Shahriar Tanzid Explores New Territory on ‘Golden Hour’
- Undrtone Blog
- Sep 13
- 2 min read
Released on August 2, 2024, via Salted Jus, Shahriar Tanzid’s ‘Golden Hour’ stands as one of his most personal and experimental works to date. The track was created in collaboration with ‘Luminous Lullabies’, and it marks the first time Tanzid has used live-recorded vocals in his productions.
The decision to feature vocals with an anonymous singer adds a unique dimension to the piece. Her voice is layered delicately into the instrumental, not overpowering but interwoven, almost like another instrument. The result is calming and light, carrying a sense of stillness that feels in tune with the imagery of a golden hour sunset. The production avoids excess, focusing instead on texture, atmosphere and emotional presence.
This step into vocal-driven work shows Tanzid’s willingness to push beyond his established boundaries. Known for moving fluidly between lo-fi, classical, ambient, phonk and house, he has built a career on versatility. Under his aliases, Halfcian and Shahriar Tanzid, he has released over 25 tracks, garnering millions of streams across platforms and earning strong recognition in both the electronic and classical worlds.
Tracks like ‘Notes to Heaven’, which reached number 4 on Australia’s classical music chart, and ‘Blurry Eyes’, which trended on Pandora’s Phonk charts for three months, show how diverse his output can be. At the same time, his chart rankings, including being the number one classical artist in his country and among the top 100 across Asia, highlight his growing global impact.
‘Golden Hour’ feels like another milestone. It is understated yet purposeful, demonstrating how subtle shifts in approach can open up new creative pathways. By combining anonymous vocals, delicate layering and his instinct for atmosphere, Tanzid has created a track that is visually evocative and emotionally resonant.
It is a reminder that his music is not just about genre, but about expression, experimentation and connection.
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