Sigo con la apertura del proceso -el código fuente- para la construcción de este artículo sobre la música underground en Irán, que os vengo contando aquí y aquí. Estas son las entrevistas íntegras. Perdonad que no las traduzca.
The Casualty Process (25 de diciembre de 2011)
– Are you still living in Brooklyn? Do you plan staying there?
Yes, we’re still here, we would like to stay in a place where we can make our music and be proud of it, and for now Brooklyn is a good place to do this, of course not forever.
– Do you think you could come back to Iran?
In fact, the question is, if we go back to Iran, can we leave the country again or not? Which I guess, as regards to our condition we will be in trouble.
– You did part of your musical carreer as The Plastic Wave in Tehran. It was impossible for you to continue in Iran as The Casualty Process? Why did you make the decision to left?
We are making music to play/present it, there is no point in doing this for yourself forever, when there is no result, it’s not what we started music for, it’s not going to work, either you should give up making music or move to somewhere else, where at least you will be respected as an artist. As I mentioned we want to play our music, and see the people in front of us in live, feel them when they are listening to our music, communicate with people around the world, that’s why we left our country, music is our reason, there were no political reason for coming to the US (or any other countries), that’s just because of the music.
– How is this moment in your musical life now? Aims?
Very challenging. Having no producer makes the things slower but as always we’re trying to do our best. At the moment we are working on the next album which will be very important to stabilize our position as an Iranian electronic/rock band, of course this is not the end, but a necessary step to take. Our main aim is being professional in what we are doing, having our own quality/style of making music and encouraging the other Iranian band to follow their dreams. We are here to take our name.
– Does your music as TCP reach an audience in Iran?
Of course, Tehran/Iran music scene is not as big as New Yorks’ or London’s, so if you create something new/good it will be easier to reach your (right) audience, you will be heard (although because of the limitations it is not so fast) and fortunately after releasing our debut EP it happened for us and we received lots of great feedback.
– You put your songs downloadable in Soundcloud thinking in reaching Iranians or for any other reason?
In fact it had two reasons, more importantly as you mentioned because of our Iranian audience who are not able to buy the album online, so as our gratitude to our fans and the people/friends who has been supported us for years we put the album on the websites for free(although there are some links to buy the album for those who wants to support), besides we thought that can help us more to spread the word and reach more audience.
– Living in Iran, in a country were Western music or films are banished, how did you managed to get the songs that influenced your music? (I guess Internet helped a lot…)
Yes you’re right, the most important and biggest source was the internet, but not the only one, watching satellite TV, earlier borrowing CDs/tapes from the people who was traveling abroad helped as well. And also there were some places which they would sell mp3s, in CDs (of course not legally and officially), they were a good source too but not compete and always available.
– Do you think there are still underground concerts as yours in Tehran?
Of course they are, it always has been and will be, this is the only opportunity that Iranian underground bands can have. What we did was the biggest one but not the last one, although because of what happened to us it’s more difficult and riskier to do such thing but this it’s still alive, this wave never stop, we will find a way, one way or another.
– Do you know any other dark and electronics band similar to you, from Iran, that you could recommend me?
Unfortunately we are not rich in this genre, the only one that comes to my mind at this moment is Mute Agency which I am not sure that they are still active or not.
– Do you have any contact with Tehran musical scene?
We do, since we belong to Tehran music scene we should be in contact with them. Trying to be a good one in Brooklyn/NY music scene doesn’t mean to disconnect form where we are coming.
Nassir Mashkouri (20 de diciembre de 2011)
– What changed in Iranian music since you wrote that article?
Well, a lot. It has become a more aware movement. The Iranian alternative music which includes all kind of rock music (from blues to Metal) and hip-hop and some unauthorized pop music has become a widespread underground music and cultural movement that goes on in parallel with the authorized Iranian popular music mainstream.
The alternative musicians today are more aware of their power and the situation they live in.
But most of all the hip-hop music has created a music movement that is most politically and socially aware and expresses the life of the young Iranian generation in the big cities. Hip-hop has become a musical formation for youth to express the underground life in an oppressed society. Hip-hop has become a channel for express the alienation of the Iranian modern and progressive youth.
– I have the feeling that Iranian people in Tehran think they are in a pre-war situation and it’s not a moment to think on music, arts or culture. It is right or wrong? What do you think?
Well, I haven’t seen and felt that people are worried or stressed for a probable war. Not that much. Life goes on.
– Is it the hip hop scene the most consolidated so far?
Well, hip-hop is a more rebellious and socially aware movement in compare to other genre. For example rock music is less critical or direct political music movement in Iran.
– How could you define the importance of the hip hop as a tool for young people to express theirselves?
These young musicians are involved in a very silent war with a system that forces them in to some kind of a cultural discrimination. Hip-hop has become counterculture against the Islamic culture. Hip-hop is the only channel to bring up and show the reality of the hard and violent everyday life in the big cities like Tehran.
– Which are the ways for Iranian musicians without Authorities approvement to come out and make their music heard?
Internet and social Medias like Facebook, Tweeter and YouTube and also some satellite TV channels that are sending their programs from outside of Iran by Iranian living aboard.
– How do you get information about Iranian music?
Through internet and networking on Facebook and sometimes with direct contact by phone.
Tell me if I can make you a couple of personal questions. Doesn’t matter if you prefer don’t answer:
– When did you left Iran and why?
1983. I have traveled 3 times to Iran since then. Today is very dangerous for me to travel to Iran because of my writings.
– As a journalist, what kind of job do you do? Where can we read you?
I have been the creator and chief editor of couple of online Iranian music magazines like Interconnect Iranian and zirzamin. I am working for Swedish radio as a freelance radio journalist for Persian radio programs. I write music reviews, articles on Iranian rock and hip-hop music and write report and make interviews. I am and have been involved in Artistic advisor for several big Hip-hop music festivals in Sweden. Right now I work as an editor and writer for an Iranian online music
magazine called Beshkan (Beshkan.co.uk).
