Music For Pictures is a series of releases on the theme of cinematic instrumental music. The albums is made up of sketches for different film scores that were never selected or evolved into a very different final version.

The EP reveals Kamran Sadeghi’s use of electronic instruments to create new worlds. A radical alchemist who is guided by controlled experimentation and intuition while working with machines that are connected to one another through a vast chain of signals and triggers. The sounds on MFP transform into colors or even a physical space that can be entered.

Sadeghi is a producer, musician and composer of electronic music based in New York. Active in multiple disciplines such as scoring for film, music for choreography, live performance, sound and video installations and underground club music.

Although Sadeghi studied Music Theory / Composition, Jazz Percussion and Audio Engineering, he considers himself an autodidact. Kamran’s sound world is physical – full of hyper magnification, stillness, unexpected shifts and sharp punctuations. His diverse body of work is the sonic diary to the cultural and physical experiences that are happening around us.

His production credits can be found on collaborations with Patti Smith, Sasha Waltz, Jean-Luc Godard, Berghain and more. His solo performances have put him on line-ups with the likes of Moritz Von Oswald, Fennesz, Tim Hecker, Vladislav Delay and Richard Devine. Kamran’s LIVE club sets have been performed in venues such as Arma17, Resonate Festival, ADE, Robert Johnson, REX Club, Awakenings, Club Der Visionaire, and many others.

Given the opportunity to premiere the fantastic “Eraser” from this first release on the “Music For Pictures” series, we also had a chat with Kamran to discuss the EP, his creative process and what he hopes the release, and other forthcoming on the series, will translate to for listeners.

Hi Kamran, Thank you for taking the time to chat with us today. Where in the world are you right now?

My pleasure. I’m currently sitting in my studio at home in Brooklyn.

Congrats on your Music For Pictures EP. Can you explain to us what the title means and where you found inspiration for it?

Thank you.  It’s the first in a series of releases – three of which are already completed.  The title comes from the fact that all the music was originally made to accompany moving image – film scores, campaigns, trailers etc. Most of the time I make several versions of one song in order to fit the mood, movement and overall color of the project.  Sometimes I come back to early versions and tweak them just enough that they become a new piece all together.

This isn’t your usual electronic music release, in the sense that it is very cinematic (pun intended) and leftfield in many ways. Where do you envision people will be listening to these tracks?

I imagine everyone has a personal, physical and mental space that they like to listen to music in.  To each their own.  I do think this series is a really nice headphone listen.

You produce movie scores, music for coreography, and more. When you sit in the studio do you tend to work on specific projects aimed at specific outlets, or do you ever just have open sessions where you let your creativity run wild unsure of what the final outcome will be musically and whether it’s suited for one project or another?

Music for me is no longer a cerebral practice.  I spent a long time working in a very clinical way with my music – really technical.  Music and sound is physical with imperfections.  I’m working all the time – experimenting with my instruments.  I like to use instruments in unconventional ways.

For better or worst, whenever I make something that sounds familiar or right – I try my best to go further to find it’s spirit or resonance.  I design my own sounds so every project I work on has it’s own character and personality.  Although it’s almost impossible to verbally explain music with words – I do like to create sounds and music that accompany images, whether on screen or physical.

How different is the creative process in the studio when you produce tracks that may work for a dance setting, versus another?

I tend to create the space first – the mood or foundation.  If it’s about movement – I start with something that carries me.  It can even be a simple click or rumble.  I start imagining counterpoints and it just grows.  I use the same instruments for all the different projects.  This is important for me – I don’t like to be dependent on the gear. I try not to limit my imagination or musical range.

What hardware and/or software did you use to produce the tracks of this EP?

Mostly my Eurorack Modular System along with the Elekron Rytm, Octatrack, Op1, Nord Lead, Ableton, Pro Tools.

Did you have a pool of tracks from which to pick the four that comprise this EP? Why did you select these four specific ones?

Yes – they come from my archive of music made originally for moving image.  I have two more records with between 4 to 8 tracks that are ready and will follow this one.

You are based in NYC. How influential is the city itself and the daily life there to your music productions?

Yes I’m based in NYC.  I would say that the city influences me in very subliminal and indirect ways.  It’s a big beautiful mess.

What other projects are you excited about for the rest of this year?

I’m working on another project at the moment called Emit ( ‘time’ reversed ) that’s really more grounded in being experienced on the sound system.  Rhythmic, experimental sequencer patterns with very physical and advanced sound design.

Track Listing:

1. Sonatine
2. Sunburn
3. Broken
4. Eraser
5. Return
6. Pluk

Music For Pictures No. 1 is out now and available on Bandcamp

Connect with Kamran Sadeghi: Online | Facebook | Twitter | Instagram | SoundCloud