13.06.2025 – Together We Fall: Concerts by Makan Ashgvari & Sanam Maroufkhani @ Kantine am Berghain
🎶 Taqato & Tehran Contemporary Sounds present:
Together we Fall
Concerts by: Makan Ashgvari & Sanam Maroufkhani (@makanashgvari & @sanam.mrf)
🗓️ June 13, 2025
📍 Kantine am Berghain – Berlin
🕣 Doors: 20:00
A special evening with two unique voices of the contemporary music scene of Iran.
🎙️ Makan Ashgvari – A genre-fluid performer from Tehran whose music slips between soul, folk, and experimental pop and electro-acoustic. His album “To Trucks” recalls the minimal melancholy of artists like James Blake or Burial — layered with glitchy textures and stripped-down beats. His newer works explore more club-inflected sounds, always carried by his powerful vocal delivery.
🎙️ Sanam Maroufkhani – An indie singer-songwriter based in Amsterdam whose intimate compositions blend Persian lyrics with alternative pop and cinematic textures. Her music balances softness and strength, weaving personal reflection with social commentary.
🎟️ Tickets are very limited. Join us for a night of intimate sounds and border-crossing stories.
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09.05.2025 – ‘Frequencies of Displacement’ @ Kantine am Berghain
TCS invites you to the first Frequencies of Displacement.
Frequencies of Displacement is not a lineup. It’s a field of tension and intensities. A collective pulse drawn from lives lived across thresholds—political, cultural, and sonic.
It’s a place of non-belonging. It’s not of identity but of universalities!
Tegh :
Shahin Entezami, known by his stage name Tegh, is a musician, sound artist, and practitioner from Tehran, Iran, now based in Paris, France. His music spans Electronic, Electro-acoustic, Ambient, Noise, Drone, Glitch, and Experimental genres. Entezami’s eagerness to explore the creative realm of other artists has led to numerous collaborative projects, namely “Temp-Illusion” and “Tegh & Adel Poursamadi.”
He has released eight solo albums as Tegh, three albums with his duo Temp-Illusion, and one under the Artirial moniker on labels such as Injazero Records (UK), PTP Records (US), Opal Tapes (UK), Hibernate Recordings (UK), Inner Ocean Records (CA), Midira Records (GE), Futuresequence (US), Flaming Pines (UK), and Bitrot Recordings (IR).
Nour Sokhon:
is a Lebanese artist based in Berlin. Her practice explores artistic research through interviews, field recordings, and site-specific interventions, which she translates into sound compositions, performances, interactive installations, and moving image works.
In 2017, she completed People on Sound, a documentary for her Master’s in Sound for the Moving Image at the Glasgow School of Art. In 2019, she received the Emerging Artist Prize at the Sursock Museum in Lebanon for her moving image piece Revisiting: Hold Your Breath and was awarded the Sound Art 2020 scholarship by Lower Saxony and the University of Fine Arts in Braunschweig.
Her debut solo album, Beirut Birds, was digitally released in 2024 with support from the Arab Fund for Arts and Culture – AFAC. She has exhibited internationally and performed at festivals such as Network Music Festival (2020), This Is Not Lebanon (2021), Punkt Festival (2023), Gaudeamus Festival (2023), United in Grief (2024), Vorspiel (2024), and Biennale d’Aix (2024).
10or møsaic
is a collective project that weaves electronic, jazz, and traditional music into a vibrant sonic tapestry, blending structured composition with free improvisation. For the upcoming concert in Kantine am Berghain, the ensemble features the three voices: guitarist and sound artist Milad Zendehnam, whose work bridges Persian musical traditions with experimental electronics and jazz; drummer and producer Puya Shoary, known for his dynamic rhythmic language and innovative use of mobile technologies in performance; and tarxun, a multidisciplinary artist whose practice spans music production, sound design, performance, and visual media.
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17.01.2025 – Saba Alizadeh presents: Temple Of Hope (Album Release) – Support: rouge-ah
Tehran Contemporary Sounds is proud to invite Saba Alizadeh to present his new album “Temple Of Hope” to be released on 17th of January on 30M records in Hamburg. How can a sense of beauty be found amidst fear and cruelty? How can the unspeakable be made audible—alongside rage, hope, and an unrelenting will to live? With his third album, “Temple of Hope”, Iranian composer Saba Alizadeh has created a deeply moving homage to the people of his homeland. The events of the “Woman, Life, Freedom” movement, as well as the struggles of the population in previous years, are transformed into powerful electro-acoustic music. These compositions are intensified by the vocals and lyrics of Andreas Spechtl, Sanam Maroufkhani, and Leila Rahimi. In his work, Saba Alizadeh blends the traditional string instrument Kamanche and other string arrangements with modular synthesizers and no-input mixers. The result is a tension-filled soundscape that explores the inexpressible and the fragmentation between suffering, resistance, and hope. Historical radio sequences root his pieces in the culture and history of his homeland, while the strong distortion and deconstruction of these acoustic elements point toward the incomprehensible—the existential upheavals and processes of dissolution. In his “Temple of Hope,” courage and hope converge. While Saba Alizadeh’s layered compositions may often seem like echoes of horror, they simultaneously unfold a profound and unsettling beauty. @sabaalizadeh
Support by: rouge-ah
Urška Preis, aka rouge-ah, is a composer, harpist, visual artist, and writer. Under the moniker rouge-ah they explore sound, and are currently researching dreams, nightmares and other sleep disruptions. Their main instruments are acoustic and electric harp, with a tendency of extracting uncharacteristic sounds from them. Since relocating to Berlin in spring 2022, rouge-ah has become a regular at some of the edgiest live music venues in the city, carrying their electric harp and effects pedals everywhere, from smoky underground basements and cozy record shops, to established performance and music venues, always bringing fresh and unexpected sounds, from layers of delicate notes to roars of feedback and distortion that seem to conceal an orchestra or a choir in full flow. @rouge.ah