Every once in a while it’s OK to greet a drone album that doesn’t require verbal surplus. Tasos Stamou is not looking for holy reconditeness or alternative worlds, though he talks about “ritual noise” when illustrating his work. In about 42 minutes, these rather straightforward pieces – one for zither, the other for chord organ, both multitracked – lead the listener across a relatively reposeful zone without additional rhetorics. What we have, then, is two long tracks revolving around definite tonal centres, whose dynamical stability remains more or less constant notwithstanding the inevitable intrinsic wavering generated by the contiguousness of the upper partials. This is to say that Koura is made of tangible mono-harmonies affirmed with a degree of strength; forget the elusive clusters typical of often-quoted spectral minimalists. A type of simple yet consistent entrancement, useful for the exact moment in which we decide to plunge in and get moved forward by its current. This record is probably not destined to become a frequent quote in the historical diaries, but definitely stands with dignity inside the borders of decent dronage.