Siavash Amini's rain-textured drone has wowed us ever since What the Wind Whispered to the Trees, where neutral environmental grounds found vulnerable, almost songwritten ambience. Foras is his sixth solo record in as many years and sees him continue to traverse these liminal spaces, considering the very way our surroundings lead our emotions, considering architecture as psychology. You must cop this.
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Criminally underrated droner Siavash Amini has been busy lately, having crafted one of the most emotionally gutting records of all time with his spoken word collaborator Matt Finney. It’s nice to have him back on his own terms, though, as his scuzzed up solo output has been some of the most affecting and sentimental music to have come out in recent years, rivalling the pathos ambience of Rafael Irisarri and Lawrence English. On ‘Foras’, he takes a slightly different tack, creating and crushing harsh shards of sound into a shapeless, atomic LP.
Amini’s music has always involved a great deal of electronic noise, but usually his use of instrumentation has implied melody, and suggested clear narratives: these tracks are furious in their use of dissenting, industrial timbres, the electronics filling the ears with clatter and destruction. This approach is utilised alongside the softer, synthesised approach Amini has relied on in the past, juxtaposing active catastrophe with brief, intangible moments of dormant meditation.
It’s to its credit that ‘Foras’ is absolutely startling from start to finish. Many artists utilising a more abstract approach in making harsh music would lose us half way into a ten minute filibuster; here, Amini seems as focused as ever on detailing his environments and, in this case, the violence being lived on them. Though it is more scattered and fractured, this time around, he is as focused as ever on the topography of his sound.
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