As a three piece, Amrita’s sound was mostly the brain child of Patrick—he was the driving force behind the sound with his guitar as well has his voice. Soon, he would decide that even though the music (melodically and lyrically) was his creation, ultimately singing and playing guitar was too limiting. They tried out guitarist until settling on a keyboard player and a lead singer to get closer to the sound that they had envisioned. Their first EP, Innertides, was released in late July of 08. Just a couple days before the release date, Amrita ousted their key player and hooked up with another: Jason Kearney. Jason would not only learn the band’s existing tunes in less than a week, but would introduce styles from some of his more sophisticated influences: Phish, The String Cheese Incident, and Widespread Panic.
More than anything, Innertides marks a point of transition. Indications of progress as a band were compiling; the chemistry between Patrick, Mike, and Matt was comfortable and songs had come out naturally. The release date is also significant in that it marks the end of the band’s meandering. Instrumentally they now had everything that they needed: a tight rhythm section, Patrick could suddenly look to a well-versed musician, who studied Jazz at Fort Lewis University in Colorado to play both rhythm and lead on keys, and—most importantly—they had an interesting sound. That undoubtedly-ambient sound is deliberately feeling-first-and-foremost and is reminiscent of several Chicago-based acts that came before: Smashing Pumpkins, Wilco, and Wax on Radio—who’s former drummer is a still-close childhood friend of Riley.
Amrita’s roster made its final change when Amrita made the decision to start looking for a more appropriate singer. “We owe it all to ‘our guardian angel,’” says Patrick, speaking of Donna, an older and quite motherly friend of the band who adores live music and attends every local Amrita show with her husband. “She saw Aaron play an acoustic show somewhere, liked his voice, and after the show, she very sincerely told him to get in touch with us.” Aaron Graunke was officially a member of Amrita in October of ’09 and has taken majority-control of lyric composition since then.
Their sophomore EP Release, Outside the Paradigm, one of their most proud accomplishments, was recorded at IV Lab studio and masterfully produced by Manny Sanchez (Patrick Stump, Umphrey’s McGee, Andrew Bird)—a detail Amrita greatly appreciates. The EP was recorded quite warmly within the thick walls of IV Lab and is a 6-track glimpse of things to come. In contrast to their previous release, Outside the Paradigm is less guitar-intensive; partly because now Aaron and Jason were supplying the pleasing mid-range tones but also because of the ever-present, ever-necessary goal to write “simple quality tunes,” Patrick explained.
Since then, with some struggle to “get their name out” Amrita emphasizes their live performance in the band’s attraction. Improvisation is a key-point of the band’s live show; audiences can recognize the on-the-spot communication happening throughout an Amrita set. In terms of repertoire, the band now has a hand full of covers and renditions which they might play depending on the venue or occasion but primarily plays music of their own creation.
One might ask, exactly what kind of band is Amrita in terms of genre? Stylistically, their music is rock--guitar driven--yet not as classically structured as one might expect from the “rock” genre. These days, while the guys are still enamored with bands like The Mars Volta, they’re more attracted following in the footsteps of Pink Floyd, Led Zeppelin and Yes. “Progressive rock” is another potentially fitting genre for Amrita. In the tradition of progressive bands, they occasionally use time as a theme in their music, they write songs with emphasize dynamics of volume and aggressiveness, and, also a characteristic of the progressive archetype, they intend not to huddle around any single member; unlike many popular bands, Amrita hopes to deliver their message evenly rather than being lead--and ultimately defined--by their singer or guitar player. A true collaborative effort. Another defining characteristic of “prog” bands is virtuosity; no, the guys don’t consider themselves virtuosic, but aspire to compose interesting, well-written, classic and ultimately virtuosic parts.
Since the release of Outside the Paradigm, the band has been playing shows, writing, recording and living life as comfortably as possible. They keep a steady practice schedule, and recently finished two studio new recordings at IV Lab. Amrita looks forward to working hard in the future to write great music and acquire bigger, better shows.
Written by Mike Mara (1/30/2012)
Instrumentation
Aaron Graunke - Lead Vocals, Acoustic Guitar
Patrick Riley - Guitar, Background Vocals, Percussion
Mike Del Principe - Drums and Percussion
Jason Kearney – Keys: Organ, Piano, Clavinet, Synth
Matt Robinson - Bass
Saraswati
Amrita Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
विद्यारंभं करिष्यामि सिद्धिर्भवतु मे सदा ॥
ॐ
सरस्वति नमस्तुभ्यं वरदे कामरूपिणि ।
विद्यारंभं करिष्यामि सिद्धिर्भवतु मे सदा ॥
ॐ
सरस्वति नमस्तुभ्यं वरदे कामरूपिणि ।
विद्यारंभं करिष्यामि सिद्धिर्भवतु मे सदा ॥ॐ
सरस्वति नमस्तुभ्यं वरदे कामरूपिणि ।
विद्यारंभं करिष्यामि सिद्धिर्भवतु मे सदा ॥
ॐ
सरस्वति नमस्तुभ्यं वरदे कामरूपिणि ।
विद्यारंभं करिष्यामि सिद्धिर्भवतु मे सदा ॥
ॐ
The lyrics to Amrita's song Saraswati pay homage to the Hindu goddess Saraswati, who is known as the deity of knowledge, wisdom, creativity, and music. The repetition of the phrase "Saraswati namastubhyam" is a form of salutation and reverence to the goddess, acknowledging her divine presence and powers. The verse also refers to Saraswati as "Varade Kamrupini," which can be interpreted as the one who grants wishes and assumes various forms to fulfill desires.
The singer expresses a sincere desire to embark on the pursuit of knowledge, symbolized by the phrase "Vidyarambham karishyami." This line reflects a commitment to seeking wisdom and enlightenment, emphasizing the importance of education and intellectual growth. By invoking Saraswati's blessings, the singer seeks the continual presence of success and accomplishment ("Siddhir bhavatu me sada").
The use of the sacred symbol "Om" adds a spiritual resonance to the verses, signifying the cosmic sound and the essence of the divine. Through the repetition of the mantra-like verses, there is a sense of devotion and dedication to Saraswati, embodying a prayer for guidance and prosperity in the pursuit of knowledge and learning. The goddess is revered as the source of inspiration and creativity, and the singer seeks her grace to foster a lifelong journey of gaining wisdom and achievements.
Overall, the lyrics to Saraswati encapsulate a deep reverence for the goddess of knowledge and arts, showcasing a heartfelt plea for guidance and blessings on the path of education and enlightenment. The repetitive nature of the verses underscores the importance of devotion and faith in Saraswati's benevolence, highlighting her role as a source of inspiration and empowerment for those who seek to expand their minds and tap into their creative potential. The song serves as a spiritual invocation to Saraswati, inviting her presence and support in the pursuit of wisdom and personal growth.
Line by Line Meaning
सरस्वति नमस्तुभ्यं वरदे कामरूपिणि
I bow down to Saraswati, the bestower of blessings and the embodiment of desires.
विद्यारंभं करिष्यामि सिद्धिर्भवतु मे सदा
I shall begin my studies, may success always be mine.
Lyrics © Phonographic Digital Limited (PDL)
Written by: Traditional
Lyrics Licensed & Provided by LyricFind
@rkparambuveettil4603
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നീ ഇതുവഴിയെന്തിനു വന്നു
അമരാവതിയിലെ സാരംഗമേ
നീ അവനിയിലെന്തിനു വന്നൂ ..
അവനിയിലെന്തിനു വന്നൂ ..
നിന്റെ നീരജനീൾമിഴിയാലേ
എന്റെ സ്വപ്നങ്ങൾ വിടരുകയല്ലോ
നിന്റെ നിരുപമ ചാരുതയാലേ
ഞാനൊരുപാസകനാവുകയല്ലോ
നിന്റെ ഓമൽ തേന്മൊഴിയാലെ
എന്റെ മോഹങ്ങൾ ഉണരുകയല്ലോ
നിന്റെ മോഹന തേജസ്സിൽ നിന്നും
ഞാനാരാധകനാവുകയല്ലോ
Film: മോർച്ചറി - 1983
Music: കെ ജെ ജോയ്
Lyricist: പൂവച്ചൽ ഖാദർ
Singer: കെ ജെ യേശുദാസ്
@swissfrancis3243
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അവനിയിലെന്തിനു വന്നൂ ..
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നിന്റെ ഓമൽ തേന്മൊഴിയാലെ
എന്റെ മോഹങ്ങൾ ഉണരുകയല്ലോ
നിന്റെ മോഹന തേജസ്സിൽ നിന്നും
ഞാനാരാധകനാവുകയല്ലോ
Film: മോർച്ചറി - 1983
Music: കെ ജെ ജോയ്
Lyricist: പൂവച്ചൽ ഖാദർ
Singer: കെ ജെ യേശുദാസ്
@saranyadd6021
ആമൃതസരസ്സിലെ അരയന്നമേ നീ
ഇതുവഴി എന്തിനു വന്നു
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അവനിയിൽ എന്തിനു വന്നു
(അമൃതസരസ്സിലെ.....) - 2
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നിന്റെ മോഹന തേജസ്സിൽ നിന്നും - 2
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@madhusudanannair2850
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(നിന്റെ നീരജ....)
നിന്റെ നിരുപമ ചാരുതയാലെ - 2
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(നിന്റെ ഓമൽ.....)
നിന്റെ മോഹന തേജസ്സിൽ നിന്നും - 2
ഞാനാരാധകനാവുകയല്ലോ
@mukeshmanikattil1670
ഞാൻ പഴയ സിനിമകളെയും പഴയ ഗാനങ്ങളെയും ഇഷ്ട്ടപെടുന്ന ഒരാളാണ് എത്ര മനോഹരമായ ഗാനം ഇനി ഇതുപോലെ ഒരു സുന്ദരകാലഘട്ടം ഒരിക്കലും തിരിച്ചു വരില്ലലോ എന്ന് ഓർക്കുമ്പോൾ ഒരുപാട് സങ്കടം തോന്നിപോകും
@Snair269
യേശുദാസിൻ്റെ പാട്ട് വേറൊരാൾ പാടുന്നതും നോക്കിയിരിക്കുന്ന പ്രേം നസീർ !
@srdchannel1158
രാമു
@Snair269
@@srdchannel1158എത്രയെത്ര പാട്ടുകൾ പ്രേംനസീറിൻ്റെ ചുണ്ടുകളിൽ കൂടി നാം കേട്ടു .
@soulofmusic4196
സൂപ്പർ song, സ്വപ്ന, ശങ്കർ സൂപ്പർ ജോഡി, മനസിനെ 1983 ലേക്ക് കൊണ്ടുപോയി 🌹🌹
@BaijuScorpio
Anupallaviyum Charanavum Excellent.
One of the best creation of KJ Joy Master & Poovachal Khader
@rkparambuveettil4603
അമൃതസരസ്സിലെ അരയന്നമേ
നീ ഇതുവഴിയെന്തിനു വന്നു
അമരാവതിയിലെ സാരംഗമേ
നീ അവനിയിലെന്തിനു വന്നൂ ..
അവനിയിലെന്തിനു വന്നൂ ..
നിന്റെ നീരജനീൾമിഴിയാലേ
എന്റെ സ്വപ്നങ്ങൾ വിടരുകയല്ലോ
നിന്റെ നിരുപമ ചാരുതയാലേ
ഞാനൊരുപാസകനാവുകയല്ലോ
നിന്റെ ഓമൽ തേന്മൊഴിയാലെ
എന്റെ മോഹങ്ങൾ ഉണരുകയല്ലോ
നിന്റെ മോഹന തേജസ്സിൽ നിന്നും
ഞാനാരാധകനാവുകയല്ലോ
Film: മോർച്ചറി - 1983
Music: കെ ജെ ജോയ്
Lyricist: പൂവച്ചൽ ഖാദർ
Singer: കെ ജെ യേശുദാസ്
@spg-rd2hl
സ്വപ്ന സുന്ദരി
@aravindrajappan965
നല്ല പാട്ട് ആ നായിക എന്തൊരു ശാലീന സുന്ദരി
@sreenathmurukesankrishnamm8064
Swapna