ORIENTATION :

NEW TURKISH PROGRESSIVE, PSYCHEDELIC, FUSION / CROSSOVER MUSIC Page 2 : N-Z    
(A-C on page 1, D-G, H-M) (Var. Artists on page 4)

N-Z : NEKROPSI (3x), OGUR DOGAN, ORIENT EXPRESSIONS (2x), ORIENTATION (2x)
OKAY TEMIZ (2x), REPLIKAS (4x), SAD EYED LEMURS (4x), SAKARELLER, SARBAND (2x),
SELIM DEMIRDELEN, SERDAR ATESER, TECHNO ROMAN PROJECT, SIDDHARTA (2x), TANDY LOVE,
TAKSIM TRIO,TRIO A TOLIA (link), TURQUOISE, UNIFIED GECKO, YOLDAS, ZEN (4x)



















not fromTurkey but Turkish music only :
Ada Müzik                                 Nekropsi : Mi Kubesi (1996)***°'

description used in old radioshow : "Very interesting heavy instrumental prog guitar arrangements with many rhythm changes, atmospheric passages. Some middle eastern chords mixed with Western prog rock standards. Some of the more heavy passages use some metal bass too but the music remains in the progressive territory and is always blend with the quiet atmospheric passages. Some passages are darker but still beautiful. Nekropsi might be amongst the most ventured Turkish instrumental prog rock groups out of Turkey. Very recommended."

Musea's description : "An unusual nationality for a classical quartet (Guitar, bass & drums…) that performs a whirling and light rock based on the guitar that evolve and develop the themes following their strings. The influence of Turkish music is especially strong in the rhythms while cosmic rock and acid-rock get in the detours of the pieces and in the crystal clear style of both guitars who engage in a never-ending dialogue."

Audio : "Güzel Ne Güzel Olmussun","Ahu Gözlerini Sevdigim Dilber","Hapishanelere Günes Dogmuyor",
"Neredesin Sen", "Öldürme Beni"
& http://www.myspace.com/nekropsiband & http://www.myspace.com/nekropsinekropsi
Some fan web-page  : http://www.members.tripod.com/hzpx/necropsi.htm
An interview in English with the band and lots of extra information :
http://www.toroddfuglesteg.com/nekropsi.html E-mail adress from the group : cevdete@hotmail.com ?
A review from their album : http://www.progreviews.com/reviews/display.php?rev=nek-mk
and at http://stevehegede.tripod.com/turkey.htm with representative Sound Sample
& on http://www.ungerprog.com/yetanother7.html#nekr
Review in Turkish : http://ceseth.tripod.com/MiKubbesi.htm        next 2006 release ->
A.K.Müzik/EMI                             Nekropsi (rec.1998-2006)****'

Nekropsi had a long musical history way, and evolved from 1990, from a speed-thrash band (releasing a tape called “Speed Lessons Part 1”), to an improvised guitars and drums based instrumental “progressive” rock band  (releasing one CD in 1996 ; short review just one item up), towards a more modern approach another 10 years later. The tracks are recorded and mixed professionally with great dynamism and this with edits and contributions in various places (Paris, Istanbul, Los Angeles and Amsterdam) over a period of 8 years.

I must admit that with all this change, the group improved their sound. This became a new dynamic mix which recalls areas that were cross-found with previous inspirations by bands like Nekropsi, Deja-Vu, DAK and perhaps Baba Zula. The attractive area they express themselves in has the best dynamics of various genres that were seperate entities before, but that, especially with Nekropsi’s music become one new big entity of a new Underground.
There’s a very modern use of rhythms, which are a mixture of drums and bass driven dynamics using complex Turkish scales, mixed with some rather psychedelic as well as modern and ultra-dynamic production effects (from wa-wa guitars, groovy bass to a complete sound-control from dark and dense to light and dynamic), mixed also with the feeling there are also serious underground-related dance related grooves involved.
At the same time the words seem to be used like for-the-art-like statements. In the booklet the lyrics are printed with a dynamic layout that remind me a bit of the post-war Van Ostaye prints of poetry, where the words for the first time had their own dynamics in the print itself. Some of these words seem to have been used for the dynamics in the music just in a similar way as it has its own visual effect to be read like written down music.
“Papa” is a German spoken song which more refers to the typical German electro-industrial wave style (“Neue Welle”), with attractive rhythm and not to miss dark repetitive bass, something which as bonus track has a great, different even more “German” styled mix.
Some of the dynamism in rhythm and groove is absolutely successful, (with some favourites amongst all good tracks). Last track is a more acoustic also dynamic remix.

Recommended.

Audio on homepage : http://www.nekropsi.com/ & on http://www.myspace.com/nekropsinekropsi 
Label info in Turkish : http://www.akmuzik.com.tr/ak/catalog/showalbum.asp?album=JPDQING8  2010 album next:
EMI/Kent        Nekropsi : "1998" (2010)***°°

The latest album by Nekropsi must have been out already a while but only just recently I found out about it. I assume this is a collection of recordings done around 1998 (hence the title). On the first few tracks they did it again with a highly essential, groovy and psychedelic result, combining spoken word (words and syllables), avant-rhythms of Turkish folk sensibilities, mixed with fast electronic ideas arrangements. This adventurous approach shows something of the previous album from 2006. Slower rock guitars with progressive/psychedelic effects and funky bass elements we can hear as well. The fifth track, “Ebo 1998” starts with a slow fretless low voice guitar improvisation with more improvisations on top of drums, electric bass, later on we can hear some more dense and deep keyboards added with some loop of deformed Bulgarian voices besides more improvisations of Turkish sensibility. The tracks after this are more improvised with elements of fretless or funky bass, sparser deformations, very good drumming, nice improvised electric guitars and so on, still being explorative with rhythm, sound and combinations of powerful, moody or groovy effect. “Baglama” is based upon loops of acoustic baglamas with a moody background singing. The last track, “Crying Game 1998” is a variation of a track from Nekropsi’s first album (bass, guitars, drums). Nekropsi are one of those new Turkish bands not to miss. Please invite them for a live concert (although I wonder where they are and what they’re doing right now).

Info & audio : http://www.cdbaby.com/cd/nekropsi
& http://www.myspace.com/nekropsinekropsi
Audio on http://www.tulumba.com/...
Band info : http://www.soundunwound.com/music/nekropsi/263843 & http://www.last.fm/music/Nekropsi
& http://www.progarchives.com/artist.asp?id=1113
Turkish version
Double Moon Rec.  Orient Expressions : Divan (TÜ,2004)*°°

Orient Expressions is a collaboration between Can Utkan aka Dj Yakuza (“general conjurer, switchman, texturizer”), Cem Yildiz (“melodizer and troubadour of the dawn of a new tradition, string cartographer, voracious studio-take consumer and sphepard of the endless solo”), and Richard Hamer ( "woodwindsbellow, melodic/harmonic, contour keeper and nuts and bolts operator”), with complementary services of their sound engineer Murat Uncuoglu (“sound polisher, beat-approver-chooser, chocolate-powered keeper of the sound”).

The music Orient Expressions perform is partly composed, partly remixed music with a groove, using traditional Turkish music elements and instruments (oud, baglama, cumbush, sazbus, and santur, and some other percussion instruments) and singing (6 guest vocalists appear), and with a groovy jazz touch on “Istanbul” with a sax solo by Richard Hamer, or soul pop on "S.O.S."). The music is a good example of sophisticatedly mixed stereo-DJ groove music with a Turkish fundament, a modern groove beats reorientation of some Turkish folk music experiences (4 traditionals are used) and a certain reconsideration of how the approach to Arabesque pop usually was orientated. In general, this a very good Oriental groove release for listening & perhaps dance or better lounge pleasure. However the most successful, representative tracks are put ever more forward. The last two tracks are a bit more mainstream. By the last real track, "Taking Live", a pop song, this is a bit disapointing to me, because it does fit less into the rest of the concept. But this doesn't keep me from saying I'm sure this will appeal well to lovers of Turkish grooves.

Audio : "intro", "Ehmedo", "Istanbul", "Duaz Imam","Dera Sor" & www.myspace.com/orientexpressions
Audio fragments : http://www.sternsmusic.com/disk_info/DM0022
Label entry (in English) with audio : http://www.doublemoon.com.tr/en/album_en.asp?album_id=38
Turkish article : http://www.x-ist.com/guncel/kisakisa/k4/025.htm    next Orient Expressions release ->
Double Moon Rec.Sabahat Akkiraz & Orient Expressions : After the Fact (TÜ,2006)***°

Turkish folk singer Sabahat Akkiraz met the DJ/percussionist duo Orient Expressions.

The duo succeeds well to make a hip sound production, with jazzy touches, and complex Turkish electronic and acoustic beats with some other obvious Turkish instruments like baglama, shepherd’s-flute, and touches of strings. It is a very well done artistic compromise with a vision with what is popular, now making a range of attractive musical expression to the whole area, instead of in small portions and samples to colour the featuring songs as in general folkpop featured on Turkish TV clips. Here the complete music speaks, moody and modern, sometimes jazzy, and with a bit of sprinkling acid, with respect for Anatolian folk roots and meant for a modern urban society used to colourful electric flashlights and contrasts mixed in a traditional environment that is equally kept vivid. A great release.

Audio :  "Gül Fidany Kyrylyr", "Kök ve Dal" & http://sabahatakkiraz.calabashmusic.com/
Description : http://www.doublemoon.com.tr/... & http://www.doublemoon.com.tr/en/album_en.asp?album_id=58
Info : http://www.babylon-ist.com/b2003/en/arsiv/arsivDetay.asp?etk_id=921
Turkish CD cover version
Double Moon Rec. Orientation (experienced by J.J.Cooper's Liquid Lounge) : Bosporus Bridge (2001)***

Very modern sound and production from some oriental rap, Arabesk pop songs, oriental mixes with moody beats, the use of environmental sounds, with an extra foundation of a more jazzy approach. -I especially liked the "Theme from Bosporus Bridge" and the fact the dancable moods were full of middle eastern elements-. Responsible are this Berlin based group founded by the Turkish saxofonist Turgay Ayaydinli (from the Klezmatics,Tarkan) and the German bass player Andreas Advocado. The music is world vision orientated with on one hand the Turkish orientation (read orient-ation), on the other hand a warm modern fusion pop. "Experienced by 'Liquid Lounge' "associates that this means some chill out (here into a more oriental acid jazz) dance moods there. Very good.

Other soundsample "What is Orientation?", "Anton's Dream", "Alma Ahımı","Yanlız", "Halay", "Mehtap", "Osman Cooks Tonight", "Hamam", "Huzur (The Return of...)" 1 part  & "Huzur"part 2), "Theme from Bosphorus Bridge (Short Cut)"  and here ; Webpage at http://private.addcom.de/Orientation/ (in German with small fragment of theme tune)
Label info : http://www.doublemoon.com.tr/en/artist_en.asp?artist_id=13
with this album : http://www.doublemoon.com.tr/en/album_en.asp?album_id=13
German review at http://www.discover.de/kritiken/sites/orientation_experienced.html
English review : http://www.thephatplanet.com/music.ihtml?pid=7098&step=4
P.S. : the Bosporus Bridge is the bridge that goes from the Western side of Turkey to the Middle East side.


Blue Flame Rec. Orientation : "9 in Istanbul, 8 in Berlin" (TÜ/D,2006)***°

Istanbul for a huge part of their history was like the heart of rhythm for the European continent (martial music and the European percussion instruments originate from Turkey). Anatolia and Istanbul always were incredible places to adapting all styles from surrounding countries and making it something of their own, with Istanbul as the bridge to Europe. Berlin, the heart of Germany, was a place that was confiscated and dominated by Russia for a long time after WW II, now even more is its own bridge between cultures of Balkan/Russian and Western origins.

Orientation focuses now on Berlin and uses a feast rhythm that is common in all places from Eastern Europe and Turkey, the 9/8 rhythm used at weddings, making their own wedding melt-pot of styles (when it is 9 in Istanbul it will be 8 in Berlin), with musicians originating from US (guest Richard Howell), Azerbedjan (guest Resul Barini), Germany (guest Tilmann Dehnhard), Iran (Babak Akhoondi) and Turkey (most of Orientation). The result is a natural pop that looks for arrangements in the same way as an aware traditional musician. 9/8th is not always used but more as a symbol. It as easily allows a funky touch (“Salla”, "Sanki Zaman Durmus"), or any modern mix with a ethnic folk instruments, or a touch of jazz (“Bosphorous Bridge reloaded” has some smooth jazz improvisation). Also the reggae rhythm was used once ("9 in Istanbul, 8 in Berlin), mixed with the other elements, and various attractive (Anatolian) pop songs with varied accompaniment (like “Son”,..of which “I don’t know” has a bossa nova rhythm). “Why I don’t know” has very modern rhythms and DJ mix creativity. A release that succeeds in being captivating in a pleasant way.


Orientation now is Bekir Karaoglan (Istanbul/Berlin) : piano, keyboards, violin and Ney; Babak Akhoondi(Teheran/Berlin): Guitar (from“Rumi Music",Teheran); Enno Kuck (Berlin): Drummer (from Rosenstolz, Beat’n Blow,...). Suleyman Celik (Istanbul/Berlin): Turkish and Arabian Percussion (famous in Berlin Jazz scene); Andreas Advocado (Berlin): Bass player (Sultana, Aziza-A,..); Serkan Kaynarcali (Istanbul/Berlin): Kanon (=Turkish Zither), Ümit Ürgen (Berlin): Kuru Baglama and electric Baglama, backing vocals.

Label info : http://www.blueflame.com/.. from http://www.blueflame.com
Ada Müzik         Replikas : Höledoyuran (2000)***°°

While first track "Leylek" with electrified voice remind me of certain alternative modern indiepop groups (-sadly I cannot name a specific reminiscence-), and I guess it will also be liked for it, it is not representative for the whole album's potency. With a great mixture of progressive rock, and the independent sound, the use of more complex middle eastern rhythms, and various psychedelic elements, and a professional production, this surely sound more than just interesting. Most tracks have Anatolian Rock leads, combined with psychedelic and even some progressive electronic and electric sounds, always perfectly interwoven with one another. Also the jewel box package design looks beautiful. This is something that is destined for an international market. Highly recommended. Many of the more psychedelic tracks makes this one of my favourite Turkish (progressive related) records of the last 10 years  ! PS. We also hear some great fuzz and guitar psych elements !

Audio files : "Akis" , "Hiç Zenci Yok","Gulyabani Muzik", "Yandim Cavus", "Hic Olu Zenci Yok", "Yol", "Kuh"
Web Page : www.replikas.com
Review and interview at www.furious.com/perfect/replikas.html
Another review by Jay Dobis at hhttp://www.villagevoice.com/issues/0147/dobis.php
Biography in English at my next text file about Replikas. Item for sale at ReR here. (or look at shops section)
E-mail : replikas@replikas.com  next Replikas release ->
Ada Müzik                                     Replikas : Dadaruhi (2002)****'

No doubt Replikas evolved into one of the most interesting progressive bands I know from Turkey from today.  Some of the Turkish elements are still there but now the sound is completely lead by a very skilful progressive/psychedelic rock sound. The band has really skilful musicians (drums, electric and bass guitar). The release is also very well produced with some electronic touches and sounds. There are similarities with Zen's "Tanbul", both in improvising compositions and the technically reworked ideas deriving from such improvisations. Also this group is inspired by the Zikir rituals and the hypnotized effect from  repeated sentences, without creating minimal expresions. Recommended release.

Soundfiles from http://artists2.iuma.com/IUMA/Bands/Replikas/index-1.html : "akis", "gulyabani muzik"
Turkish article : http://www.metu.edu.tr/home/wwwmuzik/grup/replikas.htm
Catalogue of song titles http://www.kalanpublishing.com/Scripts/Artists.asp?ID=740&bg=True
Turkish article at http://www.studyoimge.com/kontrolkulesi/02-03-02.asp
& http://www.studyoimge.com/kontrolkulesi/15-02-02.asp & http://www.studyoimge.com/kontrolkulesi/27-02-02.asp
One extra track from around the same period of recording at Floralia 4 (see Mizmaze page next Replikas release ->
Double Moon Rec.                            Replikas : Avaz (2005)***°

This last release of Replikas is a very consitent pleasant rock album with a psychrock undertone and minor, but almost dissapeared Anatolian flavour. The tracks sound very good, but I think they are rather quickly composed as simple song improvisations. The execution sound professional and band sound is very attractive. There's not as much experiment as on the previous album, but that doesn't matter. There still is a smokey psychedelic flavour to the more rock sound.

Audio : "Gece Kadar Rahatsiz Etmiyor", "Isimsizler", "0-1", "Dayan","Bahar", "Benden Yüksek",
"Ömür Sayaci","Apartman Dairesi", "Deli Halayi II", "Zift", "Reddiye" & http://www.myspace.com/replikastr
Homepage (with audio of other tracks) : http://www.replikas.com/
Label webpage : http://www.doublemoon.com.tr/en/album_en.asp?album_id=47
Turkish review : http://www.enjoyrock.com/portal/News/article/sid=64.html
Turkish article : http://www.turkrock.com/article707.html
& http://www.ntvmsnbc.com/news/321897.asp & http://www.zipistanbul.com/iss/05-06-01/muz/index.shtml
& http://www.radikal.com.tr/haber.php?haberno=150603    next album next ->
Peyote Müzik                           Replikas : Zerre (2008)****'

While the 2005 album seemed a bit quickly recorded with a little less attention to all possible creative details, here Replikas is back with their full talent, engagement and commitment to make something with which they still fully distinguish themselves well amongst other Turkish bands. According to the introduction I have read, “the band went to Gokceada (an island in the Aegean Sea) and transformed a former prison into a recording studio”. It is as if they started with some challenging to the ear experimental electronic or perhaps electro-acoustic loops to improvise upon with an creative ear and response, with a heavy sound of drums and electric guitars. In that case the rhythms and improvisations always come as a surprise and with new ideas. The heaviness of its core, free minded improvisations turning into structural rhythms, with instrumentals or songs give them a unique sound which has elements of psychedelia, no wave and independent rock and only occasionally comes to Turkish styled rock. It is their sensitivity to the more complex Turkish rhythms which even more injects sparkles of inspiration to intelligent use of rhythmic creations and adds a complex and always interesting sensitivity. Just a few additional arrangements were done with a bit of brass and somewhat Turkish inspired orchestrations. Like the first two releases by the band : highly recommended !!

Produced perfectly by Kim Rosen in New York's West Side Studios.

Homepage : http://www.replikas.com/
and with audio : http://www.myspace.com/replikastr & http://www.cdbaby.com/cd/replikas
Band info : http://www.lastfm.de/music/Replikas & http://www.rhapsody.com/replikas/zerre
Description with audio : http://www.thrilljockey.com/catalog/?id=103950
Info : http://www.cduniverse.com/search/xx/music/pid/7902415/a/Zerre.htm
Other review (french) : http://undergroundturkey.blogspot.com/2010/02/replikas-zerre.html
Label : http://www.peyote.com.tr
Pozitif            Replikas : FM / Film Muzikleri (2005)***°

review possibly soon. This is a ompilation of soundtracks for movies.

Band info : http://en.wikipedia.org/wiki/Replikas
Videos on http://www.nme.com/artists/replikas
Homepage : http://www.replikas.com/
and with audio : http://www.myspace.com/replikastr
Label : http://www.peyote.com.tr
demoSad Eyed Lemurs (2005)***°

This very interesting “progressive” group is mostly a studio project. “Yante” is a very beautiful song with piano, drums, electric bass and some guitar and operatic voice mostly. Second track is a slightly improvised psychrock track with wave influence (especially vocally). While the group improvises in a somewhat psychedelic rock mode the female vocalist ranges her improvisation from punk to opera. Following are two beautiful melancholic piano song pieces. Lastly are two beautiful instrumental improvisations. One of both instrumentals builds up in a moody way to almost 16 minutes, with very psychedelic outcome.


demo      Sad Eyed Lemurs : Pasuedon (2005)***°

‘Pasuedon’ contains very melancholic, often beautiful songs, sung in English & Turkish by male voice or sometimes by duo vocals, accompanied by improvised acoustic (or sometimes amplified) guitar or by piano (and guitar) with electric bass and keyboards, and sometimes drums. Very good.


demo Sad Eyed Lemurs : Yante (2005)***°

This release repeats the classic beauty of "Yante" mentioned earlier, with voice, backing vocals keyboards, bass, piano, drums. I think but I'm not sure if this is a different version from the earlier demo. The second track is more a waverock styled area (early Siouxie & Banshees or so). Also the third track improvises on a post-punk new wave style with slightly improvised rock drive. The singer’s voice goes slightly but pleasantly mad/crazed and aggressive. Next track is an even more improvised song, slightly stoned rocking, with again, different voice expressions. The next song is a more melancholic-romantic song accompanied on piano. I must still say that one cannot hear a difference that this is music from Turkey, compared to music from elsewhere in Western Europe/US. The next English sung track is a soulful song on piano, with strong expression by the singer. The last track is again more rocking with the band, slightly on 4/4th rhythm somewhat improvised in its performance, then evolving slowly and smoothly with a moody improvisation, with a just little bit of whispery words and singing, and more crazy experimenting vocals improvised into the music. This wonderful rather psychedelic track counts over 17 minutes and is a fantastic closer. This is, I repeat, very different from all I've heard from Turkey before !

Sad Eyed Lemurs in 2005/early 2006 is Mert Basaran, e-guitar, piano, Nilüfer Ormanli, vocals, Üner Altay, drums, Caner Altay, bass, Cigdem Güvercin, bass.


demo Sad Eyed Lemurs : Infinite Time (2006)**°

Other review of this album : http://www.disagreement.net/reviews/sadeyedlemurs_yante.html

3 other earlier demo reviews linked : http://www.disagreement.net/reviews/reviews_s.html
Turkish page : http://sozluk.sourtimes.org/show.asp?t=sad+eyed+lemurs
Peyote MüzikSakareller : Bes Dakika Daha (2010)****/***'

Sakareller is one of those bands supported by Peyote Club in Istanbul. They have now worked with full attention and the best possible production on their debut album. The music sounds easy on the ear and groovy with all the necessary Anatolian elements, with somewhat progressive ideas (but with also slightly psychedelic effects, which Anatolian rock easily creates) of different electric guitars/drums arrangements, in a more typical Turkish flavoured way and within interesting rhythmic frames and Turkish grooves. There are a few occasional arrangements with trumpet, Turkish percussion and one orchestrated arrangement. For the foreigners : there’s a satisfying proportion of attention to the instrumental part ! (“Ani Hirsizi” reminded me of early Bülent).

Video : http://www.youtube.com/watch?v=fZ3-kEfYJRw
Info : http://www.last.fm/music/Sakareller
Homepage : http://www.sakareller.net/
& http://www.myspace.com/sakareller
& http://www.purevolume.com/sakareller
& http://www.reverbnation.com/sakareller
Jaro MusicSarband : Music of the Emperors (D,1992)***°

This group is not Turkish but a multi-cultural medieval music project lead by Bulgarian born musicologist and musician Dr.Vladimir Ivanoff. But it gives also some importance to Turkish music, because the group considers Turkish music as having a very alive tradition with a cintinual authentic historical practice, while European music suffered from interpreting lost music which is written down and not in a way that this music reflects how it should be interpreted. It might be a good idea to relive medieval music in a similar way to the Turkish tradition. One must also realize how medieval music was born out of some Middle Eastern standards, and how these ideas have been filtered, acording to the booklet, through some Sephardic traditions. Realizing, the whole mix, gives a different perspective, which is less a sub-culture making effort than is often the intention. I’ve noticed already, having checked some other sources, that even the singing styles in Europe probably weren't too different from Middle Eastern singing. In general one can notice that in the last 2000 years, with the highlight of medieval times, music had elements with similar communicative aspects, over the whole area of the West to the East, to down south unto Ethiopia, and beyond –who knows ?

Just two examples mentioned in the booklet: In the castles of Fredrick II (1194-1250) in Southern Italy and Sicily this king maintained court music with Christian and Islamic minstrels, singers and dancers. At this time oriental musicians were extraordinarily popular. There even is the mention of a knight who coloured his face black and posed as an Ethiopian singer to achieve greater success. (just remember the unique Ethiopian singing that still was very often noticable until the 70’s). Another example from the booklet : During the big Mongol empire of Timur Leng (1370-1405) Persian began to be the cultural language instead of Arabic, and the centre was in Samarkland, Uzbekistan. The court ensemble at that time was an orchestra of different cultures. “singers with beautiful voices played motifs in Persian style with Arabic melodies, after the Turkish tradition, with Mogul (or Indian) voices, following Chinese laws of singing and rhythms from the Altai mountains”. 

Sarbande in 1992 consisted of musicians from Germany, England Turkey (= Mustafa Dogan Dikmen, Fatih Ovali,Ihsan Özer, Ahmed Kadri Rizeli & Mehmet Yesilcayand) and Lebanon.

It was actually the track “Rondo alla Turca” on the compilation “made in Turkey” (reviewed on next page), a splendid interpretation of this Mozart tune, -more into the core of inspiration than ever-, that made me curious about the group’s background.

Musically Sarabande often sound like a medieval band such as Studio der Frühen Musik or Hesperion XX. This is subtly and very gently mixed with a small Turkish ensemble, or, the other way around, in a Middle Eastern composition.
This compilation is of music from rulers with big empires. These rulers had court musicians from the same range of their empire, and created styles which shared a combination of talents. The stylistic mix should have been subtle and done with refinement. Sarband does not overexpose this idea, but keeps close to all known standards, and this way makes their underlying ideas completely convincing.

Info on group : http://www.jaro.de/..
Audio : http://sklep.terra.pl/opis.php?id=3070 & here
Audiofragment : http://www.magicmusic.de/media/3/5527.ram  next Sarband release ->
Deutsche GrammophoneConcerto Köln / Sarband : Dream of the Orient (D,2003)****

I have been fond of Sarband’s work on Classical music with Turkish musicians. Lucky for me, I have found a cheap copy of another work from them, on super audio CD, in the sell-out market of a record store. It looked very interesting, as it showed (and described) the immediate confrontation of differences in interpretations between a Western educated classical group called Concerto Köln, and the oriental classical group, called Sarband (and how they had overcome these differences. It reminded me shortly of something I have noticed before in a random blitz at TRT, the Turkish television, of how a Turkish orchestra interpreted western classical music in a completely different way, and with a beautiful fluent way of playing the orchestra, much more as one big fluent organ, like a whirling huge bird group, a style which is also typical for Arabesque orchestras (-besides I could also tell interesting differences with Indian styled string orchestras-). But Sarband in this case is not a Western typed orchestra, but a chamber orchestra with traditional instruments, and for this concept, it is mostly percussion instruments.

Sarband’s leader, Vladimir Ivanoff explains in the liner notes how since 1683, after a war threat from the Ottoman empire, through certain circumstances, lots of Turkish percussionists from military ensembles came to play in European orchestras, also as some kind of friendly compensation and gift. In some way it is assumed, -and this is the underlying concept of the CD-, that the appearance of such percussionists not only created ideas for some new compositions (and compositional forms), but also must have had the effect of an exotic touch that inspired the public, that, perhaps still with the previous war threat in mind (from before 1683), gave some renewed shock effects to awaken the public, almost with a military aggression, but with precision, and like with a sense of humour as an overpowering effect. I don’t know if the additional percussion on Mozart and on Gluck’s pieces in those days must have had a similar contrast, but, like people from those days, with their unspoiled ears, that might have noticed more tiny differences the same way as we do now with more contrasts, now it matters less what is closest to the truth, because, at least for me, this result feels much better and very direct, and much more ready for my modern world of perception, compared to some of the overclean and stiff productions and interpretations I have heard from Mozart before.

The introduction notes by Werner Ehrhardt, leader of Concerto Köln, explains best how his group experienced the differences, confronting them with some different starting points because of their sort of Western musical education, when comparing them to the oriental educated ensemble, and to what surprises they came, and what they learned from it. Vladimir Ivanoff’s contribution in the musical direction (he also arranged some old notations) shows beautiful how nicely both ensembles are able to fit together. Many classical compositions are enriched with percussion, while there are also Turkish compositions, played by Turkish fiddles, zither, ney flute and percussion instruments. All compositions originate from the same period, from around the late 18th century. (Another lesser known classical composer listed twice is Joseph Martin Kraus). Especially wild and convincing with percussion, is Franz Xavier Süssmayr’s “Sinfonia Turchesca”, especially for it’s “allegro”.

Audio : Mozart's "Entführung" & homepage with audio : http://www.myspace.com/sarband
Label info : http://www.deutschegrammophon.com/special/?ID=concertokoeln-dreamoftheorient
Info from Sarband : http://www.sarband.de/Programs/English/DreamProgrE.html
Homepage Concerto Köln : http://www.concerto-koeln.de/ & info : http://gfhandel.org/bleissa/ckoeln/index.htm
Other review : http://www.classical.net/~music/recs/reviews/a/arc74193a.html
German review : http://www.br-online.de/kultur-szene/klassik/pages/cdtipps/cd20030407.html

2009 release "The Arabian Passion " is reviewed on http://www.psychemusic.org/sarband.html#anchor_193
Elec-Trip Rec.              Selim Demirdelen : Beat Bazaar (2002)**°°

This release is an enjoyable solo-project from the composer on electronic music instruments, keyboards and some traditional Turkish instruments like zurna, baglama, bender. Before this he made made jingles for commercials, and shot some short films. There’s often a filmic character in the music (keyboards) which makes certain parts moody and atmospherical. Most of the album uses electro-house, drum’n bass, breakbeats and lounge beats which evolve well enough to get a spatial-in-time effect. I like it of course very much when he uses the Turkish elements. First half of the album is like the most clever part, while the second part uses simple piano improvisations, leaving the simpler electro-house effects lead more often, in combination with more relaxed moody keyboards. I had difficulties in finding the right listening conditions in my new house, with thin walls and ceilings, because this music sounds better when you can feel it more with your body, while at the same time the ground is like becoming blurry because some of the sliding bass sounds.

Info on album see albumlar on http://www.elec-trip.com/
Info on artist : http://www.elec-trip.com/index/eng/konserler/selimdemirdelen.htm
Kalan Music         Serdar Ateser : Avdet Seyri (1998)**°°

Lots of instruments (accordeon, banjo, electric bass, davul ?, el. And 12-string guitars, keman ?, mandolin, ney flute, sas, keyboards, trumpet, ud, violin, zurna ?, drums) and participating musicians (16 in total).

The style is at the first couple of tracks progressive instrumental music with a good balance between the use of electric instruments and folk instruments. It' starts very composed and arranged. All these compositions have a Turkish touch, but have something very independent and progressive too. The drumming is quite good, and the electric guitar too. The other instruments are accompanying well. Not any of the instruments builds up much tension, but it is done well. Most of the album is still pretty relaxed, with the elements of progressive rock in only in the first half of the CD.
It never is incredibly fantastic, but it's always pleasant. Some instrumental tracks after the second half show this music was meant for accompanying a movie. Because these tracks are much longer, streched etc. it sounds a bit too improvised to create any progressive energy.  It might lack a bit a leading and structural vision of for instance a new rock band that would accomplish this. Two more mainstream songs near the end prooves there is something essential missing to succeed in bringing the album to its full potential. Serdar is known in Turkey as a film music composer.

Catalogue entry (with -not working ?-) soundfiles)
http://www.kalan.com/english/scripts/album/dispalbum.asp?id=62
Ada Music         Siddhartha : Siddharta (1998)***°

The long tracks, like the instrumental “A trip to inner self” (10’29”), and the partly instrumental “Nervous Brakedown” (12’03”) has long stretched passages of over-the-top layers of psychedelic electric guitar improvisations, with second echoed guitars, some (reverbed) bass guitars, has several Floydian movements and guitar effects, psychedelic keyboards and some keyboard effects, some great progressive drumming, and a nice variation in the songs themselves.
The second track is a great guitar psych song with some Middle Eastern tuning elements.
The third track is an acoustic song (with double layered guitar). “Kervan” after that is a fantastic psych track with reverb guitars, keyboards, lots of rhythm changes, drums and some additional Turkish percussion.
"Baroque” is even more arranged -progressive/psychedelic rock- with some harpsichord, with many guitar layers, with an old classical like composition still in a psych/prog style.
"Beyond Destiny” is also very arranged, with multilayers of electric guitars and is in between prog and psych, with here and there a progressive hard rock touch in the guitar psychedelica. Like on the first track we hear also bits of piano there, and some English vocals.
The last long track, “Om” also has some female vocals to it. Hidden in the last minutes is also a great mystery track : Middle Eastern psychedelica combined with another variety of rock styles.

Highly recommended. This has great guitar playing, very good arrangements and splendid execution !! I'm sure the group would have been really big if they were more known here. I'm not sure if they still exist.


Trail Rec.         Siddhartha : Trip To Innerself (rec.2008,pub.2009)***°

Already 11 years have passed since Siddhartha’s debute. Luckily for this band which is in fact one of the earliest Turkish new generation psych/prog bands, and also one of the most progressive/psychedelic bands in Turkey, that there has been interest shown from abroad, by an American label. The booklet states “The power of psychedelia lies behind its ability to let you take a trip into your innerself, through experiencing new ways, discover hidden areas in your mind and feel the pleasure of illumination coming through music that’s gently stroking your soul.” A good introduction, because the album has not only a psychedelic approach, like a stretched jam into different areas, the structure is rather “progressive”.

The album slowly starts, a bit like Pink Floyd’s “Meddle” as psychedelia with a more “progressive”(rock) approach, a tension is built up with electric guitars (in different sounds) and organ, heading towards a heavier psychedelic jam, but turning into a first song part instead. This vocal part immediately provokes the feeling of a switch from psychedelia to neo-progressive, a bit screamy in the vocals and rockier guitars, before the trance trips the music once more. From then on the turning points with vocals (-lyrics in English-) are much softer, and nicer, first with an acoustic guitar led part. “Baroque” includes a harpsichord theme with progressive evolution and calm guitars. The next large part (-each section flows gently into the next-) is more dominating with electric guitars, echoing, building up tensions with drums and turning into a mad highlight with witches-alike laughs, with another part of more emotional singing. Also the electric guitars break out with rich emotionality. This fine emotionality can have also more sad moments, with some additional trippy organ. Last part is sung by a female vocalist. This one sounds more trance-like, like a slowed down ethnic Ozric Tentacles, closing the trip moodily.

This item still is for sale at http://www.synphonic.8m.com/country/turkey.htm (from http://www.synphonic.8m.com)
Homepage with audio : http://www.myspace.com/siddharthasound 
Turkish page : http://www.herkesdinlesin.com/siddhartha
Label info of second album with audio : http://trailrecords.net/index.php?p=node&page=1#207
Double Moon Rec.     Taksim Trio : Aytac Dogan, Hüsnü Senlendirici & Ismail Tunçbilek (2007)****'

Three supreme Turkish artists on clarinet, duduk, acoustic and electrified baglama, and kanun or Turkish dulcimer, made this album of inspired improvisation, in dialogue but also with some solos that reveal similar richness in playing solo and within a group. The improvisations are based upon their skills in Turkish music but goes also beyond, in a jazz nature, while keeping the Turkish folk backgrounds. The inspiration is in very natural way crossing its borders.

Aytaç Dogan plays the kanun. Even when playing Turkish style he adds certain flavours of gypsy styled ideas and jazz. Hüsnü Senlendirici on clarinet played with Okay Temiz when he was 13, is most known for his band Laço Tayfa. He also released one now popular solo clarinet album in 2005 on the same label. This clarinet can also sound gyspsy-like but here he takes much more time to develop it, moodily, like in jazz, or a bit more lonely, almost Armenian in nature mixed with Turkish style. Ismael Tunçbilek travelled during his career from Spain to Israel, and played with people like Paco De Lucia and George Pardo. Especially the electric baglama is sometimes played like a guitar here or in a Turkish way. A very brilliant moment can be heard on “baglama solo”, where he plays at some point while sliding along the strings for an instant almost like Indian sitar.

A brilliant moody album, that shows through improvisation, the perfect mix between Turkish classical music and jazz.

Video on http://www.youtube.com/.. Audio : http://www.myspace.com/taksimtrio
Intro : http://www.womex.com/virtual/doublemoon_records/taksim_trio
Label info : http://www.doublemoon.com.tr/KatalogDetay.aspx?Katalog=72
Dutch review : http://www.coasttocoast.nl/nieuwsbrief.htm#taksim
Elec-Trip Rec.          Techno Roman Project : Feleque (2003)****

The Roman gypsy trail stops again in Istanbul and some groovy electronic/techno music musicians joined the gang and became the Techno Roman Project.

The first track, "Bahçe Duvarini Astim", where the techno-rhythms begin the drive as music leaders, in cooperation with the traditional band on percussion and clarinet at first most clearly, but also ud, bass and kanun, has guest singer Senem Diyici on vocals. Most tracks are instrumentals, with ever changing rhythmic and also melodic themes, and colours. All musicians, including the techno programmers have equal share in composing and improvising, which makes their blend of ethnic folk and electronica extremely successful.

Recommended. One of the best combinations of gypsy based music and electronic music I know of (together with the Balkan Beat Box).

Audio with Senem Diyici : "Bahçe Duvarini Astim" ; "Second fragment" & http://www.myspace.com/technoromanproject
Info on band : http://www.cafeturc.com/index.php?dil=eng&sanatci=162
and on release : http://www.landy.ru/en/r039.html
& http://www.elec-trip.com/index/eng/albumler/felequeframe.htm from http://www.elec-trip.com
Turkish article with live pictures : http://www.ntvmsnbc.com/news/366074.asp
JaroOkay Temiz Magnetic Band : Magnetic Orient (2002)***

Okay Temiz has a large list of contributions and projects. His guest appearance in Don Cherry’s band during a concert in Ankara and his move to Finland to develop a jazz style drumming, were two early important events. Back in Turkey, he noticed circumstances weren’t optimal to maintain and develop a jazz sound. His group Oriental Wind compromised Turkish folk music with a Fusion approach. With The Magnetic Band there are more aspects of oriental music noticeable, like a Balkan and Gypsy style and some Klezmer elements, often mixed with jazz, creating an ‘oriental jazz’ inspired with coalitions between the Gypsy, Turkish or jazz orientations.

Typical instruments for these ethno-folk inspirations are kanun, oud & clarinet by player Hüsnü Selendirici & Nuri Lekesiz Göz. Okay Temiz’s own influence (playing drums, talking drums, qicca, timbales, congas, darbuka, tablas) are like a colourful rhythmical feast. Like many times on various of his albums, Okay also used some electronic sound ideas. Many tracks however still lean more towards traditional festivity music than to jazz. Which is another jazz element logically contributed on the trumpet by Ergün Selendirici. It follows the clarinet where this instrument leads with a klezmer element, but elsewhere it’s more jazz oriented. There’s also some additional drumming by Swedish guest musician Anders Westergard.

During a live concert, one can notice best Okay’s multi-coloured talent with rhythm and sounds, from different kinds of rhythmical origins.

Info on Magnetic Band : http://www.jaro.de/... & http://www.okaytemiz.com/english/grups/mband.htm
Separate page I made on Okay Temiz (with interview I did during the Magnetic Band gig in Antwerp here ; next album->
Ada MüzikOkay Temiz Güneye Yansimalar / Senfoni (2002)****

I still remember the impression I had after the interview I had with Okay Temiz years ago, that he couldn’t find many opportunities in Turkey to perform or record his music the way he wished to do this, even not when considering he is the most interesting live percussionist in Turkey (he studied jazz in Sweden, so he combines Turkish, jazz as well as other exotic ideas). When I noticed recently that Ada Music had released an album of his with a complete orchestra, I think he finally must have been given a great opportunity, so of course I was very curious to hear.

The orchestra was conducted by Erol Erdinç, a musician and conductor who had a long successful history (he was a pianist for Ankara State Opera and Ballet, studied composition in Paris with Boulez and Kondrashinis, and piano with Pierre Pontier, as well as composition with Nadia Boulanger and Pierre Petit before returning to his previous orchestra, but this time as a conductor. Then he became chief conductor of the Istanbul State Symphony Orchestra since 1983, besides he was many times guest conductor in various countries).

The orchestra contains 40 string and brass combo musicians and includes one guest musician from Sweden (Lennart Aberg on sax), three more guest from Bulgaria (Ivo Ibrahim Papazov on clarinet and sax, Georgy Yanev and Eko Vasilin), one from Senegal (Yammar Thiam on talking drums), and three more soloists from Turkey (Hakan Alvan on ney, Akay Temiz, and Cengiz Baysal).

It is an understatement to say this sounds huge. Of course there’s plenty of percussion, mostly adding dynamics, but never too much of it, now and then giving marching or exotic effects. The orchestra sounds filmic and melodic, and has a Turkish flavour in playing (very exact melodically, as one vivid entity), with extra given and accompanying power by a whole big band of brass instruments. The soloists on clarinet, Turkish ney flute, sax, Turkish clarinet and electric violin and a bit of cornet add mostly each individually new themes and groovy improvisations, always followed by the orchestrated arrangements (with a bit of timpani/bells). The bass line swings, and with its leading rhythmic groove we also have jazzy passages, something which the Big Band easily adapts to its arrangements. A great and rewarding album, and one of the most rewarding Okay Temiz albums, and a second favourite after his first Oriental Wind album with the Karnataka College of Percussion from India, mid 70s.

Short audio : "Aksakal", "63. Paralel", "Orient-2", "Huzur", "Kosova"
Istanbul Rec.    Turquoise : Mosaic of Anatolia (DK,2000)*'

The first three tracks on the cd are very nice restful with a warm rich and full sound, ethnojazz fusion style inspired by some Anatolian melodies as if directly deriving out of Western European jazzmood visions. The followed short track "In love with blue" is a more structureless percussion improvisation with added flute and mouth harmonica. The percussion on the track after can't convince me, I expected real Anatolian percussion achievements, like the title might have suggested to contain. Half of the members is Danish. All members have adapted more of the West and are living outside Turkey. The percussion is much slower. It sounds more African. Not Anatolian. Most percussion is lead mostly by African instruments, like djembes and congas. The improvisations followed are ok, and make it into some mood and and contain some (Anatolian) melody references but they mostly lack a strong construction, which I prefer to hear when more percussion is involved. Luckily last track ends where the cd had started : with a moody melody and quiet arrangement.
Percussionist Gilad played with Al Di Meola before.

Percussionist Atilla Engin, leader of this band is a known World Jazz artist, respected in both Danmark and Turkey . He arranged some Turkish folk songs for Big Band possibly for the first time in its kind. He played with Okay Temiz, Elliott Sharp, Nana Vasconcelos, Zakir Houssein, and many more known artists before. He also founded the 12 piece Istanbul Orchestra.

Website : http://www.geocities.com/turquoisedersaadet/turquoise.htm
Review: http://www.allaboutjazz.com/reviews/r1100_082.htm & http://www.allaboutjazz.com/php/review_print.php?id=4325
& http://www.jazzreview.com/cdreview.cfm?ID=1828
Page about leader percussionist Attila Engin (with pictures) (Eng/Tü) http://www.lightmillennium.org/winter01/turkish/aengin_bio_en.html
& http://www.ethnifusion.com/new_website/atilla_engin.htm
Some words of the cooperation Engin/Eliott Sharp within an interview at http://www.furious.com/perfect/elliottsharp.html
contact : istanbulrecords@aol.com
Meditolia MusicUgur Dogan : Cam-IÂzâd (TÜ,2005)***'

This is the first album by this Turkish musician, -who also lived in Holland for some years-, covering electronic and piano music with a cinematic evolution, with Anatolian and other orchestrations with Turkish, jazz and spacey rhythms with electronic sequences and instruments, with ambient and progressive electronica, with real Turkish percussion and instruments, and jazzy or minimalism piano. It’s a nice combination of keyboard music with acoustic sounds and orchestrations. It has a large improvisational element and a dynamic produced sound. Nice from start to finish. Last track is most filmic.

Audio : "Lutuna", "Loosing it", "Vital", "Underlost", "Nharyz", "Reside", "Clear", "Had to happen"
Info with audio : http://www.meditoliamusic.com & http://www.cdbaby.com/cd/ugur
PrivateUnified Gecko : Gecko Kebab (AUS,TÜ,2003)*°'

After expanding Geco (see review next page) Unified Gecko added even more elements to their music to become a more complete evening-filling joyful entertainment group, still with Turkish roots, but enhancing the rhythmic inspirations to global spanning rhythms, like reggae mixed with a gypsy touch, with serious arrangements on harp, trumpet, flute, etc.

Unified Gecko is led by Turkish born Murat Yucel, on guitar and vocals. He came to Australia as a tourist but came back to stay as a musician. All participating musicians have played in varied genres or completely changed, opened up ideas and perspectives in their music career.

Natalia Mann was harp player, at first with the New Zealand Symphony orchestra and the Wellington Sinfonia Orchestra. Then she moved to Australia participating with Sunge, a Polynesian trio, Shima, a contemporary improvisation trio, and now with this group. Daniel Richardson is the flute player who has a varied background of styles, just like Tristan Ludowyk, the trumpet player who studied also in Cuba, and Alisha Brooks, sax player. For Alisha Unified Gecko is the second Turkish band she played in after Posta. Anita Larkin started her career with piano but then started to explore Middle Eastern percussion. Bassplayer Alex Savage came from a hiphop background (he supported GrandMaster Flash, Mission,..). Then he turned to Turkey to play with local and international artists, to end back in Australia with Gece and Unified Gecko. Nicky Bomba, percussion, drummer has a reggae and funk interest.

The result of the members global and open interests make for a very open style which cannot be seen fully outside dance rhythm related music. In this case the rhythms are comparable to ska and Cuban fun. Hard not to be affected by on a direct energy level. Well done.

Audio : "Cilek Fasulye", "Ararim", "Dane Dane", "Yassou","Pinar".
Homepage : http://www.unifiedgecko.com
Info : http://www.allegromusic.com.au/index.php?option=com_directory&task=profile&lid=108
& http://www.abc.net.au/rn/music/planet/stories/s1336585.htm
Video : http://www.swinke.com/2004/articles/0002-o.week.html
Private   Yoldas (D/TÜ,2006)**°°

Yoldas is a Turkish rock band based in Germany which has existed since 2002. Yoldas means "true companions", or "mate". The music is entirely based upon Turkish folkrock, melodies and lyrics while the rhythms are a combination of Western rock rhythms with additional traditional Turkish beats in 5/8, 7/8 or 9/8.

The band consist of three Turkish musicians: founder Niyazi Ertugrul on drums and percussion, Bahadir "badi" Demirkiran on vocals and percussion, Mehmet Bayrak on vocals, saz & oud, and two German musicians: Gerhard Schlereth on electric guitar and Robert Oschliess on electric bass. The band started to play traditional Turkish folkmusic but thoroughly rearranged the tracks into a more occidental based rock mode with some roots from the alternative music influenced by English music and German culture. They also play tunes from Baris Manco, Duman, Athena, Suat Sayin, Mor ve Ötesi and songs from Niyazi´s last band ‘Cold Turkey’.

The demo starts with “Sari Cizmeli” a great Baris Manço Anatolian progrock cover, played with a combination of Western rock and Turkish percussion with wonderful funky guitar. (There are two more Manço tracks covered on this demo, "Iste Hendek Iste Deve" and "Can Bedenden", a track with some interpreted electric guitar solos). “Beni Yak Kendini Yak” is a cover from a new Turkish rock band, Duman. The traditional "Leylim Ley" has a rock-with-metal touch, an interpretation which rocks well indeed, possibly influenced by some of the new German rock bands, like those with a powerful metalbass. Also "Turnalar" and "Urfanin Ertrafi" are traditionals into the rock context. "Ask Dilencisi" (="beggar for love") is a rather simple poprock track, like "Elma Sekeri" (="candy apple") which has a ska-based rhythm, another poprock track with some Turkish touch. These are the two tracks written by Yoldas themselves. The last track, "Artik Sevmeyecegim" is a Suat Sayin cover, with recognisable Turkish rhythms mixed with the power of a live "rock" expression.

I think it is especially "Sari Cizmeli" and "Leylim Ley" where the group shows a power which goes further than just arranging folk into an attractive rock style suitable for live performance.

Audio (in correct order) :"sari cizmeli","beni yak kendini yak","leylim ley", "turnalar", "can bedendem","urfanin ertrafi", "ask dilencisi","elma sekeri"
Homepage : http://www.yoldas.info/ ; More info on band here
Ada MüzikZen : Suda Balik (rec.1994,pub.1995)*°'

Zen's first release recorded in 1994 shows the group playing in an experimental way. Various tracks reminds at Krautrock like moods like Faust. It's very dark, dense, deranged mostly acoustic music with cloudy woolly structures. In the first half of the CD this can convince. Near the second half it shows lacks of  ideas and it is too much an underground improvising, in a way Amon Düül or Can did as well in their early days, but with some lack of power in its creativity process. Somewhat interesting. It reminds also at a similar improvising collage I heard before with the first album of Deutsch Amerikanische Freundschaft. This release is much more acoustic and has a certain middle eastern touch in their experimental improvising.

I'm not sure if this originally was the first privat release or not, reissued at the Father Yod label Exstatic Peace. The music was very unusual in Turkey in those days.
  next Zen release ->
Ada Müzik         Zen : Derya (1996)**'

At the second release the improvising is still very dark, but there's more added percussion, giving it an extra ritual music flair. Musically it's even more experimental. But most ideas are still vague and structures are cloudy, but they succeed to create a certain mood, very underground. One longer track, "Badi Badi" I prefer because there the improvising finally overcomes the mood of doodling and directs in its own energy. And also "Gaz" goes over the top, but in an experimental underground way. Wish all there tracks went that far. Interesting and promising.

The album was also released by the label 'Father Yod' in US.

Audio : http://www.myspace.com/zenistanbul
Other review : http://www.forcedexposure.com/artists/zen.html    next Zen release ->
Ada Müzik             Zen : Tanbul (rec.1997,pub.1998)***°

Everything I missed in the former releases is achieved in this release. Not only the music is clearly structured. Sounds deriving from improvising thoughts are used now to make a more experimental rock and I mean real rocking fucking psychedelic rocking. Nice drums, perfectly placed sound textured additions, crafty and powerful electric guitar, electric bass, weird vocals with sense. Where former releases had an 80's tape feeling, the professional production on this release with some creative echoes and effects on the sounds makes the sound much more modern. The third track is beautiful Anatolian psychedelic music. The three tracks thereafter are weird experimental progressive music with a drive. The few following tracks are again basically underground experimental, which are thanks to the production techniques and three dimensional sound effects very nice to hear, with psychedelic rock ideas to make the listening experience a trill. Highly recommended. This is one of the most challenging Turkish releases I know. I hope I will be able to hear the latest release soon.

Latest track seems to be a live chill out rock improvisation, of high quality as well. 

Audio : http://www.myspace.com/zenistanbul        next Zen release ->
Ada Müzik        Zen : Bakýrköy Akýl Hastanesi'nde / at the Bakirkoy Mental Hospital (1999)***

Recorded in a mental hospital ? or acclaimed to be recorded there. The booklet is funny because it seems that odd looking doctors participated in the music. This item is not as weird and heavy as 'Tanbul'. It's more an improvised bluesy psych style from a live improvisation. Overall with a nice mood.

Home Page Zen : used to be http://www.nettasarim.com/zen/ and www.zenistan.com (now deleted)
Just recently I found only this audio/info page : http://www.myspace.com/zenistanbul
Info : http://www.kunstradio.at/BIOS/zenbio.html Turkish biography : http://www.turkrock.com/term33.html
P.S. One bonus track can be found at Floralia vol. 2 published by the Mizmaze label
one extra review:
Fat City Rec.        Tandy Love : Turk Jerk -Anatolian Anagrams- (UK,2011)****

I stumbled upon this fun compilation of Turkish tunes from the Andy Votel archives, digging into Anadolu Pop examples, sampling little parts here and there (I recognise Ersen on 5 and Cem Karaca on 11) mostly it has been completely replayed on barrel Hammond organ, moog and Tropicalia synths and drums by some mysterious Tandy Love. A short album but lots of pleasure comes forward from this. Like a perfect producer Tandy Love gave these tunes a second life ideal for a cocktail party with dance occasions.

Audio : http://boomkat.com/vinyl/343292-tandy-love-turk-jerk-anatolian-anagrams
& http://www.amazon.com/Turk-Jerk/dp/B004QSD964
& http://www.piccadillyrecords.com/products/TandyLove-TurkJerk-FatCity-71938.html
Label info : http://www.fatcityrecordings.com/site/release.php?rid=219
& http://www.finderskeepersrecords.com/shop_158.html

all links and reviews updated 2004-07-02, new item added 2011-12-23







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