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From the vaults July 2nd, 2014
For the sake of tonight, shall we take an urgent break from our stonerwave, seapunk, post-glitch, and humming-fridge crash course perhaps? Here is how it goes.
A few days ago I dropped an “ask” in Pitchfork’s editor-in-chief Mr. Mark Richardson’s Tumblr wondering if the man who taught many of us how and through what tunnels can we enjoy Boredoms, Fennesz and EMA (also the man who made Zaireeka comfortable to nibble and digest for me) has any remote affiliations with Iran’s music.
Not to speak of, some comps here and there but nothing that stayed with me. Can you suggest some?
Mark humbly replied.
The music of Iran has always been intriguing for me. I cannot be the best one to tell good from the bad. There is an abundance of unoriginal commercialism in Iran’s pop arena to which I can hardly relate. It is the fruit of Iranian’s post-1979 mass migration to Los Angeles. It almost has its own genre named after it: LA-pop. It has had its moments for sure, but for the better part, it is subject to be forgotten in a matter of decades.
Pre-evolution partially-democratic Iran has seen a handful of bright years. The…
