Son of Rose (Seattle producer Kamran Sadeghi) is big on sonic minutiae. Microscopic sounds loom large in his art. For Sadeghi, the subliminal is sublime. Shhh. Hear that? It's the intimate immensity of this extravagantly subtle electronic music.
The emergence of Son of Rose as a live performer in 2004 was one of our laptop scene's most exciting developments. Not since Bobby Karate has Seattle had such a compelling, inventive creator of microsound. Now Son of Rose is poised to drop his excellent eponymous debut CD on Yann Novak's Dragon's Eye label.
Sadeghi stands out not only for his intelligently designed tones and drones, but also for his Iranian background. His parents moved to America to attend college around the time of Iran's 1979 Islamic Revolution. "I don't think [my ethnicity] influences the type of music I make, but perhaps it influences the fact that I make music at all," Sadeghi says. "Music was always in the house and in the mood of the culture. So in that aspect, I guess it did. Instead of televisions being on, I was forced to listen to either Persian folk or pop music."
You won't hear Persian folk or pop in Son of Rose's music. However, Sadeghi was influenced by Harold Budd's 1984 ambient classic The Pearl, "for direction, but not necessarily for sound," Sadeghi observes. "Subtlety... the kind of music I make comes from fixations and the between parts of music, [not] from any kind of schooling. It comes from clearing or cleaning distractions."
You can notice the bracing results of Sadeghi's quest for clarifying purity in Son of Rose. The disc begins with "Distance," with watery, Doppler-effected drones accompanied by spectral shivers of Cocteau Twins–like guitar. The Pole-like "Velo I" is true 21st-century dub, with killer depth-charge bass and reverbed aquatic ambience. "Shadow Us" is a stunning recreation of tidal, oceanic phenomena. "Velo II" evokes perpetually blooming flower petals of gorgeous digital tonalities. So it's funny that this music derives from "numerically specific frequencies."
"I'm not doing algorithmic equations," Sadeghi explains. "I spend a lot of time listening to frequencies generated by sine waves that I apply certain values to. In a sense these numbers translate into sounds. It's like I am more of an audiophile, someone [who's] interested in how things sound through speakers. I spend a lot of time listening to different frequencies, and these frequencies are mainly generated by sine waves."
Son of Rose's frequencies have carved out a special niche in Seattle's burgeoning electronic movement. "Seattle has motivated me to continue and develop my work with its constant musical growth," Sadeghi enthuses. Good work, Seattle. DAVE SEGAL