• Manifeste
    Released: February 2026
    Label: Naïve

    Recorded at Yergatun Studio in Yerevan, Sierra Studio in Athens, CineLab in Moscow, UCLA recording studio at Evelyn & Mo Ostin Music centre in LA, National Centre of Chamber Music in

    Yerevan, Kerseboom studio between 2023-2025.

    Mixed by Marc Karapetian
    Mastered by Sander Van Der Heide

    Photography and album artwork by Vahan Stepanyan

    All music by Tigran Hamasyan
    Produced by Tigran Hamasyan

  • Prelude for all seekers
    Tigran Hamasyan - piano, synths, vocals
    Marc Karapetian - bass
    Matt Garstka - drums

    Yerevan Sunrise
    Daniel Melkonyan - trumpet
    Tigran Hamasyan - piano, synths, bass synth, vocals, post production, drum programming.
    Arthur Hnatek - drums

    Manifeste
    Tigran Hamasyan - piano, synths, bass synth, vocals
    Marc Karapetian - bass
    Arman Mnatsakanyan - drums

    One body, one blood
    Yerevan State Chamber Choir conducted by Kristina Voskanyan
    Tigran Hamasyan - piano
    Arthur Hnatek - Electronics and drum programming

    Seven Sorrows
    Artyom Manukyan - cello
    Tigran Hamasyan - piano, synths, bass synth, vocals, production
    Arman Mnatsakanyan - drums

    Years Passing (For Akram)
    Daniel Melkonyan - trumpet
    Tigran Hamasyan - piano, synths

    Dardahan
    Tigran Hamasyan - piano, synths and vocals
    Evan Marien - bass
    Arthur Hnatek drums

    War time poem
    Nick Llerandi - guitar
    Tigran Hamasyan - piano, synths, vocals
    Marc Karapetian - bass
    Matt Garstka - drums

    The Fire Child (Vahagn is born)
    Tigran Hamasyan - vocals, synths, bass synth, production

    Ultradance
    Tigran Hamasyan - piano, synths
    Marc Karapetian - bass
    Nate Wood - drums

    E flat Venice

    Per Mané
    Asta Mamikonyan - vocals
    Tigran Hamasyan - piano, synths, bass synth, vocals, drum programming, production
    Arman Mnatsakanyan - drums

    A Window from one heart to another (For Rumi)
    Tigran Hamasyan - vocals, piano, synths, bass synth, production
    Hamin Honari - daf
    Yessai Karapetian - blul

    A Eye (The digital Leviathan)
    Nick Llerandi - guitars
    Tigran Hamasyan - piano, synths, vocalsMarc Karapetian - bass
    Matt Garstka - drums

    National Repentance Anthem
    Yerevan State Chamber Choir conducted by Kristina Voskanyan
    Tigran Hamasyan - piano, synths, bass synth whistling, production

  • Seeking and working on yourself to find who you are—finding something that may have always been there but that you need to dig for in order for it to manifest and be born into this world. The constant push to search is a very important process. The suffering and the joy you experience through this endless seeking are the path to finding yourself.

    That moment when a piece of music is being born and joy fills your heart is the most precious moment for me as a musician. It never feels the same afterwards, once the piece is written and performed. That initial moment of creation is what I live for. You can call it being one with the universe or connected to the godly realm; I can’t really describe the amount of love and joy that fills your heart in that moment. As a pianist and composer, I feel like everything has already been done. Harmonically, there is little that is new to discover—except microtonal harmonies, which in some ways have already been explored. Rhythmically, there is nothing truly groundbreaking left to find; even extraordinary rhythmic ideas have a 99% chance of having been done by Indian Carnatic masters. So it all comes down to what we really want to do with music: what we love about it and, most importantly, what we hear inside. What we hear inside will change as we seek and develop, but tuning into that channel and hearing what is being transmitted to us is what we need to grasp and hold on to. That’s our first real instrument—perhaps the only true one. What we create and seek, we do first of all for ourselves; I would say we ultimately do it for God. Therefore, we have to be maximally honest with ourselves.

    We are the mirrors of today’s rhythm. On one hand, we hold all the hardships and achievements of previous generations. On the other hand, we feel the impulse of the universe that is given to us right now. That’s why I feel music written now is new and shows the world’s changes while, like our DNA, containing information from time immemorial.

    As a child, you grow up with the feeling that you live in a magical myth: everything is interesting and part of universal stories that no one can fully explain. All the mythical stories and heroes are real right there in front of you. They are alive. It’s one big dream where anything is possible and the horizon has no end, where magical landscapes lie in faraway places, where you can do the impossible and witness miracles.

    Some say the world becomes small and we confront reality when we grow up; the truth is we become smaller. We need to stay big like children, to have faith and feel this cosmic myth again. After all, what we know about the universe is that we don’t know anything for sure—certainly not how big it is, where it ends, or whether there are universes beyond. We can only dream and speculate about what lies beyond and where it all began. We don’t even know when or how our lives will end or where we will go after. So in this short time on earth, I want to live as if in a myth.

    As artists, we spend endless hours with our instruments, seeking and discovering musical worlds, but we learn more about ourselves once we share our discoveries: first with the musicians offstage, then during concerts. Giving a concert is another blissful moment in the life of a musician. At that time, if you are in the right state of being, you can come close to feeling who you are and have a spiritual experience. I go on stage like a horse waiting for the doors to open so it can run in fields of freedom; sometimes it doesn’t even know where it is going or what he will
    encounter. The moment of being there is the sweetest moment of sharing myself.

    This is what improvisation is for me.

    We crystallize through suffering. The artist’s role is to allow the audience to experience catharsis, returning to the eternal mystery of the birth of existence from which we come and to which we return. We are spiritual beings. We need to believe in miracles because it is a miracle that we are alive, given the feeling of love and the ability to create worlds. We are created in the image of God, and our life is a journey toward God.

    War is the most horrific thing in the world. If only we could spend our time and resources on spiritual development and caring for one another rather than destroying ourselves and the world. All our misery, including war, results from sins that were not recognized and repented: indifference (ignorance), greed, jealousy, lust, addiction to and abuse of power, narcissism—these are states of the soul that bring violence and evil into the world. If only we could address these sick states of the soul at the right time and tame our demons. If we could learn to rejoice in each other’s gains instead of being jealous and wanting to hurt one another.

    In my mind I’m in the mountains of Armenia. I’m lying on the grass, looking at the sky as if it were a cupola. There are flowers all around me, and their scent is so strong that, I close my eyes to feel it deeper. There is music all around : bees, birds, wind. Everything is simple there, the water is the purest. Our life should be as transparent and sweet as the air in the highest mountains.

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