GOHAR Doesn’t Return, She Returns To Herself

This is a version of GOHAR that has never been heard of before. A version of GOHAR who remained in the auditorium and kept singing opera over the chandeliers of Salzburg, allowing Mozarteum to define her voice. This version is lost somewhere between a glorious opera career and a cramped studio with a used synthesizer. All that remains is the one writing songs that sound like confessions.

Her brand new release is the song “Fairy”. This song is not a fairytale. Rather, it is a statement. Goher creates the composition based on a character that doesn’t grant wishes, but returns them.

“To me, the fairy is the keeper of everything I thought I’d lost. She moves through the overgrown parts of my inner garden, gathering forgotten memories, abandoned dreams, every version of myself I left behind just to survive.”

In short, this is the entire GOHAR process. Nothing was created or borrowed here. Her principle is simple: she can’t sing about what hasn’t happened to her.

“Fairy” carries all sounds of classical training coming out of a bedroom. There is technical skill that effortlessly blends with R&B vocal patterns and alt-pop sections with Armenian melodies that go beneath the vocals like a foreign language. The production is kept to a minimum to let the lyrics be as they are without any embellishments.

She left Armenia for Austria, gave up on opera, but was unable to find the right name for what she was doing, yet managed to find a sound that nobody gave to her. GOHAR does not care for obtaining permission. She is creating her discography from everything that has happened to her.