It’s been four years since Tarana Marwah started performing under the pseudonym Komorebi.
She has explored multiple formats and art styles through her Japanese-inspired musical persona. And her latest music video goes further down the rabbit hole as far as self-exploration is concerned.
Her latest release, titled “Little One”, was inspired by her relationship with her younger brother with a music video that juxtaposes different aspects of a young person’s life. Through visual cues, music video director Misha Ghose explored the contrasts of happiness and sadness through paperboats and whirlwinds, dolls and cobwebs, childhood and adulthood, old and new, light and dark, and more.
In the interview below, Tarana discusses how “Little One” is her most personal song yet and the creative process in bringing it to life through the music video.
Who or what inspired the lyrics and music of the song?
The song was written for my younger brother and meant to be a lullaby. The lyrics of the song are more of a vent, of sorts. The lyrics and the music were written at very different points in my life and were put together like patchwork. I was lucky enough to have Warren Mendonsa (Blackstratblues) play guitars on it later.
What transitions have you gone through as an artist which have culminated in this song release?
So many. I’ve been performing and writing as Komorebi since 2015. It has been four years and many things are now coming together in an elegant way. These songs are tracking my growth as an individual in her early twenties as well, which is interesting. It is fun to share experiences that are relatable, and have people reach out to you, tell you they feel moved by something that moves you. I think it’s a milestone video and I can’t thank the people that contributed enough for the appreciation and validation they gave my art.
Why is the song titled “Little One”? What does the song have to do with children?
Well, to put it in a funny way it’s a song for children, by children, about children! The song is titled “Little One” because that’s the lens and filter through which I see my now six-foot-one-inch, not-so-little-anymore ‘little brother’.
How personal was this song for you and how do you think you were able to show what you felt through the video?
This is perhaps one of the most personal songs I’ve ever written. I took this track to Cotton Press Studio (studio now closed), and managed to get Rohan Ramanna on track vocals and JJ on the engineer’s seat. I remember closing my eyes while singing and trying to channel whatever I felt through my voice. In a way, I’m trying to address my inner child with my rational adult head as the primary voice in the lyrics.
It has been translated beautifully by Misha Ghose and her team. Once I explained what the song was about to them they understood my vision. Everything that came after is her brainchild and I think she is truly a talent.
Who came up with the concept for the music video?
I approached Misha with an initial idea of bringing nostalgia onto screen with the song playing in the background. She took it to another level. The visual is faded and blurry, almost like a memory. The idea was to get into your head and tug at triggers – the dolls, toys, pencil markings, cobwebs, paper boats, water. All things that would remind you of childhood.
What was the hardest part of the creative process for the song and video?
I think for me at least it was handling a production house for the first time and seeing how things are done. The shoot itself was completed in one long day, but the result was so worthwhile in either case. I think Misha was a powerhouse through it all.