OM

Of course if you call yourself OM you know there's a spiritual context to the music, and that was brought more forward at this point with their fourth album "God Is Good". Even adding guests for the first time, giving us some different flavours like flute, tambura and additional vocals. The tambura and additional vocals were added by Robert Aiki Aubrey who plays a big role here on "Advaitic Songs". It's interesting to me that there has been no followup album to this 2012 release. I get that this is a monster album and impossible to equal, but I'm still surprised.

They really expanded their sound here, and changed it in the process. Bringing in a lot of strings in the form of cello and violin will do that. More ethnic sounds too. This beast is on another level. I was blown away after that first listen on a number of fronts. The production is off the charts first of all. My floor boards have never shook like when this record was on. Yet there is space between instruments.

This is dark and mysterious. And heavy in it's own way. And while we get some guitar here, it's really just adding another layer to be honest. I don't know if I ever heard the guitar on here. It blends in. The duo by the way who are both multi- instrumentalists and both add piano. The cover art has the same theme as "God Is Good" and this one has John the baptizer on it. He never cut is hair, not even once. Probably wore a turban being a humble man. And like Jesus he was hated by the religious leaders for calling them out for who they really were.

To quote another reviewer "OM plunder Abrahamic and Dharmic imagery, Eastern Mysticism and Biblical texts in their quest to bring the sense of awe to the listener. "Advaitic Songs" doesn't preach a particular faith to you; it merely asks that you consider the concept of faith itself." When the band visited Israel prior to the making of this album they were inspired big time by the many Holy sites they visited. Prompting them to play non-stop at a bar in jerusalem for over 5 hours. That overall experience no doubt brought a lot of inspiration to the recording process for this record. Again this album is on another level. Inspired.

The opener "Addii" is different from the rest with those guest female vocals which at times are wordless. I actually prefer the male singing on the rest of the album but this is a great way to start us off. Ethnic percussion and cello take over after a minute as she steps aside briefly. Piano and a more powerful sound after 3 minutes. Can I just say here that the bass is a huge part of the sound on this record. I mean, the bass and drums really form that foundation and groove.

"State Of Non-Return" about the expulsion of man from Eden is awesome! Especially before a minute when it turns heavy, nasty even. The male vocals are perfect. Sort of sung and spoken and deep. I like when the violin comes in after 4 minutes to be joined by cello a minute later. "Gethsamane" mentions both the great prophet Ezekial along with the Pharisee Nicodemus. The latter helped Joseph take down my Lord's body off the cross. It was an incredible act of bravery for Joseph to ask Pilate if he could do this, placing Jesus in his own personal tomb. Jesus just needed it for a few days. Man, this is dark and powerful music. So moving, and the droning of the tambura creates the atmosphere. Wordless vocals too after 2 minutes then vocals at 4 minutes.

"Sinai" fits nicely with "Gethsemane" in the sense that both have plenty of droning tambura. Melchizidek is mentioned here and I think that's perfect. As he is possibly the most mysterious person in the Bible. He was the King and Priest of Salem(Jerusalem) and Jewish tradition tells us he was Noah's son Shem. What!? He was honoured by Abraham who bowed before him and gave him a tenth of the spoils he just received.

Lastly we get "Haqq Al-Yaquin" which continues in the style of the three previous tunes. Flute on this one before 7 minutes. This album just shot up to my top three for 2012. Unique is the word. Heavy, dark and mysterious as well.