The Moshville Times - Album Review: Paeizi

Edinburgh-based fusion band Paeizi, fronted and led by Iranian musician Hossein Paeizi, recently released their self-titled debut EP on 28th May. Paeizi have developed a unique sound through the influence of Iranian classical music hammered upon modern heavy and alternative metal tropes. To Hossein, his music is a form of protest. He grew up in Iran where heavy music was banned; what this EP presents is a glimpse of his resistance to intolerance and is an exploration of the emotions conjured through the recent protests in Iran. This EP is a portal into the struggle of suppression and cultural identity.

Opening track “Simorgh” encapsulates the mood of the EP. From this point, an atmosphere is expertly wound together that explores themes of suffering, stoicism, and hope in freedom. The title, meaning “phoenix”, is symbolic of change and rebirth; rising from the ashes into something new. There is a tension in the opening bars, a discordance that immediately throws your expectation of this EP. The sound is huge when it hits you.

The ebb and flow of the instruments intertwine and make space for each other whilst consolidating into a wall of sonic pleasure. The guitar plays with a staccato rhythm, creating a riff that’s almost djent in nature and is the playful backbone of this arrangement. The complimentary solo is jarring with its use of a musical language that is classically Iranian; the surprising part is that it fits perfectly with the metal riff it cuts over. This arrangement of metal-meets-Iranian classical music is a huge part of Paeizi’s sound and sets the tone for the movement ahead.

The track alters and mutates throughout – changing at its core; guided by the scales and composition of a sound unfamiliar to the average Western metalhead’s ears. Discontent and anger bubble away at the soul of this track, confused and afflicted before all of the elements combine in a soaring final riff as the song concludes. This song wordlessly declares its arrival and leaves a cosmic hole in its wake; at its completion, the listener remembers to stop holding their breath.

Following is the track “Salamaleykom”, another instrumental track that dabbles in dissonance and danger. This unpredictable song is an interesting and thoughtful metal composition. One composite idea bleeds into the next before you have time to realise what’s happening. It makes me want to greet and headbang in equal measure. Morose and powerful, it drags you in, sits you down, and forces liquid metal straight into your brain. Tasteful layering emphasises the heart of the track, as the drums beat a pulse that centres all the winding and unwinding sections. Tremolo riffing near its finale perfectly captures the madness, attitude, and attack this track possesses.

The midpoint track “Mansouri” takes a step back from the relentless metal melodies and adopts a grungier, softer sound. Just as you begin to wonder if the EP is instrumental only, Hossein’s anguished laments rise up through the mire in a style not totally dissimilar to Chino Moreno of Deftones. The emotions it emits are those of anguish and despair, but a glimmer of hope and freedom persists.

“I can taste this freedom
But it cuts me deep inside
We got what we wanted
Too late to feel alive”

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Paeizi embody the soul of the Iranian underground, spilling out his emotions and making sense of profound injustice in the way he can communicate it most succinctly. This record feels alive; its embodiment of suffering and willpower personifies it as a sentient entity – a voice with a message it wishes to declare.

It’s a difficult thing to segue from crying derision to hammering headbanger riff. “Mansouri” achieves this through technical bridges between sections that focus those feelings and emotions as they ruminate and grow until they are unleashed into powerful, rich breakdowns. It also has a mid-point break that slams with relentless precision. Nothing is added in this EP needlessly; everything is done with purpose to create the experience of tuning out everything else but what the song is trying to say.

Penultimate track “Hesar”, meaning “cage”, enjoys subverting the acknowledged fusion stylisation of previous tracks and instead leaps between Iranian classical melodic structures and the aggression of heavy music; a Frankenstein track lovingly sewn together. Each song seems to introduce a little bit more from the band that adds to the ambience. Previously unheard backing vocals support Hossein’s and provide a rich and elegant texture. Thundering guitar retains the feeling throughout, even as the style jumps from grunge and moshy in the chorus to thoughtful and pained in the verses.

The hook is total Alice in Chains; Hossein’s vocals are gritty and persuasive. This is my favourite track of the EP, infinitely enjoyable and one that burrows itself into your consciousness, refusing to leave long after its final note has been played. From the metal assault the EP launches with, through the cool grunge grooves, we arrive finally at the quiet contemplations of “Mamad”, the lyrics of which are written entirely in Farsi and has a haunting lullaby appeal to its sound. Easygoing and sombre; the contrast of this song to the rest of the EP shows the end of the journey, the final thought.

Paeizi already have a follow-up EP in the works and promise further work with their event series “The Movement”. This series centres around showcasing Scotland’s alternative scene. Though still in its infancy, a recent successful gig featuring Jack Brodie and Missile Smile at The Banshee Labyrinth has the members in high hopes for the future. Paeizi have become a new favourite of mine and are a group that promises bigger things to come.

Paeizi is:
Hossein Paeizi – guitar and vocals
Mike Miller – guitar and backing vocals
Sophie Imrie – bass
Bryan Finley James – drums

Upcoming gigs: