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"Sovereign" is an instrumental recitation of Shahnameh (The Epic of Kings) i.e. an extensive Persian epic poem written by Ferdowsi as a collection of Persian mythologies. Here you will find western rock instrumentation with eastern flavor. Some songs, I think, are apt to be adapted for traditional Iranian dance; especially “Sovereign” and “Harem” tracks. Actually, I am looking forward to the choreographic performance adaptations for this work whenever possible. Imagine Iranian "Coffee-house paintings" and belly dance with distorted guitars performing cheerful rhythms... Unusual combination? No, to me that sounds all natural!

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.

Salim has dedicated a song entitled "For Jeremy, Embodying the Mastermind" to Jeremy Brett in his 2011 album, Human Encounter.

Welcome to my daydream: "Avant-garde ancient art-rock from Iran".

The moment I came out of my mother's womb, I cried. Now, after finishing "Iconophobic" I know why. That deep void was a reality that I lost. I followed some chords. Hoping that they lead to the umbilical cord...

I used screaming guitars, classical instruments, electronic beats and even sound effects to grumble, pour out my heart, mourn and rejoice repetitively.

This album is a concept album about fearing the world of imagery. I don't know if it is really a psychological problem but I liked the idea of morbid alienation toward images, icons and in general, reality. Iconophobic's booklet contains a passage in form of a circle that reads:

"Alas that man was free...When there was no image.
Alas that image became a means... for altering the reality.
Alas that reality... is itself, an imagery by man."

I dream... and dream... and dream...
I live in my world of fantasy.
Walking in this world, I compose as I hear, and rest as I quiet.
Pictorial rock is a term I use for my music that is usually based on series of mental images, a nightmare or maybe dreams of a sound sleep... As a listener, you have to wait for the pictures to materialize in your mind!

As I came to Earth in 1981, I involuntarily came into contact with human race. Except for a few bright encounters, I found the rest, dark and ugly. “Human Encounter” is my diary of these encounters. This album is divided into two categories:

The “dark side” reflects the ugly experiences. I noticed that human beings have a tendency to call everything by a name and misunderstand it later. So I do not care what they may actually mean by a word like "evil"; but no doubt human beings themselves are the main source of terror, pain and destruction on Earth.

The “bright side” reflects the pleasures I encountered in this planet. I say no pleasure happens on Earth without a human medium; so the corresponding songs are dedicated to individual human beings. Of course at first sight, Earth seems physically alluring, but those are only temporary characteristics. The only immortal thing is what a man creates.

Now that I am departing this planet, I will only miss a few people like those I named in the “bright side”... Let the others putrefy in the abyss of time.

Salim is an Iranian composer and guitarist in a variety of genres ranging from progressive metal and jazz-fusion to avant-garde classical chamber rock and progressive electronic rock. Moreover some critiques, prefer art rock instead and recognize his music with a minimalist approach.

Iranian art rock musician Salim released his 5th album, "Human Encounter". This is a concept album with a story backing up by the artist's real life experiences. Most of the songs are dedicated to events of his life or to the human beings he adores. Here is the full story: [...]

"Human Encounter" is available in MP3 and CD format at <url>. Also watch this album's video trailer at <url>.

"When There is More Beauty in the Contrary", Negar and Salim's single released on 1/1/11, is an oud and electric guitar instrumental. It is a portrayal of ancient east versus modern west.

"Combining traditionally dissimilar forces into one cohesive composition", this song reflects its composers' backgrounds in Persian contemporary and progressive rock genres.

In Ustuqus-al-Uss album I somehow inclined to jazz fusion and classic instrumentation. I think the eastern “blend” still dominates e.g. in “Ustuqus-al-Uss-al-Avvalin” which I think is the most progressive song I have ever composed (The second catchy guitar solo is performed by Pouyan). Some songs are extremely personal e.g. “Naught been I thou” which is an off-beat jazzy tune with unusual dance elements... These songs are my utmost fears and hopes - to a degree that made me mute from communicating by words. And thus they become instrumental sounds...

"The music has from time to time the same darkness as we know from Univers Zero." -Iconophobic album review
"[It is] far removed from the avant-garde parts of any musical universe"
"You need to tread carefully if you are entering the Iconophobic world of Salim. You have been warned."
"Iconophobic is a strong statement from Salim on life in his home city of Tehran."
"Without information freely given, the visceral heart of the creator will serendipitously change you."
"Without ever becoming predictable, and taking care to add in the odd dissonant or arhythmic segment, the gritty guitars and swirling violins create stunning contrasts..."
"...Hendrix and Santana have also obviously instructed the phenomenal axe genius that Salim truly is."
"After careful listening I really wasn't able to find any particular artists that have influenced them more than others, or indeed pinpoint any specific influences at all."

“Progressive rock knows no border! Salim , an Iranian progressive rock composer launched his multilingual website!”

My music has always been instrumental, knowing no language barrier in nature. But still my mind does not stop from producing words... To transcend my own word, I decided to speak your language! “Exterminate all rational thought. That is the conclusion I have come to.”