Rising indie rock star, PAINT’s, (the solo act of Pedrum Siadatian) new singles, “Ta Fardah” and “Land Man” are a tour de force begging to be played on repeat. Following the release of his 2018 self-titled debut album, listeners were treated to a smooth, reverb-soaked alt-rock project that balanced both retro and fresh simultaneously. In past work with the Allah-Lahs, Siadatian wears his influences on his sleeve whereas on PAINT, fans heard hints of The Zombies, Third Floor Elevators, The Velvet Underground, and the Beach Boys.
The project began by four-tracking his ‘own strange, slow-growing ideas just after Allah-Lahs third album Calico Review (2016)—fed or led by a certain acid-bitter poetry (Gregory Corso and John Lennon) and the murky music of Kevin Ayers and Syd Barrett’.
“Ta Fardah” steeps itself in the sounds of 70s/ 80s funk and disco—transporting listeners to the quintessential classic film scene of a red Corvette convertible driving down Sunset Boulevard. The track mirrors the sound of other modern indie bands such as Khruangbin, who also draws inspiration from and pays tribute to music from this time period. However, “Ta Fardah” sets itself apart from these other songs through its strong Iranian influences. Sung entirely in Farsi, “Ta Fardah,” which translates to “Til Tomorrow,” points proudly to Siadatian’s Iranian heritage, similarly to his song “Heaven In Farsi” which appears on PAINT.
The song’s Iranian influences are further emphasized throughout its music video, with the use of lo-fi techniques and homemade props also placing it even more comfortably within Indie music’s DIY traditions and ethos. As Siadatian states, “[“Ta Fardah”] is an ode to 70s/80s Iranian melodrama, with a video depicting a man falling in love with a TSA agent,” adding, “quarantine resulted in a homemade metal detector and security screening room.”
PAINT’s second single “Land Man” is reminiscent of early, Syd Barrett-era Pink Floyd, the Kinks, and the garage proto-punk of the 60s and 70s. Similar to early Floyd, the lyricism featured on this song leans towards the absurd and evokes the language of children’s stories, with lines such as “I’m no Toucan Sam-man, in some guitar jam band.”
Coupled with the song’s opening ocean noises, droning Velvet Underground-esque lead guitar licks, marimba instrumentation, and reverbed/ washed-out vocals, “Land Man” takes on a wonderfully, playful psychedelic nod to the past.
As these two singles “Ta Fardah” and “Land Man” indicate, PAINT’s new album, Spiritual Vegas (out July 10th via Mexican Summer) will be a record not to be missed. Pedrum Siadatian skillfully works with a variety of his biggest musical influences to bring us a fresh Indie take on the music from the past.
To purchase or stream, “Ta Fardah” across your preferred streaming platform, click HERE. To purchase or stream, “Landman” across your preferred streaming platform, click HERE.
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