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photosWord Magazine January 2008 ('Barzin')
"“Superior sundowner music from talented Toronto singer-songwriter”
This is a case study in powerful stillness, the musical equivalent of watching Robert Mitchum in close-up, every tiny tremor and twitch taking on a compelling resonance. Barzin fills the wide open spaces of his music with grace and care, mostly with the slow swish of brushes and fat notes of guitar reverb that hang in the air like raindrops from telephone wires. His soft whisper of a voice falls somewhere between a prayer and a threat, promising on Pale Blue Eyes that “you do not know how far you will fall”.
The emphasis throughout is on texture rather than tunes, like a prolonged immersion in warm, salty water. Past All Concerns is Mazzy Star’s Fade Into You taken to even more luxuriously melancholy heights, while elsewhere friends of American Music Club, Galaxie 500 and Talk Talk’s Spirit Of Eden will find much that pleases. "
Graeme Thomson
Rocksound December 2007 ('Barzin')
"“A much warranted full European release for the debut album of autumnal slow-core from Toronto-based Barzin Hosseini. Ostensibly a a solo project (later incarnations of the band have included Tony Dekker of the excellent Great Lake Swimmers), Barzin’s calmly meditative vocals and confessional delivery have drawn comparisons with Mark Kozelek and Low, although it’s actually far more remeniscient of Josh Hayden’s quietly impressive and much underrated Spain. Simple melodies played on acoustic guitar and piano are infused with rich sonic textures, while the gently weeping pedal steel in ‘Sleep’ and the serene rhythmic pulse of ‘Building A House’ are steeped with a melancholic edge that is both understated and warmly inviting.” (7)"
Neil Gardener
The Independent on Saturday (UK) ('Barzin')
"This Toronto singer-songwriter's debut came out Stateside in 2003, but then slowcore is his style, as are fragile tales of "battered leaves" and "broken plants" [sic]. When he sings "it makes me sad", you don't doubt it. An exquisitely beautiful mood of sonic discretion elevates his tender Americana into a thing of skin-tingling sublimity: you hardly dare move while it's playing. Beautiful. ****"
Kevin Harley
Uncut Magazine (December 2007) (S/T)
"So melancholic, mournfully introspective and funereally paced is the debut from Barzin, it makes even Red House Painters sound giddy and hysterical. The Toronto singer-songwriter began his recording life as a soloist, but over the course of two albums and an EP has gathered around him a band, featuring players from Great Lake Swimmers, Polmo Polpo and (rather more surprisingly) Heavy Trash.
2003's 'Barzin' sets out the artist's slow-core/ambient Americana stall, a venture dedicated to moody minimalism, emotional understatement and divine quietude that ranks him alongside Mazzy Star, Film School and Labradford. (****) "
Sharon O'Connell
Boomkat (S/T)
"The eponymous debut album by Canadian songwriter Barzin gets the reissue treatment from Monotreme Records, who released the quite wonderful follow-up "My Life In Rooms". Like that record, this first full-length explores an aesthetic of incredibly warm slowcore country sounds, with slow flickering waves of tremolo guitar and vast pedal steel slides. While the elements that make up the album are fairly simple and the pace never really exceeds 'glacial', the album has moments of enormous emotional weight, carrying a kind of restrained, graceful force throughout. This is especially true of the sublime 'Past All Concerns', a piece of stunning, opiated country sung in duet with Tamara Williamson, with a slightly hazy, muffled sound reminiscent of The Gentleman Losers. Elsewhere, on 'Pale Blue Eyes' you'll be struck by a sound that balances the rootsy authenticity of Calexico with Sigur Ros' skill with quietly epic song arrangements, and undoubtedly, Barzin offers a markedly more atmospheric, even eerie take on the idea of the lone songsmith, but importantly, he manages to do so without compromising on the richness of his writing, which is impressive throughout. Highly recommended."
30music.com (USA) (My Life In Rooms)
"The opening track to Barzin’s My Life in Rooms, “Let’s Go Driving,” suggests just that: Driving. Ahhh, the open road, preferably the prairies descending into the Rocky Mountains and Barzin – life doesn’t get much better than this. A romanticized track at its core, “Let’s Go Driving” preps the listener for a nine-song reflectively melancholic venture.
Comparatively speaking, Barzin cozy up to the somber sounds of ‘90s mood rockers Spain and the ambivalent direction of Low while maintaining a desperation all their own. The play very slow, very delicate, and very fruitfully. A belly full of instrumentation consumes the sound as Mike Findlay whispers stories about leaving, finding more drugs, and his life in rooms.
The abstract simplicity in which Barzin create their diligent sadcore is a reputable – not to mention rewarding – feature. Sure, there are quite a few other bands creating similar sounding records, but there is something in Barzin’s subtleties that helps set them part. Consistency is crucial throughout My Life in Rooms as Barzin never over exude nor over complicate the matter of their subjects. They play with a tender ease and a stark passion. Do not increase the beats per minute, please.
Let this record act as your late-night soundtrack, while driving or otherwise. Take an extremely deep breath, press play, and allow Barzin to do the rest. Let them take you away. You’ll appreciate where you end up."
The Wichita CityPaper (USA) (My Life In Rooms)
"Pretty chamber country-esque tunes from a Canadian outfit that holds in its ranks Tony Dekker (Great Lake Swimmers). While the half-whispered vocals might detract some from listening with abandon and while some might argue that the somnolent movement of tracks such as “Leaving Time” and “Just More Drugs” is painfully slow, there’s something to be said for enjoying the silence and understated beauty of Barzin. With enough pedal steel and vibraphone to perk up your ears on a consistent basis, My Life in Rooms is a tender aural novel, a nearly epic aural poem that resonates deeply with the listener long after the final note has ended its travels on the bright and brilliant sound spectrum. (4/5)"
Jive Magazine (USA) (My Life In Rooms)
"Interview of Barzin can be found here: http://www.jivemagazine.com/article.php?pid=5873
"
Bricolage Fantasy (France) (My Life In Rooms)
"Very pretty slowcore album. Barzin’s brand of slowcore sounds like familiar blues rock and alt.country, but the songs are so well executed it is memorable. Thinks of Barzin as Arab Strap meets Red House Painter. It radiates warmth without overstretching. Somebody is going to use Barzin’s songs for an art house movie for sure."
Keenly observed (USA) (My Life In Rooms)
""Okay, just a little pinprick," sighs one-named wonder Barzin in a nod to Pink Floyd's "Comfortably Numb." "Maybe what I need is just more drugs." It sounds like he has plenty; this Canadian songwriter's hazy take on lo-fi, midtempo introspection is perfect for winter hibernating and drifting into oblivion.
This soft and intricate record shares an organic bent with the likes of Iron and Wine and M. Ward, its murmured, mournful numbers crafted as if straight from the bottom of the ocean. Warmed with lap and pedal steel and graced with the music-box prettiness of vibraphone, these shy songs inch their way onto a plane of suspended reality. Barzin caresses the music with the gentlest of voices. Never breaking character, he delivers each vocal in an austere, droopy manner that suggests perpetual loneliness ("So Much Time To Call My Own" is a standout). These are sad waltzes and losers' lullabies - nurturing music that lets you get beautifully lost."
- Amanda Langston
Unpeeled (My Life In Rooms)
"Thoughtful and predominantly melancholy mixture of mood pieces and gorgeous graveyard alt-country pop. The vocals are understated, whispered, the strings bank in luxurious piles or decorate artfully with light, slight touches and the guitars are uniformly excellent, pedal steels yawing like violins, acoustics barely brushed, slide guitars, hmmm. Best of bunch here is Wont You Come that reminds strangely, but strongly of Lennons #9 Dream and obviously thats reason enough to check this set out."
Boomkat (My Life In Rooms)
"Coming across like a ghostly Calexico jamming with Radiohead, Barzin up their game for second album ‘My Life in Rooms’. Verging on, but not quite Americana, this excellent album is liberally drenched in slide guitar and slowcore drums, with opening track ‘Let’s Go Driving’ sounding remarkably like Radiohead’s ‘Nice Dream’, a dreamy haze of track that perfectly sets the mood for whats to follow. Recommended."
The Sun (My Life In Rooms)
"Canadian singer Barzin likes to take things real slow. His moody sound washes probably make him the polar musical opposite of The Ramones. There’s much to admire, however, as he fuses spacey acoustica with sophisticated effects. As the title suggests, he probably ought to get out more… but this is a soothing triumph."
(4/5)
Tasty Fanzine (My Life In Rooms)
"Second release for Canadians Barzin, first on London based label Monotreme, and what a delight it is. This is a masterpiece in slow, melodic melancholy, occupying similar territories to the early work of the ‘Red House Painters’ and original slow core luminaries ‘Low’. Assured and confident song writing complement its languid mood and the only disappointment arrives when it ends. Highly recommended."
Americana UK (My Life In Rooms)
"Canadian slow- core entrepreneur’s create wide ambient sound scapes to set songs for second album to....
Originally a solo project in the mid 90’s, the concept of Barzin has evolved in the last decade, or so, and developed into more of a collective for My Life in Windows, their second and most fully realised album to date.
In spite of the additional input, these songs remain deeply personal and exclusive to their author. ‘My Life in Rooms’, ‘Lets Go Driving’ and ‘So Much Time to Call My Own’ almost feels like an invasion of privacy to sit and listen to them.
‘Here is the one thing I’ve followed; here is my life, my life in rooms Taking notes for myself of all the things to not become’ (Lets Go Driving)
Sonically, the tracks are draped in an aching pedal steel with keyboards and vibraphone to only slightly augment the sparse arrangements. When drums are employed, it tends to be a slow pulsing metronome, electronically treated that could easily be mistaken for a drum machine. Barzin’s voice, barely registering above a whisper has more than a passing resemblance to Mark Linkous, in fact, the analogy can be taken as far as to say that Barzin will appeal to anyone who likes Sparklehorse, period. Like there reference points, Barzin have delivered an album of strong songs lyrically with deceptively intricate arrangements; a band that is felt, not heard.
‘All your poems and words they have left you now’ (Leaving Time)
Well, mercifully they were recorded and have found their way out into the wider world. A great late night, red wine and weed album …. I would imagine."
(PG)
Organ Magazine - UK (My Life In Rooms)
"Warm mellow cleansing slowcore alt.country flavoured washes that stop your day and refresh your soul. Melancholic warmth of a delicate Tindersticks/Sparklehorse nature, music that takes off your boots, slows your pulse and eases your mind with those brushed drums and twinkling keys and French horns and velvet strings and lingering vibraphones and just cleansing and just right…"
New Noise (My Life In Rooms)
"It's got to be the Canadian weather that inspires songwriters to compose somber elegies such as the ones that the singularly named Barzin wrote for his second record, 'My Life In Rooms.'
As a follow up to Barzin's self-titled 2003 debut, 'My Life in Rooms' is a dream for those who revel in sad and depressing slowcore music by artists such as the Tindersticks and Mojave 3. Barzin employed the talents of Tony Dekker (Great Lake Swimmers) and Suzanne Hancock, two longtime collaborators, to assist in the performing and recording of the elegant 9-song record that recalls the work – both musically and lyrically – of fellow Canuck, Leonard Cohen
While the description of "somber elegies" brings to mind funeral music, Barzin incorporates enough aspects of chamber pop (vibraphone, French Horn, piano) and Americana-style music (pedal steel guitar) to save the listener from drifting off into a suicidal state though you certainly wouldn't want to pop a mouthful of downers before experiencing this record for the first time.
Comparatively speaking, Barzin could be considered a comfortable counterpart to Mazzy Star, his song 'So Much Time to Call My Own' nicks it's melody line from 'Fade Into You' though heads in a different direction when it hits what could be called the chorus. The singers heavy signs and audible whispers on this song, as well as the rest, lend to the general malaise of one of the most oddly soothing releases in this young new year.
You wouldn't think that an album that was written under a gray cloud would be so captivating and yet Barzin's subtle approach begs listeners to crawl into his world, a world where maybe all he needs to make it through the day is drugs, as he sings on the track 'Just More Drugs'.
'My Life In Rooms' was recorded over a two year period in locations ranging from a Southern Ontario farm to a New York City studio to somebody's basement but the wide breadth of recording locations is not noticeable as the songs flow in and out of each other at the same speed and tone – slow as a turtle and quiet as a sleeping newborn baby.
Cherish this record for what it's worth – a confessional tome written by a musician who doesn't see too many sunny afternoons and who retreats to dark and quiet corners in a coffee shop whenever the opportunity arises."
Warpmart Newsletter - Warp Records (My Life In Rooms)
"From 65daysofstatic's label comes this woozy slomo album of dusty post rock/ new folk sort of stuff. With lots of slide steel guitar, vibraphone and gently whispered vocals, collaborations with famous friends and electronica accompanments, it's all very pretty, full of grace and space with gentle vocals like 'low' on prozac and enthusiasm."
Now Toronto (My Life In Rooms)
"Slow, sad and haunting are the songs on Barzin's latest opus about the possibility of achieving a meaningful life that's dedicated to the arts. That he never comes to a concrete conclusion hardly matters when the music is as affecting as this. Lush, dreamy arrangements flourish alongside Barzin Hosseini's whispered vocals, never threatening to overpower them, just adding to the dramatic atmosphere. With Tony Dekker of Great Lake Swimmers and Suzanne Hancock in the fold, My Life In Rooms is a grand statement indeed, a soul-searching exercise in melancholic minimalism that offers new findings with every listen. Think Sparklehorse minus the heroin and Tindersticks minus the accent and you'll have an idea of where Barzin is coming from, but you'll need to experience My Life In Rooms first-hand to know where he's heading. A must."
Critic’s Pick (NNNN)
iheartmusic.com (My Life In Rooms)
"Featuring such sad bastard staples as Tony Dekker (of Great Lake Swimmers notoriety) and Karen Graves (arranger for Hayden), Barzin's latest release, My Life In Rooms, is a slow, languorous journey. Formed originally in 1995 as a solo project, Barzin has since hopped aboard the collaborative bandwagon. A fortuitous development, as manifested by the rich texture of their latest musical endeavour. In keeping with its late-winter release date, the album listens like a retrospective of the past few months: the sound is bleak and epic. The songs develop almost formulaically, but the formula works pretty well. Alternatingly alienating and soothing, the album draws us off the cold streets into the warmth of its eponymous rooms.
My Life in Rooms is a somewhat melancholy exploration of the relationship between life and art. In "Let's Go Driving," the album's first track, a drive "away" (from life? From bleak city streets?) is proposed; the theme of traveling is developed in "So Much Time to Call My Own". Here, the experience of capturing lived experience in art is both vocally and sonorically present, with the lyrics enhanced by sweeping guitars and horns.
"Leaving Time" is yet another existential foray into the interplay between artistic and physical space. This is not to say that Barzin is utterly mired in a philosophical quagmire. At times bitingly ironic, he comically wonders in "Just More Drugs" whether "maybe what I need is just more drugs?" (Note: if he's talking sedatives, my answer would be a resounding "No!").
My Life In Rooms is a consistent album, featuring gentle instrumentation and softly-crooned melodic ponderings on pretty much every track. The album occurs at an evidently inchoate stage in Barzin's musical development, but is nonetheless full of promise; his quest -- and that of his fans -- for musico-spiritual enlightenment is just beginning."
Epitonic (self titled)
"You could describe Toronto artist Barzin's music as slowcore, but the epithet doesn't really do justice to the depth and intelligence of his compositions. His thoughtful arrangements and gentle melodies often show shades of keening American country-rock and pensive British folk in addition to the morose downtempo indie rock suggested by the word "slowcore"; consequently Barzin's songs have a timelessness, a certain universality rarely found in music of this ilk. The same could be said of his lyrics; they're graceful, economical, and carefully considered, sometimes calling to mind the poetry of another somewhat better known Canadian songwriter named Leonard Cohen."
All Music Guide (self titled)
"This eponymous CD boasts ripe writing skills, delicate arrangements, and exquisite production. Barzin's songs originate from the melancholic indie rock of Low, with hints of the American neo-folk current…There is no weak moment on this album. Recommended"
(4/5)
Splendid Magazine (self titled)
"It's hard to find an album that doesn't force its way into a frame of mind, falling prey to the trappings of positive and negative. With this disc, I never felt I was being cornered, or that I knew what might happen next. I was simply led along, willingly and completely enthralled by a man, a guitar and sparse accompaniment."
www.losingtoday.com (self titled)
"..an enchanting experience...stretches the emotions as it meanders with listless beauty....A delightfully sensitive debut."
Now Toronto (self titled)
"Fans of Idaho and similar slow burners will find much to enjoy in this sad, soft and very, very pretty release."
Earshot (self titled)
"… a sad beauty worthy of entry among the slow-core canon of Red House Painters, Cat Power, Low, et al"
Exclaim (self titled)
"This is an undeniably great album — quiet, gentle and balanced, yet it engulfs the listener with a massive amount of positive radiation of sound, as if piped through the world's largest satellite dish ten feet away from you. It'll make the Geiger counter of good listening hit 11."
www.therecord.com (self titled)
"Spacious and warm arrangements colour Barzin's whispering, soothing voice with delicate clarity..."
Montreal Mirror (self titled)
"Enchanting, soft, subtle, ingenious...an artist to urgently discover." - www.indiepoprock.net "Its guitars, softly cut vocals and moaning and droning keyboards form melancholy textures that drip like January molasses, suggesting classic Canadian and British folk while remaining modern, if only for its dangerously slow pulse."
Altcountrytab (self titled)
"Overall a brilliant Cd from Barzin. I love Cds like this that you just put them on and they wrap you up tight in a mood that you just want to stay in...it's been more than once that I've let this Cd repeat over and over for multiple times. This haunting, gentle style of music isn't pop music that jumps out at you and grabs you with a catchy chorus, it's a style you either get it right or it doesn't work, and Barzin definitely gets it right here. And under all the music lies a great songwriter, the lyrics are up on his website and are interesting pieces to take a look at. Highly recommended Cd"
Americana UK (self titled)
"You feel as if you've just discovered a secret you want to spread."
Silhouette Review (self titled)
"It is Barzin's voice that made me fall in love. Velvet soft… it breaks your heart and sews it back together again, roughly, in not quite the same shape."
Energycastle.com (self titled)
"Barzin’s self-titled debut album is a gorgeous marriage of mood, minimalism and melancholia. Imagine Slint’s quieter moments or Hayden’s more gothic opuses and you’ll have an idea of Barzin’s approach… This is a morose masterpiece, an exercise in understatement that leaves the listener wanting more…"
Rosco Magazine (self titled)
"Barzin takes listeners on tour of his journal entries that is not only intense, but quite rewarding."
M-LA-MUSIC (self titled)
"...a magnificent album that recalls the better moments of Migala and other groups who play calm and languorous music...a pure wonder!"
(8/10)
www.sodapop.it (self titled)
"...simple songs, delicate, soft...warm like an embrace.."
www.i-n-f-r-a.net (self titled)
"Barzin imposes refinement and poetic vision... This first album is full of promises for the future and one can regard Barzin as one of the beautiful revelations of the year 2003."
www.silentscreamzine.com (self titled)
"An album that emotionally recalls purity and innocence.."