An explosive comeback for the Carnatic prog rock titans from Kochi!
For nearly three decades, Motherjane have occupied a unique place in Indian rock. Formed in Kochi in 1996, the band built its reputation by fusing progressive rock with Carnatic influences in a way few others could match. From their early indie release Insane Biography (2002) to the award-winning Maktub (2008), Motherjane became synonymous with ambitious songwriting, technical excellence, and a distinctly Indian identity within progressive music.
Now, with Dobareh, their first full-length release in years, the Carnatic rock pioneers return with a record that feels both familiar and startlingly new. Check out the below podcast where frontman Suraj Mani discusses the new release in detail:
Digging deeper into Dobareh
Clocking in at just over 41 minutes across nine tracks, Dobareh is not interested in easing listeners back into Motherjane’s world, it announces itself with authority. The opening moments reveal a band that sounds heavier than ever before. The double bass work on drums are precise, the guitars carry a modern metal edge, and the lyrical narrative portrays naked truth. Yet beneath all the added weight, the band’s iconic Carnatic core remains completely intact.
The second track, “Do Good Don’t Be Nice”, arrives like a statement of intent. Previously released as a single, it remains one of the album’s standout moments. The bass tones are thick and aggressive, and the song constantly shifts between unexpected soundscapes. At its heart, though, lies the syncopated rhythmic language that has always defined Motherjane. The Carnatic influence is not a decoration here, it is the foundation.
The emotional centre of the album arrives with “Home”. Introduced by shimmering delay-soaked arpeggios, the song explores belonging and displacement through one of Suraj Mani‘s most affecting vocal performances. His voice softens as the arrangement breathes and expands around him. The chemistry between the rhythm section is exceptional throughout. As the record progresses, listeners are treated to a glimpse of classic Motherjane. The tempo relaxes, the atmosphere deepens, and Baiju Dharmajan‘s guitar work erupts into a soaring solo that builds toward a powerful crescendo. Every rhythmic variation feels purposeful. Every transition feels earned.
“Paint” pushes the album back into heavier territory. Motherjane prove they can still write killer riffs that stay with you long after the song ends. Baiju’s playing feels refreshed and evolved, reflecting years of absorbing different styles and influences. There are moments that evoke the expansive feel of progressive rock classics, yet the band’s personality remains unmistakable. Bassist Alan Santosh and drummer Alloy Francis bring a fresh dimension to the band’s sound, helping drive the album’s modern character.
One of the most thought-provoking moments arrives with “Gody Guard”. Addressing contemporary socio-political realities, the track questions blind faith, authoritarian thinking, and the dangers of unquestioned loyalty to symbols and ideologies. Despite its serious subject matter, the song adopts a surprisingly ‘tongue-and-cheek’ approach as noted by Mani. Deepu Sasidharan‘s tonal sculpting of the rhythm section feels deliberate, while recital-like passages create the atmosphere of a political address, drawing listeners directly into its message.
“Mahabali” shifts the mood once again. Partly written in Malayalam, it imagines a divine figure returning to the earthly realm to correct a broken world. Sonically, it embraces a distinctly ’90s alternative rock feel and may be the most straightforward rock song on the record. In an album often filled with tension and introspection, “Mahabali” offers a welcome sense of optimism and release.
“When I Was Me” dives into themes of regret, identity, and self-reflection. It asks difficult questions about who we become and what we leave behind. Suraj’s vocal delivery is filled with vulnerability, particularly during the emotionally charged refrain, while Baiju delivers some of the album’s most haunting guitar work. His Carnatic phrasing remains one of Motherjane’s greatest strengths, capable of sounding both technically dazzling and deeply emotional at the same time.
The closing pair of tracks, “An Ode To Life (Act-II)” and “Dobareh”, function as a journey through the band’s past and present. Rich with atmosphere, mystery, and reflection, the penultimate track introduces hymn-like choral arrangements that gradually prepare listeners for the finale. The title track then delivers exactly what longtime fans have been waiting for. Unfiltered progressive rock viewed through a distinctly ethnic lens.
In Conclusion
The high-gain guitar tones are crushingly heavy, yet remarkably balanced within the mix. Every note carries weight without overwhelming the sonic spectrum. The band sounds massive and is a fitting conclusion to an album that constantly balances power and sophistication.
What makes Dobareh special is not simply that Motherjane are back; it is that they return sounding revitalised – rather than recreate past successes, they have embraced a heavier, more contemporary sound while preserving the musical identity that made them legends in the first place.
Dobareh feels like the work of musicians who still have something important to say and the confidence to say it their own way.
An explosive comeback, to say the least, from Kochi’s Carnatic rock titans – Motherjane.
