Jomeh(Friday)’ stands as one of Farhad Mehrad’s most iconic and emotionally charged songs. Composed by Esfandiar Monfaredzadeh and with lyrics by Shahyar Ghanbari, the track presents a somber view of Friday—a day traditionally associated with rest and joy-by transforming it into a symbol of existential emptiness. Farhad’s powerful, gravelly voice imbues the lyrics with a deep sense of melancholy, as he reflects on the weariness of life.
Five years later, ‘Hafte-ye Khakestari(Gray Week)’ was released, marking a continuation of Farhad’s exploration of the human experience. Composed by Varojan and with lyrics again by Shahyar Ghanbari, this song captures the mundane and repetitive nature of the week. While Jom’e focuses on the emptiness of a single day, Hafte-ye Khakestari expands this theme to encompass the entire week, presenting each day as grey, dull, and filled with a sense of resignation. The song’s rich instrumentation and layered sound reflect the weight of everyday life, resonating with anyone who has felt trapped in the monotony of routine.
If you listen to the album ‘Mard-e Tanha’ in order, starting with Jomeh and then Hafte-ye Khakestari, you’ll feel the emotional thread tying these tracks together. Hafte-ye Khakestari doesn’t just reference Jomeh; it reimagines it, using its melody to subtly lead the listener back to that desolate “Jomeh.” As the final verses unfold, we’re pulled into a cyclical soundscape where Jomeh’s echoes reemerge: “Jomeh(Friday) had nothing new to say to me; whatever there was, had already been said before.” This line resonates beyond lyrics-it’s a thematic bridge. Here, Jomeh is no longer just a day; it becomes a poignant climax of a week filled with resignation, marking the peak of despair as time spins in unchanging greyness.