TERMINAL 2 by pho
The Blog #16: a star in the making
The Blog features short writeups on short EPs. My thoughts and track-by-track notes are listed below. Listen to the EP. Discuss. Enjoy.
Place @original listen: multiple places but not at the airport
Thoughts:
Terminal 2 of the Kempegowda International airport was inaugurated in November 2022. The idea was to split airport traffic and have separate terminals for domestic and international travel. Terminal 1 was made a domestic-only airport. In that regard, Terminal 2 is far more opulent than Terminal 1. The architecture is designed by Skidmore, Ownings and Merill (SOM) who designed the airport to be a “reimagination of the airport as a landscaped and serene transportation experience.” The various tiny trees and plants you encounter at the terminal are meant to represent the reality-turned-myth of the garden city that is Bangalore. TERMINAL 2 by pho has a ton of production elements that sit alongside pho’s vocals. The guitars are prevalent throughout, as are synths. The genres on the EP range from R&B ballads to house-influenced club tracks. But what ties it all together is Pho and her vocals. The restaurants in Terminal 2 are classic Bangalore city—you have your upscale “Indian-fusion” restaurants alongside a CTR alongside a Wendy’s. America’s cheapest is still considered an aspirational, premium experience in India. The production on the EP is rich and intense; there is no let-up in the energy because the EP attempts to capture the arc of falling in, and subsequently out of, of love. The EP is named such to represent the relationship as a flight journey. Terminal 2 is mostly resemblant of how Bangalore is discussed. A large part of Bangalore Urban is represented, and a large part of Bangalore Rural is ignored; the gardens are forever tied to the city even though its greenery continues to dwindle in the face of hungry urbanisation. It is a complex experience, but it is ultimately tied to Bangalore. pho is unafraid to experiment—the EP features the full range of her vocals and this adds to the multitude of textures on the tracks. TERMINAL 2 by pho shows us a pho beyond the hook/duet singer we have seen her to be so far. Her artistry is on full display here, as is her ability to seamlessly blend genres. While her appearance on MTV Hustle showed us the potential, TERMINAL 2 shows us pho’s ascent into stardom.
Notes:
HALF: R&B Ballad. Love Pho’s vocals over the piano. The guitar section slaps. The way the vocals are delivered you would think this track would be more bare-bones, but the production consists of so many elements. Works really well. What a start to the EP.
HIGHER: Oh damn, this soundscape is very different to HALF. The synth-line is nice. The intensity of the previous track is not there, but the track is enjoyable. Still surprised at how the production switched up from the previous track.
YESMEN: Sick bassline at the start. Synth-y soundscape, same as the previous track. I feel like I’ve used synth-y soundscape to talk about the past few projects, why is all of DHH in love with tha same synths? Love Pho’s backing vocals and how they trail slightly behind her main delivery. Lambo Drive is really cooking behind the boards man; the production is so intense. Tired of a failed relationship, this is Pho letting loose.
NASAMAJH: This sounds like it could have been the opening track of the EP, especially the intro of the track. Sick bassline again. The guitars have been really cooking in this EP. A more dance-y version of the soundscapes created on YESMEN. The club DJs are going to love this one, can already see it get remixed on a Friday Night set at a club in Delhi. Pho is constantly experimenting with her delivery and the whispery delivery on the bridge is a nice touch. Nice track. Grew on me after a couple listens.
FAFO: Continues with the up-tempo dance-y vibe from NASAMAJH. Another number meant for the clubs. Both NASAMAJH and FAFO’s production is a mix of house music and guitar sections. I feel like FAFO is a tad over-produced, it has way too many elements going on for the track to actually resonate or create any sort of rhythm. None of this matters when it plays in the club though—when the “dubchik dubchik” drums come on, you dance, it is a rule.