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They want us to be afraid, to hate, so we will rally behind them. Why on earth do you want to go there? The real tragedy of this attitude is that it is the result of the dividing line being deliberately blurred. True, concern is justified in the case of the religious government that has ruled the country for the last 25 years: but should it really apply to the million ordinary people that live there, or the country itself? I think we can agree that such a suggestion is obviously absurd. It is no different in Iran, a country around four times the size of France and the cradle of a civilisation that began well over years ago. Still, given the extent of misinformation the word is not too melodramatic , it was difficult not to feel slightly, well, scared as we flew across Europe heading east. And yet, indications that our fears were embarrassingly misplaced began the moment our plane touched down in Tehran, when Mahmood, our guide and soon to be lifelong friend, smilingly sorted out our visa hassles and laughed at our obvious discomfiture. It was a Sunday, and the large family groups sipping tea in the convivial atmosphere were visibly tickled to have a group of British white boys in their midst. It was a similar story later, when we walked through The Park of the Nation in the centre of the city. The feeling was heightened by the general activity in the park, with people sledging, strolling, chatting and, soon, mobbing us. Groups of girls caked in make-up flirted aggressively, while young Iranian lads told us their DJ names and offered to find us whiskey and vodka. By the time we left, a whole crew had gathered to escort us back to our van, cheerfully waving us off as we drove back to the hotel, exchanging glances and shaking our heads in embarrassment at seeing our prejudices so spectacularly debunked. And this was only day one. This inquisitive and heartfelt hospitality would be the recurring motif of our trip, and it soon became clear that our preconceptions were being challenged before our eyes. Soon we noticed it everywhere. It was written in such a style that you could almost see the raised eyebrow of the reporter. Most tellingly, we noticed it in the compulsive need among ordinary people to communicate this feeling to us. With his tattoos, trendy haircut and sunglasses, Reza, 23, was keen to tell us about his impressive playboy lifestyle. He runs his own construction firm in Tehran, but seemed to spend much of the time we spent with him maintaining an impressive social circle, drinking the alcohol that is strictly prohibited in Iran and smoking the marijuana he smuggled back with him from his three-month holiday in Thailand. European people think here we are very very bad. But we are not — we like to have a good time. According to Erik Lofgren, a Swede we met who had been living in Shemshak for a few months, more and more young people want to live like Reza. Part of it is the desire of any bored kid to own the latest technological gizmo, but in a country with religious strictures like Iran, openly pursuing such a lifestyle constitutes an act of very real rebellion. When we first met Reza we were surprised to find that Iranian kids even had the resources to be so up on the latest phone crazes sweeping the West. After all, as the biggest oil producer in the Middle East, Iran is the richest and most powerful country in the region. As previously noted, it is also huge, and this financial and geographical security perhaps explains why the US and Britain have preferred to follow a diplomatic route in their recent dealings with the country. It also explains why so many of the Iranians we met seemed to find the prospect of imminent Anglo-US invasion so hilariously unlikely. But less easy to square, in the light of the materialistic rebellion practised by Reza and friends, was their complex attitude to their own country. Scott Fitzgerald would have truly appreciated. Some of the young Iranians we met seemed able to flit between the two at will, alternatively hating their leaders while loving their land, appearing fiercely independent yet appealing to the rest of the world for understanding, and generally seeing the current situation as an aberration to be changed on their own terms. As we headed towards Isfahan, we began to realise that our view of the country had changed irrevocably, and that our constant surprise at the reality of life for ordinary people in Iran was beginning to diminish. Although he laboured away in upper class obscurity during his own lifetime, posterity has been kind to Byron and today he occupies a curious position as the unlikely poster boy of twentieth century literary travel. It deals in diary form with his s journey from England to Afghanistan and it is a very unusual kind of classic text. His paean of praise to the Sheik Luftullah Mosque in Isfahan must put him at least in the rank of Ruskin. Hell, it was why we were going to Isfahan and had been my main inspiration for the journey. An upper-class aesthete and fop like Robert Byron might seem an unlikely cheerleader for Iran, but today his influential alternative reading of the country is needed more than ever. But as the Safavids were eclipsed by raiding Afghans by , so Isfahan gradually slipped below the radar. It now has 2. We spent three days in Isfahan, and spent much of that time in the square. It felt strange, finally seeing a place I had for so long wanted to visit, and we concentrated on exploring the three architectural centrepieces in the square upon which the fame of the city largely rests: the Royal Palace, or Ali Qapu, the Imam Mosque, or Masjid-I- Shah, and the Sheik Luftullah Mosque that so enraptured Byron. But mostly, we walked around and goggled in awe at the architecture. But it is difficult to see how anybody can be anything but overwhelmed by the Sheik Luftullah Mosque. It is easily the most impressive building I have ever been in. I am not religious, but usually I like a cathedral or church mainly because of the efforts the architects and builders have gone to in confining a huge amount of open space in an effort to impress upon the visitor their devotion to God. Myself, I was just glad that others had definitively described the details of the room, leaving me free to enjoy its emotional effect. In contrast, with its music room, elaborate frescoes and view overlooking the square onto an ancient polo pitch, the Royal Palace betrayed its pleasure palace roots. In form, with its bowed and elegant wooden columns supporting the roof against seemingly impossible odds, it too is formidable and it is strange for the western eye to comprehend the different forms of beauty that these buildings represent. It was here in the 17th century, apparently, that a Russian ambassador became so overwhelmed with the surroundings and the excellence of the local wine that he was sick into his top hat. I almost knew how he felt. At sunset on our last day, we sat back at our teashop and watched flocks of crows fly towards the sun as smaller unidentifiable birds flitted around them. The mountains on the outskirts of the city looked like a lilac smudge on the horizon, while the sinking sun caused an orange glow to irradiate the outlines of the silhouetted buildings. As we sat in silence, a nomad broke the reverie by coming over and asking us how many languages we could speak. He shrugged when we told him English and French. Equally as compelling were the souks we spent an evening exploring, and the other architectural masterpiece that stopped Byron in his tracks, the Friday Mosque, where we spent a morning being escorted around by a blind man, bursting with pride at finding British people in his city and keen to tell us the history of the building. Welcome to Iran! I know 20, English words! I know words that that even English people do not know! For example, philanthropy. Do you know the word philanthropy? Speaking English makes my head hurt! By the time we reached Tehran and prepared to travel home, we realised that there was no escaping the fact that our views of our own country and our own lives had changed as well. Not any more. According to the guidebooks, the most famous inhabitant of the Lebanese mountain town of Becharre is a poet, artist and mystic called Khalil Gibran. What can we do to make the snow last a little bit longer, after the worst European season on record it,s about time we all Last year saw a break with tradition as a second British snowboard movie, Hungerpain, was released. Please enter your email so we can keep you updated with news, features and the latest offers. If you are not interested you can unsubscribe at any time. We will never sell your data and you'll only get messages from us and our partners whose products and services we think you'll enjoy. Home Share Search. Lebanon — The Axis of Powder According to the guidebooks, the most famous inhabitant of the Lebanese mountain town of Becharre is a poet, artist and mystic called Khalil Gibran. Features Green Snowboarding What can we do to make the snow last a little bit longer, after the worst European season on record it,s about time we all Travel Stories Lebanon — The Axis of Powder According to the guidebooks, the most famous inhabitant of the Lebanese mountain town of Becharre is a poet, artist and mystic called Khalil Gibran. Interviews Playground Rules - A new approach Last year saw a break with tradition as a second British snowboard movie, Hungerpain, was released. We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. However, you may visit 'Cookie Settings' to provide a controlled consent. Cookie Settings Accept All. Manage consent. 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The Axis of Powder Tour, Part II – Snowboarding In Iran

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Regardless the political, economic, social or religious context, the underground scene usually comes as a response to the mainstream artistic acts broadcasted to saturation on all media broadcast channels. Born out of the need to deliver a message, from freedom of speech to other civil rights, the underground thrived under oppressive regimes, war periods or economic recessions. Yet, as many other things, the underground has slowly turned into another hashtag that stripped down its core values to something cool. What we take for granted in the Western world, can be often seen as a dangerous thing in other parts of our planet. Artistic manifestations could easily become enemies of the state. Absurd censorships lower down the counter culture voice. Yet, the passion for electronic music managed to ignite a small but passionate scene in Tehran. An emerging scene, by all means, built on illegal raves and clandestine gatherings, mostly kept secret and promoted within closed circles of friends and relatives, carefully built on trust. When it comes to electronic music, Paraffin Tehran is one of leading voices in Iran. Azim Fathi , one of its founders, now based in London, has accepted our invitation to shed some light on the complex underground scene in Iran, one he is still part of. The discussion revolved around the particularities of the scene, from the immense cultural heritage to the challenges faced by artists and promoters. Our discussion turned into one of the most extended materials we published to date, insightful as well as inspiring. And the legacy we leave behind, as artists and creators. During a discussion with my friends and accomplished musicians Payam Parvizi and Ramtin Niazi in a car, we envisioned creating a platform for genuine electronic music in Iran. Initially aspiring to establish a global record label producing vinyl records, we encountered challenges due to financial sanctions in Iran. The difficulty arose in transferring money internationally; the economic restrictions made it impractical to send and receive funds seamlessly. The choice reflects our enduring passion for records, despite the obstacles in realizing our original idea of pressing records for global distribution. Do you remember the moment when you came up with the idea of creating an electronic music events brand? My journey into event organization and curation commenced during my time in East Asia. At that time, as a child, I found these genres somewhat uninteresting. Living abroad exposed me to the vibrant club culture and the immersive world of electronic music. In this new environment, I had the opportunity to play in clubs and curate my own events. These experiences ignited a passion for the art form, reshaping my initial indifference into a deep appreciation for the nuances of House and Techno. Upon returning to Iran, where traditional nightlife and clubs were still scarce, I faced the formidable challenge of introducing electronic music to a country on the brink of change. Leveraging the post-Iran-USA nuclear deal era, I embarked on a mission to convince venue owners of the cultural and artistic significance of electronic music. Through passionate discussions and showcasing the global appeal of the genre, I successfully persuaded several venue owners in Iran to embrace and promote this unique form of musical expression. Well yes. Subsequently, 90 percent of Iranian musicians faced a stark choice: an overnight migration, predominantly to the United States, or a shift away from musical pursuits toward alternative professions. This tumultuous period unfolded against the backdrop of an eight-year-long, bloody conflict with neighbouring Iraq, thrusting life and its comforts into disarray. Within this crucible of adversity, a constellation of luminous talents in the electronic music scene emerged, bearing Iranian origins. The future of Iranian electronic music, infused with echoes of the past, glimmers with promise. I listened to a few of your sets as well as some other Iranian DJs, most of them from Paraffin Tehran podcast. Are there any genres that define the Tehran underground scene? Certainly, all the genres you mentioned, such as ambient, experimental music, electro, techno, and deep house, undeniably hold a significant presence in Iran. Experimental and ambient music, in particular, have long enjoyed popularity, reflecting the distinct musical taste prevalent in the country. Yet, commitment to this subculture remains unwavering. Unlike Western clubs where attendees often mingle with strangers, in Iranian parties, familiarity prevails. Invitations are extended only to the trusted, creating a tightly-knit community vibe. Everything in these gatherings is communal — from sound systems and beverages to substances. Returning to our discussion, genres like breaks, experimental electronic music, electro, and ambient thrive in Iran because they embody a spirit of thinking beyond conventional boundaries. Iranians, in immersing themselves in this music and culture, inherently challenge norms and laws, adopting a smart, innovative, and unconventional approach. This, I believe, is the key to their resonance with these genres. Visionaries like Lotfi, Shajarian, Ebadi, and others from their era have left an indelible mark on my artistic journey. The mere strains of this classical music evoke goosebumps and continue to stir me to this day, showcasing its enduring impact. State censorship is more or less like it was in Romania back in the communist times. What do you need as a party promoter in order to comply with this censorship filter and create an event? Oh, where to start? As mentioned earlier, there are two distinct types of events transpiring within Iran: the public performances held in music halls, art galleries, and theatre halls, and the clandestine underground illegal gatherings scattered on the outskirts of towns. For the public shows, promoters, including myself, navigate a labyrinth of checks and scrutiny. The level of control is so stringent that it can be disheartening, leading one to contemplate giving up — an endeavour few in their right mind would willingly undertake. Even when promoters diligently traverse the proper channels, securing permits and venue approvals for their events, the spectre of cancellation or a potential crackdown by various armed or unarmed forces affiliated with the religious establishment within the government looms ominously. Now, turning to the illegal raves and parties, every facet of these events entails significant risks. Yet, fuelled by our profound love for the music and the vibrant community in Iran that fervently embraces this genre, we willingly shoulder these risks. Those of us in the electronic music industry in Iran expose ourselves to considerable uncertainties, all in the pursuit of doing what we are passionate about. What restrictions apply when throwing a party in Tehran number of people, location, schedule hours, type of music, dress code? Numerous restrictions, with the venue playing a pivotal role. These clandestine underground parties typically unfold in villas and cabins located on the outskirts of Tehran, primarily chosen for their secluded location that helps contain the music and noise. Conducting parties within residential areas in Tehran is deemed too precarious, as authorities could catch wind of the sound or a vigilant neighbour might alert them, leading to a potential party bust and substantial repercussions — quite the buzzkill, I must say! Therefore, the preferred option is to seek venues out of town, away from prying eyes. A frequent choice is the vicinity near the ski resorts on the north side of Tehran, particularly in Shemshak and Meygun. The composition of the crowd holds paramount importance in these clandestine gatherings. Personal invitations are the norm, and the fundamental rule is trustworthiness — one must be deemed trustworthy to secure an invitation. Consequently, a sense of familiarity permeates the gathering, where attendees are acquainted with one another. In the end, everyone revels in the hope of navigating the night unscathed by police intervention or detainment. When it comes to the dress code, within these villas and cabins, a designated room invariably serves as the changing area for attendees to prepare for the dance floor. The prevailing norm leans towards casual attire, ensuring comfort for a night of revelry. Naturally, driving around town in costumes or party dresses is impractical, especially in a country like Iran. As for the music, a straightforward principle governs our parties and gatherings: only the finest tunes make the cut, plain and simple! Besides events, what does Paraffin Tehran actively do in order to promote the electronic music culture among the Iranian youngsters? In addition to our noteworthy public shows held in Tehran, where we showcase some of the most exceptional electronic music talent, our creative endeavours extend into a meticulously curated and highly influential podcast series. This podcast not only serves as a platform to share diverse sounds and voices within the electronic music realm but also stands as a testament to our commitment to collaborate with the best artists in the international electronic music scene. Through these collaborations, we aim to introduce the finest musical expressions to our Iranian listeners, fostering a dynamic exchange with the global electronic music community. Moreover, our collaborative spirit extends globally as we engage with various radio stations and electronic music outlets. Notably, we orchestrate Paraffin Tehran takeovers, a unique initiative where we commandeer an entire day of airtime to craft a sonic journey, introducing our audience to a rich tapestry of electronic music genres. In addition to these immersive experiences, our commitment to promoting outstanding music goes beyond borders. We have established a Paraffin Recommends section on our social media platforms, offering a glimpse into our most treasured records from artists around the world. This segment serves as a testament to our passion for fostering a global musical exchange. Navigating the challenges within Iran, we diligently strive to create, curate, and share the vibrancy of the international electronic music scene, making the most of the possibilities within our reach. SoundCloud serves as our primary channel for uploading and sharing our materials online with audiences. Thus, SoundCloud has our vote. Is there any censorship on these channels? Maybe undercover people, trying to get inside these communities…. Consequently, the use of VPNs becomes indispensable for accessing these platforms. VPNs are akin to a vital necessity in Iran, as they provide the means to freely connect with these otherwise restricted platforms. However, the reliance on VPNs comes with its own set of challenges. The use of VPNs significantly impacts internet speed, affecting tasks such as uploading shows and podcasts. Moreover, social media presence is closely monitored by authorities, especially when an individual amasses a substantial following on their accounts. Additionally, the process of purchasing monthly or yearly subscriptions poses its own set of challenges. To delve into the broader picture, Iran stands as one of the most heavily sanctioned countries globally, with financial and banking restrictions cutting off citizens from the rest of the world. Legally, moving money and conducting trade, from minor transactions to substantial amounts, is deemed illegal and unfeasible according to US laws. So in some cases, Iranians resort to changing their money into cash and physically leaving the country to procure items not available domestically, such as records. Therefore as a DJ, you encounter a substantial challenge in staying current with the latest and coolest vinyl to include in your record bag for your shows. The banking systems of Iran and the rest of the world, including services like Visa or Mastercard, are disconnected. Despite the restrictions, underground and private money exchange companies within Iran facilitate the movement of funds between certain countries that have Iranian communities. While not an expert on this matter, these companies typically operate within specific countries and have local staff facilitating the exchange. They would purchase the subscription for me, and I would compensate them during my travels for gigs outside Iran. The challenges posed by both the domestic government and Western sanctions create a sense of being trapped between two opposing forces. The hope that these stringent financial measures will incite a change in the regime is questioned. The ordinary Iranian populace, struggling with basic needs, may not have the luxury to contemplate issues like freedom and human rights while the government retains resources for its endeavours. Consequently, I hold a strong stance against these sanctions, as they primarily burden ordinary Iranians, hindering their access to basic necessities and goods from the international market. With the US imposed embargo in place, how can you have access to records and production gear? In summary, obtaining records in Iran resembles a smuggling operation. Initially, you must convert your Iranian currency into cash dollars or euros within Iran. Following that, you leave Iran for your destination country, locate actual record stores during your limited travel window, and then navigate the challenge of bringing them back to Iran, all while being aware that authorities at the airport could potentially seize and destroy them in accordance with Iranian laws. Despite the inherent risks, myself and many friends persisted in smuggling thousands and thousands of records into Iran. During my time in Iran, I regularly traveled for overseas gigs, averaging between shows per year. I consistently reserved space in my bags to bring back as many records as possible. On several occasions, my record bag was seized by authorities at the airport. Records remain a crucial element in the electronic music scene and its culture, compelling us to persevere despite the obstacles we encounter along the way. Subsequently, I sold the entirety of my remaining collection to Iranian DJs and music enthusiasts. The decision stemmed from the reluctance to face the challenges of smuggling records back into Iran, having experienced the complexities involved. Instead, I chose to leave the collection within Iran for others to enjoy rather than bringing them with me abroad. Has the underground movement the power to start changing things in Iran? At least from the freedom of speech perspective. Absolutely, the events in Iran following the death of Mahsa Amini and the ensuing public anger leading to protests and an uprising were part of a broader process. This process had been evolving over many years, marked by ongoing struggles faced by the people. Iranians have consistently demonstrated their dissatisfaction with the operations of the current Islamic regime since its inception in However, the regime has consistently employed brutal tactics to suppress dissent, making public protest a costly and perilous endeavour. Displaying opposition to the regime carries a high risk, and individuals must exhibit immense bravery to voice their anger openly, often at the peril of their lives. In contemporary Iran, with a substantial young population equipped with internet access and social media, the stark contrast between their lives and those of their peers abroad becomes more evident. This realization fosters frustration as they compare the conditions inside Iran to the experiences of their counterparts in other parts of the world. The recent protests predominantly involved individuals from our generation, and I hold high hopes for them. In a country where the regime has historically been against music, art, and beauty, music becomes a powerful form of expression for freedom. Witnessing this generation, many of whom are avid electronic music enthusiasts, bravely fighting for their rights in the streets is a source of great pride. Their courage in advocating for change through art and expression is truly commendable. Certainly, drugs, especially marijuana, are undoubtedly more accessible than alcohol in Iran. Both substances can be found at most underground parties. In Iran, acquiring drugs is relatively easy, and they play a significant role in the atmosphere of both underground and public electronic music events. To simplify, both drugs and alcohol are illegal in Iran, necessitating the presence of dealers. These dealers operate efficiently, often delivering substances to your doorstep within minutes. The quality of narcotics is notably high, as Iranians tend to use the finest products. For alcohol, the options are more limited compared to the Western world. Alcohol dealers offer specific brands and products. They often carry a portable bar in their car trunk, stocked with various liquors and beers. However, homemade alcohol comes with significant risks, including numerous cases of alcohol poisoning and even death. In summary, while you can find both drugs and alcohol easily in Iran, the choices are more limited, particularly when it comes to alcohol. Throwing underground raves is arguably a risky business in Tehran. Were you at some point close to the 99 lashes punishment? Certainly, without a doubt, facing lashes, imprisonment, and various other severe consequences is a reality in this context. When the police and authorities become aware of your activities, the potential outcomes are numerous and often unimaginable. Corruption, including the acceptance of bribes, is prevalent. However, a key aspect to consider is your approach in this situation — being as generous and swift as possible is crucial. This strategy not only increases your safety but also facilitates the acceptance of the bribe with fewer people involved. In this intricate scenario, speed is of the essence, allowing you to talk your way out swiftly. However, if luck is not on your side, the second and final scenario entails arrest and punishment. The extent of punishment can range from a temporary police lockup to more severe consequences such as lashes. Ultimately, the outcome depends on your luck and the individuals involved in the subsequent actions. The second significant event marks our first anniversary, where we meticulously curated three days of extraordinary electronic music. The lineup featured Iranian artists, some visiting Tehran for the first time or returning after an extended absence, complemented by prominent names residing within Iran. Icons like Sote, Siamak Amidi, and Ario graced the stage, contributing to an unforgettable celebration. The live performance unfolded at RooBeRoo Mansion, a cherished venue inside Iran that played a pivotal role in shaping Paraffin Tehran. Each Paraffin Tehran showcase in Iran holds a special place in my heart, a testament to the dedication and perseverance of everyone involved in bringing our vision to the Iranian audience. First of all, I must express my gratitude for providing this platform, allowing me to share the narrative of my journey and experiences in my home country, Iran, until finding my way to London. Facing the challenges within the creative landscape of Iran, my artistic endeavours were met with increasingly formidable obstacles. The oppressive constraints imposed by the establishment, coupled with the stifling limitations on artistic expression, made every step in pursuit of my passion a painstaking endeavour. The environment within Iran became progressively hostile to artistic freedom, presenting a stark choice between conformity and the relentless pursuit of creative expression. Navigating through bureaucratic hurdles, financial constraints, and the constant scrutiny of the authorities became a taxing routine. The inherent restrictions on events, the arduous process of obtaining permits, and the overarching limitations on artistic autonomy left me with a sense of confinement. The dream of fostering a vibrant electronic music culture in Iran collided with the harsh realities imposed by external pressures and internal restrictions. Ultimately, the decision to leave was not just a choice but a necessity, a response to the growing impossibility of sustaining a creative existence within the restrictive confines of Iran. Departing from my homeland became a poignant chapter in my journey, fuelled by the aspiration to find a more nurturing environment where artistic expression could flourish unimpeded. Migration is undeniably challenging, yet viewed through the lens of an artist, navigating the increasingly challenging landscape within Iran becomes its own arduous journey. Eagerly embracing the vibrant cultural tapestry of London, my plans extend beyond the stage performances at renowned venues like Village Underground and Pickle Factory. Additionally, my monthly radio show on Netil Radio serves as a platform to share curated sounds, introducing listeners to the intricate fusion of influences that shape my musical perspective. The journey unfolds with a sense of purpose, blending my Iranian heritage with the diverse and dynamic cultural canvas of London. I extend my heartfelt appreciation for orchestrating this interview and extend my gratitude to the resilient artists within Iran, including my dear friend Payam Parvizi, who continue to create amidst adversity. Their unwavering support fuels my artistic endeavours. One love. Half is Enough Radio. Toate drepturile rezervate.

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