Shahed Mohseni Zonoozi has caught the attention of the world music community for his groundbreaking project, Intercontinental Concerts. This non-profit is designed to facilitate collaborations between different factions of musicians all around the world by putting on live concerts and streaming events and encouraging different genres to work together. Zonoozi is generally classed as EDM with a world music flare and his newest single with classical singer Lucy Monciel certainly reflects his collaborative approach to music making in his own life and career.
According to Zonoozi and Monciel, the goal for “Destiny,” was to incorporate traditional Armenian musical instruments, specifically a wind instrument called the Duduk, with Monciel’s operatic vocals and modern electronic music. When listening to the track, it appears that’s exactly what they did. The track opens with a sort of jazzy beat which eventually morphs into more of a progressive trance sound. As the duduk comes in to begin the melody, so does the stronger electronic trance beat. A bit of the jazz syncopation remains, however, adding an interesting backbeat to the normally straight-on trance. When the track begins in earnest with a starburst synth the track switches to more of a big room trance sound. The classical elements which take this track to a multi-genre rather than just a singular EDM place is of course the classical vocals by Monciel as well as the duduk although the latter takes a bit of a backseat as the track gets going. A classical piano replaces it, which is a great compliment to both Monciel’s vocals and the progressive trance track style.
It must have taken a decent amount of time to put “Destiny” together and make all the parts fit due to the number of different styles, especially the duduk, as Persian music is written in an entirely different meter than western music. That said, the track will will likely lend itself well to remixes due to the way it’s been composed, with all the bits layered over each other and thus easily extractable and workable as singular pieces.
Written by Layla Marino