Salim Ghazi Saeedi


(2012 -self release – USA)

Salim’s description of his newest work ‘namoWoman’ says this challenges the concepts of dual sexuality, dual conceptuality and equal temperament musicality, harmoniously.

I’ve been following Salim’s musical output for quite a few years and each recording has impressed me to various degrees.  I predicted big things for him and it is no disappointment to hear this remarkable disc in its full glory.  Each release has been a new journey, a new overturned leaf, and a satisfying listening experience all its own.  For me, this one ranks as his most adventurous and fully realized.  Nothing is conventional and not a thing is taken for granted.  This new work is all expansive.

Still present are the hyper elements.  While it may give some listeners the feel of a too mechanical sound, I believe Salim uses the more frantic aspects to display a precise and tight rhythm section.  The  guitar work is perfect and flowing. Track 2 (nam)  is  in the RIO genre, not unlike a combination of UZ, Art Zoyd , adding a dose of Richard Pinhas, some oddly compatible eastern motifs, and Canterbury jazz. A  gem of a composition.  This one tells a story in under five minutes.

Track 3 (amo) has a creeping Zeuhl sound and much less hyper or rushed.  This one takes its time and breathes.  In its beauty it carries a Fripp and Pinhas halo, plus some of the aforementioned chamber RIO.  Complex in arrangements and often mind-blowing in the guitar department,  ‘namoWoman’ takes time and thought to access the full impact.  If I’ve said it once, I’ve said it a hundred times; most progressive music of any genre needs multiple listens to absorb.  There is no wallpaper aural candy here.

Track 4 (moW)  is all best appreciated by sitting back with the physical CD on a nice big stereo, in an easy chair, alone and listened to like you would read a book. Track 5 (Woman) also takes its time to develop.  Salim is at his best on the slower tempos, as his ideas are many. This allows the pace to be like a beeswax candle versus a paper match.  It’s a sweet pause to direct the passion into a big space.  The tortoise wins every time over the rabbit.

Track 6 (Wom) is more brilliant Zeuhl inspired music with a groove just at the perfect moment.  Salim’s radar is superb! Track 7 (oma) is like the Titantic in ice, this crawls with open abandonment. The remaining music has a perfect balance of dark bass, crunchy guitar, acoustic piano, drums, and compressed lead with many dimensions.  Like a haunted shut down circus, a lonely night in the desert, a night in a sweat lodge, an unknown fly-by-night noir nightclub, or a midnight sleep in an endless meadow under star-filled skies: the atmospheres are sometimes interchangeable. This is recommended listening. VERY RECOMMENDED !

Reviewed by Lee Henderson August 25, 2013

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