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A hard "rock wall" exists against rock music in Iran. What could be the reaction of a hard rocker against such wall? A knock? No. Arashk guys chose to YELL!

YELL album songs range from hard rock to heavy metal and progressive rock but there is one unifying theme: Centuries of pain and hope looking salvation in lyrics of great poets and music of bold young musicians who find nothing better expressing their spirit than heavy rock music. It gets back to 2001 when Pouyan Khajavi and Shahram Khosraviani established Arashk band and started their artistic expression, rock style... But it was not sooner than 7 years later when Arashk built a private studio and recorded the album themselves.

The Persian lyrics convey various themes from an innocent prisoner (song "Prison", lyrics: Masud Sa'd Salman) to story of Zahhak, evil mythical emperor of Persia who fed the black serpents on his shoulders with youth human brains (song "Yell", lyrics: Ferdowsi).

YELL album has Pouyan Khajavi on vocals/guitars, Shahram Khosraviani on drums arrangement and Salim Ghazi Saeedi on guitars and keyboards. The bass parts are also played by Pouyan. In YELL you find rich melodic riffs and solos of hard rock accompanied by the creative spirit prevalent in progressive rock and an eastern blend evoking deep emotions refreshing your soul by rich Persian spirit!

Generally categorized as Persian hard rock, YELL album composers, Pouyan and Shahram think that the album's style has formed spontaneously: "The compositions were intended to reflect the inherent soul within poems themselves. And it is surprising that how these poems were excellently blended with hard rock and metal styles.". Pouyan says. "So one may not find any paradox between singing in Persian and western music style at all." The YELL spirit confirms that despite the ancient style of the poems (mostly versified about 700 years ago), their concepts could still be applicable and even more present in today life!

YELL album is available for streaming in full length at Arashk's website.

Lucie imite le Pokémon de son choix
Julie aimerais-tu te refaire une partie du corps ? Si oui, laquelle ?
Antoine embrasse les omoplates de Mélanie
Amory chante une chanson du film d’animation de son choix

A fouette le corps de B avec ses cheveux
A souffle dans l’oreille de B

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Hello, I am an English and German teacher. I have been teaching and translating for 15 years since I graduated from the Moscow Teachers' Training University.
In teaching I prefer an integrated approach where a student is involved in learning all the aspects of a language: listening,writing, reading, speaking, enabling a student achieve qualitative results in mastering a language. Depending on your individual goals and desires we will modulate our carriculum.
I love my profession and I am proud of it. I prefer hardworking goal-oriented students.
Alternatively I can suggest an exchange of lessons (my English for your advanced German or intermidiate Italian).
Hope to make the learning process mutually beneficial.

Anna y su sombra que se reproduce en la pared desde primera hora de la mañana, empieza a desvanecerse. Anna y esa sombra que va alternándose de pared en pared, no debería estar encerrada aquí. Podría hacer las maletas y largarse, pero no divisa más allá de lo que ve. Ella conocía más, pero se le ha olvidado. Ahora ya no consigue distinguir entre aquello en lo que quería convertirse o esto en que se ha convertido. Vive en un habitáculo de 60m². de protección oficial y tiene por marido el mismo que la dejó preñada a los diecisiete. El hijo hace tiempo que se marchó, porque a diferencia de ellos quería ver mundo desde una perspectiva nueva. Ahora el hijo aprende el oficio de carpintero y los edificios de protección oficial los contempla igual de nítidos y grises que antes, ya entre o salga de su nido de alquiler, con o sin novia, con moto de segunda mano o a pie. Anna quería llegar a ser algo, podría decirse que quería llegar lejos, dónde, no lo sabía, a pesar de que quería llegar donde fuera pronto. Y llegó a ser madre a los dieciocho, la primera de su promoción, toda una primicia. Después cayeron algunas más.

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Sziasztok! Meg jött hogy kihozhatom a csomagot. majd Hoinap csinailom munka utan.Jo estet

By recreating themselves, artists transcend their time and place and now Salim has endeavored to overlook the life in his hometown, Tehran, by composing his 6th album, namoWoman. An instrumental avant-prog and prog metal album, namoWoman hires microtonal Persian music influences while introducing a newly constructed language (conlang) named "l3abEl" (pronounced Babel) in which the album’s booklet is written.

Salim is a man of extremities while always seeking reconciliation and harmonization among the most remotely contradictory elements. So developing as a rock/metal artist in a rock alien environment in his hometown or expressing himself by personalized mediums like a conlang of his own, all come natural to his lifestyle. In his 2012 album, Salim has hired an expressionist microtonal approach toward art rock/metal that he describes himself as "empty spaces filled with occasional wild electric guitars and expressive melodies while having oriental dance elements undercover".

About the concepts behind namoWoman composition, Salim says "I have always found the assumption of impossibility an important trick against my mind – a human mind that usually prefers patterned and inductional methods of cognition." Salim adds: "As an artist, creating and experimenting with yet unexplored mental realms has always fascinated me and in order to trick my mind into pushing toward new possibilities, I like experimenting around fundamental concepts like human sexuality. Ideas like considering human sexuality beyond its dualistic nature let me to enter a new mindset and fascinations about worlds of non-Carbon based life, gradually fed my creativity for namoWoman. Maybe I can say this mindset forced my mind to respond on vital levels and challenge its own existence…"

The album cover features Carvaggio’s painting of Medusa, which according to Sigmund Freud is "the supreme talisman who provides the image of castration". Salim says: "namoWoman cover design is a symbolic representation as if the way of transforming dualistic conceptuality passes through castrating one’s sexual identity and reconstructing it anew. All songs in this album appear as perspectives of such creative realms".

Here, Persian music quarter tones are coming in between western music intervals – as Salim has outlined in a music theory article on his website, "Persian Modes: Reading Between the Lines of Western Music". While quarter tones harmonize namoWoman album’s musical language, the l3abEl conlang accompanying its booklet tries to establish the harmony in realm of words.

namoWoman is available in digital and CD format at www.salimworld.com/album-namowoman.htm

1. Manche Stellen sind in Kara's manier erklärt, so namentlich 1, 3; 9, 24; 10, 5; 12, 15. Von 1, 24 an tritt die benutzung Kara's starker hervor. Vermüthlich rührt der Commentar bis einschliesslich 1, 23 von einem nordfrz. Exegeten her, von 1, 24 aber, ebenso wie der Commentar zum 2 B. Samuel von einem des Französischen unkundigen italienischen Compilator. Dieser benutzt zwar die commentare des Menachem b. Chelbo, Raschi, Kara (daher der häusige Gebrauch des Wortes …), citirt aber, wie es scheint, meist nicht wörtlich und bringt keine altfranzösische Ausbrüde, verhältnissmässig wenige grammatiche erklärungen. Ersterer hingegen bedient sich häusig des französischen zu Worterklärungen, des Ausbrudes … in der Regel nicht, dafür … und lasst zahlreiche grammatiche bemerkungen einsliessen. Auch in der Schreibweise unterscheiden sich in dem angeblich Kara'ichen Commentar zu Sam. Die beiden bezeichneten hälften deutlich von einander. Der hinweis auch… zu 1 Sam. 29, 10… gehört dem zweiten Erklärer an.

I've seen the true face of the things you call Life
the song of the siren that holds your desires
but Death, she is cunning, and clever as hell
and she'll eat you alive

1. Dass Rashbam die historichen Bücher der heiligen Schrift commentiert hat ist keineswegs gewiss, da für die Existenz dieser Commentare nicht mer als zwei Anführungen bei Abraham ben Uriel sprechen. Der angeblich durch zwei Anführungen bei Kara im Cod. Sem. 104 bezeugte Commentar zu Samuel beruht auf einem Irrthum. Denn erstens ist der angeblich Kara'iche Commentar zum 1 B. Sam. (im Cod. Sem. 104) von 1,24 an tross der deutlichen Ueberschrift… sicher nicht von Kara, sondern von einem Compilator, der ausser Menachem und Dunasch die Erklärungen von Raschi, Josef Kara, der aber nicht ausdrücklich genannt wird, seinem Lehrer R. Jakob und einem nicht näher bezeichneten französischen Exegeten oder Lexicographen Simeon benuzt, die Unsichten spanischer Schrifterklärer kennt und erwähnt, auch eine von R. Eleasar und Verona ihm mündlich mitgetheilte Worterklärung anführt. Zweitens ist die Abkürzung … zu 1 Sam. Gewiss nicht in… sondern in … auszulösen, ebenso 1 Sam. 21, 2 … aus… verschrieben. Der Talmudkundige Verfasser des Samuel-Commentars hätte den berühmten Rashbam gewiss nicht mit… citirt sondern mit… oder ähnlich.

"Here's our way of thanking you."

"Scan the QR code with your cell phone."

Perhaps she knew her beauty would fade with time, living a literate but uneducated woman of “the life.”

Si quis uero habet curtilium, de quo comiti debeat gaulum...

She could just pack up and leave, but she does not visualize what's beyond ahead.

I am writing to you to inquire about your advertised room, as posted on the X website. I am very interested in this room and would like to know if it is still available. I am an incoming Masters student at X and will arrive in X early September; I hope to rent from early/mid-September onwards. I have read the details in the advertisement and it seems good. If you can provide some additional pictures of the place that would be greatly appreciated. I look forward to hearing back from you soon.

Graeci nati, Graeci morientur.