Hi, everyone. Coldthony Sweattano here, the internet's busiest music nerd, and it's time for a review of this new Aroof Aftab record, Night Reign.

This is the fourth full-length solo album from Pakistani-American singer, songwriter, band leader, producer, composer Arooj Aftab, an artist that has been making waves on the jazz fusion scene for quite a few years now, with this seamless, smoky, immersive blend of jazzy, slow burning ballads and meditations, packed with chamber instrumentation. Not to mention the clear nods throughout her songs to Hindustani classical music, ragas, as well as Persian music, too.

Whether you're talking about 2021's Vulture Prince or her more recent collaboration with pianist Vijay Iyer, as well as Shahzad Ismaily. The best and most defining moments of Arooj's catalog so far tend to feel entrancing and vast, not to mention how panoramic the presentation is of guitar and upright bass, harp, as well as vocals, pianos, and percussion, too. But things like repetition and very slow gentle changes across her songs tend to leave them feeling almost endless and easy to get lost in, which is not usually something I'm massive on per se, but the instrumental palettes on this record are so gorgeous and emotionally potent, I don't really mind getting lost in them - one of the most major selling points of this record, truly.

Which is pretty clear right from the opening track, "Aey Nehin", which slowly increases in intensity across its run time. The whole track feels like just a gorgeous rainstorm with droplets of harp and pitter-patter percussion across the track and warm, thunderous drops of upright bass, too, which all swirl together into this moody cloud of sound by the end of the song, one that is so thick, it's hard to see the end of it, and I don't really mind.

So not only is this a great start to the record, but I feel like the album's more bewitching qualities just increase as Arooj brings on more guests, like the cycling, spacious hand drums and droning tones all over "Autumn Leaves", which underscores this longing poetry, which reads like an old Billie Holiday song, something along those lines. And the heartache on this one reaches a climax as we're hit with these really slick electric piano keys from James Francies.

Moving on from here, though, "Bolo Na" is a heavy jazz fusion piece with a truly sinister bass line. Gorgeous and eerie vibraphone chords, too. And while I do love Arooj's vocals on this track, the true, very dark cherry on top of this one is all of the spoken word contributed by none other than Moor Mother, who has a lot to say on this track when it comes to love, learning to love, what it means to love, and to feel safety in a love context.

There's the "Last Night Reprise", which is obviously a slick, nocturnal, jazzy take on a cut from Arooj's last full-length LP, one that features a couple of very impressive guests, the most surprising of them being Kaki King. Maybe I'm out of the loop, but that's an unexpected crossover, but still one that's great and makes sense given the subtle technical guitar wizardry the King brings to the table. From what I understand, she contributes to a few different points on the album, not just this track, but she absolutely smashes it here with an intense climax toward the end, which also piles on some flute and harp, too. This track, by far and away, features the most fiery performance on the album. Just incredible high point.

"Raat Ki Rani" has a quality about it that is similar to many other songs on the album, just this slowly, progressively growing intensity with the song's persistent beats and repetitive refrains, making it quite a bit hookier than your average Arooj track, but still it does maintain that beautiful, difficult to put your finger on quality that just feels like it's coming from another astral plane.

Meanwhile, "Whiskey", by comparison, feels a bit more down to earth as, again, lyrically, it feels like we are borrowing once more from some classic mid-century vocal jazz standards with a tune that is very much about being carefree and tipsy with your lover. And what's interesting is that the instrumentation on this track matches that sensation in a literal sense with it feeling so woozy and sloshy. There is truly a watery quality to it as it moves back and forth in waves. I would say the sound of this track is just as heavy and as vast as a body of water, too.

There are moments on the record that I wish had a bit more structure or momentum to offer, like the droney and gorgeous "Zameen" toward the very end of the album, which I think starts a lot stronger than it finishes. Meanwhile, "Na Gul" does feature some very impressive piano work, but also a start-stop quality to its structure that makes it difficult to will myself to the track like I have many others here. But I think my least favorite moment on the record has to be maybe "Saaqi", which does feature prior collaborator Vijay Iyer on piano. But there are points where the instrumental palette on this one does tend to feel a little New Age-y or like relaxation CD music, which is truly when the vibes on this record are at their lowest.

Generally, though, my final thoughts on the album are, of course, that it's gorgeous in its best moments. And believe me, there are many of those best moments. It is stunning, it is breathtaking, it is wondrous. Some tracks do pale in comparison to others, but believe me, it's not by much.

And if you're looking for a record that is truly going to overwhelm you with beauty and with nuance, this is the one to listen to, which is why I'm feeling a light eight on this one.

Have you given this album a listen? Did you love it? Did you hate it? What would you rate it? You're the best, you're the best. What should I review next? Hit the like if you like. Please subscribe and please don't cry. Hit the bell as well. Over here next to my head is another video that you can check out. Up or a link to subscribe to the channel. Anthony Fantano. Arooj Aftab. Forever.