“Param Sukh” begins Path of the Divine; the narrative qualities of Teredesai’s Bansuri flute provide a cogent and coherent story that is weaved throughout the entirety of the composition. “Shakti Dhyana” is able to keep close stylistically, despite possessing an outward sound that represents a distinct facet of Teredesai. The tracks on Path of the Divine provide listeners with a brief glimpse into Teredesai the human just as they do Teredesai the artist.
A bright point on Path of the Divine, “Bhakti Dnyana” brings listeners onto an eight-minute journey through Teredesai’s soundscape. The arrangements (flute and atmospheric noise) provide listeners with a range of complex interactions, establishing the composition as something much greater than its sum of constituent parts. Themes are allowed to properly breathe, allowing Teredesai ample time in-track or through a range of tracks to further elaborate and expand ; the late-disc trilogy of “Samarpan,” “Shoonya,” and “Shoonya” provide a focused shift away from the overall tenor of the introductory efforts. There is a theme of humanity versus the vastness of existence; wide-open tracks work well to highlight every twist and turn that Teredesai’s flute provides to listeners.
The album ends with “Dhyana Mudra," an effort that ties together the various styles and approaches created during Path of the Divine. Terdesai will impress over the entirety of the 73-plus minutes, adopting timeless and classical Indian arrangements with something much more contemporary. The compositions here work perfectly no matter whether individuals are cleaning, meditating, or are just resting. Top Tracks: “Param Sukhy,” “Bhakti Dhyana; Rating: 8.4 out of 10