BAGHIRI, AMIR — Autumn
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In den neun weit ausladenden Stücken kreiert Baghiri hypnotisch wirkende Soundscapes, irgendwo in der neutralen Zone zwischen New Age und Weltmusik dahindriftend, jedoch in keiner Richtung tatsächlich einen festen Hafen ansteuernd. Grundlage bilden feinste Synthesizer-gespinste, mal als dichte Wolkendecke sich auftürmend, mal unheimlich-düster wie bei "Playing Wind", bei dem man fast meinen könnte, die fliegende Untertasse voller Geheimnisse schwebe über dem eignen Haupte, oder auch ätherisch und die Weite der Stille durchscheinen lassend wie bei "Autumn Sky" und "Almost Winter". Dazu gesellen sich partiell unterschiedlichste dezente Percussions, Didgeridoos, sogar mal 'ne zirpende Maultrommel und beim etwas aus dem Rahmen fallenden dunklen, leicht schrägen Requiem "Dying Leaves" Chelli und Violinen.“ [www.songtext.de]
“Autumn features nine fragments of seducing natural sensations. Filled with fascinating colors of a wood in October, where a lonely soul can find the tranquility of the deepest meditation” [website-info]
“With "Autumn" German/Iran musician Amir Baghiri reaches another dimension in his music. This concept-CD is his 3rd solo-effort in line, on which he (again) is nicely assisted by some fellow-friends in his music, the same as on his former landmark "Time". The opening tracks still remind of some fine stuff of Steve Roach, as Amir starts off with great ambient atmospheres (which float on through the rest of the album) and a perfect blend of ethnic rhythms and didj. Amir's sensitive trance-like sound textures & kindred rhythms head for something beyond the edge of time & space. Magnificent pieces illustrating this are the off-wandering "Autumn Sky" and the intimate album-closer "Almost Winter". Next to this, there are 2 strange, very peculiar & unfamiliar tracks found on Autumn: first of all, we encounter the very experimental piece "Playing Wind", in which it seems Amir has lost track for 7 minutes. The same can be said about "Dying Leaves", which is dominated by cello and viola (played by session-musician Hamid Mercury), and doesn't fit either into this album. For the rest, "Autumn" is a solid effort in all means: its trance-like rhythms and dreamlike soundscapes keep shifting on and on, this CD adds a new chapter to tribal/ambient inspired electronic music. Last but not least, the overall production and soundquality is brilliant, as one should expect when listening to this blend of music.” [Bert Strolenberg]
“Autumn features nine fragments of seducing natural sensations. Filled with fascinating colors of a wood in October, where a lonely soul can find the tranquility of the deepest meditation” [website-info]
“With "Autumn" German/Iran musician Amir Baghiri reaches another dimension in his music. This concept-CD is his 3rd solo-effort in line, on which he (again) is nicely assisted by some fellow-friends in his music, the same as on his former landmark "Time". The opening tracks still remind of some fine stuff of Steve Roach, as Amir starts off with great ambient atmospheres (which float on through the rest of the album) and a perfect blend of ethnic rhythms and didj. Amir's sensitive trance-like sound textures & kindred rhythms head for something beyond the edge of time & space. Magnificent pieces illustrating this are the off-wandering "Autumn Sky" and the intimate album-closer "Almost Winter". Next to this, there are 2 strange, very peculiar & unfamiliar tracks found on Autumn: first of all, we encounter the very experimental piece "Playing Wind", in which it seems Amir has lost track for 7 minutes. The same can be said about "Dying Leaves", which is dominated by cello and viola (played by session-musician Hamid Mercury), and doesn't fit either into this album. For the rest, "Autumn" is a solid effort in all means: its trance-like rhythms and dreamlike soundscapes keep shifting on and on, this CD adds a new chapter to tribal/ambient inspired electronic music. Last but not least, the overall production and soundquality is brilliant, as one should expect when listening to this blend of music.” [Bert Strolenberg]