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Divisions In Parallel - Son Of Rose | |||||||||||||||||
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 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. Review by Max Schaefer
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