Politics–Aesthetics No. IV (Electronic Narrating Album)
Composer: Soheil Shirangi
Year of Creation: 2024
Published by: Noise à Noise and Post Orientalism Music, Berlin, Germany
Collaborators: Ehsan Saboohi (Text) • Hana Mesgari (Narration)
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Politics–Aesthetics No. IV continues the dialogue between sonic philosophy and artistic expression within an electronic narrative framework. Featuring a text by Ehsan Saboohi and narration by Hana Mesgari, with music composed by Soheil Shirangi, this commissioned work by Post Orientalism Music examines how aesthetics and politics intertwine in shaping modern identity and perception. Blending abstract narration with experimental electronic textures, the piece creates a multidimensional listening experience. Through its evolving sound structures, it invites reflection on meaning, voice, and presence in today’s interconnected yet fragmented world.
Composer: Soheil Shirangi
Year of Creation: October–November 2019
Commissioned by: Afarinesh Gallery
Performances: March & June 2020 — First Event of the Experimental Condensation Project, Isfahan, Iran
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Summer (for Fixed Media) was written for the After the Fall project and commissioned by Afarinesh Gallery. Built around simple musical ideas, the piece departs from Shirangi’s usual style to explore a more narrative sound world. Divided into four chapters, it unfolds like a series of poetic reflections—layered textures suggesting memory, warmth, and introspection. The work balances distance and intimacy, detachment and emotion, creating a soundscape that feels both abstract and human. Summer is ultimately a meditation on recollection and creative freedom, finding beauty in the act of stepping outside one’s familiar path.
The Hypothesis (Three-Part Collection for Electronics)
Composer: Soheil Shirangi
Year of Creation: Spring 2017
Concept: The Hypothesis is a trilogy exploring the uncertain relationship between structure, ideology, and sound. It questions whether music must always take form—or if it can exist as an idea, a philosophy, or a reflection of time. From Debussy to Cage and Stockhausen, composers have sought to redefine art’s dialectic with the world around them. This collection continues that inquiry, asking whether Hegel’s vision of the Zeitgeist can still resonate in our era, and how contemporary music might embody thought itself.
The Hypothesis No. 1 (for Fixed Media)
Year of Creation: April 2017 • Narrator: Parsa Sotoudeh
Performance: January 2019 — Second Official Concert of the Dream House Ensemble, Niavaran Cultural Center, Tehran
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The first part introduces The Hypothesis’s philosophical essence—a dialogue between narration and electronic sound. Voice and texture merge to question perception, creating a soundscape that blurs boundaries between language and abstraction. The result is both analytical and emotional, reflecting the human urge to define meaning within chaos.
The Hypothesis No. 2 (for Fixed Media)
Year of Creation: May 2017 • Released: June 2020 on Spectrum Album by Phasma Company, Athens, Greece
Selected Work: Among four Iranian composers featured in the release
Performances:
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September 25–26, 2020 — 38th International Conference of the World Confederation of Electroacoustic Music (CIME/ICEM), Polish Academy of Music, Krakow (Online)
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October 12, 2020 — Radio Kapitał, Poland
Listen on Spotify | More Information
The Hypothesis No. 2 develops the dialectic between structure and intuition. It balances systematic organization with spontaneous sonic gestures, embodying the tension between rational design and emotional impulse. The work becomes a meditation on how musical form can express thought itself—structured yet unpredictable, analytical yet poetic.
The Hypothesis No. 3 (for Multi-Channel Electronics)
Year of Creation: June 2017
Performance: September 2018 — Simn Festival, Curitiba Theater, Brazil
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The final part expands into a multi-channel environment, surrounding the listener with shifting sonic perspectives. Spatial movement and layered resonance create a sense of immersion, where perception becomes unstable and constantly redefined. The Hypothesis No. 3 completes the trilogy as a reflection on multiplicity—the coexistence of ideas, sounds, and truths that shape the contemporary human condition.
Overall: Together, the three works of The Hypothesis form a philosophical and sonic investigation into music as a living idea. Rather than offering certainty, the series invites reflection on the nature of form, the role of the listener, and the ever-changing dialogue between thought, sound, and existence.
Composer: Soheil Shirangi
Year of Creation: February 2017
Performances:
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July 2019 — Avini Hall, University of Fine Arts, University of Tehran (Closing of the 3rd Tehran International Electronic Music Festival)
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October 27–29, 2023 — 7th Annual Research Conference on Contemporary Composition, University of North Georgia (Virtual Session)
Listen on SoundCloud | YouTube Channel (ROCC)
Homeland reflects on memory, identity, and belonging, inspired by the image of “our mother’s house” as both physical and emotional origin. Incorporating fragments of Iranian radio and Azari music, the work blends traditional sounds with contemporary electronic textures, forming a dialogue between past and present. Each gesture evokes nostalgia, distance, and continuity, suggesting that homeland exists not only in geography but in memory and sound. Through its layered fixed-media design, Homeland becomes a personal and cultural meditation on exile, the persistence of identity, and the enduring resonance of home.
The Faulty Sequence No. 1 (for Electroacoustic)
Composer: Soheil Shirangi
Year of Creation: April 2015
Performance: April 2018 — 3rd Tehran Contemporary Music Festival
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The Faulty Sequence No. 1 explores the concept of a process that resists expansion—an idea that moves forward but continually redefines itself. Through the manipulation of electronic textures, shifting timbres, and fragmented gestures, the piece captures motion suspended in uncertainty. Each sound seems to search for completion yet remains unresolved, reflecting the imperfection inherent in human thought and creation. It is a study of structure and fragility—an evolving landscape where failure itself becomes a form of beauty.
Suspension No. 2 (for Electronic Voices & Prepared Piano)
Composer: Soheil Shirangi
Year of Creation: Spring 2013
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More Information
Award:
Second Prize – Tehran International Electronic Composing Competition (2017)
Performances:
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September 2017 – Da Hall, Tehran, Iran (Closing of the 2nd Tehran International Electronics Festival)
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April 2018 – And Off Borders Festival, Thessaloniki, Greece
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June 2018 – Body, Light, Sound Festival, Luigi Cherubini Conservatory, Florence, Italy
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November 2018 – Sprengel Museum, Hannover, Germany
Event Link (Hannover)
Suspension No. 2 emerged from a space of uncertainty—moments of hesitation, unanswered questions, and fleeting emotional impulses. It represents a “suspension” of many things: feelings, memories, thoughts, and the invisible dialogue between self and others. Combining electronic voices with the resonance of a prepared piano, the work blurs the boundary between the organic and synthetic, between reflection and sound. Each texture unfolds as a fragment of inner discourse, echoing both intimacy and distance. It is a meditation on tension, stillness, and the fragile beauty of unresolved emotion.