Iranian composer Behrang Ghodrati makes music that is so unique sounding, that I knew I had to find out more about this musical genius. After reviewing his latest EP release PURE, I was enamoured by the cinematic classical sounds on offer, making for one of the most distinctive records I’ve heard this year (and I mean that in a good way). You can find our review of PURE here, but if you’ve already checked the EP out and want to learn more, read on to see find out a little more about what makes Behrang Ghodrati tick!

By Jane Howkins

You’ve recently released a beautiful EP titled PURE. What can you tell us about the EP?

Regarding the PURE EP, I wanted it to be more than just a music album. I hoped to gently invite listeners toward deeper seeing and hearing, and toward strengthening their insight and perspective. Of course, I’m not making any claims – my intention was simply to create something more profound.

The initial assumption about ‘deep concepts; is usually that you need a very large production to express them well. That’s one way to do it, but I preferred to avoid adding unnecessary sounds so the listener could truly hear every note in the album with their whole heart. That’s how I ended up using only the voice of a woman – sometimes accompanied by musical intervals – and a single pad sound in the background.

How has the reception been to PURE so far? I personally loved the EP, but it’s quite left‑field compared to a lot of modern music being released today.

I’m glad you enjoyed PURE. This album is actually a new experience that connects classical and sacred music with New Age sounds. It’s not as heavy or tiring as classical music, and it’s not filled with the constant novelty of New Age either – it’s a balance, and I believe it needs to be expressed in its own unique language.

As for feedback, serious music listeners definitely enjoy this album and already have. But for listeners who look for rhythm and loudness, it might feel slow or even boring, and they may want to skip to the next track.

Are there any plans to release singles from the EP? If so, which tracks?

Yes, I plan to prepare several pieces for choir performances or string quartet arrangements. I haven’t decided which tracks yet, but I think all of them have the potential to be released in different forms.

Your last full-length album, Celestial, was released in 2023. Do you plan to release a new album soon? If so, what can you tell us about it and when will it be released?

Yes, I’m working on two major projects.

The first one is called Dialogue. After a long period of research, we extracted regional and folkloric music from different parts of the world and found their equivalents within Iranian folk music. The idea is to create a modern bridge from one region to another. Important artists will be involved, and we plan to have discussions with UNESCO for support.

The second project is called Awareness. It has a spiritual perspective on the universe – as if every particle contains the entire software of existence within itself. It’s inspired by Professor Masaru Emoto’s experiments, which suggest that water molecules change shape based on emotions, words, music and environmental energy.
This album will be electronic, and unlike my other albums, it will have no live instruments. It will be produced in the Ambient/New Age style.

You have an extensive background in music, including composing for film and theatre. Which films or plays that you’ve composed for are your favourites?

There are many pieces I love, but if I had to choose one or two:
First, the soundtrack for the film Witness, directed by Nader Saeivar, which won the Audience Award at the Venice Film Festival. I composed a piece for a dance scene, and the film’s theme is women’s freedom.
Another one is the soundtrack for Worker Bee, directed by Afshin Sadeghi. The music was very experimental, and I used the string orchestra in an unusual way that fit the mysterious atmosphere of the film perfectly.

How does creating your own music differ from composing for theatre or film? And which do you prefer? I imagine the process is quite different depending on the project!

That’s a great question!

When you compose for a project – whether film, theatre, or animation – you’re dealing with the limitations of the medium and its concept. But that challenge is enjoyable, because once you solve it, you discover the musical language of the film.

For example, animation has its own charm, theatre has another and cinema is enjoyable in a different way.
But when I work on my own projects, I have no limitations. I can work much more freely and boldly.

You’re an Iranian composer. What is the local music scene like in Iran, and are there any local artists or venues you’d recommend to our readers? Also, how are you dealing with the current issues Iran is facing?

This is another question I really appreciate!

What I’m about to say isn’t because I’m Iranian – it’s because of the greatness of the truth: Iran is extremely rich in regional and folk music. Due to its vast geography and ethnic diversity, Iran is more like a continent than a country. Each ethnic group has its own music, language, dialect, and sometimes even unique instruments. This is exactly the subject of the Dialogue project, which I hope to develop with UNESCO.

• Baluchistan’s music resembles Pakistani and Indian music,
• Khorasan’s music is similar to Armenian music,
• Southern Iran’s music shares elements with Arabic music,
• Azerbaijani music has parallels in Azerbaijan and Russia,
• Kurdish music has similarities with Turkish music.

These are just small examples of the richness of Iran’s folk music.And beyond all of this, there is Iranian classical (dastgahi) music – an endless ocean of pure melodies.

Who or what would you say are your main musical influences?

For many years, I’ve kept my ears, mind, and all my senses open to hearing and experiencing every kind of music. I’ve listened to an enormous amount of music and always had a strong passion for discovering unique and authentic works -from Tibetan music to rap, orchestral, fusion and everything else.

I’ve tried to become familiar with the culture and language of each genre.
But I believe we have ‘good music’ and not ‘good composers’, because even the most talented composers don’t create masterpieces every time. Only a few works become truly memorable, and recently it has become even harder to find lasting pieces. With that said, I enjoy some works by Bach and Chopin, and among more modern artists, Pink Floyd and Secret Garden – though again, only some of their works, in my opinion, stand out.

Do you ever perform your music live? If so, is there any chance you might perform in the UK?

I’m generally not a live-performance person, but if a truly serious and meaningful opportunity comes up, I might consider creating a unique performance – not the usual type of concert we typically see. Maybe a fusion of electronic, traditional and folk music.

But for now, it’s just an idea.

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