TEGH, post-human communication shaped through sonic dialogue, Olya Karlovich, δημοσίευση στο CLOT Magazine [6/10/2022]Marilena Pateraki
The Western world started more broadly discovering Iran’s growing electronic scene after 2015, when the first edition of SET Experimental Art Events took place in Teheran. As Tristan Bath explains in his article Guide to Iran’s Electronic Underground, the existence of any kind of underground or electronic music scene in Iran is a relatively recent development, arguably part of a quiet and generally slow shift in the country’s post-revolution identity.
Today, it seems quite natural to see the names of Iranian artists in the lineups of CTM and other iconic festivals, as well as find their music in the catalogues of reputable labels like Opal Tapes, despite things not being easy for these artists in the county. With the rapid Internet development, even the global isolation of Iran, censorship and Islamic law strictly enforced in the country have become unable to extinguish a new creative wave. Musicians not only got the opportunity to build relationships within the local community but also interact with the outside world, expanding the boundaries of their creative exploration.
Shahin Entezami, also known for his solo-project Tegh, is one of those Iranian artists. He started his musical journey writing lyrics and beats for hip-hop tracks but, over time, became interested in electronic music and focused on its most avant-garde and experimental sides. Tegh is known as a master of complex soundscapes at the junction of ambient, drone and noise. He is meticulously attentive to detail, passionate about sound design, open to sonic experimentation and manipulation, and interested in sonic world-building.
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