You’re not here in body
Yet your songs with us remain
Like waves that will not weary
To claim these shores again
(‘Fields of Sound’ from ‘Maktub’)
The lyrics from one of Motherjane’s hallmark songs are turning out to mirror the band’s own story. Kerala’s pioneering ethno-rock outfit has had a rollercoaster journey — moving from covers to original music, witnessing members come and go, pausing for a while, and then regrouping at the end of 2022.
Now, the band is back. Ready to claim new ground with a new album after an 18-year gap since ‘Maktub’ (2008), the record that propelled Motherjane to global acclaim.
The new album is almost a sequel in spirit to Maktub. “Maktub meant ‘It is written’. As a sequel, we initially wanted to call the new album ‘Rewritten’. But eventually, we settled on ‘Dobareh’,” says Suraj Mani, the band’s frontman and lyricist.
‘Dobareh’, meaning ‘again’ or ‘rebirth’ in this case, marks Motherjane’s third studio effort after ‘Insane Biography’ and ‘Maktub’.
When ‘Insane Biography’ was released, it was well-received in music circles, but did not make a big bang. ‘Maktub’, however, changed everything.
It established Motherjane as a distinctive artistic force, with abstract yet evocative lyrics and Baiju Dharmajan’s splendid guitar riffs taking centre stage.
His raga-infused licks and solos, perched delicately on the edge of rock and Carnatic music, became central to the band’s identity. As a fan once commented: “Like a unique blend of filter kaapi and dark rum.”
“In many ways, ‘Dobareh’ resembles ‘Maktub’,” says Suraj. “Its central theme is second chances — whether it is Motherjane finding its way back into the independent music scene or an individual’s need for another opportunity in life.”
Suraj credits the album’s warm reception to the chemistry between himself, Baiju (lead guitar) and Deepu V S (rhythm), and newcomers Alloy Francis (drums), and Alan Santosh (bass).
“Everything happened in jiffy,” says Baiju. “We regrouped in 2022, and within the first 10 minutes of our very first session, we had written ‘Do Good, Don’t Be Nice’, one of the songs on ‘Dobareh’. Music has never taken time for us. It just flows.”
Deepu, who rejoined the band after leaving in 2013, echoes the sentiment. “I had forgotten everything after leaving Motherjane. But the moment I returned, it all came rushing back, as though it had simply been waiting inside me,” he says.
“We just need to sit together for music to happen. Most songs emerge from the mood we are in and our conversations.”
Baiju believes little has changed musically. “The music I made at 25 is the same music I am making at 50. Music isn’t about age. Look at bands like Iron Maiden — they are still filling stadiums in their seventies,” he says.
“What has changed is everything around it. Technology is sharper, live productions are bigger, and recording techniques have evolved. We focus only on the music and leave the production to those who understand the technology of the times.”
That evolution is reflected in the track ‘Home’, where AI-generated visuals depicting native landscapes accompany the music.
“Songs like ‘Home’ and ‘Mahabali’ will emotionally resonate with Malayalis. And ‘Do Good, Don’t Be Nice’ will connect with many as a philosophy for life,” says Suraj.
‘Dobareh’ retains the qualities that have defined Motherjane — lyrics that explore life’s questions with a seeking spirit, a rootedness that evokes nostalgia, and Baiju’s signature Carnatic infusions woven into progressive metal. Deepu highlights that it is this distinctive mix that sets the band apart.
Baiju traces his Carnatic-rock fusion style back to ‘Soul Corporation’ on ‘Insane Biography’. “I was nervous initially. Unsure whether the blend would work. Thankfully, everyone appreciated it. Later, while recording ‘Broken’ for ‘Maktub’, I expanded that approach. I have continued with it ever since,” he says.
Though his work has earned him accolades such as the Jack Daniel Award and the title ‘God of Small Strings’, Baiju says the appreciation of fellow musicians for his Carnatic infusions remains his greatest validation.
“Those stylistic elements have naturally found their way back into the music to create the ethno-rock that defines us,” says Suraj.
For Baiju, the band’s sound is possible only because each member is allowed to contribute freely.
“Suraj’s lyrics are deeply rooted, full of life and philosophy. He’s an intuitive writer. I bring my music, and so do Deepu and the others. We allow each person to be themselves. And together, the soul of our music remains preserved,” he says.
Besides technology and presentation, Motherjane believes the audience, too, has changed. “Earlier, music here revolved largely around film songs. Today, there’s much greater space for indie festivals and live performances. With the right promotion, it is also easier to reach a global audience,” says Deepu.
Looking ahead, Motherjane sees only one path: “Music. More music.”
“When we first left Motherjane, John Thomas, who co-founded the band in 1996, said we were leaving just when the band was about to soar. It would have been wonderful if he, Clyde Rozario and the other early members were part of this journey again. We have high hopes… perhaps even a Grammy,” smiles Baiju.
Suraj adds that he deeply respects everyone who has been part of Motherjane over the years. “Paths may converge or diverge, but may the music always remain good, and may it outlive its creators,” he says.
“We have put out nine new songs, and I genuinely believe they are our passports to stages around the world. And there are many more songs still waiting to come from Motherjane — songs that the world will want to hear.”