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THE UNDERGROUND, THE DRY CLEANER & THE ART OF NOT BECOMING A TYRANNOSAURUS When an Israeli newspaper, a brand-new pop song and an ordinary errand became an unexpected lesson in humour, freedom and simcha. Namasthay | October 2026 Previously, in Screen Signals… A dinosaur entered an elevator. A Sukkah became a celebration. CakeOsaurus joined the party. An Israeli singer appeared on the cover of a newspaper. And somewhere in Belgium, an independent artist was still trying to de

An open question to Narkis, about artistic freedom, happiness and knowing when not to pursue an answer. Namasthay | 11 October 2026 Dear Narkis, There is one question I have been carrying through this extraordinary musical journey. And perhaps it is the only one that still unsettles me. How come you accepted that the production might have stolen your dream? How come? Was the call so persistent? What crack in the mould did they find? I ask because your music has always conveye

נעשה לנו חג — NA’ASE LANOU HAG THE ART OF TURNING THE TABLES — WITHOUT TURNING AGAINST ANYONE 10 October 2026 | Namasthay × Lurch Productions 63 albums. One unexpected celebration. And a rather beautiful lesson in the art of turning apparent ridicule into something constructive. What if the greatest victory is not defeating an opponent, but making the confrontation unnecessary? This is the story behind Namasthay’s 63rd album. And for those who have followed Screen Signals, Aj

How something that initially landed painfully became a surprisingly beautiful Chag story — and somehow collided with JRF, MP6, CakeOsaurus, Microsoft and Apple along the way. There is a peculiar moment in Screen Signals when you have to decide whether to trust the first emotional impact of an image. This was one of those moments. A Story appeared. An elevator. A green dinosaur — or crocodile — playing a drum. Narkis. Her partner. Another couple. Everyone waving, smiling, movi

Something happened to our little rabbit hole. The previous recurrence ended with a question: BETTER OFF ALONE? Three appearances.A Reel.A concert in Rebecq.And finally an unexpected return into Namasthay’s own archive — album #36, ROOSTED, through Alice. I deliberately left the question unanswered. Then another performance appeared. Israel. Narkis, live at Radius 100FM. And this time the construction itself stopped me: an Israeli song called 06 crosses into Rihanna’s STAY. Se

Namasthay Album #62, Sadot, Narkis, Better Off Alone and a musical convergence across Israel, Jerusalem, Rebecq—and eight years of archives Sometimes an album is finished. Sometimes an album keeps happening after it has been released. WATCH SCREEN SIGNALS → https://namasthay.bandcamp.com/album/screen-signals SCREEN SIGNALS, the 62nd Namasthay album, appears increasingly to belong to the second category. It began as an experiment in something I had not really attempted in this

Pleased to share a new interview published by ArtistCloseUp, presenting my work as Namasthay and offering one of the clearest external views so far of the artistic ecosystem I have been building for many years. The interview traces the path between music, literature, film, photography, documentary work, multimedia creation, and the more experimental bridges I continue to explore between art, science, technology and consciousness. For a long time, my work has moved across seve

There are seasons for appearing, and seasons for preparing. This one is not made for noise. Not every ring is a stage. Some are only there to teach breath, rhythm, impact, patience. The body learns first what the voice will only understand later: that force is not volume, and readiness is not display. This quiet period is not an absence of movement. It is movement without witness. A discipline that does not ask to be admired. A phase where the gesture becomes cleaner, the int

Namasthay is not a musician. Not a filmmaker. Not a poet. Not a technologist. He is the system that connects them. Over 50 albums. Hundreds of experimental films. Thousands of photographs. Hundreds of poems. Dozens of book editions. This is not productivity. This is architecture. The work does not expand horizontally — it compounds vertically. Music becomes image. Image becomes montage. Montage becomes ritual. Ritual becomes code. Code becomes myth. From low-fi handheld foota

A Jewish modern fairy tale from the Middle Ages of AI. There are stories that do not unfold forward. They circle. This one begins at its end. The/My YouTube playlist stops, about where the romance starts — with an electronic duet of Fields / Sadot , a song interpreted alone, yet never solitary. From there emerged a sequence that was never planned as a saga, yet revealed itself as one. The integral documents it. Rebirth. The first movement — not resurrection, but permission.

There are rehearsals that feel like performances,and performances that feel like rehearsals for something quieter. This moment with A-WA belongs to the second kind. No spectacle. No insistence.Just a room large enough for voices to arrive honestly. Sometimes the request is not to be answered —only to be held long enough to stay true. -- Nam