Sote
Sote (IR)
Ata ‘Sote’ Ebtekar is an electronic music composer and sound artist based in Tehran, Iran. His music has been published by companies, such as Warp Records, Sub Rosa, Digitalis, Morphine Records among various other labels. Global cultural exposure through transmigration has been a significant stimulant for his aesthetics. Sote’s goal is to create unique and timeless pieces of music that are not available anywhere except in his mind. His compositions and multi-channel installations are sonic tales synchronously decoding and regenerating customary pattern of thought in nature; aural designs of crisis and harmony where contempo aligns with folklore, orchestrating an artificial saga with a variety of illuminations and analyses. His passion for all music especially, all forms of electronic music, and his extensive involvement in the sound art academia world, has led him to compose in a wide variety of musical styles with a strong emphasis in synthesis electro-acoustic techniques, microtonal systems and polyrhythmic motifs. He has a firm conviction that rules and formulas must be deconstructed and rethought; hence he alters musical modal codes from their original tonality and rhythm (tradition) to achieve vivid synthetic soundscapes. In order to accomplish dynamic expression on electronics, gesture and texture, he employs various synthesis languages and dsp techniques in a modular sound environment. Ata ‚Sote‘ Ebtekar believes that music is a cultural habit of sound and anti-sound (silence). Therefore, he generates music without a specific culture, which he believes to be „the other sound.“ For his most recent work he did studies in Techno patterns and aesthetics from a maximalist musical perspective without employing orthodox beats. The focal rhythmic element is achieved with programmed pitched sounds via FM, Physical Modeling and Additive synthesis methods in a modular environment. These aural components that withstand spectral and formant filters, as well as other signal processing units, form harmonies and melodies that interchangeably act as the structural groove. The outcome is occasionally polyrhythmic aiming for a Common-time feel and vice versa. Interwoven patterns and complex ornaments within a pliant grid form a diametric functionality of loop-based trance-inducing music, and require active listening.
This is a paradoxical ode to Noise and Techno progressing further.
