CatalogueArtist: Son of Rose
Title:Divisions in Parallel
Catalogue: der002
Duration: 59:41
Format: CD
Edition: 800
Release: May 2007
BUY NOW
1. TripleI
2. TripleII
3. TripleIII
4. Passage
5. From the Well
6. Ceremony
7. Eleven Eleven
Dragon’s Eye Recordings is proud to announce the release of Divisions in Parallel, the third full length cd by Seattle’s Son of Rose (Kamran Sadeghi). On Divisions in Parallel we see Sadeghi depart from his previous palate of synthesis and altered recordings and find him exploring the world of electro-acoustics, paring digital processing and synthesis with a grand piano. Keeping in his purely improvised style, nothing here is studio trickery. Sadeghi dives head first (sometimes literally) into the tonal qualities of the piano, producing a shimmering, delicate and subtle world that is pleasantly diverse despite the tight parameters in which he works.
Reviews
In veering away from the saturated noise savagery of previous works, Seattle-based composer Kamran Sadeghi third full-length is an example of immaculately engineered sonic sophistication. A sense of musicianship and an applied intelligence of the sound and feel for the piano is rendered apparent, as Sadeghi splits its sharp report, adjusts its frequency and pans it across the stereo field. Along the way, drastically panned E-bow leave fluttery trails of sonic after-images, which form a network of cross-connections with the ghostly, sub aquatic assemblage of crackles and delicate chimes.
Asides from the virtuosity in the interweaving of these forms with considerable subtlety, certain tenderness is shown in the due attention paid to the spectrum of possibilities inherent to this area of minimal electro acoustic experimentation. Sadeghi considers a wide variety of them, both in-themselves and in the respective manners in which they fit into or expand upon the forgoing developments.
The album thereby oscillates from works such as From The Well, with its slow motion electronics and soft hum that concentrate on nuance and subtlety to pieces of fuller, to others of more disruptive tendencies in a convincing manner. As such, the powerful sense of focus that seems at first predominant is more fully fleshed out, rendered malleable, and informed by other concerns. Rather than being compromised, though, this fact makes for stronger, more characterful compositions.
– Furthernoise
Kamran Sadeghi is more a dealer in shimmering and sustaining micro-tones, and his latest recording Divisions in Parallel seems to document sounds in transit towards, but staying shy of becoming, full-blown music. In this respect, Sadeghi’s Son of Rose is less a musical enterprise and more of a sonic travel operator, vaguely shepherding his sounds towards finding design and harmony, but without spelling the route out too clearly so they can stray interestingly along their chosen pathways and find interesting tangents and by-roads. He engineers a felicitous encounter of grand piano strings and E-bow via DSP intermediation which finds articulation in contours evoking terrain in an experimental ambient expanse roughly mapped out between Sirr and Kranky, or and/OAR and 12k. Opening in sparse tinkles, the sound stage gradually builds into a thin liquid drone infused with fibrillating droplets and aqueous timbres like minute bells in melting motion (“Triple II”) before a microsonic bio-mechanic sine-drone takes over for the lowercase minimalism of “Triple III”. The 18-minute “From The Walls” shifts from slow sustain-swells in a gauzy rotation, choreographed into tonal balletics glimpsed as if through a smeared glass darkly. Engrossing. Compositions suggest the secret inner life of sounding objects aspiring towards a cryptic melodicity in quiet and drifting soundstreams. These eventually find satisfying semi-static consonance on the closing “Eleven Eleven”
– e/i Magazine
A new acquaintance for this writer, Son Of Rose is the pseudonym of Seattle-based composer Kamran Sadeghi, whose previous work mostly revolved around "synthesis and altered recordings". For this occasion, Sadeghi utilized a few basic elements such as grand piano strings, Ebow and computer to create seven tracks in which the pianistic element is absent altogether in favour of a series of soundscapes that alternate scenarios, timbral gradations and intensities like in an evolutionist theatre piece, often traveling in the proximities of microsound-based, glitching new ambient, with a few louder moments such as the final track "Eleven Eleven". Characterized by a frequent use of "digital dust" and barely audible harmonics, emphasizing spectral layers and spatial openings that link the pieces to a mildly experimental side of abstract electronica, the music neither deploys too many groundbreaking themes, nor highlights surprising particulars. Still, it remains anchored to a plausible canon of "less is more" derivation, seldom finding the force to invade the aural environment with a truly preponderant presence. It works best as a complement to silence: the events - both those clearly definable and others that lie underground, still contributing to the overall body of sound - are glued by various combinations of textural fluctuations that the ears receive as very welcome, even when our focus lies elsewhere. Considering the acoustic source, and that everything was improvised, not a bad result at all.
– Touching Extremes
Iranian born, Seattle based musician Kamran Sadeghi, aka Son of Rose, has carved a niche over the last couple years sculpting tinkling drapes of simmering sound from elemental minutiae. Divisions In Parallel moves away from the concentric circles of noise on his self-titled debut and last years Top Flight into more adventurous instrumental realms.
Making use of the strings of a grand piano and a playful E-bow, it creates an arresting opening trilogy of tracks. Familiar grainy static drops into the watery textures and angelic chimes of “Triple II” before settling into a vegetative tonal din in the concluding “Triple III”. For a sound artist who veers so close to cinematic, it’s perplexing as to why Sadeghi hasn’t scored any movies to date. Midway, he switches to his trademark cyclic textures in the tantric bells of “Passage”, which carries an airy, weightless feel that would benefit Larry Clark’s or Harmony Korine’s probing verité style of film making. The ensuing 15-minute “From The Walls” edges between nervy and tingling Ambience, Sadeghi’s use of the slow-swelling properties of the E-bow filtering through subterranean museums of opaque, glassy dreamscapes like a less oppressive virsion of Halo Manash’s Isolationist Ambience. Disarming Stuff.
– The Wire
Low-fi compositions illustrating the coexistence of noise side-products and veiled melodic materials of naïve character in a slowly developing stream of sound. Rhythmic cycles seem to permeate the whole work, establishing long, static pulses related to the harmonic pedals which contribute towards the creation of an of an inner regularity impression flowing beneath the outer harshness, thus presenting two unrelated, parallel levels.
– Modisti
Kamran Sadeghi aka Son Of Rose is a musician, composer and audio engineer based in Seattle who has been working in the electronic field since 2000 and has released three albums, his self-titled debut in 2005, ‘Top Flight’ [Dragons Fly Recordings, 2005] and lately ‘Divisions in Paralell’. In this album he delivers a minimal composition with subtle harmonies, drones, bright tonalities taken from piano and strings, and abstract textures made out of digital and analogue sounds. His compositions range from timbres, clicks and quietness to an intense space full of drones and a varied myriad of tonalities.
– Loop
This second release from Seattle's excellent Dragon's Eye Recordings comes from Kamran Sadeghi working under the name Son Of Rose. Once again the aesthetics of the artwork and music are of the highest quality and the packaging really is lovely... simple use of classic typography, lovely photography... very much the less is more approach that I find so appealing. The 7 tracks that make up 'Divisions in Parallel' are constructed using grand piano strings, Ebow and computer and the diverse range of tracks really brings to mind the best of labels such as 12k, and/OAR or Sirr-ecords. Yes, really, it's that good. Beautifully deep and sculptural sound design is combined with a deft touch on the arrangements to give you a sense of intimacy with the work that's instantly accessible and surprisingly warm sounding. The work of Taylor Deupree certainly springs to mind and there's something incredibly pleasing when you discover that the whole CD is based on improvisations with no studio trickery... just live manipulationsof beautiful sounds. For fans of the aformentioned labels this really is a release to savour and, yes you've guessed it, it comes *highly* recommended. Absolutely superb.
– Smallfish
<< Back
Title:Divisions in Parallel
Catalogue: der002
Duration: 59:41
Format: CD
Edition: 800
Release: May 2007
BUY NOW
1. TripleI
2. TripleII
3. TripleIII
4. Passage
5. From the Well
6. Ceremony
7. Eleven Eleven
Dragon’s Eye Recordings is proud to announce the release of Divisions in Parallel, the third full length cd by Seattle’s Son of Rose (Kamran Sadeghi). On Divisions in Parallel we see Sadeghi depart from his previous palate of synthesis and altered recordings and find him exploring the world of electro-acoustics, paring digital processing and synthesis with a grand piano. Keeping in his purely improvised style, nothing here is studio trickery. Sadeghi dives head first (sometimes literally) into the tonal qualities of the piano, producing a shimmering, delicate and subtle world that is pleasantly diverse despite the tight parameters in which he works.
Reviews
In veering away from the saturated noise savagery of previous works, Seattle-based composer Kamran Sadeghi third full-length is an example of immaculately engineered sonic sophistication. A sense of musicianship and an applied intelligence of the sound and feel for the piano is rendered apparent, as Sadeghi splits its sharp report, adjusts its frequency and pans it across the stereo field. Along the way, drastically panned E-bow leave fluttery trails of sonic after-images, which form a network of cross-connections with the ghostly, sub aquatic assemblage of crackles and delicate chimes.
Asides from the virtuosity in the interweaving of these forms with considerable subtlety, certain tenderness is shown in the due attention paid to the spectrum of possibilities inherent to this area of minimal electro acoustic experimentation. Sadeghi considers a wide variety of them, both in-themselves and in the respective manners in which they fit into or expand upon the forgoing developments.
The album thereby oscillates from works such as From The Well, with its slow motion electronics and soft hum that concentrate on nuance and subtlety to pieces of fuller, to others of more disruptive tendencies in a convincing manner. As such, the powerful sense of focus that seems at first predominant is more fully fleshed out, rendered malleable, and informed by other concerns. Rather than being compromised, though, this fact makes for stronger, more characterful compositions.
– Furthernoise
Kamran Sadeghi is more a dealer in shimmering and sustaining micro-tones, and his latest recording Divisions in Parallel seems to document sounds in transit towards, but staying shy of becoming, full-blown music. In this respect, Sadeghi’s Son of Rose is less a musical enterprise and more of a sonic travel operator, vaguely shepherding his sounds towards finding design and harmony, but without spelling the route out too clearly so they can stray interestingly along their chosen pathways and find interesting tangents and by-roads. He engineers a felicitous encounter of grand piano strings and E-bow via DSP intermediation which finds articulation in contours evoking terrain in an experimental ambient expanse roughly mapped out between Sirr and Kranky, or and/OAR and 12k. Opening in sparse tinkles, the sound stage gradually builds into a thin liquid drone infused with fibrillating droplets and aqueous timbres like minute bells in melting motion (“Triple II”) before a microsonic bio-mechanic sine-drone takes over for the lowercase minimalism of “Triple III”. The 18-minute “From The Walls” shifts from slow sustain-swells in a gauzy rotation, choreographed into tonal balletics glimpsed as if through a smeared glass darkly. Engrossing. Compositions suggest the secret inner life of sounding objects aspiring towards a cryptic melodicity in quiet and drifting soundstreams. These eventually find satisfying semi-static consonance on the closing “Eleven Eleven”
– e/i Magazine
A new acquaintance for this writer, Son Of Rose is the pseudonym of Seattle-based composer Kamran Sadeghi, whose previous work mostly revolved around "synthesis and altered recordings". For this occasion, Sadeghi utilized a few basic elements such as grand piano strings, Ebow and computer to create seven tracks in which the pianistic element is absent altogether in favour of a series of soundscapes that alternate scenarios, timbral gradations and intensities like in an evolutionist theatre piece, often traveling in the proximities of microsound-based, glitching new ambient, with a few louder moments such as the final track "Eleven Eleven". Characterized by a frequent use of "digital dust" and barely audible harmonics, emphasizing spectral layers and spatial openings that link the pieces to a mildly experimental side of abstract electronica, the music neither deploys too many groundbreaking themes, nor highlights surprising particulars. Still, it remains anchored to a plausible canon of "less is more" derivation, seldom finding the force to invade the aural environment with a truly preponderant presence. It works best as a complement to silence: the events - both those clearly definable and others that lie underground, still contributing to the overall body of sound - are glued by various combinations of textural fluctuations that the ears receive as very welcome, even when our focus lies elsewhere. Considering the acoustic source, and that everything was improvised, not a bad result at all.
– Touching Extremes
Iranian born, Seattle based musician Kamran Sadeghi, aka Son of Rose, has carved a niche over the last couple years sculpting tinkling drapes of simmering sound from elemental minutiae. Divisions In Parallel moves away from the concentric circles of noise on his self-titled debut and last years Top Flight into more adventurous instrumental realms.
Making use of the strings of a grand piano and a playful E-bow, it creates an arresting opening trilogy of tracks. Familiar grainy static drops into the watery textures and angelic chimes of “Triple II” before settling into a vegetative tonal din in the concluding “Triple III”. For a sound artist who veers so close to cinematic, it’s perplexing as to why Sadeghi hasn’t scored any movies to date. Midway, he switches to his trademark cyclic textures in the tantric bells of “Passage”, which carries an airy, weightless feel that would benefit Larry Clark’s or Harmony Korine’s probing verité style of film making. The ensuing 15-minute “From The Walls” edges between nervy and tingling Ambience, Sadeghi’s use of the slow-swelling properties of the E-bow filtering through subterranean museums of opaque, glassy dreamscapes like a less oppressive virsion of Halo Manash’s Isolationist Ambience. Disarming Stuff.
– The Wire
Low-fi compositions illustrating the coexistence of noise side-products and veiled melodic materials of naïve character in a slowly developing stream of sound. Rhythmic cycles seem to permeate the whole work, establishing long, static pulses related to the harmonic pedals which contribute towards the creation of an of an inner regularity impression flowing beneath the outer harshness, thus presenting two unrelated, parallel levels.
– Modisti
Kamran Sadeghi aka Son Of Rose is a musician, composer and audio engineer based in Seattle who has been working in the electronic field since 2000 and has released three albums, his self-titled debut in 2005, ‘Top Flight’ [Dragons Fly Recordings, 2005] and lately ‘Divisions in Paralell’. In this album he delivers a minimal composition with subtle harmonies, drones, bright tonalities taken from piano and strings, and abstract textures made out of digital and analogue sounds. His compositions range from timbres, clicks and quietness to an intense space full of drones and a varied myriad of tonalities.
– Loop
This second release from Seattle's excellent Dragon's Eye Recordings comes from Kamran Sadeghi working under the name Son Of Rose. Once again the aesthetics of the artwork and music are of the highest quality and the packaging really is lovely... simple use of classic typography, lovely photography... very much the less is more approach that I find so appealing. The 7 tracks that make up 'Divisions in Parallel' are constructed using grand piano strings, Ebow and computer and the diverse range of tracks really brings to mind the best of labels such as 12k, and/OAR or Sirr-ecords. Yes, really, it's that good. Beautifully deep and sculptural sound design is combined with a deft touch on the arrangements to give you a sense of intimacy with the work that's instantly accessible and surprisingly warm sounding. The work of Taylor Deupree certainly springs to mind and there's something incredibly pleasing when you discover that the whole CD is based on improvisations with no studio trickery... just live manipulationsof beautiful sounds. For fans of the aformentioned labels this really is a release to savour and, yes you've guessed it, it comes *highly* recommended. Absolutely superb.
– Smallfish
<< Back
der002
TripleI
TripleII
Passage
TripleITripleII
Passage