Salim Ghazi Saeedi

Salim Ghazi Saeedi (pronunciation) (Persian: سلیم قاضی‌سعیدی‎, also Romanized as Salim Ghāzi Saeedi and Salim Ghāzi-Saeedi; born 1981, Tehran, Iran) is an Iranian composer and guitarist who plays a variety of genres ranging from progressive metal,[1]jazz fusion,[2]avant-garde classical chamber,[3] progressive surf,[4] progressive rock,[5] RIO (Rock in Opposition),[6][7][8] to art rock with a minimalist approach.[9]

Salim Ghazi Saeedi
سلیم قاضی‌سعیدی
Salim Ghazi Saeedi
Background information
Born (1981-07-19) 19 July 1981
Tehran, Iran
GenresProgressive rock, Rock in Opposition, jazz fusion, art rock
Occupation(s)Composer, guitarist
InstrumentsGuitar, keyboards
Years active2006–present
LabelsIndependent
Associated actsArashk
Websitesalimworld.com

Biography

Saeedi was born in 1981 in Tehran, Iran. He began teaching himself to play guitar in 1999. He has composed three albums with the band Arashk: Abrahadabra (2006), Sovereign (2007), and Ustuqus-al-Uss (2008). He subsequently released the solo albums Iconophobic (2010), Human Encounter (2011), and namoWoman (2012). The albums were entirely self-produced, with Saeedi laying down guitar and keyboards, drum arrangements, and mixing. On namoWoman, he incorporates Persian microtonal music influences.[10]

Some critics have compared his sound to Univers Zero, Art Zoyd,[11][12][13] John Zorn,[14] Patrick O'Hearn, Mike Oldfield,[15]Djam Karet, Birdsongs of the Mesozoic,[16] David Bedford, Richard Pinhas, ZNR, Mecano,[17] Present, Aranis, the entire Belgian chamber rock scene,[18] Dick Dale,[19] Anne Dudley, Jaz Coleman,[20] and X-Legged Sally.[21] Some progressive rock publications have also compared his music to King Crimson and Robert Fripp.[22][23][24][25]

Discography

Solo

  • Iconophobic (2010)
  • Human Encounter (2011)
  • namoWoman (2012)
  • United Ubiquity of Flesh (2017)

with Arashk

  • Abrahadabra (2006)
  • Sovereign (2007)
  • Ustuqus-al-Uss (2008)
  • Yell (2008)

Collaborations

  • "When There is More Beauty in the Contrary" - Negar Bouban & Salim Ghazi Saeedi (2011)

References
  1. Windhawk, "Progarchives.com's review on Ustuqus-al-Uss album", ProgArchives, May 23, 2009
  2. MP, "Albumbesprechung Salim Ghazi Saeedi - Iconophobic Archived 2012-06-26 at the Wayback Machine, Rezensator.de, 2010
  3. Lee Henderson, "Iconophobic Album Review", ProgNaut, October 13, 2010
  4. Richard Poulin, Abrahadabra Review, Gnosis2000, May 2008
  5. Lee Henderson, "Iconophobic Album Review", ProgNaut, October 13, 2010
  6. Fred Trafton, Iconophobic Album Review", GEPR, Jun 2011
  7. Gary Hill, Iconophobic Album Review", Music Street Journal, Issue 85, December 2010
  8. Mr. Blue, Iconophobic Album Review", Music Waves webzine, Jun 2011
  9. Steven Reid, "Iconophobic Album Review", Sea of Tranquility, September 28th 2010
  10. Progwereld, namoWoman album review, Peter Van Haerenborgh, Retrieved: 3/24/2013
  11. Siggy Zielinski, "Iconophobic Album Review", BabyBlaue.de prog-review, 17.10.2010
  12. ProgNaut webzine, Lee Henderson, Iconophobic Review, Oct 2010
  13. The Rocktologist, Rok Podgrajšek, Human Encounter Review, Oct 2011
  14. Digg*, Human Encounter Review Archived 2013-04-21 at the Wayback Machine, Quincy Cloet, Nov 2011
  15. Hard Rock Service, Iconophobic Album Review, Vincent, Jul 2011
  16. "Gary Hill, Iconophobic Album Review", Music Street Journal, Issue 85, December 2010
  17. Lee Henderson, "Iconophobic Album Review", ProgNaut, October 13, 2010
  18. Peter van Haerenborgh, "Iconophobic Review", Progwereld, Mar 2011
  19. Richard Poulin, Abrahadabra Review, Gnosis2000, May 2008
  20. Rob F., "Iconophobic Review", Leicester Bangs, Jun 2011
  21. Lee Henderson, "Ustuqus-al-Uss Review", ProgNaut, Aug 2011
  22. Philippe Gnana, "Iconophobic Review", Harmonie Magazine, No. 70, Nov 2010, p. 30
  23. Peter van Haerenborgh, Iconophobic Review, Progwereld, Mar 2011
  24. Artrock.pl, Iconophobic Album Review, Wojciech Kapała, May 2011
  25. Gary Hill, Human Encounter Review, Music Street Journal, Issue 85, Dec 2011
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.