Exclusive Interview with Sina of the Blackhearts Film / From The Vastland Part I

Exclusive Interview with Sina of the Blackhearts Film / From The Vastland Part I by R.G.B. Robb— Though there are multiple viewpoints present in the documentary Blackhearts, the most intriguing for me was that of the man named Sina. If you are unfamiliar with his story, it is one of tragedy and triumph. The mastermind behind the black metal band From The Vastland, not only allowed him the ability to bring his emotional viewpoint out via the music he created, but it was also one thing that could have gotten him imprisoned. Sina was a musician living in Iran—a country known for its strict limitations on the recording and performing of heavy metal music—trying to get to Norway. Upon his arrival into Norway, he found that it was a country where he not only could perform his art without retribution, but one that would open its arms to their foreign son and allow his music to flourish. Having been raised in the United States with all of the freedoms that this country provides, I felt it important to allow him to tell his story, to tell of his trials and tribulations, and give those of us who may take these freedoms for granted a deeper appreciation for the benefits we see as mandatory to our existence. Broken into two parts, this first piece will focus on how Sina became involved in heavy metal music, how his role in the Blackhearts film came to be, and how musicians in Iran have been impacted by the prevalent religion. Sina admits that the need to play heavy metal music began at home, and the influence had been there his entire life. “The thing is, I grew up in a family where my parents were fans of rock music, so it was familiar. I also have a sister, she’s four years older than me, and she’s a fan of metal music. Where I was growing up, there was always rock and metal in the house. Then, when I was a teenager, a friend of mine came back from Austria, and he brought me some tapes, you know Black Sabbath, Guns n’ Roses, and all those bands. Immediately, I fell in love with that music. Then I started listening to metal music. And you know how it works, step by step it gets heavier. Finally, I realized I wanted to play music, to make music, and it was not easy because I couldn’t buy a guitar because I was still a student. Then it was hard to find someone to teach you. Back in that time, there was no internet or books to learn to play guitar. I was around 20 when I began, I actually started late. I started playing guitar, and after a year I started my own band. I have released almost 10 albums, E.P.’s, and singles.” It was this built-in history with writing and recording music that got the attention of filmmaker Christian Falch, who had taken not only an interest in helping his music, but felt his story was in need of being shared with the world. “Christian had contacted me and told me about this project. I read his email and I immediately said ‘yeah.’ I knew that it wasn’t going to be easy, but I also could understand how it’s important for me to take this opportunity to tell my story. Back in that time, I was active in the metal scene for more than 10 years or something, and I could sell my albums outside of the country. But it was my dream many years ago to be in a situation where I can talk about my story. Where I can release my albums freely, without any limitations, and live in a way that I would like to. That was a lot of the reason that I wanted to take this step, even though I knew it wasn’t going to be easy.” For those of us who have lived in a country where personal freedoms and the creation of art are a consistent way of life, it’s when Sina explains the legal issues—and the lack of laws in general—that could have befallen him during this process, that the weight of what he was doing comes to light. “There’s no specific law about music, and that’s the problem. According to the law, if you want to make music, if you want to release your album or do a live concert, you need to get permits from the Ministry of Culture. But they don’t give you permits to release an album, or do a live concert when your music is rock. For a short period of time about 15 years ago, for like two years, the government was a bit moderate, so a few bands could do a live concert. Of course [the shows were] without vocals, and with a lot of limitations. Even the audience had to sit on the seats, they couldn’t bang their heads or stuff like that. During the past years, the situation has gotten worse and worse. When you want to release an album, first you need to deliver your lyrics, then deliver your music to the Ministry. As soon as they find out it’s a rock band, they just said ‘no way.’ There were even some cases of when people wanted to release their album officially—they had lyrics in Farsi, and they used old poems, they aren’t lyrics, they are just poems—and when they went to the Ministry of Culture to get the permits, they warned them to be careful; that it’s better to stop making this kind of music because it might ‘make problems’ for them. But the main problem is when the government, even when it’s moderate, have religious groups, because they have the power. If the government would just stop you making music and say ‘There is no way to release your music,’ that’s OK. At least you aren’t in danger. But if you don’t stop, and you want to continue working on your music underground, then those religious groups can make serious problems for you.” With this level of subterfuge, it allows these religious groups to pick and choose their targets, along with the punishments. “There were actually some cases, it happened when some bands tried to release their album, or they wanted to do a live concert, it happened where several authorities just came and arrested people. In one case, even when they had the permits from the Ministry of Culture, one religious group came and closed the venue and arrested the audience. In that case, the audience just had to pay a fee and were released afterwards. But the band members had their instruments taken, they were put in jail for several days, and had to pay a huge fee. After their instruments were taken, they were told ‘you will never do this again.’ But this is just one case. In another, a friend of mine released her albums outside of the country, and [she and her band] went to Turkey to play a show. At that time, when they were in Turkey playing their show, some authorities rushed into their houses and destroyed everything. You never know. Because there is nothing in the law that says anything specifically, so they can do whatever they want.” With music and art so central to the human experience, and the lack of art having been the downfall of a number of societies throughout human history, there has to be a deeper look taken at the core of where this resistance comes from. In part II of the interview, we will look at what generates these restrictions, and what it is like now for Sina and his music, as well as what the future holds for this musical refugee. Link to Part II of the interview: Official From The Vastland page: Official Blackhearts page: