Exclusive: Gramusic in Conversation with «Haman»

(Ashoor Moradian and Milad Jowzi)

 

Gramusic: Among all the media headlines and the many developments our country’s music scene has seen, one of the most welcome is the growing energy and visibility of rock in Iran’s official, licensed music scene. That is what led us to a band that, after nearly a decade of artistic activity, is now at the final stage of getting its licence, and whose debut album we will soon see released. (September 2014)

Interview by Alireza Zandieh and Arian Teymouri

Photos: Alireza Zandieh

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Ashoor Moradian: I’m always looking for new ideas so I can innovate

Tell us about Haman, from the band’s beginnings to today.

It all started in that room you walked past in the courtyard. It was around this time of year in 2003, in the middle of the summer of 2003, that Haman began to take shape, although the band’s core line-up came together in 2009. Over the years we put together three albums, none of which was ever released, because the members’ tastes changed and sometimes the line-up changed too. Right now we’re working on a new album that will most likely be released; we’re about 60% of the way there, and part of the paperwork for it has already been done.

What was your goal in forming the band?

The goal was to enjoy music more. We got to a point where just listening to music no longer satisfied us, so out of our love for music and instruments we started playing and doing covers. A few years later, as everyone’s skills grew and we developed our creativity, playing technique and musical thinking, we started producing our own pieces and music.  One of our problems at the start was finding suitable lyrics for Iranian rock. At first we made instrumental music without vocals.

How does Haman define rock?

We have to look at the roots of rock music. Rock itself was a revolution in the 1960s; it completely changed the way people lived in America. It went from America to Europe, then came back from Europe to America, took over the whole world, and remained the world’s popular music until the mid-1980s. Later rock changed form and various sub-genres emerged. Rock is a culture, a culture of peace, to the point that during the Vietnam War, after a gathering organised in America by rock fans and rock artists, the US government announced that a great war had ended. The impact of rock music  and its emergence can be seen after the Second World War, and the peaceful nature of rock is what I love about it. But today, in Haman, we look at the story from a mystical and philosophical angle.

Given all that, how would you define licensed Iranian rock?

We need to see what “licensed” really means, both for the people who are playing rock music  and for the bands that haven’t been able to release their albums or play live. And please, let’s not call them “underground”.

There is some strictness, because some of the people in charge don’t know much about rock and view it negatively. Even more important is the lack of support from producers: if producers invested in rock music, people would certainly become more aware of it, would learn that rock exists in Iran, and would definitely be drawn to it.

Of course, everyone working in rock music in Iran has to take care of rock far more than anyone else.

What restrictions are placed on your lyrics?

So far we haven’t had any restrictions; we work within a defined framework. The songs we’ve released were sent to the Ministry of Culture (Ershad) for a licence and were approved. As long as lyrics stay within the framework, there is no strictness. Haman believes that it was formed in this country, and within this country’s framework and laws we write and sing what we want to.

Can you tell us more about  your lyrics? Do you think Persian lyrics blend well, phonetically and musically, with rock scales, or do they clash and sound off-key?

We’ve been really lucky with our lyrics. Usually the melody is written first and then lyricist friends are brought in to help, but we found it easy to put melodies to Mr Alishiri’s lyrics. Hassan Alishiri has written lyrics in both Persian and English for our upcoming album.

Many before us turned to all kinds of poetry, modern poetry or even Rumi and Hafez, and got a very good response; I really liked that, for example the band Ooham, or Mira, who even released a licensed album. We were lucky in that Sina (the band’s singer) has a real gift for writing: “Flight” (Parvaz) and “Tomorrow Is Bright” (Farda-ye Roshan) are his lyrics. On the album we also used lyrics by  our dear friends Hassan Alishiri, Keyhan Hekmat-Shoar and Sina.

Any plans to make a music video?

Three years ago we made a video that was never released. A video of Haman was also included in part of the film “Claws of Song” (Panjeh-ha-ye Avaz), which unfortunately was never released either, but the video made for “Claws of Song” is available on Haman’s official website for anyone interested.

 

Mazyar Fallahi’s music has its own authenticity

 You are one of those musicians with a constant, active presence in both pop and rock, even though rock and pop are completely different in nature. How so?

First, I should say that nowadays, not only in Iran but all over the world, many musicians  working in different styles  also collaborate with pop bands and singers, and rockers are certainly no exception  to this rule.  I would also point out that in the 1960s and 70s, and for part of the 1980s, rock could fairly be called the popular music  of the day.

 Ashoor Moradian thinks entirely in rock terms, and when we trace his tastes they all lead back to rock. So when he plays in “Mazyar Fallahi’s” band, could you say he is playing a role?

Only rock –  that was when I was 15 or 16.  My listening tastes have certainly changed  over all the years I’ve been listening to and playing music.  Rock is still my favourite music,  but these days I’m into Latin music,  fusion – funk – traditional Persian music – European and American pop, and lately I’ve become very interested in electronic music.

I try to listen to these more, since it helps my playing and my musical understanding, and I’m always looking for new ideas so I can innovate.

As for Mazyar Fallahi, I have to say I genuinely love his music,  and there’s no role-playing involved.

As a musician, my job is to serve the music, whatever the genre or style, and I’m happy that alongside Mazyar we play wholesome, original pop music. I’ve gained a lot of great experience.

Have you ever tried to inject rock into Mazyar Fallahi’s music? How successful were you?

Never  – because his music carries Mazyar Fallahi’s own authenticity, and as I said, a musician must serve the music in every situation.

These days are a really exciting season for rock (at least more visible than before): from the extended concerts of Ooham and Comment Band, and so on… to official albums that have really caught on. But Haman has been quiet. Can we say that after this silence you will come up with something special?

Thank God, thanks to the changes at the Music Office and so on… there is now more room for this style of music.

Naturally, we are active too.  As I said, we are recording our album, and at the same time the administrative process for getting the licence is under way.

We had singles ready for release, but the band members decided to release the album instead.

As for concerts, God willing, we will decide after the album comes out.

I would also like to take this opportunity to thank Mr Mehdi Mirzabagherian,  director of the Avaye Sooteh Delan Institute, the album’s publisher, for all his hard work.

Have you played live or collaborated with other bands?

So far we have put out 4 tracks. In 2011 we shared a show with the band Mavara.

  Tell us about the tracks “Tomorrow Is Bright” (Farda-ye Roshan) and “Dream” (Roya).

“Tomorrow Is Bright” is a track the band released in 2012 for the children affected by the Azerbaijan earthquake.  “Sleep” (Khab), which was mistakenly released as “Dream” (Roya),  is a love song by Haman whose lyrics and melody were inspired by the memories of one of our friends.

 When Haman starts a new track, what do you think about and what are you looking for?

One of the things that shapes the music is fitting, powerful lyrics  that can gather a good melody around them. We try to visualise things  and match our mood to the lyrics,  and then there’s musical knowledge, of course…

I can’t say more than that, or I’ll give away the story of the album 

Which rock styles do you like, and which ones have you drawn on?

Hard Rock  – Heavy Metal – Space Rock – Progressive  and, in the end, anything that sounds good.

We’ve tried to make “Haman-style” music.

 Whenever a song takes off or an artist or band succeeds, everyone insists on saying the band is just a cover of such-and-such music. Does Haman have experience with covers?

In my view, that mindset is wrong, because there are many established, elegant patterns in world music that everyone has the right to use – but only as patterns!!!

When the band was formed we played covers of bands like Eloy, Camel and Pink Floyd. Back then we had nothing of our own to produce; our aim was to play and, ultimately, enjoy the music. But with the current line-up we haven’t done any covers;  we’ve tried to create our own music  that bears Haman’s signature, so to speak.

Covers are common all over the world, and even many of the greats  do covers from time to time. Do you have any plans to do covers in future?

Look, covering is very different from copying; we take ideas. Even now, when I’m on my own, my practice is to sit in a corner and play the pieces I love, or to sit with friends and play our nostalgic favourites. But that doesn’t mean we’d put Persian lyrics on “Hotel California”, sing it  and then call it a new Haman song…

Have you tried to protest through your music?

If you listen closely to our music, you’ll notice that we deal with people’s inner, introspective concerns.

So your songs aren’t very social?

No, they’re more about what’s inside a person.

Which of the old classic rock bands have you taken as your main role model?

In my view, all of those bands can be role models for us, because they were successful and made great music, to the point that this kind of music became the popular music of its day.

Do you think you’ll end up with a story like Pink Floyd’s, or that you’ll keep going strong forever?

Pink Floyd’s story has always been, and still is, the dream of many musicians,  and it really is like a dream.

 Would you like to create your own fusion style? Or bring something new by adding an instrument or a fresh element? Or are you a traditional band that sticks to the rules?

A fusion style?!!!!!!

We are certainly looking for something new in music and in Haman, and we welcome anything that helps with that.

How do you see Haman’s future?

We hope it will be one of success, offering pleasant, wholesome music.

 Any final words?

I’d like to introduce the friends in the Haman family whom I have the honour of working with, and thank them for their hard work:

Sina Mousavi  – vocals – composer and lyricist

Amir Ahmadi  – guitar  and composer

Afshin Aram – keyboards, synthesizer and sound engineer

Milad Jowzi – bass guitar

Thank you,  and best of luck.

Thank you for your time.

 

Milad Jowzi: «Arash Moghaddam» and «Dara Daraei» are my role models, both technically and personally.

Why did you join this band?

Well, musicians need to be together. After playing for a while and finding your own style, you look for like-minded musicians to play with, to play the music you’ve enjoyed and to write new pieces, so that together you produce something pure and up to standard.

A band’s goal – making music and performing it – is the goal of every single musician in it. You never mature by playing alone and venting your ideas in the corner of your room. That’s especially true of my instrument and Ashoor’s (drums and bass), which aren’t heard much on their own; for the general public these two instruments don’t mean much by themselves,  which is why bass players and drummers usually try to work together within a band.

 

 When you play alone, who would you like to be? Which stage do you imagine yourself on?

That’s a hard question, because a player’s role models aren’t just one person; there may be one who is closest, but he isn’t the only one. Personally, I’d say I would love to be in my teacher’s place, because he is the one most within my reach. Arash Moghaddam and Dara Daraei are also role models for me, both technically and personally.

Style-wise, wouldn’t you have liked to be «Jim Morrison»?

Look, in my dreams it’s first «Dara Daraei», whom I really love; then, among players abroad, «Victor Wooten» or «Marcus Miller», and maybe «Alain Caron».

On stage you keep to the side, yet you’re very energetic.

Because the first styles I played were rock, and the musicians I watched were all rockers. My brother and I have also made a rock album; the arrangements are finished and it will be out within a month. Because the players I watched so much from the beginning, and really liked, looked that way, I kept that style – black boots, tight black trousers, graphic T-shirts, wristbands and so on – and I’m very energetic on stage.

I should also say that on stage you mustn’t fixate on details; you have to be aware of everything – the singer, the other musicians, the audience, everything. That experience doesn’t come from just a few shows; you have to play a lot of stages before the stage stops intimidating you.

 Iran’s regulations and the Ministry of Culture (Ershad) have licensed your lyrics and music. How have you come to terms with this licensing?

Yes, that’s the situation in Iran.

Ashoor: Well, look, that’s a good thing – it stops a lot of weak  and substandard music.

Milad: If I were the one issuing licences,  I would make licences available to all styles, so that healthy cultural competition could develop between different styles of music.  I think that would help music grow in the country and meet the needs of all tastes.

If you follow the history of rap, you have to admire them a lot. When a rap group releases a video after ten years that is just an interview, and it still gets  huge numbers of views and a big response, we have to admire them.

The only criticism that can be made of the licences is that they should cover all styles, and permission for concerts should be granted.

Have you managed to meet any of your favourite artists or role models in person?

Unfortunately, I haven’t had the chance to travel to see them, their shows or even their master classes. I hope the opportunity comes.

James Hetfield, Pink Floyd and Michael Jackson were among the people I always wanted to see. When I was a student, some of my friends took a trip to America during which they met «James Hetfield». I prepared a T-shirt on which I had written some of James’s lyrics, so my friends could hand it to him and bring it back to me with his autograph. Unfortunately, because of problems on the way back to Iran, that T-shirt never reached me.

What question would you have liked us to ask you?

I’d like people to ask me more about music and my instrument.

And your answer? 

It’s an instrument without a long history – maybe 50 years – and Leo Fender is its inventor. It isn’t a melodic instrument and isn’t in the spotlight, but it is essential, even if not everyone hears it. The general public doesn’t notice it: it’s an instrument whose presence goes unnoticed, but whose absence from an ensemble is felt very strongly.

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