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 Experimentation in the midfield: a night with Sote

The gestures Arash Boulori, Pouya Damadi and Ata Ebtekar (alias Sote) use to communicate during their performance are similar to a format common in Persian music: question and answer, action and reaction, often based on improvisation. The three men on stage look at each other, nod and smile. Noisy samples drawn from studying the materiality of Persian instruments unify with harmonies, the combination of which sometimes eerie and obscure, other times much like familiar Persian music. An exciting dialogue evolves between Pouya’s tar, Arash’s santour and Ata’s laptop.
04 February 2020 | AG 14

Typical heartwarming restaurant jazz plays in the background as the sound of glasses and hands moving on the table blend with my voice suggesting Ata, Pouya, Arash and Rojin we do this interview in Farsi, our mother tongue.

A

PD

As a child I mainly liked Maqam music. I first played tanbour and

NN

How did the collaboration on Sacred Horror in Design influence Parallel Persia?

AE

My biggest fear was that of repeating ourselves. The difficult thing was that both albums were very close

NN

In Parallel Persia the traditional and the electronic elements that create the sound fully intertwine, while on Sacred Horror in Design they merely teeth off each other. At certain points they intervene and at ot

RS

We previously talked briefly about your love and preoccupation for form and structure. I can’t minimize the part of these two aspects in my own work as they go back to how I entered the field of sound making. Although I played class