From "The Depth" (2013)
04. Unbound
Electric Guitar, Keyboard & Instruments Recording by Sadredin Taheri
Drums by Nima Navapour
Bass Guitar by Amid Bonakdar
Setar by Behzad Ravaghi
Cello by Arsalan Alizade
Drums Recording, Mix & Mastering by Hadi Kiani

In this instrumental rock fusion album by Sadredin Taheri, all tracks except track 3 & 4 demonstrates the most fundamental rock structure of a trio consisting of an electric guitar, bass guitar and drums

Sadredin Taheri - Unbound

Faraway

Axiom Of Choice-Whisper

Music Producer: Farbod Ghanaei
Mix, Master: Homayoun Sehat
Setar: Mehrdad Golmohammadi
Guitar: Navid Yavarian
Track Cover: Sepehr Salehi

Farbod Ghanaei

Dawn

© Mahi – All rights reserved.

This track and all other works released under the artist name "Mahi" are original productions created and owned by Mahi.  
Unauthorized use, reproduction, uploading, distribution, or copyright claiming of this material is strictly prohibited.  

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For licensing, remix permission, or business inquiries, please contact: Mahi1998hb@gmail.com

هوشنگ ابتهاج  خاموشم

An instrumental odyssey through the infinite. *The Endless Symphony* translates the mathematical beauty of π into music — patterns without repetition, harmony without end. Each movement explores a facet of infinity: creation, balance, entropy, and return. Through orchestral textures, ambient electronics, and minimalist design, Avaline Ingels constructs a sonic architecture that feels both divine and human — precision guided by emotion.  
Piano, harp, and strings trace circular motifs while choirs breathe in golden ratios. Tempos shift by Fibonacci values, phrases extend by digits of π, and melodies evolve like galaxies forming. The album’s structure loops perfectly: the finale’s final drone blends into the prelude’s first chord, forming a seamless circle of sound.  
*The Endless Symphony* is not a story but a mirror of eternity — a composition that, like π itself, continues forever, revealing meaning only through motion.

The Architect's Breath

درآستانه- احمدشاملو
Mash Up and rework 4th of July

بايد استاد و فرود آمد
بر آستان ِ دري كه كوبه ندارد ،
چرا كه اگر به گاه آمده باشي دربان به انتظار توست و
                                                               اگر بي گاه
به در كوفتن ات پاسخي نمي آيد .
كوتاه است در ،
پس آن به كه فروتن باشي .
آئينه اي نيك پرداخته تواني بود
                                    آنجا
تا آراستگي را
پيش از در آمدن
                  در خود نظري كني
هر چند كه غلغله ي ِ آن سوي ِ در زاده ي ِ توهم ِ توست
                                                     نه انبوهي ِ مهمانان
كه آنجا
       تو را
           كسي انتظاري نيست.
كه آن جا
       جنبش شايد
                   اما جنبنده اي در كار نيست
نه ارواح و نه اشباح و نه قديسان ِ كافورينه به كف
نه عفريتان ِ آتشين گاو سر به مشت
نه شيطان ِ بهتان خورده ي با كلاه ِ بوقي ِ منگوله دارش
نه ملغمه يِ بي قانون ِ مطلق هاي ِ متنافي .
تنها تو
       آنجا موجوديت ِ مطلقي ،
موجوديت ِ محض
چرا كه در غياب ِ خود ادامه مي يابي و غياب ات
حضور قاطع اعجاز است
گذارت از آستانه ي ِ ناگزير
فروچكيدن ِ قطره يِ قطراني ست در نامتناهي يِ ظلمات
‹ دريغا
       اي كاش اي كاش
                           قضاوتي قضاوتي قضاوتي
                                      در كار در كار در كار
                                                        مي بود ! ›
شايد اگرت توان ِ شنفتن بود
پژواك ِ آواز ِ فروچكيدن ِ خود را در تالار ِ خاموش ِ كهكشان هاي ِ بي خورشيد
چون هرَّست ِ آواز ِ دريغ
                     مي شنيدي:
‹ كاش كي كاش كي
                 داوري داوري داوري
                            در كار در كار در كار دركار ... ›
اما داوري آن سوي ِ در نشسته است ، بي رداي ِ شوم ِ قاضيان.
ذات اش درايت و انصاف
هيات اش زمان.
و خاطره ات تا جاودان ِ جاويدان در گذرگاه ِ ادوار داوري خواهد شد.
بدرود !
بدرود ! ( چنين گويد بامداد شاعر )
رقصان مي گذرم از آستانه ي ِ اجبار
شادمانه و شاكر
از بيرون به در آمدم
از منظر
       به نظّاره به ناظر
نه به هيات ِ گياهي نه به هيات ِ سنگي نه به هيات ِ بركه ئي
من به هيات ِ ‹ما› زاده شدم
                           به هيات ِ پر شكوه انسان
تا دربهار ِ گياه به تماشاي ِ رنگين كمان ِ پروانه بنشينم
غرور ِ كوه را دريابم و هيبت ِ دريا را بشنوم
تا شريطه ي ِ خود را باز بشناسم و جهان را به قدر ِ همت و فرصت ِ خويش معنا دهم
كه كارستاني از اين دست
از توان ِ درخت و پرنده و صخره و آبشار
                                              بيرون است
انسان زاده شدن تجسد ِ وظيفه بود
توان ِ دوست داشتن و دوست داشته شدن
توان ِ شنفتن
توان ِ ديدن و گفتن
توان ِ انده گين و شادمان شدن
توان ِ خنديدن به وسعت ِ دل ، توان ِ گريستن از سويداي ِ جان
توان ِ گردن به غرور برافراشتن در ارتفاع ِ شكوه ناك ِ فروتني
توان ِ جليل ِ به دوش بردن ِ بار ِ امانت
و توان ِ غم ناك ِ تحمل ِ تنهايي
تنهايي
تنهايي
تنهايي  عريان
انسان
دشواري ِ وظيفه است
دستان ِ بسته ام آزاد نبود تا هر چشم انداز را به جان در بر كشم
هر نغمه و هر چشمه و هر پرنده
هر بدر ِ كامل و هر پگاه ِ ديگر
هر قله و هر درخت و هر انسان ِ ديگر را
رخصت ِ زيستن را دست بسته و دهان بسته گذشتم
                                  دست و دهان بسته گذشتيم
و منظر ِ جهان را
              تنها
              از رخنه يِ تنگ چشمي ِ حصار ِ شرارت ديديم و
                                                                 اكنون
آنك ِ در ِ كوتاه ِ بي كوبه در برابر و
آنك اشارت ِ دربان ِ منتظر
دالان ِ تنگي را كه در نوشته ام
به وداع
        فرا پشت مي نگرم
فرصت كوتاه بود و سفر جان كاه بود
اما يگانه بود و هيچ كم نداشت
به جان منت پذيرم و حق گزارم !
چنين گفت بامداد ِ خسته

(DarAstaneh)تنها تو آنجا موجوديت ِ مطلقي

Khial Fam

08-Deylaman

Based on a poem by Hafez. This poem by Hafez is in 3 languages: Dari, Farsi and Arabic
credits
from Null, released 09 April 2012 
Programing, Keys: Reza Moghaddas 
Violin: Eddy Suleiman 
Percussion: Alan Davis
To download for free:
http://mahmoodschricker.bandcamp.com/track/salma-feat-mariam-toller

Salma- Mahmood Schricker feat. Maryem Tollar

Mahtab mirvahid radfar

Bios
Kennedy is the composer and curator of the Mad Composer Lab, a concept studio designed to explore the process of music composition. Kennedy’s musical vocabulary is eclectic, innovative and truly authentic. As a musician, Kennedy has performed with many professional ensembles playing bassoon and contrabassoon. Additionally, Kennedy performs on piano and an assortment of exotic instruments, including didjeridu and duduk and can be heard on various soundtrack recordings. Highly talented and expressive with the baton, he has served as conductor of the Monroe Symphony Youth Honors Orchestra, and has guested with a variety of groups from coast to coast. His background as an orchestral musician, conductor, and player of orchestral and exotic instruments offers Kennedy an unparalleled perspective in the workings and abilities of a wide range of ensembles in the marriage of sound, visuals, and emotion. This expansive and eclectic experience, united with his limitless imagination, allows him to offer in his music, an incredibly broad pallet of musical timbre and philosophies.
Vahid Kilani
I am Vahid Kilani. It should not be important to me or anybody else where and when I was born. But the inevitability of the date and location of my birth has influenced me a great deal, as it led to most of my childhood passing with a love and a passion for music. After finding out about the “Music Conservatory” very late in my youth, I rebelled at once and said a big no to all that was expected of me—education, job, college,… and I ran like a crazy lover to my old and apparently all-encompassing love, music. On this route, I embraced all of the difficulties with the help of kindness of my music masters (teachers and friends). I started in music with the violin, but after a year I left that and went to work as an assistant in the making of Iranian musical instruments. That is when I started playing the Tanbour. The obstacles were great, but my passion was even greater! Lack of government support for the arts and artists, especially for music, was clear to everyone, and so was the lack of communication and collaboration among artists in Iran. This left me inclined toward loneliness—fated to experience alone, practice alone, compose alone! I did not expect help from anyone. But, although a great deal happens and gets created out of loneliness, the result only expands its reach through communicating and sharing with others. As Edward Gibbon taught us, communication adds to wisdom and knowledge, but being alone is where gentility and creativity happen! I was practicing traditional Persian music, a music which despite all its beauty is tinged with prejudices and biases of “music people.” Although I really enjoyed that study, I did not limit myself to it. At the same time, I got a degree in making instruments as well as a membership in the Iran House of Music. However, I am not proud of this, as I believe the value of every person, artist or not, is in his or her output, not in degrees and credentials.
I am an ordinary person who is experiencing and learning. The eternal nature of humanity is in moving forward, as immovability leads to nothingness and extinction. As Houshang Ebtehaj says: Still water soon sinks into the earth/But the river rolling grows into a sea. Now, my first release in Tanbour playing has been created, of course with the help and support of you friends. I hope “Barzakh” will be an introduction to a full album of the same name, as well as an anecdote to geographic borders, to help us to reach together the apotheosis of art, which, to me, is creating another world and inviting others to that world to take a break from current human Barzakh (the temporary barrier between here and the hereafter) for some moments. In the end, I do not name myself anything and do not accept any label…except maybe a poet whose poems have achieved distance from words and are presenting themselves in other forms.

Axiom Of Choice-Whisper

Niimaa