Bu yazı 6 yearsliktir ve [Futuristika!] mevcut editöryal anlayışını yansıtmama ihtimali yüksektir. Lütfen bunu göz önünde bulundurup okuyunuz veya hiç okumayınız. [Behold. This post is pretty old. Please keep its age in your mind while reading.]
Faced with the task of writing about artists from Iran it is tempting to oversimplify and go with the easiest way to address them — the way most western media has always treated art coming not just from Iran but from middle east in general. This approach places artists exclusively within the political context presented by the mainstream media, and only shows you the day-to-day politics of governments in the region. This biased approach means artists’ works are only interpreted in relation to a reduced conception of the political context. By seeing things this way you only have a handful of artists addressing certain issues with enough exaggeration to be newsworthy.
It would be terrifyingly ignorant to think that day-to-day politics in Iran has no impact on artists, but on the other hand it is too simplistic to see the wide range of artistic practices of Iranians though this narrow context.
The tracks collected for this compilation are a perfect example of art that is not “newsworthy”. And in this way they act as a gateway to the ignored and overlooked landscape of experimental electronic music in Iran. It is helpful to listen to all of the pieces in this compilation in contrast to the established language of what is now an Iranian musical mainstream. This Iranian mainstream is not that disconnected from the global mainstream, and the philosophy, politics and the lifestyle this manifests. The mainstream in Iran is not only what the government endorses but it also consists of very shallow imitations of various musical genres, cleared of any signs of cultural or political resistance, backed and released by private labels and companies.
The artists presented here, including myself, are people who are constructing our musical language as part of our lives – a project which is no less of an experiment than the music itself. We are the voices who choose to be absent from the news and the musical mainstream (and in some cases from the city of our birth) in order to express the complex range of emotions and ideas which make up our lives, as honestly as we can.
What is the good of this absence? An endless world of exploration and experimentation, a life of vast possibilities and new forms of cultural and political resistance.
Siavash Amini, Tehran, Iran.