About

Nafs at Peace was composed and recorded over two short sessions at studios in Lahore and Oslo with UK multi-instrumentalist Ed “Tenderlonious” Cawthorne and Polish composer Marek “Latarnik” Pędziwiatr (the sessions also yielded Tenderlonious’s 2020 release Ragas From Lahore: Improvisations with Jaubi). Hindustani classical ragas provide the initial jumping-off point, but the compositions here are almost completely improvised, guided by little more than a shared commitment to finding catharsis and transcendence through music.

Thematically, the album draws from the Qur’anic concept of the nafs (Arabic for “self/soul”). In Islam—especially in Sufi and Shia traditions—there are three stages in the development of the nafs. There’s the inciting nafs, which pushes us to indulge in our base instincts. The self-accusing nafs represents the struggle to master the ego, while nafs at peace represents self-actualization, a self that has untangled itself from material and worldly concerns and found true peace. Drawing from their own experiences of bereavement, divorce, drug addiction and crises of faith, Nafs at Peace is Jaubi’s attempt to chart a musical path to the final nafs, each track a different destination on this spiritual journey.

On Nafs at Peace, Jaubi pick up the baton passed to them by ’60s and ’70s trailblazers like Don Cherry and Mahavishnu Orchestra, pushing the boundaries of South Asian classical music into new and exciting spaces. They represent a new generation of South Asian musicians who are neither tied down by the traditional conservatism of classical music, nor burdened by the expectations of rebellion. Instead, they offer a new path that side-steps such debates in favor of something more visceral, more essential: the sheer, blessed joy of creation. — (via Pitchfork)

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Nafs at Peace represents the culmination of the band’s vision as their first proper step into the large pool of music that’s out there. It hearkens heavily, at a conceptual level to Middle Eastern spirituality, what with the ‘nafs’ in the title, referencing a cornerstone of said spirituality, as well as featuring Ali Riaz Baqar’s (guitarist and bandleader) mother on the album cover, praying intensely for his safe passing through dark times. This dark time, along with the experience of the pandemic serves as the drive which brought these tunes to the light of day.

So, what really goes on in Nafs at Peace? Lots of things, as much strictly musically, as well as emotionally. While the conceptual substrate leads us to a pensive and dim-lighted frame of mind and heart, the tunes definitely indicate what is ultimately catharsis and transcendence of such things. “Seek Refuge” and “Insia” definitely kick things off on a meditative tone with self reflection as the centerpiece of the action. It’s quite misleading in a way, as at this point I really expected the record to follow suit in terms of mood. While I’m not disappointed in any way with the final outcome, I was definitely left longing for what could’ve been an alternate direction. I draw however hope that it will be the subject of future sonic explorations.

As “Raga Gunji Todi” comes around the corner, it brings a sudden shift in tone and mood, taking us into the heart of the Indian music influence. It is definitely one of my favorite parts of the record, coming together with plenty of mystic atmospheres, truly infectious grooves, and something I can only describe as pure magic. It has a more alert pace and energy as well, making you really stand on your toes and bobbing your head uncontrollably to the rhythm. Not just for the sake of diversity, but for actually creating a whole and nuanced experience, “Straight Path” and “Mostly” take more relaxed routes while further exploring the aforementioned mysticism. — (via Everything Is Noise)

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- 2026 Reissue on black vinyl
- Limited to 500 copies
- Housed in gatefold sleeve

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Label: Astigmatic Records
Format: Vinyl, LP, Album, Reissue, Repress
Reissued: 2026 / Originally Released: 2021
Genre: Jazz, Folk, World, & Country

File under: Global Sounds
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