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Music Review: Love Infinite Divine by Harnam Singh

Review By Ramdesh Kaur, SpiritVoyage.com

Have you ever felt that kind of love? The kind where you don’t recall the beginning and ending of your own heart? All that you are and all that you’ll ever be is lost within a love that is nothing less than infinite and divine. Harnam Singh has felt that kind of love; you can hear it in his voice.

On Love Infinite Divine, Harnam steps into the powerful source of his own creativity. This is a bold and audacious album; not only did Harnam sing and play guitar, but he wrote, produced, and recorded it all himself. He even did the cover artwork and design. It is a testament to the quality and loveliness that can come out of an artist when they decide to create without support from a label, and turn instead to the Divine for all they need. Although he did it all himself, Love Infinite Divine doesn’t sound like a backyard album. There is a polish and professionalism here that comes only after a life steeped in the discipline of musical devotion. It is without a doubt a beautiful album.

The title track, Love Infinite Divine, is a stunning song. It opens with an ethereal vocalization by Nicole Zuraitis, who sounds like the Divine Feminine bringing a world into being. Harnam watches the divine manifestation in grateful awe, singing a mantra of ecstasy. Harnam’s guitar work is inspired and improvisational, and the other instruments, including a violin and a Fender Rhodes, are layered with a delicate mastery. The mantra “Waheguru Wahejio” means that God is wonderful beyond description, but Harnam ventures a humble guess; God feels like Love…Infinite, Divine.

On No Stranger, Harnam sings a gospel song for the new age. You’ll find yourself dancing along with it by its end. It’s like a yogi anthem. “I see no stranger!” he declares, opening his eyes and heart to the truth that we are all one, with an irresistible energy and enthusiasm. Ancient mantras of unity are woven with English affirmations and Yogi Bhajan quotes like, “If you can’t see God in all, then you can’t see God at all.” It’s infectious and wickedly (well, sacredly) fun. It doesn’t take itself too seriously (the hand claps are so groovy!) and ends up being a rare splash of spunk in what is an otherwise very introspective and serious genre. Despite its lightheartedness, the message is there and it’s neither cliché nor lost in playfulness. You’ll feel the Oneness, loud and clear.

The third track, I Don’t Mind, is a gentle and loving cure for heartbreak. In this poetic song of English lyrics combined with Gurmukhi mantra, Harnam’s voice is full of wisdom and guidance, calling on the sacred energy of Guru Ram Das. There’s no sanctimonious lecturing about how things will be fine here. You can sense that Harnam has seen his share of pain and found a way, through the energy of the sacred sound current and the love of Guru Ram Das, to rise above it. His intimate vocals carry the energy of the lyrics to a place of authenticity and sincerity. When he sings, “There’s a wisdom that comes as a servant of the Infinite Divine,” it’s without a trace of smug self-satisfaction. Rather, his heart is open and bare, offering a path out of pain and into love through the wisdom and grace of a true Guru.

The opening of Aadays Tisay Aadays is ripe with celestial energy, largely due to the haunting voice of Nicole Zuraitis. On this track, Harnam invites us to bow with him to the Infinite. You feel yourself melting in surrender to the One, and at the point where your head has finally given in to your heart, Harnam showers you with the healing mantra “Ra Ma Da Sa.” Then once you finally surrender to God, when you finally realize that there is a power greater than you, healing occurs.

The final song, Gobinday Mukunday, is perfect for yoga class or just getting down the road. This mantra removes subconscious blocks and balances the hemispheres of the brain. The dance between the masculine and feminine voices lends itself to that balancing, and the rhythmic guitar is like a pied piper pulling you into meditation. While it uses Gurmukhi mantras, this is an album for the western ear, full of tender violin, strong guitar, and innovative percussion.

It’s not easy to break out with your first solo album on your own, but Harnam makes it look that way. It’s not easy to lay open your entire heart, connect with the Divine and then share it authentically, but Harnam does just that. At the end of this listening experience, what are we left with? A deep understanding that we could all use a little more Love Infinite Divine.

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