Azam Ali Finds Truth in Music

Visiting Azam Alis home in Glendale, in the northeastern part of Los Angeles County, feels like stepping into a private sanctuary. The lush greenery around her house muffles the sounds of nearby traffic, creating a serene environment. The Spanish-style home is securely locked, but Azam invites me in from the side, greeting me warmly.

Her presence is fluidher wavy dark hair, long black dress, flowing wrap, and pewter-toned jewelry all reflect a sense of effortless elegance. We ascend to her studio, a creative haven filled with velvet furnishings, rich curtains, acoustic panels resembling mosque designs, and an array of string instruments, keyboards, and sound equipment. The computer blends into the space, emphasizing the tactile, sensory atmosphere of the room.

On a mosaic-topped table, she offers an array of homemade Iranian dishes, urging me to eat. Paired with aromatic cardamom tea, the meal evokes nostalgic memories. The environment mirrors her musiccalm, intimate, and thoughtfully composed. Her latest solo album, Synesthesia, embodies this atmosphere, offering an emotional electronica experience created primarily by Azam herself, with contributions from her husband and son.

The album features minimal yet poetic lyrics rich in natural imagery, driven by Azams expressive voice that conveys vulnerability, sorrow, determination, and redemption. She also interprets two covers: Tim Buckleys Song to the Siren and Natalie Merchants This House is on Fire. Synesthesia is her sixth solo album, complementing decades of work including collaborations with Niyaz, Vas, Roseland, and contributions to film, TV, and video game scores.

Azams personal history is marked by displacement and resilience. Born in Iran to a single Bahi mother, she was sent at age four to a boarding school in India for safety, remaining apart from her mother for much of her childhood. Music became her sanctuary during these formative years, from classical Indian performances to recordings of Iranian singers Hayedeh and Sima Bina. Music always commanded my full attention, she recalls.

In 1983, she reunited with her mother, eventually relocating as a refugee to Los Angeles in 1985. Her early life shaped her independence and self-discovery, fostering a deep connection to music as both refuge and expression. She immersed herself in the santur, Persian classical training, and eventually voice lessons, discovering singing as her true conduit for personal and emotional expression.

Azams sound bridges Eastern and Western influences, combining industrial, trip-hop, post-punk, and Middle Eastern elements. She integrates global folk traditions, Persian poetry, and spiritual motifs into her work. Music is central to her daily life, offering balance and emotional release amid family and professional responsibilities. Its like a radio stationI keep turning the dial until I lock into a frequency, she says.

Financial challenges have made producing albums increasingly difficult. Her previous album, Phantoms, required significant investment with limited financial return. Despite this, she continues creating music, driven by passion rather than commercial gain. Synesthesia took five years to develop, evolving organically from her ongoing practice of writing and recording. The album was ultimately supported by Christian Petke of COP International, ensuring its release.

For Azam, music is sacreda place for honesty, reflection, and emotional connection. While initially uncertain about completing Synesthesia, she now values the opportunity to share her work, recognizing the universal resonance of art. When people reach out about their experiences with certain songs, it reinforces that art belongs to everyone, she says. As artists, we have a moral obligation to do the work.

Author: Ava Mitchell