Hui Ward’s latest release, The Way is not your typical album. In fact, it is more a journey toward truth and self-discovery than anything else. With Ward’s mesmerizing vocals and fitting bansuri and violin features, the listener follows her quest through rebirth, existence, consciousness and bliss. Additionally, the unique rhythm section is provided by tabla, mridangam, ghatum, and kanjira. Definitely not party music; The Way is the perfect soundtrack to meditation or activities such as yoga and Pilates.
Composed of 12 songs, The Way is written in 12 different keys, which correspond to the 12 time zones of a day. The tale behind the album expresses that The Way is “a fusion experiment at all levels with the intent of manifesting unity in a diverse collective.” As a result, Ward continually diversifies each song with a combination of chanting, spoken word and singing weaved within three languages: English, Sanskrit and French. While it is doubtful the average music connoisseur will truly appreciate each track on this album, it is evident that Ward’s outlook is far beyond the everyday music industry standard.
The album begins with six-and-a-half minute track, “Phoenix.” Solemn at first, the violin blends well with the mood of the song. Chanting “Om” in Sanskrit, the music slowly picks up before Ward sings in English. “It’s an encounter with yourself/With yourself/It’s a dialogue with yourself,” she sings. Soon after, light bansuri can be heard as percussion enters. At first, “Phoenix” is reminiscent of a song used in a religious ceremony, however the speed suddenly picks up and rapping is heard in the distance. Unexpected, but all the while leaving the listener intrigued.
“I’m being reborn,” Ward sings on title track, “The Way.” “The way is not in the air/It’s in your way,” Ward continues. A profound statement, but nonetheless fitting for the musical journey Ward provides throughout the album. With an unanticipated turn, the violin-based song alternates ever so quickly into a heavy percussion beat.
While each song is in an entirely different key, some tracks stand out more than others. “To Be” has little to offer listeners vocally, however the unique musical accompaniment is undeniable. Another song, “Messenger,” predominantly a violin-inspired song, is soothing to the ear. “I believe it/To love is to give/When you give you’ll find love,” Ward sings.
“Fallen Angels” is more upbeat than previous tracks, offering, yet again a new perspective on the music scene. While Ward’s voice falls flat at times, it is the accompanying flute interludes that grab the listener.
The Way slowly comes to a close as “Flow Like a Twig in the River” nears the end of the album. Refreshing and almost meditative with a soft drumbeat and southern Indian feel throughout the song, this is a standout track. Like most of the album, the song alternates between languages. While this works on this track, it’s hard to relate to on the remainder of the album.
Overall, The Way sets a precedent to how we, as listeners, communicate with music. A unique, albeit difficult release to grasp conceptually; Ward’s experiment stands out and engages the listener. Whether the album creates more questions or solves the world’s problems, however is entirely up to the listener.
Reviewed By Annie Reuter
