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01. Mhz - Proof Of Identity (Part I)
02. Mhz - Proof Of Identity (Part II)
ARTIST
TITLE
Proof Of Identity
FORMAT
Cassette

LABEL
CATALOG #
SAUNA 070CS SAUNA 070CS
GENRE
RELEASE DATE
5/26/2023

Mo H. Zareei (mHz) returns to Imprec/Cassauna with Proof Of Identity, an album of pulsating, pattern-based electronic pieces that evolve in ways reminiscent of Steve Reich's early work or Philip Glass's Music In 12 Parts. With Proof Of Identity, Zareei confronts issues surrounding identity and authorship in composition specifically when created by non-Western musicians. He simultaneously tackles orientalism and the normative take on identity politics.

mHz: "More than a decade ago, I made a piece of beat-based electronic music and titled it 'Middle Eastern IDM' for a course assignment. After listening to it in class, my professor asked what was Middle Eastern about it. It was only a year after I had left Iran to study in the US, and I didn't know that I could say 'I am. I made the piece'. So I went back and superimposed a sample of Egyptian protest chants on top of the piece, to make it 'sufficiently Middle Eastern'. What prejudiced conservatism and performative liberalism share is gatekeeping practices that box one in a preconceived state of otherness. While the former overtly regards that otherness as inferior, the latter exoticizes it through patronizing paternalism . . . When you look at who gets to decide if something's indigenous enough, you see how decolonization itself has been colonized. When you listen to this piece, I'm very happy for you to keep in mind that it was made by someone from Iran. But I might need to clarify that this piece has nothing to do with Sufism and the whirling dervishes, the interweaving patterns of the Persian carpet, the poetry of Rumi, or Islamic architecture. And if you hear those moments of 'non-western' sonorities, that is because I have constructed this piece from samples of a piece of Iranian traditional music -- an overplayed piece that was all over TV and radio while I was growing up Iran, one that I never found particularly inspiring or interesting. Here, I have tried to make it more interesting by completely taking it apart and reconstructing it through my personal compositional techniques, aesthetic preferences, and a wide range of musical influences. So in short, while this piece might not sound like your archetypical Iranian music, I assure you that it is Iranian enough."