It’s extremely difficult not to think of Iranian music in terms of black and white, before and after. The 1979 Revolution all but put an end to non-religious music-making in the country for the better part of a decade (not to mention the Persian pop and jazz fusions this culture had thrived on since the turn of the century). Foreign influences became even less welcome. Thirty years later and not even the anodyne Chris De Burgh, who had been weirdly experimenting with an Iranian band, could get a visa. In fact, it was only last month that . . .
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