Name: Ata Ebtekar
Nationality: Iranian
Occupation: composer/sound artist
Latest project: Appearing at the Lausanne Underground Film & Music Festival
Recommendations: Ali Akbar Sadeghi’s paintings / Monir Shahroudy Farmanfarmaian's mirror work / The experimental electronic music on my label ‘Zabte Sote’

If you enjoyed this interview with Sote, visit his website to learn more about his work and social media presence.

When did you start composing - and what or who were your early passions and influences? What was it about music and/or sound that drew you to it?

Around the age of 14 or 15 I started making music with two friends and we would perform in school events. Even before making music, I was always fascinated by electronic sounds, mostly within pop music. Slowly, I focused more on alternative “underground” electronic sounds of the EBM scene in mid to late 80’s. My favorite artists at that time were Front 242, Nitzer Ebb and Depeche Mode.

For most artists, originality is preceded by a phase of learning and, often, emulating others. What was this like for you: How would you describe your own development as an artist and the transition towards your own voice?

It’s absolutely true and natural I would say.
During my teenage years, we (the band that I was in) would cover songs by the groups I mentioned. However, for me originality has always been super important and essential to my art. I think one of the reasons I was drawn to electronic music is because of its nature, which is coming up with new ideas and concepts. Anyway, then we went from covering our favorite bands to making our own electronic music, and obviously being very influenced by EBM music then.  

How do you feel your sense of identity influences your creativity?

The most important factor in art is originality. I don’t know why I was attracted to this concept from a very young age. So, when I compose, it’s usually because I want to listen to something that is not available out there by another artist. So, I try to be as creative as possible to achieve my goal.

What were your main creative challenges in the beginning and how have they changed over time?

Limitations of technology I would say.
A lot of techniques that would take a huge amount of time to reach the aim, over time, due to fast growing technology is so much easier to do and therefore opens up new worlds of possibilities.

Time is a variable only seldom discussed within the context of contemporary composition. Can you tell me a bit about your perspective on time in relation to a composition and what role it plays in your work?

I’m not sure what you mean by time…
Generally, good music and art should be timeless (obviously).
For me personally, it often plays the role of the catalyst.


How do you see the relationship between the 'sound' aspects of music and the 'composition' aspects? How do you work with sound and timbre to meet certain production ideas and in which way can certain sounds already take on compositional qualities?

Within my work(flow), they’re the same. Sound design, synthesis and production techniques are part of my orchestra from the beginning of the process until the end.

Collaborations can take on many forms. What role do they play in your approach and what are your preferred ways of engaging with other creatives?

Usually, I don’t like to do collaborations, but if I do, before creativity even, it’s important for me to have a good healthy relationship and to some extent friendship with my fellow artist on a human level. It’s all about trust and mutual respect if you want to do a long-term collaboration.

Take us through a day in your life, from a possible morning routine through to your work, please. Do you have a fixed schedule? How do music and other aspects of your life feed back into each other - do you separate them or instead try to make them blend seamlessly?

It’s rather difficult to have a routine like workflow living in Tehran, Iran as it drastically changes quite often due to social and political situations that occur on a daily/weekly or monthly basis almost, which affect your personal life thoroughly.
I get up usually around 4 or 5 in the morning. I’m the most creative between then until around 2pm.
My wife and son are the most important entities of my life. So, I do family related errands as necessary.
I teach sound art and electronic music privately as there are no such programs at universities in Iran.

Can you talk about a breakthrough work, event or performance in your career? Why does it feel special to you? When, why and how did you start working on it, what were some of the motivations and ideas behind it?

I’d say when I decided to make electronic music that is not based on conventional beats around 2005. The first released work of mine that was beat-less and by beat-less I don’t mean Ambient, was “Dastgaah”.
And to this date, I’m still exploring that idea in various shapes and forms as I’m not interested in typical formulas of electronic dance music.


There are many descriptions of the ideal state of mind for being creative. What is it like for you? What supports this ideal state of mind and what are distractions? Are there strategies to enter into this state more easily?

I would love to have peace of mind in regards to my family’s and my country’s safety as it’s been a major distraction and stress factor in our lives. The only thing one can do is to concentrate on positive aspects of life in order to keep your sanity.
 
Music and sounds can heal, but they can also hurt. Do you personally have experiences with either or both of these? Where do you personally see the biggest need and potential for music as a tool for healing?

I’m going to answer this question in regard to my own country, Iran where you need a government permit to do events and concerts. The process of this could be a lengthy one and I just think it’s not for art to be filtered in such manner. Artists need to express themselves whenever and wherever they wish so, sound in society can be used as healing tool for all.

Our sense of hearing shares intriguing connections to other senses. From your experience, what are some of the most inspiring overlaps between different senses - and what do they tell us about the way our senses work?

I have the most experience in hearing and vision senses through my audio/visual work. Especially with Tarik Barri who I’ve done a few projects with over the years. One very special thing about our relationship and aesthetic is that we’re both not interested in ear/eye candy-ism. We both believe that in order to take the audience to the next level, we have to achieve and audio/visual composition, a meta-phase that is beyond audio and visual by itself.

Art can be a purpose in its own right, but it can also directly feed back into everyday life, take on a social and political role and lead to more engagement. Can you describe your approach to art and being an artist?

My art is, most of the time, inspired by or motivated by what’s happening around me. However, I try not to tell my listener what it’s about as I usually like to make it as abstract and deep as possible and let the audience make up their own minds. A piece may have been created by me via lots and lots of pain, but it may give someone else lots and lots of joy. And this is perfectly fine by me as long as the listener is intensely moved by the music.

What can music express about life and death which words alone may not?

The answer to this question is already there in the question ;-)