Salim Ghazi Saeedi – namoWoman (2012)
Self Release – 2012
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, night in the desert, 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