Nine tunes copped from the archives of the legendary 78s collector Harry Smith — ‘pointedly taken from regions shaped by major US conflicts since Anderson’s birth in 1970. While her fascinating liner notes track what is lost and found when trying to translate these compositions, their universal musicality still cuts through. Opener Quodlibet is beautiful: an intricate, minor-key medley of Uzbek tunes originally performed on the dambura (a fretless lute), on which Anderson adds bluegrass techniques to counter her inability to play quarter-tones on her guitar. Her take on a qawwali vocal tune, Hamd, is also a highlight, her stacked guitar layers ringing with warmth and emotion. Gisela Rodríguez Fernández adds violin to Sarvi Simin, a shimmering tune from Soviet-era Afghanistan, while a Yemeni tune, Zar, intended to exorcise evil spirits from the sick, sees Anderson and Fernández constantly rearranging five notes without repetition. Dark ambient moods are also conjured in Pair of Duduk, on which Anderson shifts the drones of Armenian woodwinds on to reverb-heavy guitar and bassy synths, while in Vietnamese tune Whistle Song, transferred from bamboo flutes to electric piano, the composition’s closeness to minimalism sings out.’

Wonderful. Here’s to volume two.