• Heavy pride. "There are two types of people, metal fans and assholes."

As the kid on my side continues to nod so strongly, the neck is going to dislocate. The young man shakes his head with each baquetazo of Puyá Shitré, horns hands to the sky when Alí Karimí sails a guitar riff and belly to the alimón with Soheil Avaj, vocalist of the rock band Artamene.

Tonight, the musicians have unlocked three almost unattainable achievements in Iran: obtaining a license from the Government to perform in public, filling the municipal auditorium of the Azadi tower with unleashed metalheads and that, despite all this, no one among the agitated public - delivered as much or more than my electric armchair neighbor - has committed the dangerous audacity to get up from the seat during the concert.

Because, after all, this is Iran, now under the international media focus after the escalation of tension with the United States for the murder of General Qasem Soleimani, strong man of the system. In the rigorous Islamic Republic a musical genre such as rock can be accused of "Western intoxication , " the lyrics of its themes or the symbology associated with certain subgenres such as heavy metal can be judged for blasphemy, and in music recitals, it is It is strictly forbidden to stand up to dance . In addition, not to overcome the severe process of scrutiny of the Ministry of Culture and Islamic Guidance, which does not recognize the metal style for its negative stereotypes, means not being able to step on a large stage.

The Artamene are cunning. They have managed to receive official approval a few times, after overcoming obstacles that in our country would be inconceivable, to arrive live at their legion of black T-shirts, leather jackets and shabby jeans. They have managed to overcome last minute cancellations for the most varied reasons. "The last thing they have told us is that we should lower the tone of our concerts, because the electric guitar is too exciting," he recalls with a half smile Puyá, the stocky lord of the drums, with a good-natured look and a frightened hair.

Pedram, the band's founder, explains how his adventure began five years ago. Without funds or permission, they had no choice but to make themselves known by offering small underground sessions for a handful of faithful. Two years later, in search of opening the scene to the general public, they ventured to obtain the permission of the authorities, who required them to attend previous auditions, undergo an ethical review and review in detail the letters of their subjects, as well as those of the versions they planned to play in theaters, translated into Persian.

A theme of Stool would easily pass censorship; one from Metallica, not so much: My mother was a witch, she was burned alive / Zorrita ungrateful, oh, the one of tears that I shed , starts the song Am I Evil from the Los Angeles formation. A big headache for the Artamene, the day they wanted to touch her. “ We had to avoid singing it and, instead, make it instrumental, ” says Ali. Although it is taken for granted that religious, political or vindictive references can activate the alarm of the censors, the red line is, in fact, diffuse. "We can never know in advance what letters could cause us problems," Pedram ditch. «We always try to be faithful to the original version, but sometimes we have to make arrangements so as not to lose permission».

In recent years, Hasan Rohani's centrist executive has lowered some pressure on the cultural industry, which has allowed local and international artists to reap great applause from the always grateful Iranian public. A good example is the Gipsy Kings, turned into idols that have burst ticket offices every time they have passed through Tehran . But, while styles such as pop have won the favor of the authorities, heavy metal is disadvantaged when it comes to providing concert halls and generating profits, despite filling rooms whenever it has the opportunity to be heard from a stage. The reason is that, given the political and economic obstacles, Instagram and a shy alternative circuit, extended by more and more provincial cities, have become the great millennial fan site.

However, there was a time when the internet was nothing more than an idea in minds like Asimov's. And that the Iranian theocracy, established after the 1979 Revolution, lived completely with its back to the West. In those years, the Arab Farshid musician , whom many consider to be the father of the country's heavy metal, had to procure cassette tapes from artists such as the Bee Gees or Pink Floyd, smuggled from Iraq , and furtively listen to them at home. That generation of Iranian kids, who were trying to get started in music, made bread with some cakes.

«We had nothing. Nothing! ”Recalls Arabí. «I had to share the tapes with friends. Those who belonged to the previous generation - under the Pahlevi monarchy - taught us how to play the electric guitar. But we had very few instruments. Even if we broke a rope, we needed to repair it! ”He says. Other times. Arab teaches guitar in a Teheran academy. «Many young people today learn by repeating guitar riffs found on the Internet over and over again. But we still have a wide music scene that motivates creativity ».

Farshid Arabí founded his own style by grabbing from there and from here. His latest album combines the grace of traditional Iranian lyrics and instruments, such as tar, with bass energy, electric guitars and drums. A path that groups like Ohum followed 20 years ago, successfully. The cornerstone of his proposal is the poet and mystic Hafiz de Shiraz, whose works, written 700 years ago, express the essence of the Persian people. Going through the sieve of rock has seemed a genius to the majority and an insult to a few.

" Although Hafiz's poems do not require permission to be recited, we did not obtain it in the past," clarify the Ohum, in order to get their disc officially licensed. In its process of creation, music comes before the lyrics. «Sometimes, hearing a current or old melody on the radio, or finding a simple drum rhythm, unleashes our inspiration. Then, we find a suitable poem, ”they explain.

Ohum believes that his music has served for younger Iranians to look back and appreciate their cultural legacy. Although it is at devilish pace and using instruments born in what many here today continue to describe as the Satan of the West. “Our work has encouraged the next generation not to fear and risk trying new things. We have made rock a respectable style in Iran , where bold and innovative figures will appear. I have high hopes for Iranian rock ».

According to the criteria of The Trust Project

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