Pakistan, 2020, khyal
Saami’s been making music (I assume on his rooftop) all his adult life, but it’s only been in the last couple years that he’s had a recording career. This, like his previous album, is a religious microtonal meditation that bears the weight of its meditation on its shoulders. It moves slowly because it’s moving in relation to its divine subject, not its listeners. I have a feeling this music would bore a lot of listeners, both in the East and the West.
Museum Musica 