...the approach is to touch and move you in a gentle and submissive way with a strong use of instruments such as chimes, gongs, bamboo flutes, sitar and what sounds like a Chinese zither to name a few. For the most part, the compositions open with soft passages that are ambient in nature. They set both the tone and attitude, preparing the listener’s frame of mind. As a result, the songs are elongated clocking in from five to seven minutes. They create a soft soothing bath of comfort while exfoliating the soul of the day’s stress and tension. No better place to start than the opening track, “Bansu”, which includes a supple introduction of chimes and elegant flute instrumentation. With the appendage of pulsating yet non-obtrusive percussion work along with some fine nylon guitar work, and even Govi on sitar, the standard has been set.
Fortunately, this is not a one-off chance as Karunesh continues to present high quality compositions that are well thought out, presenting a cohesive disposition. A similar percussion pattern is used as the backdrop to “Violin” that is countered by the naysay world of the graceful violin that is up front and central. Magical! And much the same can be said for the distinctive “Shaku”, though the melody parallels a David Arkenstone composition that evades the reviewer. It is not all serious as “Savod” delivers a more prominent and upbeat use of the percussion countered with a fun tin whistle and swirling Chinese zither creating a swaying rhythmic beat that is moving yet not distracting. Though, without a doubt, the most exquisite slice of heaven is the very Asian influenced “China“ (how appropriately titled) which is seeping in tradition, mysticism and the exotica much like its far away grand land of China. It took three attempts but it appears that Karunesh has finally found his niche. That being said, perhaps a slight album title adjustment to Call To The Mystic should be considered, as the inspiration to take you there is here.