Two and a Half Questions with Kamran Sadeghi

Can you possibly describe your composition process?
My compositional process begins with an acute act of listening, no matter what the desired result may be at the start of a project. I often spend hours listening to just one facet of a sound, building this intense dialogue and relationship with it. As the dialogue develops this snowball effect begins were I’m so buried in constructing, deconstructing, enhancing and reducing….. the next thing you know hours, sometimes days, have passed without me even knowing how one line became this landscape of sonic events.

Tell us more about the concept behind the Kha series.
The Kha series has two main facets at this stage of it’s conception; rhythmic centric composition, and using sound as a source of pure data. Over the years I have abandoned the use of rhythm in my work for one reason or another, and it has been a refreshing and challenging addition/reunion to my process. I have also been using sound to determine the outcome of things such as text, color and dimension in my audio video installations and performances. Overall, I’m fascinated and engaged with the integrity of sound beyond a musical context.

I’m always fascinated when artists release material concurrently under different names. How do you decide which releases will go under the Son of Rose or your real name?
Yeah, I agree it is fascinating and for me it was a decision based on a few ideas; to have the creative liberty in doing very different projects, both musical and non-musical, without concern for how it may or may not fit into a certain identity framework, and also to add variation to my day. Son of Rose will remain the outlet for more electroacoustic based work for the time being.

At which point does “digital” become “organic”?
Well… when you can bite into it!