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INTERVIEWS:
 Interview
with Salim Ghazi Saeedi by Peter Thelen, Exposé Online, Elsewhere, Jan 2014
(Read) |
 Interview with Salim Ghazi Saeedi by
Graham Reid, Elsewhere, Feb 2013
(Read) |
 Interview with Salim Ghazi Saeedi by Pens
Eye View, as feature artist, Feb 2013
(Read) |
 Interview with Salim Ghazi Saeedi, The
Rocktologist #22, Rok Podgrajšek, Dec 2012
(Read) |
 Interview with Salim Ghazi Saeedi,
Arlequins, Francesco Inglima, Mar 2012 (Read In
English and
Italian) |
 Interview
with Salim Ghazi Saeedi by Rafael Jovine,Vents Magazine #28,Oct 2013 (Read) |
 Interview with Salim Ghazi Saeedi, Music
Street Journal, Gary Hill, Dec 2010 (Read) |
 Interview with Salim Ghazi Saeedi, Stave
Magazine, Christy Claxton, August 2010
(Read) |
 Interview with Arashk,
Progarchives.com, Torrod Fuglestag, May 2010
(Read) |
 Interview with Salim Ghazi
Saeedi, Guide sul Web: Rock Progressive, Gaetano Menna, Jan 2012 (Read In
English and Italian:
part #1,
part #2) |
ARTICLES:
Featured Artist on Dig This
Real Magazine #17 by Christian Recca
(Read)
REVIEWS:
Read reviews in your language: English
German French
Dutch
Italian
Spanish
Portuguese
Norwegian Polish
Croatian
Japanese |
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English |
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"[Salim's] music is great, very interesting, Zappaesque and
has a character."
-Leonardo Pavkovic, MoonJune Records |
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"Each disc is a unique suite of
intelligent, superbly orchestrated, and well-executed instrumentals" -Iconophobic
and Human Encounter review, Exposé Online, Henry Schneider, Apr 2013
(Read more) |
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"Shades of Frank Zappa, King Crimson and Ian
Carr..."
"...a great deal of
variation in the sounds and textures contained within the excellent disc."
-Iconophobic Review, Terrascope Online, Phil McMullen, Dec 2010
(Read more)
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"Saeedi never disobeys the rules of good taste,
organizing and arranging the pieces neatly and enthusiastically."
-namoWoman Review, Toucing Extremes, Massimo Ricci,
Feb 2014
(Read more)
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"There is no one in the world who
sounds anything like Salim Ghazi Saeedi: where he takes these ideas in the
future promises to be a pretty wild place."
-namoWoman Review, Lucid Culture, Jan 2013
(Read more) |
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"If your tastes run more to
Cuneiform, AltrOck or ReR labels... then you should be a prime
candidate for Iconophobic"
"Somebody's actually making progressive rock music in Iran? And it's RIO?"
-Iconophobic Review, GEPR, Fred Trafton, Jun 2011
(Read more) |
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"rich with Persian rhythms and
brooding rock-Shostakovitch shadows"
-Human Encounter Review, JazzWax, Marc Myer, Jan 2012
(Read more) |
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"Someone should give this man a
soundtrack to score, especially if the film involves either large-scale
destruction or menacing urban streets at 2am."
-namoWoman Review, Elsewhere, Graham Reid, Feb 2013
(Read more) |
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"the glue that comes in
NamoWoman is sheer madness"
-namoWoman review, Reseñas y Artículos
de Música, Juanma Vilches, Jun 2014
(Read more) |
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"This makes me think of the
Vrooom era of King Crimson if there were more jazz added to the mix."
-Human Encounter Review, Music Street Journal, Issue 91, Gary Hill, Dec 2011
(Read more) |
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"an original blend"
-namoWoman Review, Vital Weekly #903, Dolf Mulder, Oct 2013
(Read more) |
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"should be of interest to any
fan of RIO, chamber prog, and unpredictable guitar." -namoWoman review,
Exposé Online, Jon Davis, Dec 2013
(Read more) |
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"The music has from time to time
the same darkness as we know from Univers Zero."
"I think we have an original talent here."
-Iconophobic Review, Vital Weekly #767, Dolf Mulder, Jan 2011
(Read more) |
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"a distinctly unique sound"
-namoWoman Review, The Progressive Rock Files, Jerry Lucky, Apr 2014
(Read more) |
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"You have to give your hat off
to Salim for sticking to his philosophy for so long and finally coming up with
an album which is at the very highest level on all fronts."
"Salim again channels Robert Fripp’s work in many places (Red period)"
-namoWoman Review, The Rocktologist, Rok Podgrajšek, Nov 2012
(Read more) |
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"Salim is destined to create a
series of recordings that will go down as some of the
most unique in the progressive music genre"
-Human Encounter Review, ProgNaut webzine, Lee Henderson, Nov 2011
(Read more) |
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"Darkly uncompromising and
intentionally unsettling"
-Human Encounter Review, Sea of Tranquility, Steven Reid,
Nov 2011
(Read more) |
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"Saeedi again proves himself to
be a very capable composer in Rock in Opposition vein."
-Human Encounter Review, Vital Weekly #821, Dolf Mulder, Feb 2012
(Read more) |
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"a treat to people who like
later period King Crimson"
-namoWoman review, The Rocker, Stuarta Hamilton, Oct 2014
(Read more) |
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"far removed from the
avant-garde parts of any musical universe"
"rich variety of textures with different stylistic expressions and cultural
backgrounds"
-Iconophobic Review, Progressor.net, Olav Martin Bjørnsen, Feb 2011
(Read more) |
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"Ghazi Saeedi serves up some of the most interesting, nay
fascinating music in the prog rock/avant rock/prog metal fusion arena with
namoWoman"
-namoWoman Review, Rainlore's World, Feb 2013
(Read more) |
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"mixing influences from current
modern day progrock of the Porcupine Tree kind with some Arabic traditional
music."
-Human Encounter Review, Strutter Magazine, Gabor Kleinbloesem,
Feb 2012
(Read more) |
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"There’s almost a King Crimson
kind of vibe to it."
-namoWoman review, Music Street Journal, Gary Hill, Nov 2012
(Read more) |
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"very different,
quirky, odd at times, yet very accessible."
-Iconophobic Review, Fireworks Magazine #47, Ian Johnson, Sep 2011
(Read more) |
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"Salim cooks up a real feast for
us."
-Human Encounter Review, The Rocktologist, Rok Podgrajšek, Oct 2011
(Read more) |
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"Saeedi is an excellent composer
with an interesting and unique perspective operating in a progressive rock
context" -Ustuqus-al-Uss Review, Exposé Magazine, Peter Thelen, Jul 2010
(Read more) |
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"Highly recommended,
particularly to an open-minded art rock audience."
-Iconophobic Review, Progarchives.com, Windhawk, Apr 2011
(Read more) |
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"The Eastern tinged guitar solo
drips with an exotic flair that perfectly captures the ethnic mood of the
album."
-namoWoman Review, Sea of Tranquility, Jon Neudorf, Dec 2014
(Read more) |
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"there is a hugely refreshing
originality to Salim Ghazi Saeedi"
-A retrospective, Indie Bands Blog, Tim Whales, Nov 2011
(Read more) |
retrospective |
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"With such an abundance of
musical ideas at his disposal, I'm sure it's just a matter of time before Salim
unleashes an album that will knock our socks off."
-Iconophobic Review, The Rocktologist, Rok Podgrajšek, Dec 2011
(Read more) |
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"He lets the soundscape travel
where it will to go with delightful originality as the scenes in his iconophobic
movie progress."
-Iconophobic Review, Roman Midnight Music, Aaron Joy, Mar 2011
(Read more) |
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"A real unique progressive
instrumental album."
-Iconophobic Review, Harmonic Lizard, Todders (Adrian Jones), Nov 2010
(Read more) |
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"In many ways it would
be more natural to hear this kind of music coming from a French performer than
an Iranian one."
-Iconophobic Review, Music Street Journal, Issue 85, Gary Hill, Dec 2010
(Read more) |
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"You need to tread carefully if
you are entering the Iconophobic world of Salim Ghazi Saeedi. You have been
warned."
-Iconophobic Review, DPRP, 2010, Volume 67, John O’Boyle, Dec 2010
(Read more) |
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"There is always so much going
on in each song, that you need a few listens to pick everything up"
"mixing in metallic riffs, with elements of surf rock, jazz fusion, Persian
influences and dance beats"
-namoWoman review, DPRP, James R. Turner, Aug 2014
(Read more) |
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"while clocking in at just over
30 minutes... there's room for many thoughts and notions..."
-Human Encounter Review, Progressor.net, Olav Martin Bjørnsen, May 2012
(Read more) |
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"King Crimson immediately comes
into mind"
"Salim really puts his heart and soul in this"
-Human Encounter video review, LiveProg, Marcel
Haster, Apr 2012
(Read more) |
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"Complex in arrangements and
often mind-blowing in the guitar department"
"VERY RECOMMENDED!"
-namoWoman review, Art Rockin' Magazine, Lee Henderson, Aug 2013
(Read more) |
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"It is ART!"
"Without information freely
given, the visceral heart of the creator will serendipitously change you."
-Iconophobic Review, Stave Magazine, Christy Claxton, Aug 2010
(Read more) |
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"The first thing I noticed is
there is not a dull moment on the disc... I was kept surprised throughout my
first listen and more intrigued and very much at attention by my third listen to
‘Iconophobic'"
-Iconophobic Review, ProgNaut webzine, Lee Henderson, Oct 2010
(Read more) |
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"Iconophobic is a strong
statement from Saeedi on life in his home city of Tehran."
-Iconophobic Review, Sea of Tranquility, Steven Reid, Sep 2010
(Read more) |
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"a blend of eastern sounding
traditional music and dark-toned progressive metal with roots more firmly based
on Anglo-American traditions"
"a strong feeling of a story explored and told"
-Sovereign Review, Progressor.net, Olav Martin Bjørnsen, Feb 2012
(Read more) |
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"nutty zany Zappa sound..."
"this is soooo Kraazzyy!!"
-Iconophobic Review, Aural Innovations #42, Carlton Crutcher, Jun 2011
(Read more) |
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"there’s a whole Western World
missing out on something quite captivating"
"Saeedi has fused symphonic rock with something foreign and unfamiliar"
-Iconophobic Review, Leicester Bangs, Rob F., Jun 2011
(Read more) |
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"far more focused than most
releases by self-produced individual artists"
"unfocused melodies that appear
to be controlled chaos to your ears’ benefit"
- Iconophobic Review, ProgSnobs, Aaron Weiss, 13 Dec 2010
(Read more) |
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"Perhaps best compared to the
more abstruse corners of King Crimson's discography"
-Human Encounter Review, Luna Kafé, Tim Clarke, Feb 2012
(Read more) |
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"not easy to digest. It takes
perseverance and determination"
-namoWoman review, Your Music Blog, Peter, Sep 2014
(Read more) |
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"Iconophobic is vibrant and
refreshing, making a fine soundtrack to whatever you are doing."
- Iconophobic Review, Spiritual Prog, Oct 2010
(Read more) |
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"dark, moody and very complex"
-Human Encounter Review, Background Magazine, Pedro Bekkers, Jan 2012
(Read more) |
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"unusual and concept-heavy"
-Human Encounter Album Podcast, Resonance 104.4 fm radio, 6 Pillars to Persia
program, Feb 2012
(Read more) |
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"[It] documents how intriguing
compositions can be when acoustic bass, piano and percussion are used in an
efficient and fairly innovative manner [with] well suited eastern oriented
acoustic guitar motifs..."
-Human Encounter Review, Progarchives.com, Windhawk, Apr 2012
(Read more) |
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"This is a very adventurous and
experimental recording that will have instant appeal to fans of electric chamber
rock."
- Iconophobic Review, The Progressive Rock Files, Jerry Lucky, Mar 2011
(Read more) |
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"a poem in music consisting of 9 strophes"
"Salim Ghazi Saeedi is simply, in my view, the nimblest and most inventive speed
freak guitarist of our times, and by far."
Ustuqus-al-Uss Album Review, Gnosis2000, Richard Poulin, Jun 2011
(Read more) |
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"Without ever becoming
predictable, and taking care to add in the odd dissonant or arhytmic segment,
the gritty guitars and swirling violins create stunning contrasts..."
Ustuqus-al-Uss Album Review, Progarchives.com, Windhawk, Sep 2010
(Read more) |
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"It’s pretty close to having
it’s own genre."
-Ustuqus-al-Uss Review, ProgNaut webzine, Lee Henderson,
Aug 2011
(Read more) |
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"After careful listening I
really wasn't able to find any particular artists that have influenced them more
than others, or indeed pinpoint any specific influences at all."
-Abrahadabra Review, Progressor.net, Olav M Bjornson
(Read more) |
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"the Ultima Thule of
instrumental progressive metal"
-Ustuqus-al-Uss Review mentioning Abrahadabra Album, Gnosis2000, Richard Poulin, Jun 2011
(Read more) |
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"However some of the Persian
influences seep through, the grooves and progressions are mainly jazz inspired."
-Human Encounter Review, "Psyche Music", Gerald Van Waes,
Nov 2011
(Read more) |
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"...Hendrix and Santana have
also obviously instructed the phenomenal axe genius that Salim Ghazi Saeedi
truly is. Highly recommended for a hefty dose of extremely heavy yet highly
melodic metal of a VERY special kind"
-Abrahadabra Review, Gnosis2000, Richard Poulin, May 2008
(Read more) |
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"... an impressive debut of
instrumental, compositionally strong, electric guitar driven progressive rock
music."
-Abrahadabra Review, "Psyche Music", Gerald Van Waes,
2006
(Read more) |
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"the story
of a jester inside an epic of Persian kings"
-Sovereign Review, "Psyche Music", Gerald Van Waes,
Nov 2011
(Read more) |
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"The album shows an enormous
variety"
-Ustuqus-al-Uss Review, "Psyche Music", Gerald Van Waes,
Nov 2011
(Read more) |
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"an amalgam of stylistic
details, incorporating elements from jazz, world music and metal"
-namoWoman Review, Progressor, Olav M
Bjornsen, Jul 2013
(Read more) |
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"Combining traditionally
dissimilar forces into one cohesive composition."
-When There is More Beauty in the Contrary (Single)
Review, Matthew Forss, ReviewYou.com, Jan 2011
(Read more) |
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"This talented man will be going places one day."
-Human Encounter Review, Vents Magazine, RJ Frometa, Apr 2014
(Read more)
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"Ghazi Saeedi is an amazing storytelling, every
riff and chord he plays on his guitar is like one thousand words"
-Ustuqus-al-Uss and Sovereign review, Vents Magazine, RJ Frometa, Aug 2014
(Read more) |
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"macabre & apocalyptic vibe that you will love
though I highly recommend not to listen alone in a dark room" -Ustuqus-al-Uss
and Sovereign review, Vents Magazine, RJ Frometa, Aug 2014
(Read more) |
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"a fresh album with strong and full of electric guitar, bass,
etc."
-Iconophobic Review, Vents Magazine, RJ Frometa, Apr 2014
(Read more)
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"an instrumental jewel
that would have corpses dancing in the graveyard."
-When There is More Beauty in the Contrary (Single) Review, Keith "MuzikMan"
Hannaleck, MuzikReviews.com, Jan 2011
(Read more) |
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German |
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"Quite original work"
"Ziemlich originell wirken..."
-Iconophobic Review, Babyblaue Prog, Siggy Zielinskim, Oct 2010
(Read more) |
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"A Zappa approach ('Hot Rats'
Phase)"
-namoWoman Review, Gaesteliste.de,
Klaus Reckert, Oct 2013
(Read more)
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 "Beeindruckend, wie der sich
alle musikalische Kunst im Selbststudium beibringende Salim Komposition und
Arrangement flicht und Songs bastelt."
-Iconophobic Review, Progressive
Newsletter #70,
Volkmar Mantei, Nov 2010
(Read more) |
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"creative and capricious,
settled between prog-metal fusion, avant-prog and oriental influences"
"Die kreativ-launischen, zwischen Prog-Metal-Fusion, Avant-Prog und
orientalischen"
-namoWoman review, Babyblaue, JSiggy Zielinskim, Apr
2013
(Read more) |
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"It seems Salim Ghazi Saeedi does not follow any stylistic model... A very
personal sound; as if he is unacquainted with current avant-rock music."
"Dabei scheint es, als folge Salim Ghazi Saeedi keinem stilistischen Vorbild,
sondern habe diesen ureigenen Klang stets verinnerlicht, so, als kennte er den
aktuellen Avantrock nicht."
-namoWoman Review, Ragazzi Webzine, Volkmar Mantei, Apr 2013
(Read more) |
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"an instrumental
version of the progressive phase of Rush, when you think, Alex Lifeson would
play more solos"
"Als groben Vergleich könnte man eine instrumentale Version der
progressivsten Phase von Rush bemühen, wenn man sich vorstellt, Alex Lifeson
würde mehr Solos spielen."
-Abrahadabra review, Babyblaue, Jochen Rindfrey, Apr 2012
(Read more) |
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"Human Encounter sounds like
a dream. Like the soundtrack of sleep in every facet."
"Traum: so hört sich "Human Encounter" an. Wie der Soundtrack des Schlafes in
allen Facetten."
-Human Encounter Review, Ragazzi Webzine, Volkmar Mantei, Dec 2011
(Read more) |
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"the pieces are varied and
complex, criss-crossed by strange weird melodies."
"sind die Stücke abwechslungsreich und komplex, von seltsam verqueren Melodien
durchzogen."
-Iconophobic Review, Babyblaue Prog, Jochen Rindfrey, Oct 2010
(Read more) |
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"When listening to "Human
Encounter" you get the feeling of falling from a roof during a dream."
"schon beim Zuhören das Gefühl aufkommt, im Traum vom Dach zu fallen."
-Human Encounter Review, Progressive
Newsletter #74,
Volkmar Mantei, Feb 2010
(Read more) |
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"very
vivid bass and drum sounds"
"die recht lebendigen Bass- und Drumsounds"
-Iconophobic Review, Rezensator.de, Marcel Peteroff, Nov 2011
(Read more) |
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"[Iconophobic] spares no
dissonance and thus always has sharp contrasts and catchy parts."
"Er scheut keine Dissonanzen und setzt so immer wieder scharfe Kontraste zu
eingängigen Parts. Langweilig wird das eigentlich nie."
-Iconophobic Review, Rezensator.de, Marcel Peteroff, Nov 2010
(Read more) |
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"A
one-man ethnic chamber
ensemble with occasional
avant-garde and
metal insertions
... Beautiful,
original music!"
"Ein Ein-Mann-Ethno-Kammerensemble mit gelegentlichen avantgardistischen und
metallischen Einschüben... Schöne, originelle Musik!"
-Ustuqus-al-Uss Review, Babyblaue, Jochen Rindfrey, Apr 2012
(Read more) |
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"recommended for lovers of
harder variants of progressive rock"
-Sovereign Review, Babyblaue, Jochen Rindfrey, Apr 2012
(Read more) |
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"Salim is a skilled guitarist
with some unusual manual skill, who knows his instrument to play impressive and
it has an interesting character."
"Salim ist ein geübter Gitarrist mit einiger ausgefallener Handfertigkeit, der sein Instrument eindrucksvoll zu spielen weiß und dabei eine interessante
Prägung hat."
-Iconophobic Review, Ragazzi Webzine, Volkmar Mantei, Oct 2010
(Read more) |
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"it was more like the
soundtrack to an imaginary movie"
"Eher so vorstellen wie den Soundtrack zu einem imaginären Film"
"Musikalisch werden sich wohl am ehesten Freunde Frank Zappas angesprochen
fühlen"
-Iconophobic Review, Bürgerlich Roland Ludwig, CrossOver Network, Feb 2011
(Read more) |
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"Abrahdabra" is a
surprisingly mature debut and looks very good in a powerful freshness.
"Abrahdabra" ist als Debüt erstaunlich ausgereift und wirkt in seiner
kraftvollen Frische sehr gut.
-Abrahadabra Review, Ragazzi Webzine, Volkmar Mantei,
Apr 2013
(Read more) |
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"Echo of a distant world"
"das Echo einer fernen Welt"
-Sovereign Review, Ragazzi Webzine, Volkmar Mantei,
Jun 2011
(Read more) |
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"the Orient has very much to offer the West" -namoWOman Review, Progressive
Newsletter #78, Volkmar Mantei, Aug 2013
(Read more) |
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"very unusual , folk influenced , purely instrumental progressive rock"
-Abrahadabra Review, Progressive Newsletter #78, Volkmar Mantei, Aug 2013
(Read more)
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"Ustuqus-al-Uss
is like the Arabian Nights in Rock music format"
"Ustuqus-al-Uss wirkt wie die Musik zu Tausendundeiner Nacht im Rockforma"
-Ustuqus-al-Uss Review, Ragazzi Webzine, Volkmar Mantei, Jun 2011
(Read more) |
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French |
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"Rock in Oppoisiton version
of The Enid?"
"Punctuated here and there by sacred projections of Fripp guitars!"
"Ponctués ça et là par de sacrées saillies de guitares frippiennes!"
-Iconophobic Review, Progressive Area, CHFAB, Apr 2012
(Read more) |
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"Creativity is expressed at all
levels of expression and not just music."
"Créativité qui s'exprime à tous les niveaux d'expression et pas seulement par
la musique."
"It is true that this hardly classifiable artist visibly seethes an inner fire
that spreads so unpredictable in his music."
namoWoman review, Music Waves, Corto, Nov 2012
(Read more) |
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 "Cette musique
est beaucoup plus expérimentale avec des volutes de guitares à la
Robert Fripp..."
-Iconophobic Review, Harmonie Magazine
#70, Philippe Gnana, Nov 2010
(Read more) |
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 "Fans
of RIO
(rock in opposition)
will surely
find their happiness!"
"Les amateurs de RIO (rock in opposition) y trouveront assurément leur bonheur
!"
-Human
Encounter
Review, Highlands Magazine #57, Axel Scheyder, Aug 2012
(Read more) |
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"A [musical] range seemingly
chaotic but perfectly controlled..."
-namoWoman review, Music Zine, Apr
2013
(Read more)
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 "here we are not far from the
approach to the Robert Fripp, oriental flavour, between jazz, electro-jazz and
experimental rock"
"ici, l’on n’est pas loin de la démarche à la Robert Fripp, sauce orientale,
entre jazz, electro-jazz et rock expérimental."
-Iconophobic review, Prog-résiste Magazine #64, Pierre Nanson, Apr 2011
(Read more) |
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"Clearly [he] puts a lot of
thought in his artistic process"
"Il est clair que le guitariste et multi-instrumentiste Salim Ghazi Saeedi met
beaucoup de sérieux dans sa démarche artistique."
-namoWoman Review, Monsieur Délire, François Couture, Feb 2013
(Read more)
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"it is as if the artist
had invented his own rules of rhythm, his own arpeggios, his own musical
language."
"tout se passe comme si l'artiste avait inventé ses propres règles rythmiques,
ses propres arpèges, son propre langage musical."
-Human Encounter Review, Music Waves webzine,
Realmean, Nov 2011
(Read more) |
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"Iconophobic reminds me of
many prog rock self-productions from the ‘90s"
"ça me rappelle certaines productions indépendantes des années 90 dans le
milieu du rock progressif"
-Iconophobic Review, Monsieur Délire, François Couture, Jul 2011
(Read more)
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 "a
very personal album, the scary atmosphere mixing experimental rock, Arab music
and electronic music."
"un
album très personnel, à l’ambiance angoissante mixant le rock expérimental, la
musique arabe et la musique électro."
-Iconophobic
Review, Highlands Magazine #54, Axel Scheyder, Jan 2012
(Read more) |
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"salim ghazi
saeedi, l'espoir musical iranien baigné d'influences"
-Retrospective, Daniel Bonin, Musicali Blog, Mar 2012
(Read more) |
retrospective |
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"Do not expect the strangeness of [Iconophobic's]
atmosphere to quickly reveals all its secrets."
"Mais n'attendez pas de
l'étrangeté de cette atmosphère qu'elle vous révèle trop rapidement
l'intégralité de ses secrets"
-Iconophobic Review, Music Waves webzine, Realmean, Dec 2010
(Read more) |
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"Persian origins of Salim Ghazi Saeedi pierce this very western music"
"les origines de Salim Ghazi Saeedi percent au milieu de cette musique pourtant très occidentale"
-Iconophobic review, Chromatique.net, Fanny Layani, Jan 2011 (Read more)
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"cleverly mixed the most distant roots of progressive rock
with eastern sounds"
"il a su très intelligemment mélanger les racines les plus lointaines du rock
progressif avec des sonorités typiquement orientales"
-Iconophobic review, Zicazine, Fred Delforge, Jun 2011
(Read more) |
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"A recommended album for any
fan of Progressive Rock in the sense of the word."
"Un album recommandable pour tout fan d'un Rock Progressif dans le sens premier
du terme."
-Ustuqus-al-Uss Review, Music Waves webzine,
Mr. Blue, Jun 2011
(Read more) |
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Dutch |
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"Fans of progressive rock (King
Crimson) and experimental jazz (John Zorn) will possibly suit their taste in
music."
"Liefhebbers van progressieve rock (King Crimson) en experimentele jazz (John
Zorn) zullen mogelijk hun gading vinden in zijn muziek."
-Human Encounter Review, Digg*, Quincy Cloet, Nov 2011
(Read more) |
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"Salim Ghazi Saeedi continues
to surprise with compelling, authentic chamber-rock/avant-prog and a fascinating
story behind the album. Recommended!"
"Salim Ghazi Saeedi blijft verrassen met boeiende, authentieke chamber-rock /
avant-prog en dat met een boeiend verhaal achter het album. Aanrader!"
-Human Encounter Review, Peter van Haerenborgh, Progwereld, Mar 2012
(Read more) |
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 "Think of Peter Gabriel IV
with all sorts of intriguing, self-generated sounds..."
"Denk daarbij aan de voor Peter
Gabriel IV met allerhande intrigerende, zelf opgewekte klanken volgestopte
Fairlight."
-Iconophobic Review, iO Pages Magazine #96, René Yedema, Oct 2010
(Read more) |
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"given the accessibility and
diversity in his music, "Iconophobic" is quite a must have for everyone."
"gezien de toegankelijkheid en de verscheidenheid in zijn muziek is "Iconophobic"
best wel een aanrader voor iedereen."
-Iconophobic Review, Peter van Haerenborgh, Progwereld, Mar 2011
(Read more) |
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"een album met een tamelijk hoog fruittuingehalte
dus"
-Human Encounter Review, iO Pages #105, Roberto
Lambooy, Dec 2011
(Read more) |
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"I should name Univers Zero, Art
Zoyd, Present, King Crimson, Aranis, the entire Belgian chamber rock scene,
Russian composer Igor Stravinsky as influences on Iconophobic"
-Iconophobic Review, Peter van Haerenborgh, Progwereld, Mar 2011
(Read more) |
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"[Iconophobic] has references
to Patrick O'Hearn, Mike Oldfield and Sufjan Stevens, [and The Enid, John Zorn]"
"The short musical statements remind me of what John Zorn did during his "Movie
Works' cycle."
"De korte muzikale statements doen mij denken aan wat John Zorn deed tijdens
zijn 'Film Works'-cyclus."
-Iconophobic Review, Prog Opinion, Harry 'JoJo'
de Vries, Nov 2010
(Read more) |
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"definitely deserves a chance
from the adventurous prog lover"
"absoluut een kans verdient van de avontuurlijk ingestelde progliefhebber."
-Iconophobic Review, Peter van Haerenborgh, Progwereld, Dec 2012
(Read more) |
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"It's so cinematic a music
evoking not only images but would definitely show as a movie soundtrack or a
documentary background, perhaps the situation in Iran."
"Het is filmische muziek dus het roept niet alleen beelden op maar zou ook zeker
niet misstaan als soundtrack van een film of als achter- grond bij een
documentaire, misschien wel over de situatie in Iran."
-Ustuqus-al-Uss Review, Prog Opinion, Harry 'JoJo'
de Vries, Aug 2011
(Read more) |
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Italian |
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 "Iconophobic
transmits
sound pictures of anguish,
loss and strength in perpetual
balance between the Middle
East and the West"
"Quelli di Iconophobic sono dei quadri sonori che trasmettono di volta in volta
angoscia, smarrimento e forza in perenne bilico tra Medio Oriente e occidente"
Iconophobic Review, Wonderous Stories #19, Lorenzo Barbagli, Aug 2011
(Read more) |
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"Saeedi proposes an honest work
full of imagination, through a series of miniature performances."
"Saeedi ci propone un lavoro sincero e pieno di inventiva, attraverso una
serie di miniature riuscitissime."
-Iconophobic Review, Rotter's Club, Peppe, Oct 2012
(Read more) |
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"Salim Ghazi Saeedi incarna
splendidamente la vera essenza del progressive."
"Salim Ghazi Saeedi beautifully embodies the true essence of progressive."
-Human Encounter Review, Arlequins
webzine, Francesco Inglima, Feb 2012
(Read more) |
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"Salim wants to paint frescoes with his
music and does so using a few colors, but with traits of strong, decisive, able
to charge its emphasis on music and drama"
"Salim vuole dipingere affreschi con la sua musica e lo fa utilizzando pochi
colori, ma con tratti forti e decisi, riuscendo a caricare la sua musica di
enfasi e di drammaticità."
-Human Encounter Review, Arlequins
webzine, Francesco Inglima, Feb 2012
(Read more) |
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"... if I had
listened [to Iconophobic] without knowing the author, I probably would have said
a nice new album by Clint Mansell!"
"se l’avessi ascoltato senza sapere l’autore, probabilmente avrei detto: carino
il nuovo disco di Clint Mansell!"
-Iconophobic Review, Emanuele Brizzante, Good Times Bad Times Blog, Jan 2010
(Read more) |
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"We can appreciate the
writing skills of Salim and his great imagination to create images and sound to
merge styles that are located far apart midway between East and West."
"... possiamo comunque apprezzare le doti di scrittura di Salim e la sua grande
fantasia nel creare immagini sonore e nel fondere stili distanti che si
collocano a metà strada fra oriente ed occidente."
-Iconophobic Review, Arlequins webzine, Jessica Attene, Oct 2010
(Read more) |
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"I hope that the music of Salim will one
day fly high in a professional version, with maybe some international
cooperation."
"mi auguro che la musica di Salim possa un giorno volare alta, in una versione
professionale, grazie magari a qualche collaborazione internazionale."
-Iconophobic Review, Arlequins webzine, Jessica Attene, Oct 2010
(Read more) |
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"[Iconophobic] characterized
by profound lines typical of Fripp."
"[Iconophobic] dalle profonde linee frippiane."
-Iconophobic Review,
Lo Scrittore Progressivo, Riccardo Storti, Aug 2011
(Read more) |
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"beating many [western
productions] on the inventiveness and imagination."
"batte molte di [produzioni occidentali] sul piano dell’inventiva e della
fantasia."
-Iconophobic
Review, Rock Impressions, Giancarlo Bolther, Sep 2011
(Read more) |
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"Salim is a special and unique
character in the panorama world of prog"
"an apparent return to the sounds of their more metal discs with Arashk"
-namoWoman Review, Arlequins
webzine, Francesco Inglima, Apr 2013
(Read more) |
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"unique rhythmic episodes of
acid-jazz crossover oriental & "spiced psychedelic blues."
"ritmiche con singolari episodi di un acid-jazz crossover orientaleggiante o di
speziata psichedelia blues."
-Ustuqus-al-Uss
Review, Lo Scrittore Progressivo, Riccardo
Storti, Aug 2011
(Read more) |
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"Listening to this album is a
bit 'like watching the world through different eyes, in awe, admiration and love
of life."
"Ascoltare questo album è un po' come guardare il mondo con occhi diversi, pieni
di stupore, ammirazione e voglia di vivere."
-Ustuqus-al-Uss
Review, Arlequins webzine, Jessica Attene, Oct 2011
(Read more) |
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"It would be natural for
him to do a belly dancer dancing to the sound of a distorted Stratocaster."
"per lui sarebbe naturale fare ballare una
danzatrice del ventre al suono di una Stratocaster distorta."
-Sovereign Review, Lo
Scrittore Progressivo, Riccardo Storti, Aug 2011
(Read more) |
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"The rock base...
contaminated by intriguing arabesques"
"Il rock di base... viene contaminato da intriganti arabeschi"
-Sovereign Review, Arlequins webzine, Jessica Attene, Oct
2011
(Read more) |
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"The Iranian musician, Salim
Ghazi Saeedi, has a volcano inside."
"Il musicista iraniano, Salim Ghazi Saeedi, ha un vulcano dentro."
-Abrahadabra Review, Arlequins webzine, Francesco Inglima, Apr 2013
(Read more) |
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"Personal choice of a way of
expression."
"Scelta di una via espressiva personale."
-Abrahadabra Review,
Lo Scrittore Progressivo, Riccardo Storti, Aug 2011
(Read more) |
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Spanish |
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"Salim
Ghazi Saeedi's
solo
album
vibrated
some of the
deepest
cords
of my
musical emotions"
"el álbum oficial de estudio de
Salim Ghazi Saeedi como solista me movió algunas de las fibras más recónditas de
mis emociones musicales"
-Iconophobic Review, Manticornio, Alfredo TAPIA-CARRETO, Jun 2011
(Read more) |
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Portuguese |
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"I suggest you turn out the
lights, put on the headset and just let the music flow."
"Sugiro que apaguem as luzes, coloquem o fone de ouvido e deixem apenas a música
fluir."
-Iconophobic Review,
Progshine, Rodrigo “Rroio” Carvalho, Nov 2011
(Read more) |
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Norwegian |
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"En kjapp lytt til “Iconophobic” vil
fort sementerer akkurat den oppfatningen, å tilkjennegi en artist med integritet
og med særpreg i bøtter og spann!"
-Iconophobic Review, MerlinProg, Ulf Backstrøm, Oct 2010
(Read more) |
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"his guitar as the most
active musical brush!"
"med gitaren som den mest aktive musikalske pensel!"
-Human Encounter Review, MerlinProg, Ulf Backstrøm, Dec 2011
(Read more) |
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Polish |
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"Persian King Crimson?"
"I have the impression that the artist wants to say more than he can."
"Mam wrażenie, że artysta chce więcej powiedzieć, niż może. Może kiedyś się to
zmieni."
-Iconophobic Review, Artrock.pl, Wojciech Kapała, May 2011
(Read more) |
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"original,
challenging and moving."
"niebanalne, ambitne i poruszające."
-Human Encounter Review, Mały Leksykon Wielkich Zespołów, Artur Chachlowski,
Jan 2012
(Read more) |
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"Iconophobic album crosses the boundaries of
cultures, countries and continents."
Albumem „Iconophobic” przekraczamy kolejne granice kultur, krajów i kontynentów
-Iconophobic Review, Mały Leksykon Wielkich Zespołów, Artur Chachlowski, Aug 2011
(Read more) |
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"Mixing blues style of
Jeff Beck's emotive expression with Robert Fripp's"
"mieszanie bluesowego stylu gry Jeffa Becka ze sposobem wyrażania emocji Roberta
Frippa"
-Iconophobic Review, Hard Rock Service, Vincent, Jul
2011
(Read more) |
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"namoWomen is in a sense one of the most exotic adventures we have ever
experienced."
„namoWomen jest w jakimś sensie jedną z najbardziej egzotycznych przygód
jakie do tej pory przeżyłem”
-namoWoman Review, Mały Leksykon Wielkich Zespołów, Robert "Morfina"
Węgrzyn, May 2013
(Read more) |
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Croatian |
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"We need to bow to the
spirit of courage, rebellion and perseverance of this young man from
Tehran."
"Salim is the absolute author"
-namoWoman review, Sound Garden,
Ljubiša Prica, Apr 2013
(Read more)
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Japanese |
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"Prog-flavored work with an
interesting mix of Middle East phrases"
中近東フレーズを織り交ぜたゆったり風味のプログレ作品で興味深い。
-Iconophobic Review, Too Much Music Stuff, Kazuhiko Shibuya, Jul 2011
(Read more) |
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を全編で駆使し、出自であるArab/Orinetal色と、近年のART ZOYD/PRESENT等の影響化にあるSymphonic色も漂わせたDarkかつHeavyなChamber色を融合した、ジャケットの印象そのままのWorld/Ethinic
Electro Chamber Rockを展開。
- Iconophobic Review,
DiskUnion's Progressive Rock Online, Feb 2011
(Read more) |
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