❤️🔥قلب (Qalb)
Process:
Human, ChatGPT, Meta.ai, Riffusion.com, Audacity 3.7.1, Ubuntu 24.10 (Oracular Oriole, Linux)
Text to Music Prompts:
The full album mix stream and downloadable (free) MP3 and FLAC files begin with the bonus track, a 52-minute sub-mix of songs inspired by the poem, به باغ بی‌برگی (I Pity the Garden) by Forough Farrokhzad. It is a powerful metaphor for the suppression and decay of Iranian society, especially as it relates to women. For Iranian women, the poem reflects their silenced voices, lost potential, and the suffocating constraints of patriarchy—yet it also stands as an enduring symbol of resistance, awareness, and the yearning for renewal and freedom.
از فروغ فرخزاد
به باغ بی‌برگی
خزانِ زردِ مرگ‌آور نخواهد ماند
بهارِ سبزِ باور ناگزیر استو در خیالِ سبزِ شاخه‌های خشک
همیشه باد
به اشتیاقِ برگ میوزدمن از یقینِ جادوییِ خزان سخن می‌گویم
و از نوازشِ سرشاخه‌های خشک
به دستِ باد
و از صداقتِ دردنگاه کن که چه گونه پوستِ آدمی
می‌شکافد
در آفتابِ شکفتنو چشم‌ها
که از جهنمِ آلودگی
باز آمده‌اند
به لبخندِ پاکِ یک نوزاد میمانندمن از نوازشِ یک برگ سخن می‌گویم
و از بوسه‌ای
که در خاموشیِ پوست می‌ماند
من از اشتیاقِ یک بوسه سخن می‌گویم
و از آشناییِ پوستنگاه کن
که چه گونه درختان
سایه‌شان را از دست داده‌اند
و چه گونه
راهِ روبرو
در انزوای آن‌ها
تکرار میشودبه باغ بی‌برگی
خزانِ زردِ مرگ‌آور نخواهد ماند
بهارِ سبزِ باور ناگزیر است
By Forough Farrokhzad
(Translated to English by Sholeh Wolpé and others)
I pity the garden.
The garden is bereft of leaf,
the garden is aghast,
and with its long roots
it lies underneath the rains of this era,
its mind full of memories of green,
its memory a clear hallucination of trees.The garden’s heart is heavy
with the dejection of seasons,
and its pond, which once mirrored its soul,
now is a murky hollow.
The garden’s lore is drained
of its ecstasy,
and no one thinks of the flowers,
no one thinks of the fish,
no one wants to believe that the garden is dying,
that the garden’s soul is being emptied
under the sun of alienation.Our yard is alone.
Our yard is alone.All day long, from behind the door,
the sound of footsteps can be heard,
and the sound of shattering,
and the sound of fear,
and the sound of windows breaking in the night.
And the thin cries of a voice
echo from the corners of the yard:
“I pity the garden…
I pity the garden…”I pity the garden.
The poem is not just a lamentation about a literal garden. It’s a metaphor for silenced womanhood, and a withering soul under patriarchy and repression. Farrokhzad wrote this poem in the years following her exile from the literary and social norms of her time – she was divorced – publicly shamed – but yet artistically fearless.
“Love is the bridge between you and everything.”
— Rumi (Jalal al-Din Muhammad Balkhi)
In an era where cultural memory and sonic innovation rarely intersect, the project Qalb (قلب) by TATANKA AudAI™ emerges as a groundbreaking exploration of heart, heritage, and harmonic frequency. This immersive sound experiment fuses Persian classical music with the digital pulse of PsyTech EDM, anchored by the transformative 40 Hz binaural beat. Through the poetic lens of Forough Farrokhzad and the scientific alignment of gamma-wave resonance, the project becomes both a sonic journey and a symbolic act of cultural resistance. In this article, we will examine the project’s key pillars: the ancient Persian modal system known as Dastgāh, the cognitive and emotional power of the 40 Hz frequency, and the deeper social narrative embedded in its tribute to Farrokhzad’s iconic poem, I Pity the Garden. These three interconnected subtopics show how Qalb (قلب) is more than an album—it is a bridge between worlds, generations, and realities.
The Dastgāh system is the foundation of Persian classical music, representing intricate modal structures that extend far beyond Western musical scales. Each dastgāh evokes a unique emotional and spiritual dimension—whether the mystical longing of Dastgāh-e Šur, the bright clarity of Māhur, or the solemn introspection of Homāyoun. Within Qalb (قلب), seven primary dastgāhs and their corresponding āvāzes are digitally reimagined through generative AI and deep audio production tools. This creates an entirely new sound palette where ancient modes are re-contextualized within the throbbing substructures of PsyTech and trance. By choosing modes such as Segāh and Chāhārgāh, the album taps into emotional depth while preserving microtonal nuances vital to Persian expression.
Moreover, the musical choices for Qalb (قلب) reflect a careful balancing act between authenticity and experimentation. The album uses tonal centers like E Phrygian, E harmonic minor, and E Dorian—keys that not only mirror Persian aesthetics but also complement the low-end richness of 40 Hz sub-bass. Each piece, then, becomes a fusion of folk memory and futurism, bridging the symbolic sound of exile and homeland. The system’s microtonality—often lost in Western tuning—re-emerges here through AI-augmented production, preserving ornamentation and subtle pitch shifts essential to the genre.
By integrating these ancient modes into a high-tech audio canvas, Qalb (قلب) also educates its listeners about the profound spirituality encoded within Persian musical culture. This is not cultural appropriation—it is reclamation and elevation. In doing so, the project opens space for Iranian identity to thrive in the global digital ecosystem, guided by both memory and innovation. The result is an emotional code that speaks to generations, transcending borders and binaries through vibrational beauty.
The choice of 40 Hz is more than an artistic flourish—it is grounded in neuroscience. Gamma brainwave frequencies, particularly those around 40 Hz, are associated with heightened states of consciousness, perception, and memory integration. Qalb (قلب) integrates a 40 Hz binaural beat throughout the entire album—subtly embedded beneath the music, mixed at –32 dB, just enough to influence the listener’s brainwaves without disrupting musical clarity. This frequency acts like a hidden guide, steering the listener toward deep states of flow, introspection, or ecstatic presence—perfect for the meditative repetition and hypnotic structure of PsyTech EDM.
The album’s deep sonic layers resonate not only with the brain but also with the body. At 40 Hz, the sub-bass exists on the edge of perception—more felt than heard. It vibrates the body, anchoring ethereal melodies with visceral gravity. This frequency syncs with the natural resonance of keys like E minor and E harmonic minor, offering both musical cohesion and neurological coherence. Qalb (قلب) thus becomes a sonic ritual: listeners are not merely consuming music—they are undergoing a vibrational experience with therapeutic and emotional dimensions.
This scientific grounding also reinforces the album’s spiritual dimensions. In Sufi mysticism, music is a tool for awakening—used to transport the soul beyond the mundane. Here, science and mysticism merge. The 40 Hz pulse becomes a modern-day Zikr, a rhythmic invocation drawing the mind into deeper unity. It affirms the notion that consciousness is not separate from culture, and that healing can happen through harmonics as much as through language.
No aspect of Qalb (قلب) would be complete without its lyrical heart: the poem I Pity the Garden by Forough Farrokhzad. Her haunting verses serve as both a cultural critique and a feminist elegy. Written during a period of personal and political exile, the poem likens a neglected garden to a society that suppresses its women and silences its artists. This theme is woven into the album’s bonus track, which uses a Persian-language narration of the poem, layered with garden soundscapes and ambient textures. The result is a sonic lament for Iran’s spiritual and ecological decay—but also a subtle, powerful act of resistance.
Farrokhzad’s inclusion in the album is no coincidence. Her voice—both literally and figuratively—echoes the album’s intention to give presence to what has been silenced. Women’s voices in Iran, especially in music and poetry, have been historically repressed. By centering her work, the album not only honors her legacy but also subverts those silences through technology, sound, and global accessibility. The act of turning a poem into a musical space reclaims expression through modern media, giving new breath to ancient pain.
This poetic anchor also amplifies the project’s emotional depth. The contrast between the poem’s sorrowful imagery and the pulsating vibrancy of the music creates a powerful tension—a push and pull between despair and possibility. It allows listeners to sit with discomfort, reflect on cultural wounds, and reimagine healing. In this way, Farrokhzad becomes not just an influence, but a co-composer in spirit, guiding the emotional arc of the album from lamentation to transformation.
Qalb (قلب) is more than a sonic experiment—it is a multidimensional art project rooted in heritage, science, and emotional truth. Through its use of the Dastgāh system, it reconnects listeners with the mystical codes of Persian musical tradition. Through the integration of the 40 Hz frequency, it opens portals into higher states of awareness and rhythmic embodiment. And through its poetic tribute to Forough Farrokhzad, it revives voices that history tried to erase—especially those of Iranian women. Together, these elements form a unified vision where music is not just heard but felt, understood, and remembered.
In Qalb (قلب), past and future meet in the present moment—within the heartbeat of a track, the whisper of a ney, or the pulse of gamma waves. It invites us to tune into ourselves and each other, to recognize that what we feel is not separate from what we know. And in doing so, it shows us that sound—when made with intention—can become both a bridge and a revolution.
There was a time when Ziryan thought her country had forgotten her. Born in Isfahan, she forged sculptures out of discarded steel and broken radios—scrap that once buzzed with life. In her hands, wires danced like calligraphy, and rusted panels glowed with rebirth. Her studio smelled of solder and jasmine tea. Her art—raw, industrial, full of rage and rhythm—never found footing in Tehran’s curated galleries. She wasn’t delicate enough, not poetic in the acceptable sense. Not until her work was accused of being “anti-patriotic noise.” She knew then it was time to find her path.
She arrived in northern Italy first, then Spain. Her hands, always seeking, missed the iron, the voltage, the burn of building something unapologetically real. That’s when a strange phrase caught her eye online: “Orchestra Americana.” She almost dismissed it—too polished, too foreign. But then, she saw a word beneath it: TATANKA. A Lakota bison. Her grandfather once called her Gavazn-e-Sefid, the white deer who wandered. She took it as a sign.
The application was odd. It asked not for formal credentials but for spirit. It asked for dreams. Ziryan typed out, in fierce honesty, how she heard music in engines, poetry in weld sparks, and pain in silence. Three weeks later, she stood at the foot of snow-capped peaks in an unnamed mountain range, somewhere in Patagonia, but far from anything she had ever called home.
The studio was alive—glass walls opening to pine forests and distant echoes of Pumas. But inside, everything pulsed: keyboards humming with sub-bass, cellos sighing through delay pedals, a wind chime built from copper drone wings. People were here not to fit in but to fuse—just like her art. Musicians, dancers, thinkers, machines. All orbiting a concept called Qalb—the heart, both as an organ and a frequency.
Her first contribution wasn’t melodic. It was kinetic. She built a kinetic sculpture that responded to 40 Hz pulses using salvaged Iranian tools, sensors, and a discarded prayer clock. It twisted and unfolded like a breathing machine whenever the binaural beat entered the space. The others watched in silence as it moved—first puzzled, then weeping. One called it a “metal dervish.”
Ziryan didn’t speak much, but music didn’t require explanation here. One of the project leads whispered, “This is resistance in rhythm.” The phrase burned into her. She began layering field recordings—Isfahan bazaars, the clink of her grandfather’s hammer, street protests—into the PsyTech tracks being composed for the Qalb album. Each sound was a ghost made whole.
One late evening, they played back the full mix: a four-hour odyssey through Persian modes, gamma waves, and voices no one had heard in years. Ziryan stood outside, under the pine canopy, as her sculpture pulsed in time with the earth. It was the first time since exile that she felt her art was not a protest, but a homecoming.
Weeks passed, then months. Ziryan stayed. She wasn’t just featured in the Orchestra Americana—she became its living forge. Younger artists began arriving, Iranian women with paint-scarred hands, anxious voices, and cracked dreams. Ziryan welcomed them not with answers, but with steel and fire. “You’re not here to be safe,” she told them. “You’re here to be heard.”
She named her new collection “Zang-e-Del”—The Heart’s Ring. A set of industrial sculptures that sang in harmonic overtones at 40 Hz, tuned to Dastgāh-e Segāh. Each piece was paired with a story of a silenced woman—amplified now not in shouting, but in vibrating truth.
Ziryan’s story is one of exile turned alchemy—of transforming dislocation into a deep frequency of belonging. Her journey with TATANKA’s Orchestra Americana shows that artistry doesn’t require permission, only a place where vision is met with resonance. The project Qalb (قلب) didn’t just awaken ancient tones—it awakened her own.
For any woman who feels unheard, unwelcomed, or unrooted, Ziryan reminds us: there is a frequency in the world that is waiting just for your voice. It may not be in your homeland, but it will feel like home when you find it. Seek it not in silence, but in vibration. Let your heart, like hers, weld itself into something powerful and permanent.
| Key | Why It Works |
|---|---|
| E minor | Dark, brooding, matches the 40 Hz sub-bass tone. Common in trance, techno. |
| E Phrygian | Has Middle Eastern flavor. Fits well with Iranian musical aesthetics. |
| E Dorian | Adds a bit more brightness while keeping exotic tension. |
| E harmonic minor | Offers Persian-style drama and emotion—perfect for Iranian EDM fusion. |
The 40 Hz binaural beat acts as a sonic anchor and cognitive enhancer, perfectly marrying the ancient Persian modal complexity and microtonality with the modern, immersive, and hypnotic qualities of PsyTech EDM. Its deep sub-bass presence supports the bass foundation while stimulating the listener’s brain to deeper focus, making your album both emotionally profound and rhythmically compelling.
To mitigate dissonance with the music, the gain of the binaural beat is reduced to -32 dB. It alone fades in during the first fifteen seconds of the mix, then alone fades out in the last fifteen seconds. It remains across the duration of the mix, but is difficult to hear except between tracks, but the listener still receives the frequency so it provides its benefits.
The source provides an overview of Qalb (قلب), a musical project by TATANKA AudAI™ that bridges ancient Persian classical music (Dastgāh system) with modern PsyTech EDM. The project incorporates a 40 Hz binaural beat to enhance consciousness and integrates the themes of Forough Farrokhzad’s poem “I Pity the Garden,” which symbolizes feminist resistance and the struggles of Iranian women. Qalb is presented as a multi-dimensional artistic endeavor that combines cultural heritage, neuroscience, and emotional depth to create a transformative listening experience, as exemplified by the story of Ziryan, an artist finding her voice and home through the project. The text also highlights the technical and artistic choices, such as specific musical keys, and the collaborative process involving human creativity and AI tools.
The ❤️🔥قلب (Qalb) project by TATANKA AudAI™ is a groundbreaking immersive sound experiment that fuses ancient Persian classical music (the Dastgāh system) with PsyTech EDM. A core element of the project is the integration of a 40 Hz binaural beat throughout the album, designed to enhance consciousness and engagement. Beyond its sonic innovation, Qalb serves as a symbolic act of cultural resistance and a tribute to the Iranian poet Forough Farrokhzad, particularly her poem “I Pity the Garden,” which metaphorically addresses the suppression of Iranian society and women. The project aims to be a bridge between cultural memory and sonic innovation, past and future, and different realities.
Qalb (قلب) is presented as a “multidimensional art project” that transcends mere musical experimentation. It is deeply rooted in Persian heritage, supported by neuroscience, and imbued with emotional truth. By bridging ancient modal systems with modern PsyTech and the conscious-altering 40 Hz frequency, and by amplifying the silenced voice of Forough Farrokhzad through Ziryan’s journey of artistic alchemy, Qalb demonstrates how “sound—when made with intention—can become both a bridge and a revolution.” It encourages listeners to connect with cultural memory, higher states of awareness, and the power of resistance through vibration, fostering a sense of belonging and transformation.
Qalb (قلب) is an innovative and ambitious sound project by TATANKA AudAI™ that blends ancient Persian classical music, specifically the Dastgāh system, with modern PsyTech EDM. The project is further anchored by the integration of a 40 Hz binaural beat, aiming to create an immersive sonic experience that explores themes of cultural heritage, consciousness, and resistance. It’s more than just an album; it’s designed as a multi-dimensional art project that bridges different cultures, generations, and states of reality.
Qalb (قلب) extensively utilizes the Dastgāh system, the foundational structure of Persian classical music. Each Dastgāh evokes unique emotional and spiritual dimensions, and the album digitally reimagines seven primary Dastgāhs and their corresponding āvāzes using generative AI and deep audio production tools. This creates a new sound palette where ancient modes are re-contextualized within PsyTech and trance music, preserving crucial microtonal nuances and ornamentation often lost in Western tuning. The project uses specific tonal centers like E Phrygian, E harmonic minor, and E Dorian to mirror Persian aesthetics and complement the 40 Hz frequency.
The 40 Hz frequency is a crucial element, chosen for its grounding in neuroscience. It is associated with gamma brainwave frequencies, which are linked to heightened states of consciousness, perception, and memory integration. Qalb (قلب) embeds a 40 Hz binaural beat throughout the entire album, mixed subtly at –32 dB to influence the listener’s brainwaves without disrupting the music. This frequency aims to guide the listener toward deep states of flow, introspection, or ecstatic presence, enhancing the meditative and hypnotic qualities of the PsyTech EDM. At 40 Hz, the sub-bass is felt physically, anchoring the ethereal melodies with visceral gravity.
A central theme of resistance, particularly concerning the suppression of women’s voices in Iran, is conveyed through the inclusion of Forough Farrokhzad’s poem, “I Pity the Garden.” This haunting poem, read in Persian and layered with ambient soundscapes in the bonus track, serves as a metaphor for a society that silences its women and artists. By centering Farrokhzad’s work, Qalb (قلب) not only honors her legacy but also subverts historical silences, making a powerful statement through technology, sound, and global accessibility. The contrast between the poem’s sorrow and the pulsating music creates a tension that prompts reflection on cultural wounds and the yearning for renewal and freedom.
Ziryan is an artist from Isfahan, Iran, whose personal story of exile and artistic struggle is highlighted as an embodiment of the project’s themes. Initially unrecognized in her home country for her raw, industrial sculptures, she found a place of resonance with TATANKA’s “Orchestra Americana” in Patagonia. Her unique kinetic sculpture, which responded to 40 Hz pulses, became a powerful symbol within the Qalb project, representing “resistance in rhythm.” Ziryan’s journey exemplifies transforming dislocation into belonging, and she began layering field recordings from her homeland into the PsyTech tracks, making “ghosts made whole.” She now welcomes other Iranian women artists, encouraging them to find their voice through art and vibration.
The “Orchestra Americana” is a collaborative artistic collective facilitated by TATANKA, described as a place where musicians, dancers, thinkers, and machines “fuse.” It appears to be an unconventional studio environment that prioritizes spirit and dreams over formal credentials. TATANKA, whose name refers to a Lakota bison, seems to be a platform that fosters artistic innovation, cultural reclamation, and the exploration of consciousness through sound. Their broader mission encompasses themes of DEI (Diversity, Equity, Inclusion), SDGs (Sustainable Development Goals), and AI, suggesting a commitment to social impact, technological advancement, and a respectful integration of diverse cultural elements.
AI plays a significant role in the production of Qalb (قلب). The sources mention the use of generative AI and deep audio production tools to digitally reimagine ancient Persian modes and to create entirely new sound palettes. The “Process” section lists “Human, ChatGPT, Meta.ai, Riffusion.com, Audacity 3.7.1, Ubuntu 24.10 (Oracular Oriole, Linux),” indicating a hybrid approach where AI tools like ChatGPT, Meta.ai, and Riffusion.com contribute to the creative process, likely in generating text-to-music prompts and assisting in sound design. This AI-augmented production helps preserve the microtonal nuances and ornamentation vital to Persian music.
Qalb (قلب) represents a multidimensional art project that powerfully intertwines heritage, science, and emotional truth. It reintroduces listeners to the mystical codes of Persian musical tradition through the Dastgāh system, opens portals to heightened awareness via the 40 Hz frequency, and revives silenced voices, particularly those of Iranian women, through its tribute to Forough Farrokhzad. The project demonstrates that music can be felt, understood, and remembered on multiple levels, fostering a sense of unity between past and future, and proving that sound, when made with intention, can be both a bridge and a catalyst for revolution. It offers a message of hope and belonging for those who feel unheard or unrooted.
Ziryan: An Iranian sculptor whose personal story of exile and artistic expression becomes a central narrative in the Qalb project, illustrating themes of resistance, transformation, and finding a place of belonging through art and sound.
40 Hz Binaural Beat: A specific auditory illusion created by playing two slightly different frequencies into each ear, resulting in the brain perceiving a third, pulsating tone at the difference of the two frequencies (e.g., 40 Hz). It is associated with gamma brainwaves and heightened states of consciousness, focus, and memory.
Āvāz: A subdivision or derived mode within the broader Dastgāh system of Persian classical music, often representing a specific melodic phrase or emotional nuance. The Qalb album features several āvāzes, such as Bayāt-e Tork and Dashti.
Dastgāh System: The foundational modal system of Persian classical music, comprising intricate melodic structures, each evoking a unique emotional and spiritual dimension. There are seven primary dastgāhs (e.g., Šur, Segāh, Homāyoun) and several derived āvāzes.
Forough Farrokhzad: A prominent Iranian poet whose work often challenged societal norms and explored themes of identity, freedom, and the female experience. Her poem I Pity the Garden is a central lyrical inspiration and a metaphor for societal and female suppression in the Qalb project.
Gamma Waves (Gamma Brainwave Frequencies): Brainwave frequencies typically ranging from 30 to 100 Hz, with 40 Hz being a notable point. They are associated with peak concentration, problem-solving, higher-level cognitive processing, heightened perception, and memory recall.
Microtonality: The use of musical intervals smaller than a semitone, which is common in Persian classical music (e.g., quarter-tones). The Qalb project aims to preserve these subtle pitch shifts through AI-augmented production.
Orchestra Americana: A concept or collective within TATANKA that brings together diverse artists (musicians, dancers, thinkers, machines) to collaborate and fuse their creative visions, as exemplified by Ziryan’s journey.
PsyTech EDM: A subgenre of Electronic Dance Music (EDM) characterized by psychedelic, often hypnotic, and complex electronic sounds, driving rhythms, and a focus on immersive sonic experiences, often leading to trance-like states.
Qalb (قلب): An Arabic and Persian word meaning “heart.” In the context of the TATANKA project, it signifies the core concept of the album, bridging heart, heritage, and harmonic frequency, and is also linked to the idea of a central organ and a specific frequency.
TATANKA AudAI™: The entity behind the Qalb project, described as a groundbreaking exploration of sound, resistance, and frequency. “TATANKA” is a Lakota word for bison, suggesting strength, grounding, and connection to nature.
Zikr: A Sufi devotional practice involving the rhythmic repetition of the names of God or spiritual phrases, often accompanied by music or movement, intended to bring the practitioner closer to a state of spiritual awakening. The 40 Hz pulse in Qalb is likened to a modern-day Zikr.
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