Zemzemeh’s unique sound draws on haunting folk traditions blended with experimental, electronic imaginings that firmly plants their music in the contemporary. Rosie Hays, GOMA

Siyavash Doostkhah and Greta Kelly explore sufi poetry and mystical music of Iran through acoustic traditions infused with concepts of love and harmony.  Their work also brings issues of contemporary Iran to the fore through rap and electronica, and dance tunes with beats and samples.

Siyavash plays tanbur, an ancient, three-stringed instrument that originated in Khorasan in eastern Iran.  Up until 50 years ago you would rarely hear it outside the Zekr or Djamm devotional gatherings of the Kurdish Sufis. The unique strumming patterns elicit thoughts of a bubbling stream, birds singing, horses galloping; reflecting the natural environment of the tanbur.

Conversely, Greta’s shah kaman is one of the most modern Persian instruments.  Based on the ancient spike-fiddle, kamanche, the shah kaman was developed by Australian luthier, Peter Biffin in collaboration with Kayhan Kalhor, master of the Persian kamancheh . It’s five playing strings, seven sympathetic strings and a unique cone that acts as a resonator gives it a haunting resonance.

Zemzemeh augments these acoustic instruments with analogue and digital synthesisers, theremini (a digital theremin), violin, bass infused beats, looping and multi-effects to give a new interpretation of the ancient poetry.