AliPink on Techno Tehran Records and the Challenges Facing Iranian Artists

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Amid the uncertainty plaguing his country, AliPink took the time to talk about the difficulties faced by underground artists and the importance of community.

Ali, professionally known as AliPink — a tribute to his deep-rooted love for Pink Floyd — is a veteran DJ, producer, and pioneer of the electronic music scene in Tehran, Iran. With a career spanning over two decades, he has become a definitive proponent of techno, melodic, and progressive house within the region.

In 2017, Ali founded Techno Tehran Records, a label committed to the underground. The imprint has served as a platform for resistance, releasing over 75 tracks that spotlight the raw talent of underground techno and tech house artists. For him, music is a vital tool for social and cultural change. It alsoled him to start Techno Tehran Radio in 2021, the sister platform of his record label.

Operating in an area where electronic music is criminalized, he has built a career that stands as an act of defiance. Not one to be silenced, he uses his music and label to challenge media narratives to showcase the authentic, resilient spirit of Iran’s underground culture to the global stage.

Releasing on his own label, as well as on imprints such as Steyoyoke, Future Romance, and ZEHN Records, Ali continues to advance his mission of bringing people together through music. In the process, he’s showing the world what perseverance looks like.

Even with all the continued uncertainty plaguing his country and livelihood, Ali took the time to talk about the difficulties he and other underground artists have faced, the importance of community, and how we can best support him and other Iranian artists. Read on to get a glimpse of true creativity in the face of insurmountable odds.

**Stream Various Artists – Echoes of Eternity Vol:01 on Spotify:**

With so many venues in Tehran shutting down, how are you able to connect with your audiences?

As you may already know, club culture in Iran operates under very difficult circumstances. Parties and raves are officially prohibited, which means everything exists in a completely underground form. Personally, I’ve even faced imprisonment in the past due to organizing techno events, and all of my equipment was confiscated.

Because of this situation, there are no permanent venues in Tehran for electronic music. Every event requires starting from zero — finding a safe location, building trust, and organizing discreetly. Most of the time, we rent private villas outside the city, usually a couple of hours away from Tehran, to create temporary spaces where people can come together and experience the music.

Despite all these challenges, what keeps us connected to our audience is the passion we share. The community here is incredibly dedicated. Beyond physical gatherings, we rely heavily on digital platforms, radio shows, and close-knit networks to stay in touch and continue growing. In many ways, these limitations have made the connection even stronger, more personal, and more meaningful, built on a shared understanding of what it takes to keep this culture alive.

With the recent Internet shutdown, how did your ability to share or discover new music change?

The Internet shutdown in Iran, for those of us working in the electronic music industry, is almost equivalent to everything coming to a complete stop. Our entire connection with the outside world depends on the Internet, whether it’s sending demos, communicating with labels, promoting releases, or even discovering new music.

To give you a real example, over the past month, it took me nearly two weeks just to gain stable enough access to check my emails. When I finally managed to log into my inbox, I saw that I had received a contract from Solee, one of Germany’s well-known artists and label owners, to sign one of my tracks.

What might sound simple elsewhere became a real challenge. It took me almost three more days just to download, sign, upload, and send the contract back. These are things that normally take minutes, but here they can take days or even weeks. Situations like this don’t just slow us down; they affect opportunities, timing, and our ability to stay active in the global scene.

But despite all of this, we keep pushing forward, because for us, this is not just work, it’s passion and identity.

As an Iranian artist, what are some of the biggest struggles you are currently facing that people outside of Iran may not realize?

One of the biggest challenges for electronic music artists in Iran is related to banking and financial transactions. As you may know, due to international sanctions, transferring money to and from Iran is extremely restricted. This creates serious difficulties for artists and labels in receiving income from music sales, streaming, or international collaborations.

On a personal level, I face this issue every month with the revenues generated through Techno Tehran. To overcome this, one of our Iranian artists, Ayaöla, who is based in Canada, helps us manage the situation. All of our income is transferred to his account in Canada, and then, through friends and family members who travel between Canada and Iran, the money is eventually delivered to us. It’s a complicated and unreliable process, but currently, it’s one of the only ways we can operate.

Another major challenge is related to travel and visas. Our artists often face significant difficulties when applying for visas, which limits their ability to perform internationally, attend events, or expand their careers beyond borders. These are challenges that many artists outside Iran may not immediately see, but they have a direct and constant impact on our ability to grow and participate in the global music scene.

How hard is it to find the capacity to continue to create music amid the uncertainty in Iran, especially since you’ve already been imprisoned before?

This is something that has multiple dimensions.

From a financial perspective, as you may know, selling tracks in electronic music doesn’t generate significant income for most artists. What truly matters is visibility — being seen and recognized on the global stage. I even mentioned this in a recent interview with Beatportal. In Iran, we have an incredible number of talented electronic music artists — truly world-class talents — but what they need most is exposure to the international scene. When the Internet is cut off, that connection disappears almost entirely.

However, beyond the financial and professional aspects, this is deeply emotional for us. Music is not just a job — it’s a form of passion and identity. To give you a real example, over the past month, during the Internet shutdown, several of my close friends here in Tehran — artists who have previously released on well-known labels like Steyoyoke, Atlant, and others — continued producing music. Even though they knew there was a real possibility that their tracks might never be released or heard, they kept creating.

That’s the reality for us. Despite uncertainty, despite risks, and even after experiences like imprisonment, we continue — because for Iranian artists, making music is not a choice. It’s something we are deeply connected to, no matter the circumstances.

What was it like to be imprisoned for six months for creating music and throwing raves, both things that you feel so passionate about?

Being imprisoned for six months for doing something I am so passionate about — creating music and organizing raves — was an extremely difficult experience, both physically and emotionally. It was a time of real reflection, fear, and uncertainty, but at the same time, it strengthened my resolve.

Even in those harsh conditions, my love for music never faded. It reminded me why I started this journey in the first place: to connect people, create joy, and keep the electronic music culture alive in Iran.

While it was a painful chapter, it also taught me resilience and the importance of community. It showed me that passion can survive even the hardest circumstances, and that our work as artists has meaning beyond any obstacles.

You had your equipment confiscated before. How have you been able to continue pushing forward without letting conflicts and struggles keep you down?

Yes, having my equipment confiscated definitely had a significant impact and created many challenges. For example, to work on my tracks, I often have to go to my friends’ studios or borrow their devices. After around 22 years of working as a DJ and producer in Tehran, this is certainly not easy, but it’s something I had no choice but to face. Challenges like these have taught me resilience and the importance of community, relying on friends and collaborators to keep creating, even when circumstances are difficult.

How are you able to discover new talent with such restrictions?

To be completely honest with you, at the moment, almost everything here is on pause. Our daily lives are sometimes reduced to going up to the rooftops and watching missiles and bombs fall.

Yet, despite all these hardships, we remain hopeful and continue moving forward. For us, electronic music and underground parties are not just entertainment — they are a form of resistance. They are a way to fight against a system that, over the past 47 years, has suppressed countless talents across all fields. This culture and music allow us to connect, express creativity, and preserve our artistic identity, even under extremely restrictive and challenging circumstances.

Discovering new talent in this environment requires trust, patience, and close-knit networks. We provide opportunities for young artists to grow alongside us and gradually connect with the global music scene, even if the path is difficult and full of obstacles.

Echoes of Eternity Vol:01 was a beautiful musical memorial dedicated to Mohammad Hosseini and those who’ve lost their lives in the fight for freedom in Iran. Are there plans to release Vol:02 or something similar to highlight that the struggle continues?

I’m truly grateful and thrilled that you remember the album — thank you so much.

As you know, on January 8 and 9, a real massacre occurred on the streets of Tehran and across Iran. The Internet was cut off, and what I witnessed in the streets is something that, honestly, you probably haven’t seen in any Hollywood horror movie. Once the Internet was restored, I knew it was the right time to start planning the next volume of the album.

I reached out to friends and collaborators around the world, including well-known artists like Sharam Jey and Nima Gorji, and they all expressed their willingness to contribute to Echoes of Eternity Vol. 2. I am deeply thankful to all of them for their support. However, the war suddenly began, and we had to pause.

Nevertheless, the next step for Techno Tehran will undoubtedly be to release Echoes of Eternity Vol. 2, continuing the musical tribute and the message that the struggle for freedom endures.

What do you want those of us outside of Iran to know?

The role of those outside of Iran is incredibly important. People should not believe false or biased narratives. After finally reconnecting to the Internet, I saw and heard things that shocked me, full of lies and manipulation. I want everyone outside of Iran to hear the truth directly from the people of Iran. Nothing else can convey the reality we are living in. It is vital to listen to real voices, not filtered stories or propaganda.

How can we help support you?

I kindly ask that, if possible, you publish this interview and even share it on social media platforms like Instagram. This would be a huge help for us, allowing people around the world to understand the real situation we are facing here.

Another very important request concerns financial support. Our friends in Canada have set up a donation link to help Iranian artists, something similar to GoFundMe (since GoFundMe doesn’t work in Iran due to financial sanctions). Iranian artists are currently in a very difficult financial situation, and donating or sharing this link would be the biggest help. The funds are delivered directly to us through trusted friends and family, ensuring they reach the artists who need them most.