Self Release

Salim Ghazi Saeedi: composition, performance (guitars, basses, keyboards, drums arrangement)

An intriguing item from 2012, from an equally interesting character. Salim Ghazi Saeedi is a 33-year old multi-instrumentalist composer born in Iran and still residing there, though he feels a close affinity with a number of diverse cultures under various guises. Not a surprise, then, to read about him on a polyglot website, including uncommon idioms, and a fabricated jargon called “babelish”. As far as the sheer musical content of this CD is concerned, we’re dealing with an earnestly executed intermixture of darkish chamber-rock constituents (often recalling, quite closely, pages of the Univers Zero book; but I was also reminded of the excellent and relatively unsung Simon Steensland, another brilliant observer of the one-man-RIO-band philosophical system). Leaving aside minor imperfections (very few, and totally excusable: specializing in all instruments is next to unfeasible) and given that sampled strings do not precisely warrant the same vibe of wood, there’s much here that tickles the curiosity. Saeedi never disobeys the rules of good taste, organizing and arranging the pieces neatly and enthusiastically. He plays guitar with somewhat disciplined wildness when necessary, but appears tight enough in the pre-written parts. His uncontaminated drumming and piano approaches are functional to the features of the overall sonority, and a couple of segments are genuinely respectable (the mildly neurotic “moW” and the complex “oma” are favorites of mine). Give this young gentleman credit; finding energies for such a type of end product in that geographic area does not appear to me as the easiest task. The time you’ll wish to spend with namoWoman won’t be squandered; this reviewer would be curious to hear the material on a label like, say, Moonjune – perhaps with a full group performing the scores together with their originator.

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