Allar umsetingar

Please park in area as directed by Alsi staff - never in front of the office please.
When instructed please open your curtains and remove the straps.
Do not remove any chocks until you are specifically instructed to by the Alsi staff.
You must stay in the drivers waiting area while your vehicle is being unloaded.
When leaving do not exit through the doors until the green light is showing.

Toredat aastavahetust teile, olgu järgmine aasta ikka eelmistest parem ja olge siis ikka tublid

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."

"Abrahadabra" is a reflection of my exaggerated personal feelings. It is the first endeavor to my idea of “pictorial rock” - i.e. composition of sounds that recite a sequence of mental pictures. Actually all of these instrumental tracks have a real-life story behind them. There are very vague allusions to these stories in the CD booklet. e.g. “Route” is the story of a death ceremony and recites the mourning over the dead in a way that is done in eastern culture. Or “Told to the Bird” is the story of my own confession to a bunch of flying birds in a ritualistic way... In one sentence, while composing this album, I felt very lovesick, idealist and outraged.

"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!

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