Saeed Habibzadeh is a classical, renaissance man. His approach to music is in arranging, organizing and evoking emotion. Compositions from this man incite rich images, using no words is an art. As he arranges, he visualizes. The arrangement, as well as the feelings they will elicit. This is his latest album, Lost Men.
There might not be a film currently associated with this album, but it is easy to create one. An unsuspecting protagonist eats at a restaurant, while Menu plays. The mystery and drama is exciting, nothing is known. Before the events unfold, Opening credits play. There is enough tension, and foreshadowing as the church bells ring out. The intrigue is built, with the tautness of the string dimension. The awe is projected, making for what could be parts of the movie referenced.
Meeting of the mafia bosses should feel a certain way. The stature and grandeur of the overlords is felt. With the shorter string pulls and lead coming together, you feel like you’re encountering them. The scene is short, you might not know who you see. The protagonist eventually falls in love. While the soft strings serenade you into the tangled web, the attraction continues. The first kiss sets a picturesque scene, straight out of an Elizabeth Taylor movie. There is playfulness and recognition, a lasting feeling with minimal instruments. Dreams of Two continues down this optimistic path. From spending a lifetime together to creating memories, you can hear the desires unfold as an extension of themselves.
Through scenes and stories
Scenes arranged by Saeed Habibzadeh are a confluence of many things. Not only does it depict what the art can do for us, but how his imagination carries us places. As a composer, he is perpetrating a style that is supposedly long-lost. For someone who arranges as well as he does, the dedication to the moment is amazing. Baptism continues down this protagonist’s path, an offspring that might be the prodigy. Unassumingly, all would never be OK. The mafia bosses have come together to find a killer, and his picture is painted.
As they lurk in the dark, it is almost reminiscent of a Hitchcock movie. Prayer in the church instantly transports you to the organs. The haunting sound is the precursor to the forgiveness the killer asks. Depictions vary, images turn back to the protagonist in question. The kind of purpose and alteration of character is heard in the tone and how Saeed puts it together.
Saeed Habibzadeh-Emotions turning
Last hope and Assassination are two contrasts in arrangements. It is the visual of a new kind of complexity, two unknowns that will cross paths. Funeral creates the sombre tune of a contract fulfilled, the emotion involved and the sorrow that is exuded. Susan Offenmüller brings her stunning vocals to one of the few lyrical songs on the album. It is an acoustic delight, something that creates dread, love, worry and hope within its tangled web. This epic is followed by Nightfall, closing very poignantly what is an album of lessons and stories.
Saeed Habibzadeh has made a lot of creative tracks, but this album steals the cake. The masterful renditions without any words has the power to conjure something more than song. Maybe that is what all music is meant to do. Listen to his album here:
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Self professed metalhead, moderately well read. If the music has soul, it's whole to me. The fact that my bio could have ended on a rhyme and doesn't should tell you a lot about my personality.
