Siavash Amini returns to the Futuresequence label with Subsiding, his sixth full-length album and the third in a triptych of recent densely layered works, a stunning opus that incorporates some of the most distinctive elements of each of its predecessors while incrementally refining and evolving his sound. We have reached the point where we can no longer be surprised by the scope, depth, or power of Amini’s sonic creations. We can only savour the joy of hearing each new oeuvre for the first time.
Among the five exquisite tracks that comprise Subsiding, we hear the oceanic stillness and frozen melancholy of Till Human Voices Wake Us (Umor Rex, 2014) and the tempestuous, modern classical infused drones of What Wind Whispered to the Trees (Futuresequnce, 2014) and even a bit of the frosty and shimmering guitar lines of Chamomile Vol.01 (Oído).
His most full and detailed sound to date illustrates Amini’s ability to bring together modern classical composition with that of controlled noise, granular synthesis, and atmospheric soundscape. Both monolithic and micro sound sculptures coexist within a perfect balance, a mix which makes for an all encompassing listen across the audio spectrum, funereal yet uplifting. – Futuresequence
Not only are these motifs and elements well-balanced, they are fused and intertwined into a gripping narrative wherein each track can be seen segment of a single compelling arc. While there are ample moments of calm and reflection to come, Amini opts to bring the drama right away with the ominous blasts that introduce the opening track, ‘Agarthini’. Bristling textures reach a feverish pitch before dissipating into a ruminative lull only to recoalesce into a sandstorm of distortion.
‘The Water Awaits You’ and ‘Non Existent Vicinities’ flow together like two movements of a single piece, frozen lakes of sound with a poignant emotional undercurrent flowing beneath. The sprawling title track brings to the fore Babak Koohestani‘s emotive strings which set the tone at the beginning and reprise at the finale as the drones ebb and decay underneath. The piece flows seamlessly into the final coda, ‘Blurring Contentment’ where the plaintive clarinet of Soheil Peyghambari lifts the pall, incidentally adding quite a new and welcome sonic element to Amini’s palette.
Try as one might, it is impossible not to get caught in the undertow of these pieces and inexorably drift far out on emotional seas. Listeners not familiar with Amini’s work will find this a perfect starting point. The rest of us will likely view this as his best work yet [and yet, he’s still so relatively new to the scene]. The glass-mastered CD edition of Subsiding comes with striking cover photography by Alex Kozobolis. 200 copies will be available and the first 50 will include a numbered artwork print.
Words by Brian Housman of Stationary Travels
