“Hajar Bhooter Rajar Doya”

Ajob performs at their album launch.

Ajob has had a niche of listeners since their inception in 2000, blending folk tunes with Western instruments and arrangements to create a sound signature of their own. Their first self-titled album promised a fair bit, but the band then went on a recording hiatus for seven years, before finally releasing “Hajar Bhooter Raja'r Doya” recently, in a programme at Bengal Gallery. Under the record label of Bengal Music Company limited, the album is produced by frontman Labik Kamal Gaurob and bassist Resalat Rasheed.
The album opens with a brief number “Mon Dashi” -- with a bass guitar-mondira groove, into some works on the khomok, and the dhol kicking in later. Gaurob brings out his urbane folk vocal subtleties, while Resalat on bass is the front-liner instrumentalist in this one.
“Bol Swarup”, a Lalon Shai composition, is the next track -- and has the typical funk-rock flavours with a distortion guitar and powerful drumming, right into a dotara solo. While the voice is very baul-esque, the track remains very western, making for an interesting experiment. Even the dotrara solos are uncharacteristically long, letting the listeners know that the band is not afraid to make the two worlds collide.  
“Tore Dekhe” is a soft, melodious number, with a more contemporary vocal projection. The lyrics, however, remains typically Ajob-like, with a tinge of mysticism by which Gaurob is so influenced. The clean guitar tone sits perfectly, while the entire arrangement of the song is slightly reminiscent of Ornob's album “Hok Kolorob”, an artiste with whom Ajob members have frequently worked.
“Udashi”, the popular folk number that Ajob has performed live before, finds a slot in the album next. The smooth, mild bass work has a beautiful groove, and swerves into guitar riff-drum coupling before the last verse energises in choral chants. Bart Nandit Areng joins Resalat on the guitar, while Upol Islam -- one of the co-lyricists of the album with Gaurob -- provides backing vocals. One of those songs that should become very popular with listeners.
“Shobhabe Obhabe”, the next song, has interesting vocal projection, with a sliding guitar and a soulful dotara piece. The lyric is beautiful, oozing philosophical richness -- “Desh Shobhabe Amar Obhabe Bhoge” is one of the most striking lines from the album.
“Shobar” starts with a clarinet intro into a sweet acoustic guitar strumming, blooming into an absolutely blissful song. The lyrics talk about the conflicts of people in the name of religion, while the Almighty -- whatever name He is called by -- Himself is far above the hatred and intolerance. The hauntingly beautiful clarinet solo by Idris Rahman and its overall minimalistic musical arrangement make it, by, far, the standout of the album.
“Khacha” -- one of the more commonly-covered Lalon songs by bands (previously done by Shunno and Warfaze) is next. Ajob does not try to do too much instrumentally, banking on Gaurob's vocal tone to pull it through. The song saunters along, but never gets boring. Near the end, another powerhouse folk vocal, Anusheh Anadil joins in, adding a fantastic dimension to the song.
“Obhimane” is another short song, spanning less than three minutes. Farhan Samad (from Cryptic Fate) plays guest guitarist on this one, adding to the guitar layers. Saion Bose's drumming is compact, with the start-stop tempo held on tightly in tandem with the bass.
The next track is “Kamar Beta” -- one of the lesser-known songs of Lalon.  This one has Sam Mills written all over it, with his ever-recognisable guitar works spread around the track. Expectedly, another excellent urban interpretation of Lalon.
“Podda Nodi”, the song to follow, is a beautiful Bhatiali number, featuring the familiar voice of Paban Das Baul -- who wrote and composed the song. The dotara, khomok, mondira, dhol and marvellously soulful flute-playing by the immensely talented Jalal Ahmed bring in unadulterated flavours of folk, at least for the first six minutes, when the distortion guitar and drums kick in -- something that the song could do without.
The album closes with a 'hidden song', not mentioned in the sleeve. Opening with Nozrul's energetic dhol-playing, it goes into a tribute cover of “Bhooter Raja Dilo Bor”, from Satyajit Ray's classic “Goopy Gyne Bagha Byne” in a very fun, jolly way. It also sort of makes sense of the album title.