianlal and S Thangboi, in their first mainstream appearance, have shown varying talents. Of the 11 songs, seven are written by Dousianlal. Like the title song, which says “Na Pasian bieh bang e? Koi Pasian e na bieh? Na Pasian min bang e?” the lyrical tones of most of the songs dive to questioning – Bangjieh I gam chidam theihlou? Bangjieh a I hattuom damtheilou? The distinctive characteristics of the album are also maintained in the songs writings department; they are home-growns. While the songs are original and except ‘Bangzatah Alamdang’ are their first appearances. With its selection, the album stays clear itself of translated songs, unlike other gospel albums.
The album doesn’t suffer from maintaining an edge or style. The home-grown characteristic help maintain to grow its very own where it comes to arranging. Thangzangam Khongsai and Gibeon Studio still sound brilliant together.
Apart from ‘Gethsmani Huon’ which have clips from The Passion, the videos quietly invest in natural blessing and technical brilliant, partially. Sceneries shown here are not re-coloured (Thanks for that!). And the male voices are presentable though the 7 boys still have to learn to improvise; the boys are alright when directionally guided. The videos – I’m proud of them! For the first time, I come across videos which fit well in my wide-screen monitor and look normal in TV screen. That’s not all, high definition quality in all of them! Your screen is just bright! Though the album is their first venture to handling video shooting and editing, SZBVision highly qualify to stick around and flush-away the deplorable videos which other editing “stations” crunch out. Next time you are looking someone to shoot your album, (I’m giving you the address) please go to Simveng; SZB Vision is just behind Blue Star Academy. (That is another way of saying, ‘Stop torturing me with videos from Uptown Media!’).