The Three Seas – A Journey Through Sound and Spirit
The latest release from The Three Seas, titled Antahkarana, marks a significant milestone in the band’s 13-year exploration of a unique musical fusion. The title, derived from Sanskrit, translates to “inner instrument,” symbolizing the convergence of memory, intuition, identity, and soul within each individual. This concept is at the heart of the band’s sound, which blends traditional Bengali music with jazz, dub, pop, and more. With three Bengali and two Australian members, the group creates a rich tapestry of sound that transcends cultural boundaries.
Evolution of a Unique Sound
Over the course of four albums, The Three Seas have refined their craft, achieving a mystical and almost mythical quality. While jazz and Indian classical music have long been intertwined, the band’s incorporation of Bengali and South Indian folk elements sets them apart. Their music is less cerebral and more emotionally resonant, unbound by traditional constraints.
The album opens with a brief prelude, Into the Night, where Deo Ashish Mothey reflects on the fragility of life through his haunting dotora, a two-string, banjo-like instrument. This sets the tone for the rest of the album, which explores ways to live more harmoniously.
A Diverse Range of Musical Expressions
The prelude transitions into Murano, a piece led by bassist Brendan Clark. It evokes a sense of journeying with its deep groove and Matt Keegan’s cruising saxophone riffs, complemented by improvisational flurries from the dotora.
Another standout track, Bhalobasha Makorshar Jal, features Raju Das Baul singing in a keening voice. The lyrics liken love to a spider’s web, while the music weaves a delicate mesh of breathy saxophone, bass, and percussion, later strengthened by Gaurab Chatterjee’s airy drum work.
Chatterjee then takes center stage with Prithibi, a hit Bengali song composed by his father. The track showcases the band’s pop sensibilities without sacrificing their mystical aura, thanks to careful layering of sounds recorded at Peter Gabriel’s Real World Studios. This is contrasted with Khyentse, based on a tantric healing chant sung by Mothey over a building, enveloping groove.
Contrasts and Innovations
Keegan’s Chhau brings a surging energy, followed by Rongmohole (Palace of Pleasures), a didactic song about the evils of self-indulgence. Keegan also composed the hypnotic Tone Shaman, where his tenor answers Mothey’s chanted lyrics with a wide range of sound. His baritone then takes the dancing refrain of The Doctrine, leading into the catchy but less engaging Real World.
The album concludes with Lasha, a lilting piece inspired by a Nepalese tale of epic tragedy. While much of the material could benefit from more improvisation, it’s likely that such spontaneity emerges during their live performances, which are scheduled in Australia during April and early May.
