CatalogueArtist: Kamran Sadeghi
Title: Through Thickness
Catalogue: de5018
Duration: 58:08
Format: CD-R
Edition: 250
Release: September 2008
BUY NOW
1. Day Break
2. Planar Graph
3. Teeth
4. Pivot
5. Through
6. Haptic
7. Equal
8. Irrigation
9. Shelter
10. The harvest
11. Public
12. Thickness
Dragon's Eye Recordings is proud to present Through Thickness, the new full length release by Kamran Sadeghi. Through Thickness is part of Sadeghi's ongoing Kha series that arose from a growing interest in exploring rhythm. Kha is a word from the sanskrit language meaning "zero" that was used to denote space in tabular arrangements. Through these explorations, Sadeghi has developed a keen sense of structure and time, and deploys them to create a truly visceral listening experience. Through Thickness slowly gains momentum, moving from timid to temerarious which only serves to accentuate the albums haptic nature.
Reviews
Dragon's Eye has grown up fast in the field of designer minimal electronics and drones. Already with a distinctive brand identity forged through an active roster of core artists, it's now established enough for Yann Novak, Seattleite installation art and sound designer whose baby DE is, to be seeing his main roster-men return with second, sometimes third, offerings. If not exactly seasoned campaigners, these artists are now evidently hardened enough by service in the post-digital frontline to be delivering discreetly different goods than previously: Wyndel Hunt an audio-visual collab with Thom Heilson; Kamran Sadeghi, last seen under the guise of Son of Rose, an exploration of rhythm and spatiality.
Kamran Sadeghi has previous form as a a dealer in shimmering and sustaining micro-tones under nom de disque Son of Rose. On Through Thickness, though, he operates under his own name for a differently configured sound that expressly takes rhythm as its object of inquiry. Sadeghi purportedly "draws from [the sound's] potential palate of sonic mass, color, and points in space in order to create compositions of aural depth perception and sculptural form." The most obvious source from which this work is drawn, however, is the Raster Noton back catalogue; with their staccato stabs, virtual-organic DSP timbres, and blip shtick, Sadeghi's tracks are sprung from the same furrow ploughed and seeded by Raster's Main Menschmaschinen - Carsten Nicolai (aka Alva Noto), Frank Bretschneider (aka Komet), Olaf Bender (aka Byetone), and Signal (all of the above Herren). On pieces like "Planar Graph" and "Teeth" Sadeghi cuts and blends clicks and blips into a more cerebral cousin to bleep techno's rude mechanical. In card-carrying minimalist fashion, Sadeghi starts out parsimonious to a T in his sounds, simple percussive patterns played through Chemnitz-conceived clicks, buzzes and hums. But as things progress he gets busier. Like on the polyrhythms of "Pivot," with its Flamencoesque of taps and pops suggestive of mechanik tablatronics. Or "Haptic," a stand-out track, which taps into a similar cybernetic stick figure funk vein, taking it eventually near the double-tempo paradiddling of d'n'b; Sadeghi even manages to programme in a further level of interest here by adding a tonal element to the prevailing orgy of unpitched click, buzz and hum. "Shelter" comes with Sadeghi sounding like he dropped in with his digital bongos on Autechre's ghost (again) revisiting an early machine-funk session. For all its lab-precise splice digi-science, any suggestion at the outset of starchy austerity in Sadeghi's sonic processing is banished by the progessive build-up of a satisfyingly corporeal clout.
– Igloo Magazine
Latest work from sound artist Kamran Sadeghi, "Through Thickness" is a land where blurbs, bleeps and smartly-programmed rivets come into place as a coherent whole. His cosmos is made up of microscopic beats, shifting currents and hyperactively occurring sets of events. Just when you think you have Sadeghi all figured out and want to praise him for his electronic editing skills, he goes one better and changes direction altogether by introducing thickly-layered static drone shapes. Smartly conceived album, one that draws the listener from beginning to its dying breath.
– Gaz-Eta/ Recenjze
In der Dringlichkeit, mit der sich Sadeghis raue und ungeschliffene klänge aufbauschen, erinnert Through Thickness stark an manche Arbeiten des Daniel Menche, ohne wirklich dem Gebiet der Noise Musik zuzugehören. Kamran Sadeghi konstruiert Klangwelten orientiert an Sanskrit-Begriffen wie “Kha”. In diesen Werken untersucht der Künstler die Möglichkeiten, die rhythmische Punktierungen in dichten Klangflächen haben können, als innerere Antrieb und subtiles dynamisches Werkzeug. Through Thickness begeistert nicht auf voller Strecke, hat aber durchaus spannende Momente zu bieten. Auflage: 250, Gestaltung einfach aber schick, wie immer bei DER.
– Aufabwegen
Ci vuole la giusta predisposizione emotiva per entrare nel microcosmo dei validi prodotti dell'etichetta statunitense Dragon's Eye Recordings. Ogni volta che mi accingo all'ascolto di un nuovo lavoro rimango piacevolmente colpito dalla sapiente cura con la quale vengono confezionati. Copertina e custodia studiati per amanti e libidinosi collezionisti. La musica poi è un'altra qualità intrinseca. La si potrebbe definire electronica sperimentale, tanto per dare una vaga idea, anche se la sperimentazione è sovente caustica ed al limite della cacofonia. Non si discosta da tutti i cd da me precedentemente recensiti "Through Thickness" di Kamran Sadeghi. I suoni ivi contenuti implodono e si sfasciano con un'enfasi fragorosa. I rumori electronici divampano e si sviluppano nitidi e composti. I battiti sono sempre concentrici e senza nessuna sbavatura. L'asse del pennello sbatte sulla punta della tavola senza nessuna pietà. Ogni recondita emozione, non gradita agli estranei, viene moderatamente estromessa. Il consiglio è quello di maneggiare con la dovuta cura.
– Ideabiografica
On the face of it, Through Thickness would appear to be another installment of impeccably high-minded electronic composition for Yann Novak's Seattle based Dragon's Eye label. And so it is – all obsessively-honed digitalia and crisp, ultra-percice editing. But the austerity of the conception and rigor of the sonic processing is counterbalanced by a satisfyingly physical thrust; Through Thickness forms part of Sadeghi's Kha series, which sets out to explore the possibilities of rhythm. The polyrhythmic complexity on display here is strangely reminiscent of the tabla patterns of indian classical music – firm downbeat buffeted by a stream of lighter accents, occasional pulseless longeurs suddenly revitalized by a flurry of perfectly calibrated and finely modulated impacts.
– The Wire
Kamran Sadeghi has the ear travel across grand interlocking structures and micromanaged outbursts of intense digital incident on Through Thickness. As Sadeghi juxtaposes these incongruous traits, setting off mobile, surprisingly rounded, fulsome structures and then, in various manners, swiftly testing them for flexibility and points of weakness, he exploits space to draw out a sense of transience and ending so far as the human species is concerned.
The predetermined orderliness of something like Through is given a virus; its polished, not to mention elaborate, percussion arrangement is slowly infiltrated by fleshy, fatty tones that render its gait sluggish and leave it worse for wear, speckling a trail of goo over its stainless surface. In other places the beats fracture internally; percussive fragments ricochet across the stereo field and threaten to derail the proceedings with every bar. Yet, for all that, these works maintain their forward pulse; these particles and other such fragments are reabsorbed as desiccated palettes, which allow for more sustained gazes into ever-more specific and refined stylistic mirrors.
Soon each piece bears out its own minute form - composed of looping selections of brittle snaps and clicks, shifting tones, and changing states of momentum. As the works grow more settled in simply living out their own structure, rather than risking a certain exteriority and feeding off of one another and other such outside influences, they also grow more unstable, more discordant, and often fly off into the more far-flung parameters of electronic music. The beats grow diarrhoeic, and some of the latter tracks manage to conduct real electricity. As a whole the album thus canvasses an impressive spectrum of sound, using aleatory elements to dislodge certain residues of habit and enough structural elements to avoid absolute meltdown.
– The Milk Factory
Seattle sound artist Karmran Sadeghi’s latest CD on the Dragon’s Eye imprint is a bit of a square peg in that label’s recent back catalog. While label mates such as Yann Novak explore the blurred-edge pleasures of lushly harmonic drones, Sadeghi favors razor sharp bursts of static, metallic hums and pulsing bass. Of course, this is not uncharted territory and Sadeghi borrows a page or two from the Raster-Noton manual of rhythmical micro-electronics. But he follows the basic formula laid down by artists like Alva Noto and Frank Bretschneider to first-rate effect. Like Bretschneider, whose Rhythm is the gold standard for this kind of thing, Sadeghi is highly economical in the sounds he uses, building intricate percussive patterns and surprisingly infectious grooves from a simple set of clicks, buzzes and hums. At times on Through Thickness Sadeghi is overwhelmed by influence. Some of the album’s most engaging tracks—“Pivot,” with its delicate multi-layered taps and pops, and the harsh, modem-blast funk of “Haptic”—could easily be mistaken for outtakes from recent releases by Bretschneider or Noto, which is no mean feat to be sure! But it’s when he emerges from his predecessors’ shadows towards the end of the album to create some rather abrasive, roiling drones that are almost Vainio-esque, that things might get quite interesting.
– Rare Frequency
‘Through Thickness’ is the full length release by Kamran Sadeghi and his fourth release on Seattle based Dragons Eye Recordings. Also he works under the moniker of Son of Rose. He’s a sound, audio visual artist and composer who work in the experimental electronic Seattle’s scene. ‘Through Thickness’ is part of the ongoing series ‘Kha’ that explores rhythm and also is an audiovisual work under the title of ‘Kha Variations’ that deals with sound that transforms into color, shape and motion and this produce specific visuals. Minimal glitch electronics with pulsing beats that go slowly growing into shift rhythm, rough textures and dense layers of deconstructed sounds.
– Loop
Sadeghi is only known to me under his project name, Son of Rose, whose previous incarnations have been reviewed within these pages, having also been published by Dragon’s Eye. Through Thickness sees Sadeghi operating under what I assume to be his own name, jettisoning the “band” name for a project that thoroughly explores rhythm and rhythmic elements. Opening piece, “Day Break”, whilst not the strongest piece of work here, plunges us into a sampladelic delight, a skippy, trippy piece that flutters and warbles through all manner of permutations. Planar Graph, however, sees Sadeghi tinkering with the kind of “blips and beats” aesthetic, best exemplified by Noto, Ikeda, and Bretschneider to name but a few. His approach is similar, and indeed, I would say he has been listening intently to some of the raster noton back catalogue to ignite inspiration for the next few tracks, pin sharp rhythmic stabs, and organic, scratchy overlays, or blippy central themes being the order of the day.
Sadhegi has clearly used this CD as a springboard for various experiments and divergent approaches. Not a new thing by any means, but I find it fascinating to see how artists’ ideas develop over the course of an hour, trying and testing formulas, using more successful remedies as a basis with which to work and develop. Sadhegi uses a lot more reverb than the aforementioned luminaries, creating stuttering cyberspatial atmospherics, verging on techno, but pulling back before it lapses into cliché. Pieces like Haptic take the same approach, but reduce the pace and rhythm, creating something infinitely more mysterious and resonant, a much more successful technique that will prevent his work from being labelled as “derivative”. As the CD goes on, Sadhegi finds his own voice, and as the pace slows, the sequences become more spacious and interesting – still carrying the essence of that infamous raster noton style, but with more unique and original inclusions. Overall, I found this to be a fascinating and exciting entry point to the world of Kamran Sadhegi, and I look forward to seeing whether his work operates to a formula, or whether he will entice us with further explorations. Great stuff.
– White_Line
Exploring the rhythm beyond its regular structure, is the main objective in this abstract and experimental album by Kamran Sadeghi, titled Through Thickness. Like little insects beating their wings against an aquarium where rabid fish circle the dying microphone, the sharp frequencies in the swirling noise of clicks is just one image floating to the surface in this harmonically deprived composition. Sadeghi "draws from [the sound's] potential palate of sonic mass, color, and points in space in order to create compositions of aural depth perception and sculptural form." Through Thickness is a first album in Sadeghi's Kha series. Sadeghi explains on his site: "'kha' is an ancient Hindu [Sanskrit] word meaning "emptiness" which was used in early numerical systems to imply space in tabular arrangements, 'zero'". In the digital twist and decomposition of rhythm, that emptiness breathes on its own. The electronic circuitry of sound pulses and twitches in a final dance of death. Sadeghi's curriculum vitae of audio and visual live performances and installations include OkOk Gallery, The Henry Art Gallery and the Decibel Festival. This is my first taste of material from Dragon's Eye Recordings, an independent label out of Seattle, focusing on experimental, textural, ambient, drone and minimalist recordings from an interesting roster of artists, releasing limited edition albums. In that sense, I place it somewhere around Touch, 12k, Sähkö and Raster-Noton. Definitely a label to keep my eye on. Through Thickness is very much in the spirit of Alva Noto, Pan Sonic, and the darker side of Autechre. For a more musical side of Sadeghi, check out his side project, Son of Rose, with multiple releases on Dragon's Eye. Favorite track: Haptic.
– Headphone Commute
<< Back
Title: Through Thickness
Catalogue: de5018
Duration: 58:08
Format: CD-R
Edition: 250
Release: September 2008
BUY NOW
1. Day Break
2. Planar Graph
3. Teeth
4. Pivot
5. Through
6. Haptic
7. Equal
8. Irrigation
9. Shelter
10. The harvest
11. Public
12. Thickness
Dragon's Eye Recordings is proud to present Through Thickness, the new full length release by Kamran Sadeghi. Through Thickness is part of Sadeghi's ongoing Kha series that arose from a growing interest in exploring rhythm. Kha is a word from the sanskrit language meaning "zero" that was used to denote space in tabular arrangements. Through these explorations, Sadeghi has developed a keen sense of structure and time, and deploys them to create a truly visceral listening experience. Through Thickness slowly gains momentum, moving from timid to temerarious which only serves to accentuate the albums haptic nature.
Reviews
Dragon's Eye has grown up fast in the field of designer minimal electronics and drones. Already with a distinctive brand identity forged through an active roster of core artists, it's now established enough for Yann Novak, Seattleite installation art and sound designer whose baby DE is, to be seeing his main roster-men return with second, sometimes third, offerings. If not exactly seasoned campaigners, these artists are now evidently hardened enough by service in the post-digital frontline to be delivering discreetly different goods than previously: Wyndel Hunt an audio-visual collab with Thom Heilson; Kamran Sadeghi, last seen under the guise of Son of Rose, an exploration of rhythm and spatiality.
Kamran Sadeghi has previous form as a a dealer in shimmering and sustaining micro-tones under nom de disque Son of Rose. On Through Thickness, though, he operates under his own name for a differently configured sound that expressly takes rhythm as its object of inquiry. Sadeghi purportedly "draws from [the sound's] potential palate of sonic mass, color, and points in space in order to create compositions of aural depth perception and sculptural form." The most obvious source from which this work is drawn, however, is the Raster Noton back catalogue; with their staccato stabs, virtual-organic DSP timbres, and blip shtick, Sadeghi's tracks are sprung from the same furrow ploughed and seeded by Raster's Main Menschmaschinen - Carsten Nicolai (aka Alva Noto), Frank Bretschneider (aka Komet), Olaf Bender (aka Byetone), and Signal (all of the above Herren). On pieces like "Planar Graph" and "Teeth" Sadeghi cuts and blends clicks and blips into a more cerebral cousin to bleep techno's rude mechanical. In card-carrying minimalist fashion, Sadeghi starts out parsimonious to a T in his sounds, simple percussive patterns played through Chemnitz-conceived clicks, buzzes and hums. But as things progress he gets busier. Like on the polyrhythms of "Pivot," with its Flamencoesque of taps and pops suggestive of mechanik tablatronics. Or "Haptic," a stand-out track, which taps into a similar cybernetic stick figure funk vein, taking it eventually near the double-tempo paradiddling of d'n'b; Sadeghi even manages to programme in a further level of interest here by adding a tonal element to the prevailing orgy of unpitched click, buzz and hum. "Shelter" comes with Sadeghi sounding like he dropped in with his digital bongos on Autechre's ghost (again) revisiting an early machine-funk session. For all its lab-precise splice digi-science, any suggestion at the outset of starchy austerity in Sadeghi's sonic processing is banished by the progessive build-up of a satisfyingly corporeal clout.
– Igloo Magazine
Latest work from sound artist Kamran Sadeghi, "Through Thickness" is a land where blurbs, bleeps and smartly-programmed rivets come into place as a coherent whole. His cosmos is made up of microscopic beats, shifting currents and hyperactively occurring sets of events. Just when you think you have Sadeghi all figured out and want to praise him for his electronic editing skills, he goes one better and changes direction altogether by introducing thickly-layered static drone shapes. Smartly conceived album, one that draws the listener from beginning to its dying breath.
– Gaz-Eta/ Recenjze
In der Dringlichkeit, mit der sich Sadeghis raue und ungeschliffene klänge aufbauschen, erinnert Through Thickness stark an manche Arbeiten des Daniel Menche, ohne wirklich dem Gebiet der Noise Musik zuzugehören. Kamran Sadeghi konstruiert Klangwelten orientiert an Sanskrit-Begriffen wie “Kha”. In diesen Werken untersucht der Künstler die Möglichkeiten, die rhythmische Punktierungen in dichten Klangflächen haben können, als innerere Antrieb und subtiles dynamisches Werkzeug. Through Thickness begeistert nicht auf voller Strecke, hat aber durchaus spannende Momente zu bieten. Auflage: 250, Gestaltung einfach aber schick, wie immer bei DER.
– Aufabwegen
Ci vuole la giusta predisposizione emotiva per entrare nel microcosmo dei validi prodotti dell'etichetta statunitense Dragon's Eye Recordings. Ogni volta che mi accingo all'ascolto di un nuovo lavoro rimango piacevolmente colpito dalla sapiente cura con la quale vengono confezionati. Copertina e custodia studiati per amanti e libidinosi collezionisti. La musica poi è un'altra qualità intrinseca. La si potrebbe definire electronica sperimentale, tanto per dare una vaga idea, anche se la sperimentazione è sovente caustica ed al limite della cacofonia. Non si discosta da tutti i cd da me precedentemente recensiti "Through Thickness" di Kamran Sadeghi. I suoni ivi contenuti implodono e si sfasciano con un'enfasi fragorosa. I rumori electronici divampano e si sviluppano nitidi e composti. I battiti sono sempre concentrici e senza nessuna sbavatura. L'asse del pennello sbatte sulla punta della tavola senza nessuna pietà. Ogni recondita emozione, non gradita agli estranei, viene moderatamente estromessa. Il consiglio è quello di maneggiare con la dovuta cura.
– Ideabiografica
On the face of it, Through Thickness would appear to be another installment of impeccably high-minded electronic composition for Yann Novak's Seattle based Dragon's Eye label. And so it is – all obsessively-honed digitalia and crisp, ultra-percice editing. But the austerity of the conception and rigor of the sonic processing is counterbalanced by a satisfyingly physical thrust; Through Thickness forms part of Sadeghi's Kha series, which sets out to explore the possibilities of rhythm. The polyrhythmic complexity on display here is strangely reminiscent of the tabla patterns of indian classical music – firm downbeat buffeted by a stream of lighter accents, occasional pulseless longeurs suddenly revitalized by a flurry of perfectly calibrated and finely modulated impacts.
– The Wire
Kamran Sadeghi has the ear travel across grand interlocking structures and micromanaged outbursts of intense digital incident on Through Thickness. As Sadeghi juxtaposes these incongruous traits, setting off mobile, surprisingly rounded, fulsome structures and then, in various manners, swiftly testing them for flexibility and points of weakness, he exploits space to draw out a sense of transience and ending so far as the human species is concerned.
The predetermined orderliness of something like Through is given a virus; its polished, not to mention elaborate, percussion arrangement is slowly infiltrated by fleshy, fatty tones that render its gait sluggish and leave it worse for wear, speckling a trail of goo over its stainless surface. In other places the beats fracture internally; percussive fragments ricochet across the stereo field and threaten to derail the proceedings with every bar. Yet, for all that, these works maintain their forward pulse; these particles and other such fragments are reabsorbed as desiccated palettes, which allow for more sustained gazes into ever-more specific and refined stylistic mirrors.
Soon each piece bears out its own minute form - composed of looping selections of brittle snaps and clicks, shifting tones, and changing states of momentum. As the works grow more settled in simply living out their own structure, rather than risking a certain exteriority and feeding off of one another and other such outside influences, they also grow more unstable, more discordant, and often fly off into the more far-flung parameters of electronic music. The beats grow diarrhoeic, and some of the latter tracks manage to conduct real electricity. As a whole the album thus canvasses an impressive spectrum of sound, using aleatory elements to dislodge certain residues of habit and enough structural elements to avoid absolute meltdown.
– The Milk Factory
Seattle sound artist Karmran Sadeghi’s latest CD on the Dragon’s Eye imprint is a bit of a square peg in that label’s recent back catalog. While label mates such as Yann Novak explore the blurred-edge pleasures of lushly harmonic drones, Sadeghi favors razor sharp bursts of static, metallic hums and pulsing bass. Of course, this is not uncharted territory and Sadeghi borrows a page or two from the Raster-Noton manual of rhythmical micro-electronics. But he follows the basic formula laid down by artists like Alva Noto and Frank Bretschneider to first-rate effect. Like Bretschneider, whose Rhythm is the gold standard for this kind of thing, Sadeghi is highly economical in the sounds he uses, building intricate percussive patterns and surprisingly infectious grooves from a simple set of clicks, buzzes and hums. At times on Through Thickness Sadeghi is overwhelmed by influence. Some of the album’s most engaging tracks—“Pivot,” with its delicate multi-layered taps and pops, and the harsh, modem-blast funk of “Haptic”—could easily be mistaken for outtakes from recent releases by Bretschneider or Noto, which is no mean feat to be sure! But it’s when he emerges from his predecessors’ shadows towards the end of the album to create some rather abrasive, roiling drones that are almost Vainio-esque, that things might get quite interesting.
– Rare Frequency
‘Through Thickness’ is the full length release by Kamran Sadeghi and his fourth release on Seattle based Dragons Eye Recordings. Also he works under the moniker of Son of Rose. He’s a sound, audio visual artist and composer who work in the experimental electronic Seattle’s scene. ‘Through Thickness’ is part of the ongoing series ‘Kha’ that explores rhythm and also is an audiovisual work under the title of ‘Kha Variations’ that deals with sound that transforms into color, shape and motion and this produce specific visuals. Minimal glitch electronics with pulsing beats that go slowly growing into shift rhythm, rough textures and dense layers of deconstructed sounds.
– Loop
Sadeghi is only known to me under his project name, Son of Rose, whose previous incarnations have been reviewed within these pages, having also been published by Dragon’s Eye. Through Thickness sees Sadeghi operating under what I assume to be his own name, jettisoning the “band” name for a project that thoroughly explores rhythm and rhythmic elements. Opening piece, “Day Break”, whilst not the strongest piece of work here, plunges us into a sampladelic delight, a skippy, trippy piece that flutters and warbles through all manner of permutations. Planar Graph, however, sees Sadeghi tinkering with the kind of “blips and beats” aesthetic, best exemplified by Noto, Ikeda, and Bretschneider to name but a few. His approach is similar, and indeed, I would say he has been listening intently to some of the raster noton back catalogue to ignite inspiration for the next few tracks, pin sharp rhythmic stabs, and organic, scratchy overlays, or blippy central themes being the order of the day.
Sadhegi has clearly used this CD as a springboard for various experiments and divergent approaches. Not a new thing by any means, but I find it fascinating to see how artists’ ideas develop over the course of an hour, trying and testing formulas, using more successful remedies as a basis with which to work and develop. Sadhegi uses a lot more reverb than the aforementioned luminaries, creating stuttering cyberspatial atmospherics, verging on techno, but pulling back before it lapses into cliché. Pieces like Haptic take the same approach, but reduce the pace and rhythm, creating something infinitely more mysterious and resonant, a much more successful technique that will prevent his work from being labelled as “derivative”. As the CD goes on, Sadhegi finds his own voice, and as the pace slows, the sequences become more spacious and interesting – still carrying the essence of that infamous raster noton style, but with more unique and original inclusions. Overall, I found this to be a fascinating and exciting entry point to the world of Kamran Sadhegi, and I look forward to seeing whether his work operates to a formula, or whether he will entice us with further explorations. Great stuff.
– White_Line
Exploring the rhythm beyond its regular structure, is the main objective in this abstract and experimental album by Kamran Sadeghi, titled Through Thickness. Like little insects beating their wings against an aquarium where rabid fish circle the dying microphone, the sharp frequencies in the swirling noise of clicks is just one image floating to the surface in this harmonically deprived composition. Sadeghi "draws from [the sound's] potential palate of sonic mass, color, and points in space in order to create compositions of aural depth perception and sculptural form." Through Thickness is a first album in Sadeghi's Kha series. Sadeghi explains on his site: "'kha' is an ancient Hindu [Sanskrit] word meaning "emptiness" which was used in early numerical systems to imply space in tabular arrangements, 'zero'". In the digital twist and decomposition of rhythm, that emptiness breathes on its own. The electronic circuitry of sound pulses and twitches in a final dance of death. Sadeghi's curriculum vitae of audio and visual live performances and installations include OkOk Gallery, The Henry Art Gallery and the Decibel Festival. This is my first taste of material from Dragon's Eye Recordings, an independent label out of Seattle, focusing on experimental, textural, ambient, drone and minimalist recordings from an interesting roster of artists, releasing limited edition albums. In that sense, I place it somewhere around Touch, 12k, Sähkö and Raster-Noton. Definitely a label to keep my eye on. Through Thickness is very much in the spirit of Alva Noto, Pan Sonic, and the darker side of Autechre. For a more musical side of Sadeghi, check out his side project, Son of Rose, with multiple releases on Dragon's Eye. Favorite track: Haptic.
– Headphone Commute
<< Back
de5018
Planar Graph
Pivot
Irrigation
Planar Graph
Pivot
Irrigation