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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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