The sonic landscape of MahaShakti is less a performance and more an invitation into a shared resonance, where the ancient and the modern dissolve into a singular vibration. In this collection, the ensemble moves with a deliberate grace, eschewing the frantic pace of contemporary life in favor of a restorative, cyclical flow. The creative vision is steered by Tio Tim, whose multi-instrumental contributions on harmonium, keyboards, guitars, and bass provide a sturdy yet flexible foundation for a work that feels fundamentally grounded in the earth while reaching toward the ethereal.
The title composition, “Sita’s Breath,” serves as a communal invocation. It is here that the Sita’s Breath Kirtan Choir creates a tapestry of human warmth. Their collective harmony is buoyed by the rhythmic precision of David Rogers on tablas and the elegiac, sweeping depth of Perri A. Hunn on cello. This track establishes a meditative momentum that defines the record’s temperance, suggesting that true power lies in the quiet persistence of the inhale and exhale.
As the record shifts into “Asangoham,” the listener is met with a profound sense of release. Based on a composition by Adi Shankaracharya and arranged by Tio Tim, the piece explores the philosophy of non-attachment. The instrumentation here takes on a more airy quality, thanks to the contributions of Rene Jenkins, whose flute and windy beats introduce an elemental texture that mimics a mountain breeze. It is a study in letting go, where the steady pulse of Roger’s tablas acts as a reminder of the present moment even as the melody seeks to transcend it.
The intellectual and spiritual heart of the release beats strongly within “Mahavakyas.” Drawing from the Upanishads, this piece translates the four great sayings into a melodic dialogue. The interplay between Tio Tim’s harmonium and Hunn’s cello creates a rich, mahogany-hued backdrop for the vocal presence of Natalie Hagwood. Her voice carries a clarity that illuminates the ancient texts, making the profound philosophies feel accessible and deeply personal.
The experience concludes with “Om Namah Shivaya,” a track that functions as a final resting place for the listener’s attention. By stripping back the layers to focus on the harmonium and the combined vocal strengths of Tio Tim and Hagwood, the mantra is allowed to permeate the silence. The subtle return of Rogers on percussion and Jenkins on flute ensures that the ending remains dynamic, yet the overall effect is one of total stillness. MahaShakti has succeeded in creating a document that is not merely heard, but felt as a physical presence in the room. A reminder of the enduring capacity for sound to heal and align the spirit.
Learn more by visiting MahaShakti Music and Bandcamp.
