Zarb-e Osul

After having begun learning tombak (goblet drum) in Iran at the age of ten, Tabassian's rhythmic journey would later begin in earnest in his adopted homeland of Québec. A student of classical Western percussion, Tabassian's curiosity toward rhythm would take him to Morocco, Turkey and India. As well as leading his own Persian music ensembles, Tabassian is active in early and contemporary music, and has recorded with such luminaries as Kronos Quartet, Kayhan Kalhor and Mercan Dede. Zar-e Osul is his third solo recording, consisting of 11 rhythmic compositions, all of which are based on osul (rhythm cycles) from 17th- and 18th-century Iran. Ranging from nine to 88 beats in length, these cyclic pieces feature Tabassian as the sole performer, multi-tracking a number of percussion instruments, including tombak, frame drums, cajón, handclaps and bells.

Despite the lack of a melodic focus, each piece is kept distinct and engaging through the sheer variety of textures utilised. ‘Chambar’ ends in an exhilarating passage of konnakol (South Indian rhythmic vocalisation) that culminates in a gigantic gong hit. Tabassian's voice also leads us through the mind-bending 88-beat cycle that serves as the backbone of ‘Zarb-ol Fath’, as well as the melodic chants of ‘Khafif’. While there are bursts of clear virtuosity, Tabassian's improvisations are profoundly musical – travelling across the beats of the cycle as if on a tightrope, building rhythmic tension before coalescing on the eventual downbeat. A masterclass in cyclicity, Zarb-e Osul sets a new benchmark for rhythmic composition.