Bardia Farhadian is known best for his productions under his co-owned record production company, Blue Orb Records.
As a Persian-American producer, his roots of electronica started in Tehran, Iran and then to Istanbul, Turkey and eventually brought him to San Francisco and their underground scene. Then, inspired by his wife’s, DJ ThuyVu‘s, musical pursuits and accomplishments, Bardia began djing at Supperclub, Sloane, The Endup, Harlot, 2nd Sunday, Mighty, Ruby Skye, BeatBox and at Nikki Beach, Mexico.
His first release, “Dark Nights,” was well received by San Francisco DJs, and many of his unreleased tracks such as “Victory,” “I’m Gonna Get You,” “Tonic,” “B Man,” and “You and I” gets continual exposure in the techno and house industry.
Bardia’s latest EP comes by way of Stacey Pullen‘s BlackFlag Recordings. Entitled “Doing Alright,” the 3 tracker features the diversity of Bardia F’s production powers, from the intensity of its title track to the suspenseful ‘Obvious Problem’. Today we are proud to present the exclusive premiere of the EP’s closing track, the funk driven percussive ‘Bass & Booty’. Also, check out our quick conversation with Bardia on everything from his move to San Francisco, the underground sound of Tehran, and the underground’s place within a wider social dialogue.
“Doing Alright” is available 31 August on Blackflag Recordings
It is mentioned how your roots lie in the electronic music world of Tehran. Can you give those who may be unfamiliar a brief rundown on that scene?
In Tehran, the scene is completely underground. Music is outlawed there and you cannot openly play music or dance to music. Underground parties are where you can hear any music and these often get raided by the police. I believe that music and expression is a basic human right and so music has always been a part of my life.
As you are now based in San Francisco, how did the move from Iran to the West Coast, US happen? Was it entirely made for the music?
The move was based on my family and our wishes to be with the rest of my family who reside in the San Francisco Bay Area.
How do you find the San Francisco underground dance scene? What is it about San Francisco that is conducive toward creation, art, and culture?
San Francisco has a phenomenal music scene. It’s already an eclectic city with diversity towards people and the arts. The dance scene here is propelled by a number of great artists, club owners and promoters that throw edgy undergrounds. There’s something for everyone. San Francisco also pulls top-notch artists throughout the year. The vibe here is vibrant because of ground-breaking tech companies around like Facebook, Twitter, Google, and so the energy is high. With the history and culture of a place like San Francisco, there no place like us out there.
You also run the label ‘Blue Orb’. What is your philosophy as a label owner? How do you strategize maintaining “relevancy” in the digital landscape?
My philosophy as a label owner is to keep the underground scene alive so that we can build a platform for those with talent who normally don’t have a voice, to be heard. To maintain relevancy, we collaborate with others who are cutting edge to continue to provide what’s current and new in the digital landscape. We also have 2 new releases that we commit to each month, to keep people engaged and on their toes. I recently started a side label to Blue Orb, with my good friend Philip Arruda called Red Orb Records. With Blue orb we are releasing Deep House and Tech House and Red Orb is our all Techno label.
We will be premiering the track ‘Bass & Booty’ off your forthcoming “Doing Alright” EP. The track features a rather overt message on racial injustice. Was this the message you wanted to build a track around? Do you find issues of social awareness to have a place in electronic music? I ask because many consider it to be a party atmosphere and are reluctant to bring politics into it. Do you agree?
Racism and injustice bothers me immensely. I follow current events on a daily basis, and I observe that there seems to be no decease in hateful crimes and in social injustices. I think it just naturally comes out in my art form because it is top of mind frequently. Even in a party atmosphere, we must be responsible and forward thinking.
The EP is out on Stacey Pullen’s Black Flag recordings. How did this relationship form? How does Black Flag complement your sound and vice versa?
Stacey has been an inspiration to me and the scene. Here in San Francisco, one of the biggest pioneers of techno and house is my good friend, Rooz, who introduced me to Stacey. Black Flag and Red Orb has a complimentary relationship because we have similar sounds and I admire Stacey and aspire to reach my goals in a like-minded way.