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

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>.

Mr. Hamilton wants his point indelibly etched into his associates minds.

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

Dear mother,
Remember the moments that made you what you are today.
Cherish the joy of the present.
Look ahead to the new beginnings that life will bring along.
And always bear in mind that you are a very special person who deserves all the happiness in the world!
We wish you a happy birthday!
We love you.

In studying the causes of crime, most criminologists have concentrated on traditional socio-demographic
variables, such as age, sex, race, and socioeconomic status. However, some researchers have
investigated the influence of the physical environment on criminal

"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 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."

"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!