ganavya – Nilam Review

What does ganavya sound like?

A calming voice of comfort in a busy, unforgiving world.

The review of ‘Nilam’ by ganavya

I feel like I’m an album late to the party with ganavya. When I stumbled across ‘Nilam’ last month, most of the press cites her 2024 album ‘Daughter Of A Temple’ as a “global album” hit. Whilst touring that album, ganavya found herself with a few days’ gap between shows, and so she recorded ‘Nilam’ in a short burst of studio activity. With Nils Frahm co-producing, this follow-up allows ganavya to continue exploring her Tamil Nadu roots, with elements of contemporary folk, jazz, and gentle meditation.

Before we dive into the album itself, it is worth explaining that besides ganavya’s voice, the other main instrument used is a yahz. This is a Tamil harp. It is often shaped like a bird, with a gourd-like bottom structure to give a deeper resonance to the notes. The yahz sounds like a mixture of a kora, a harp, and rustic, deep acoustic guitar. It is a beautiful instrument, and listening to ‘Nilam’ would not be the same without it. It also makes it tricky to know just how many layers of the sound come from the yahz, or if a double bass, guitar, or zither has been included. I’m sure I’ve made mistakes in my interpretation, but so long as you know it sounds full-bodied and fabulous, that’s the main thing!

The album opens with ‘Land’, a smooth, folksy shuffle of double bass, yahz, and shakers. Ganavya’s voice effortlessly floats over the top as the instrumentation layers its plucks like a glissando of zithers. Light, free-flowing vocals sing of devotion like a still moment in time, using lyrics from a poem by Suheir Hammad. The fresh dewy nature of the music continues into ‘Song for Sad Times’. The harmonic drones, gentle strings and yahz evoke a spiritual cry for comfort as ganavya’s voice moves from timid to soaring. The track curiously uses bowed strings for a drone, but there are melodic changes throughout, making it not quite a drone, or a raj, but something all its own.

‘Not a Burden’ uses a four-chord yahz riff as its base for other instruments to drape themselves over like a cleansing cloth. The track has a playful skip in its step, and when paired with devotional, uplifting synth hues you often hear from lighter Tamil music, it brings happiness to your heart. Paired beautifully with the reflective stillness of ‘Sinathavar Mudikkum’, the two tracks offer a playful, rhythmic side to the album. The latter is a quiet zither and vocal piece that reminds me of some Rikki’s traditional Okinawan music.

‘Nine Jeweled Prayer’ is the album’s lynchpin. At nearly ten minutes, it’s by far the longest track on the release, but it also brings in other vocalists in a call-and-response approach. Ganavya sings a verse before she is joined by two elderly sounding vocals. One voice is so gruff and low, it can bearly rasp out the words, whilst the other reminds me of a devotional mother. The song doesn’t evolve much over its runtime. Instead, it becomes somewhat hypnotic in its repetition and sincerity, especially as more percussive elements seep in.

In an album full of quiet beauty, ‘Pasayadan’ is the first track to have a more foreboding, darker tone. The yahz riff moves from low rumbles to harmonic notes like you can get from the guitar neck before ganavya’s voice takes control and powers us into a dramatic finale. Sonically, it is the storm before the calm, as ‘Sees Fire’ closes out the album with the sole English track. Using pizzicato strings to provide a hopeful, rising melodic riff, ganavya sings of elemental desires.

Gentle, introspective, thoughtful, and ethereal. This is an album for the sensitive soul who needs some regeneration and calm. I feel mentally and physically restored whenever I listen to this album. Ganavya’s mix of yahz, traditional spirituality, and contemporary classical edges creates a unique sound that will resonate across borders and boundaries. It’s the musical equivalent of a big hug.

Recommended track: Land

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