Hod by Namasthay

Hod is a realm.
A sanctuary of resonance where humility becomes radiance —
where sound bows low, and light rises from that very gesture.

The journey opens with La Souffleuse du Temps, guided by Sarah Lemaire — SaraLeh:
the guardian of thresholds, the keeper of breath,
the one who turns silence into passage and presence.

Then voices gather:
Chantline, a bridge of tribes —
a heartbeat shared by earth and sky,
an ancient wind learning new ways to sing.

Global steps in with a remix breathing freedom and joy,
followed by Zappin’ 3, a kaleidoscope of world pulses
from Papua to the streets,
from temple to dancefloor —
the festival after the prayer.

Suddenly, the wise voice of Yori opens a summoning —
a vibration of truth from Israel,
a reminder that certain words are doors.

Covers then become tributes:
26 by Nathan Goshen — glowing with renewed faith,
and Rita — Atuf Be Rahamim,
carried here with reverence and strength:
an embrace of mercy dressed in melody.

The finale, unexpected and mythical:
The Doors — When the Music’s Over,
reborn into meditation —
Jim Morrison’s cry dissolving into contemplative ether,
like rebellion finally finding peace.

HOD
is the place where all opposites bow to one another.
The sacred and the profane,
the traditional and the experimental,
the studio-less creation and the angelic march.

This album is an ode to Narkis —
to her flame of humility,
to her art that walks quietly into the heart
and leaves it illuminated.

Each track is a candle.
Together, they form the menorah.
A music for crossing worlds
with grace, courage, and awe.

Created by Namasthay
— in simplicity, in devotion, in wonder.
May Hod resonate through every listener
like a feather touching the soul.

Namasthay, a Belgo-Israeli prog visionary, weaves Sephardi-modal soul with raw baritone in 44 albums of Emo-Spontaneity. From Brussels' punk underground to Jerusalem's eternal pulse, his improvised, first-take tracks (like Ner Neshama) fuse Boards of Canada haze with Hebrew grit. A ULB AI researcher and stealth Princeton collaborator, he redefines music as memory—unscripted, imperfect, eternal.

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