Detailed Reviews [Salim Ghazi Saeedi - 2012 - "NamoWoman"]

Prolusion. Following his tenure in the band Arashk, Iranian composer and musician Salim Ghazi SAEEDI opted to embark on a solo career a few years back. Three full length albums have since been issued under his name. "NamoWoman" is the most recent of these, and was self released by Saeedi in 2012.

Analysis. While instrumental in execution, those who investigate this production closer will see that it's a conceptual work we're dealing with on this occasion, with gender roles and gender assumptions as the thematic topic of choice. And while I'm not that observant on such issues, my impression is that this thematic part of the project has been explored by way of composition details: themes recurring in part or in whole, certain arrangements revisited as well as explored in various subtly different alternative constructions, the very compositional structure itself also appears to have been planned in a thematic manner. The impression of this being the case is a strong one, and I suspect those with a particular interest for such issues to really have a go at analyzing this production from that perspective will get a lot to write about. Besides that aspect this album basically revolves around two different types of compositions, with a concluding piece that incorporates elements from both of them. The first four tracks are based around a jazz-oriented bass and drums foundation, with (presumably) digital violin as the main instrument, supplemented by piano, electric guitars and occasional use of a plucked guitar details, the latter details as well as the violin parts more often than not with a Persian/oriental feel to them, the electric guitar when utilized adding a darker, menacing mood to these constructions. Personally I didn't become enthralled by this latter arrangement, while the sequences sporting violin and piano on top of the more distinct jazz-oriented bass and drum foundation generally came across as tantalizing and compelling. The second set of compositions, tracks 5 through 8 on this CD, takes a few steps away from the jazz-oriented foundation and focuses more exclusively on plucked guitar details, guitar riffs and soloing supplemented by piano details and occasional use of violin. A set of tunes that generally comes across as compelling material too, although some instances of theme breakdowns, decaying arrangement development or dissonance reliant intermediate movements weren't quite to my personal interest. By and large I do feel that the gentler passages, without dark toned guitar riffs in the limelight, are the most intriguing for this part of the album. Final piece Woman, at least as I experienced it, appears to summarize the album experience as a whole, incorporating most if not all elements previously explored in one package. Like the album as such I found this piece uneven as a singular item, but more interesting as seen from a contextual point of view.

Conclusion. Salim Ghazi Saeedi's third solo album is an amalgam of stylistic details, incorporating elements from jazz, world music and metal into a context that probably isn't too far away from avant-garde in sum. Fairly challenging material that should interest those with a taste for progressive rock that strays outside of many conventional borders, yet without abandoning them completely. Those with a soft spot for Persian and oriental touches probably something of a key audience amongst those.

OMB=Olav M Bjornsen: July 20, 2013
The Rating Room