Yezmi Malek
Music In Iran – The men in the audience clapped and the women screamed as the band finished their song: usual, except that the venue was in Iran and the cast members were all women.
His lyrics are old folk songs, passed down through the generations, and he is known for most of his concerts at the amphitheater in the southern port of Bandar Abbas.
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Dressed in traditional costumes, the group took part in a festival organized by the state to showcase the “music of the Persian Gulf” and played their instruments in addition to singing.
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Members of the Iranian female music group Dingo (left to right) Maliha Shahinzadeh, Negin Heyderi, Faizeh Mohseni and Nushin Yusifzadeh together at a concert as part of the Persian Gulf Music Festival organized by the state at Avini hall in the city It is held in the southern port of Iran, in the city of Bandar Abbas. April 29, 2019. ATTA KENARE / AFP
Negin Heyderi, a former member of the female Iranian music group “Dingo”, who plays the kaser drum, poses for a photo while practicing in a home studio called “Dingo Room” in the southern Gulf city of Bandar. Iran. April 30, 2019. ATTA KENARE / AFP
Nushin Yousifzadeh, oud player of the Iranian female music group “Dingo” with other members of the group during a concert as part of the “Music from the Persian Gulf” festival organized by the state, at Avini hall in the port city of Abbas. south of Iran in the Gulf of Iran. on April 29, 2019. ATTA KENARE / AFP
All-female group Dingo – which in the local dialect refers to the first limp steps of babies as they learn to walk – formed in late 2016, but their April 2019 performance is only their second chance. managed to play with the audience at the “Persian Gulf Music” festival organized by the government in the city of Bandar Abbas. ATTA KENARE / AFP
Alireza Eftekhari, Mohammad Jalil Andelibi, Davud Genjei, Hadi Montazeri, Mansur Yunosi Sinaki, Abbas Miyandehi, Hoseyn Behruzniya, Behnam Vadani, Behzad Foruhari, Ardashir Fakhimi, Mahmud Farahmand, Kambiz Ganjei
Nushin Yusifzadeh, a member of the all-female Iranian music group Dingo, plays the Oud (Middle Eastern lute) as she practices in a home studio called Dingo Room in the southern port city. on the Gulf of Iran. Bandar Abbas April 30, 2019. ATTA KENARE / AFP
Fayzeh Mohseni, drummer of the Iranian female music group “Dingo” with other members of the group during a concert during the state-organized “Persian Gulf Music” festival at Avini Hall in the southern port city of Iran’s Gulf, in Bandar Abbas performs on April 29, 2019. ATTA KENARE / AFP
All-female group Dingo – which in the local dialect refers to the first limp steps of babies as they learn to walk – formed in late 2016, but their April 2019 performance is only their second chance. managed to play to a mixed crowd at the Bandar Abbas festival. ATTA KENARE / AFP
(left to right) Drummer Pippeh Maliha Shahinzadeh and drummer Faezeh Mohseni with other band members at a home studio called “Dingo Room” in Iran’s southern Gulf port city of Bandar Abbas on April 30, 2019. ATTA KENARE / AFP
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Audience members applaud as they attend a performance by Iranian female music group Dingo during the state-run Persian Gulf music festival at Avini Hall in Iran’s southern Gulf port city of Bandar Abbas on April 29, 2019. ATTA KENARE / AFPIran may not be the first place that comes to mind when you think of modern electronic music. After the 1979 revolution that transformed the country into an Islamic Republic, political turmoil, economic sanctions, and cultural diversity prevented the country’s musical culture from turning inward. From the 1980s onwards, traditional folk and classical music were the only official forms, and pop and rock musicians went underground, forced out of the public eye. Making and listening to music abroad is difficult and sometimes dangerous, and in the past decade, Iranian citizens – thanks to wide access to the Internet – have been able to freely follow and contribute to the development of music around the world.
Some restrictions still exist, but because electronic music is mostly unspoken, it is less considered to have a harmful effect on Iranian youth, and therefore electronic musicians are given some freedom to perform, organize festivals and even tour. is also given. abroad In this rapidly changing geography, Ata Etbekar or Sote occupies a somewhat unique position; Having lived most of his life in Germany and America and appearing on labels such as Warp, Sub Rosa and Morphine, the current artist from Tehran is familiar with the realities of making music inside and outside of Iran. Interweaving these two perspectives in his artistic practice, Sothe’s latest album, titled Sacred Horror In Design, brings his advanced synthesis techniques into dialogue with traditional Persian instruments. The resulting irregular rhythms, radical changes in pitch and harsh drums make listening difficult at times. But there is also much in Sothet’s musical meditation on opposition and harmony that is at once rewarding, subtle and beautiful.
In our interview, Ata explained the details of the album recording and live performance. He also traces his musical upbringing and describes the current situation of Iranian music producers. Additionally, he shares samples from the track “Holy Error” that you can download for free and use to create your own version.
Your latest record Sacred Horror In Design is not the first time you have incorporated elements of Persian music into your tracks. How did it happen? What instruments do we hear on the record? Where did the scenes come from?
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An electro-acoustic collaboration between me, Alireza Mahayehi and the New Music Orchestra of Iran. I got the studio orchestral recording; Additionally, I record the performers during their concerts and rehearsals to use as source material that I eventually process, unpack, and reconstruct into new pieces.
(Opal Tapes 2017), I don’t want to repeat myself in any way. The tone of Persian classical music and the color of the instruments were preserved without any changes for this project. In just a few pieces, the instruments are produced to be a built-in version of the acoustic instruments that sit against their rigid and unrestricted parts.
The challenge is to make the acoustic components perfectly compatible with their electronic counterparts without any component overpowering the others. But the beauty of electronic music is its freedom to synthesize with FM, spectral, granular, and wave techniques to achieve beautiful melodies and microtonal harmonies, ultimately providing a rich sound palette that fits most Persian instruments and scales.
The instruments used for this project are: santur (hammer in Persian), setar (Persian lute – not to be confused with Indian sitar) and kamanche (Persian stringed instrument). All of these recordings can be made at home with minimal equipment.
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To perform the material from Sacred Horror In Design, you toured with two other musicians. Who are they and how are they integrated into your performance?
Arash Boluri on the santur, Behruz Pashayi on the setar, and Tarik Bari make vivid visual effects. I conducted live recordings in the electronic parts session scene. For acoustic instruments, there is a connected selection, which is fed directly into my audio interface for processing using a variety of Racks effects. At the same time, the microphones are isolated without any effect on the front of the house. Tariq Barry wrote a Max for Live plugin to sync my footage to his system.
The musicians and their delicate acoustic instruments are the most important to me for this project because they have the same meaning next to the powerful electronic noise that goes on. So when we perform, I have to make sure that the live sound engineer understands this concept and takes care of the often problematic feedback issues.
In some of the pieces, which have a place in the beginning, I try to have a direct dialogue with the musicians through digital signal processing, and for others I make acoustic instruments or play some electronic elements that will accompany pure Iran. the sound of instruments.
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Mi Racks includes all internal effects such as granular processing, frequency division, distortion, ring modulation, combination of bandpass and delay filters for resonance, wave conversion and transition on Aux tracks with parameters assigned to macros for quick manipulation.
You’ve sampled dulcimer and setar instruments, as well as Serge’s analog synth part used on the track “Holy Sorrow.” How and where did you record these sounds?
Serge’s samples are from my time at EMS in Stockholm and they are the same ones I used for the song ‘Holy Error’ on the album. NT2 – A microphone with pickups attached to the instrument. The lyrics of the album are the same, but we decided to record some other words related to the city.
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