Milad Ahmadi Makes Persian Gabber Totally a Thing on 'Hormoz Noise'

Born, raised and based in Bandar Abbas, Iran, Milad Ahmadi has made a name for himself in the Iranian music scene as one of the most irrational and nocturnal producers in the game. Whether it be Breakcore, IDM, Hard-Industrial or Gabber, the producer never strays away from his darker tendencies.

After a two-year hiatus since his last project ‘Singom’, the producer released his fourth album ‘Hormoz Noise’ last May, where he takes a deep dive through the realm of Gabber, an underground subculture of electronic dance music that’s more than a little on the heavier side.

This 13-track album isn’t for the faint of heart. From the very first track, ‘VAAHED’, the artist throws us in a sea of distorted fast-paced beats and distortion. Persian vocals are heard in multiple tracks, whether it be on the Screamo side like in ‘50DAR100’, ‘HOSHDAAR’ or ‘BAAMAA’, Rap like in ‘FARYAAD’ or ‘MAGHZ’, or performed with the cadence of spoken-word like in ‘SHARM’. All throughout, the vocals blend in a bitter-sweet way that made us wish we spoke Persian ourselves.

Aside from the fast beats, heavy kickdrums and darker samples that are used as a back-drop throughout the album, we can hear other familiar sounds like a tin cowbell riff used as a lifeline in ‘MAGHZ’, the traditional Tabla in ‘SHARM’, helicopter propeller samples in ‘BOOYE KHOON’ and sinister ghostly synths in ‘HASHDOOR’ and ‘SHABE YALDAA’.

We can hear the producer infuse other genres in some tracks; take the Neo-Old-School drum beats in ‘CYBERS’, for example, or the ever-so nostalgic Dubstep aura of ‘BAAMAA’.

“Sounds about war, earth, fighting and losing friends in the war, but every person listens to the way their minds guide them,” Ahmadi tells SceneNoise.

‘Hormoz Noise’ opens up a portal into the dark depths of the artist’s mind, and can be used as a perfect soundtrack for a Cyberpunk film or video game, or just when you want to scream and let out some angst.