No to kontynuujemy temat Finders Keepers. Oto wznowiony przez tę wytwórnię album irańskiego twórcy, który pierwotnie został wydany przez Folkways w 1985 roku. To bardzo ciekawy, eksperymentalny album na urządzenia elektroniczne i tradycyjne instrumenty ludowe. Pan jest ponoć bardzo ceniony wśród fanów brzmień awangardowych i jest niezwykle zasłużony dla rozwoju tej muzyki. Inspiruje też wielu współczesnych muzyków robiących muzyczne doświadczenia w swoich szalonych laboratoriach.
Dariush Dolat-Shahi (1947, Tehran) is an Iranian-American composer and instrumentalist on the tar, the traditional Persian lute. His compositions include electronic and instrumental music as well as music for traditional Persian instruments.
This post-revolution Iranian album from 1985 is so ahead of its time, so completely off on its own sonically and stylistically - that you'd be forgiven for thinking it were a hoax. In reality it's one of the most sought-after and exceptional records from the Smithsonian Folkways catalogue, here brought back to life in this facsimile edition put together by the Dead Cert imprint - housed in a hand-assembled replica sleeve with a vinyl cut at D&M For all intents and purposes, Iranian-American composer Dariush Dolat-Shahi's 'Electronic Music, Tar and Sehtar' is one of the most incredible electronic records we've ever heard. Until now, it's been the preserve of a small handful of collectors who rightly hold it in huge regard and close to their chests. A syncretic traversal of Iranian folk music and modular synth strafing radio-phonic, musique concrète, neo-tanktrik and sound design disciplines, it simply sounds quite unlike anything out there (if you know better, please, please share!) and has had us, and everyone who's heard it, utterly enraptured. OK, there may be some precedents in the work of electronic music pioneer Ilhan Mimaroglu, and it has undoubtedly directly or indirectly inspired music that has come since (Keith Fullerton Whitman's 'Variations For Oud & Synthesizer', for instance)', but we're sure you'll agree that the elements have rarely gelled so fluidly, phantastically psychedelic as this, before or since. It's possible to trace that combination of traditional and contemporary styles, mixed with a liberating sense of freedom and abstract expression, to the composer's history; from early enrolment in Shah-sponsored music schools and conservatories he was awarded scholarship for further studies in Holland, and when the revolution arrived in Iran he would permanently leave for the world famous Columbia-Princeton Electronic Music Center in the late '70s, all priming Dariush's tastes and skills for these recordings made during the mid '80s, late at night in the university studios with the permission of Professor Ussachevsky. It's testament to its enduring magic that listening back now for the umpteenth time we're still bewildered and vividly transported as we were the first time, lost to its roil of tangled timbres and etheric dynamism, keeling to the metallic lushness of the strings and rendered mindblown at the synchronised sweeps of modular synth and simulated environs. It's a genuine wonder of the electronic music world, and an essential listen, by anyones standards. (bookmat)
Iranian-American composer Dariush Dolat-Shahi’s music occupies a unique and timeless place among the countless albums from the last half-century that mixed acoustic performances with electronic manipulations. Dolat-Shahi stands above his peers as a master of both crafts, able to weave together lush melodies from his tar, a traditional Persian lute, and spacey analog synth lines – which sound like they could have been recorded anytime between the sixties and now – into a complete whole that doesn’t feel stuck in one genre or time period. His 1985 album, Electronic Music, Tar and Sehtar, is the pinnacle of his achievements and easily one of the most interesting world music (is it even fair to call it that?) albums of all time. Electronic Music’s core is composed of sparse tar and sehtar – another variety of Persian lute – pieces upon which Dolat-Shahi heaps bleeps, bloops, and squawks of electronic noise, along withe the odd frog or bird, until the two distinct parts become so intertwined you wonder why the idea of Persian classical music run through a wash of moog noise ever sounded so odd in the first place. Dolat-Shahi has done a remarkable thing by taking the two great outsider sounds of world and experimental electronic music and combining them into a album that is more listenable and engaging than either could have been on their ow. - Dr. Winston O'Boogie