Album Review: Shye Ben Tzur, Jonny Greewood, and The Rajasthan Express - Junun

I’m probably one of the last people who should be reviewing something that could be categorized as “world music,” but here I am, writing about Junun.

The reason I say that is because I am the least worldly person I know. I don’t speak any other languages and I’ve never been out of the country—I mean I’ve barely left the Midwest. And the only thing I know about music from India is what I’ve heard playing at the Indian food buffet that my wife and I frequent—and that’s just, like, “pop” Indian music from what I can tell. I mean, I guess you could say this is “pop” Indian music as well.

The real reason I’m even interested in Junun is its connection to Radiohead—guitarist Jonny Greenwood is a marquee name, receiving co-top billing along with Shye Ben Tzur and the Rajasthan Express. Greenwood provides guitar, bass, keyboards, and drum programming, and the album itself, as expected, was produced by Nigel Godrich.

The album, from start to finish, is a bit of an amalgamation—combining Greenwood’s art rock aesthetic with the very distinct Indian music tradition. The resulting effort is intimidating at first, but becomes incredibly listenable and enjoyable upon multiple listens.

There are moments spread across Junun’s 13 tracks where you can tell that Greenwood is steering the craft slightly more than others—things get a little more moody, and a little more atmospheric, specifically on pieces like the twinkling “Kalandar.”

There are other moments where it feels like I am listening to a university marching band—and not that that’s a bad thing, but it’s just what happens on the title track, and it’s companion piece, “Julus,” both of which are very heavy on the percussion, and heavy on the brass.

It’s also these two tracks that are the catchiest, and most infectious of the bunch, perhaps due to their accessible structure. The more I listened to Junun, the more I found myself thinking about the “hook” of each song throughout my day.

As mournful and haunting as Junun can sound, presumably directly due to the Indian style of vocalizing, the album itself is actually, I believe, meant to be a triumphant, artistic expression—a celebration, if you will. Outside of serving as an introduction to “world music,” it’s a thoughtful and evocative listen, with two composers, well respected in their own right, organizing the cacophony of a 19-piece band.

Junun is out now via Nonesuch.