Reviews of new Turkish Progressive music

Clou Murat Ses : Automaton² (TÜ/Ö,2005)**°

This new album of Murat digs into a trance-hypnotic kind of world-electronica, mostly with a dance-dervish enjoyment, with world-spanning rhythm associations, still in a typical Anatolian way. There might be an underlying idea here of how the world could hang together in a rhythm. Each of the tracks are like 4/4th square metric looped areas filled with some "automatic" smooth loop-like patterns, expanded with a few samples, with memories of Anatolia. Especially in “Tan 30” (but perhaps also on “Yoruk”) I’m recalled to an early Mogollar organ sample, as if from a diary memory, on “Tan 30” mixed with what seemed to be the kind of Turkish violin called 'iklig' (but it's actually Murat playing with the programmed sound on a microtuned synthesizer). Most places for the bridge of open world fusion in rhythmic melody-loops starts in Anatolia, but not necessarilly. “Polk Street” for instance has an Asian folk loop mixed with a tram bell, talk, Arabesque voice sample and rhythms, embedded in repetitive loops. Especially "Valle Marineris 2” is supposed to describe a city like Miami, rhythmic and vibrant, with didgeridoo, keyboards and samples. The ground fundament of rhythms is mechanical machine-like, the “automaton”. At its best and mostly, this is like a hypnotic trance, made with the 'human' element coming into it, whose feelings easily find comfort in them, and in the open ideas behind it of being open to the world. The musical complexity lies in the rhythmic-melody layers within these boundaries of loop-trance transited concentrations. The result of these rhythmic instrumentals is enjoyable as listening music. The dance rhythmic abilities are on a different level of concentration than those meant just for bodily enjoyment. With each track, they evolve from one to the next, ritual-like and moody.

Audio : "Ihlara Valley", "Tan 30", "Yoruk", "Nihal 2", "Polk Street","Hattushili", "Valle Marineris 2",

"Great Weekend", "Tan 2", "Indian Creek", "Pagangora", "Dry Sun 2", "Eau Gallie".

or http://www.peaceworkmusic.net/0537/index.htm

Info : http://www.muratses.com/automa2.htm

Intro on Murat : http://psychcentral.com/wiki/Murat_Ses

More info : http://progressive.homestead.com/Murat_Ses.html

Available new albums from Murat (with audio) : http://www.peaceworkmusic.net/clou.htm

ArkaplanHakan Tuna : Karanlikta Günes (2004)**°

London based Hakan Tuna was asked more often for his knowledge and interest in the ‘60s and ‘70s Anatolian pop/Rock music. This interest can also be heard on his only (now sold out) record. It is entirely a pop album which keeps the older and a bit more the newer Anadolu Pop/Turkish pop/rock music association. At times Baris Manço might be associated (especially melodicwise, in song, -"Ben Bilirim"-like in the last track for instance-, and perhaps the vocals a bit,…), but in a slightly more commercialised edge compared to Baris highlights, never too far away from what for Turkish Pop/Rock still has certain progressive associations (especially for some tracks with the more -harder- “rock”ing guitars and a bit of related keyboards for some instrumental parts in some songs) mixed with the lighter, pleasant Turkish pop style ; in some way this still is associable with Baris interests, as if he had still lived now and made music through Hakan’s expressions. Although not entirely “progressive” / psychedelic / or not really crossover styled, in a light and softer way, really enjoyable.

Homepage : http://www.hakantuna.com/ with audio : http://www.hakantuna.com/albumler.html

& http://www.myspace.com/hakantuna

Label entry : http://www.arkaplan.com.tr/hakantuna.htm

Hardal : Nasil Ne Zamman (1982)**' (my copy was taped for me)

(you can also see also the covers of the 2 other albums ; thank you Akin E. for the correct cover)

Only a few tracks are poprock related melodies with great funky rhythms and electric guitars and accurate drums, all in '70's style, especially the first track "Bir Yagmur". Also "Unuttum" with female "nana" vocals, still a little bit sweeter in song style is like this. Also the next song has these interesting use of textured ideas by the electronic music keyboards, without leading the song much. Most of the tracks are more mainstream pop rock, influenced by an oversweet candy pop style, still with a certain soft rock edge. I wish the group had used the more powerful musical ideas more often, or would have a release where the group in stead of the singing would have taken the lead. I believe the group instrumentally is capable to give a crafty sound, but mostly the mellow pop song sound has the leading part. Such tracks / approach are less enjoyable when you don't know Turkish. As a pop record 'Nasil ne Zamman" it's still enjoyable. I gave it **° for its fine potential. For Turkish listeners it might be a more valuable alternative for more candy pop elsewhere.

Band members : Sukru Yuksel (vocals-guitar), Aydin Sencan (el.bas), Alper Karamahmutoglu (el.guitar), Zafer Oguz (drums), Ozkan Turgay (organ/keyboards).

Info : http://www.geocities.com/turkrock/topluluklar/hardal/ I might review the two other releases later.

Double Moon Rec. Laço Tayfa : Hicaz Dolap (2002)**°

This is music with a clear Gypsy music foundation (in the so called Turkish Roma tradition), uplifted into fusing areas. The improvisational style being used is known as "doaçlama", here with a (often very) funky electric bass (like on "Ussak"), melodically lead by the clarinettist Hüsnü Senlendirici, but also accompanied by some brass band instrumental touches, with also some jazzy fusion keyboards touches. The jazz harmonies are being combined with North African and Arabic rhythms. We can hear on a few occasions a very live energetic 9/8 rhythm, in the Aegean folk dance style, but also other traditional styles are being adapted. "Zülüf" for instance sounds like a Turkish ballad, with additional fusing styles like jazz combined with folk. "Püsküllü" is a very rhythmic nice folk fusion jazz track with electric baglama ?, nice el. guitar effects ?,a very funky bass, brass arrangements, clarinet, jazzy keyboards, and is one of the (many) highlights. "Gel Yad'a Salma Dilber" sounds more Macedonian in style, but with a jazz Fusion approach (I must mention the fine drumming here, and the jazzy piano, electric bass) and with some Turkish folk instruments proving perfectly suitable. Also "Hicaz Dolap" expresses a powerful fusing style. Also the following tracks are as good. The two remixes at the end ("Şurmat (Remix)" and "Erkilet Güzeli (Remix)" were done by Sufi DJ Mercan Dede (see next review for a release of his). There is use of a few extra hard beats, used as a powerful contrasting expression, which makes the music even more enjoyable, different, more with a 'body with soul' emphasis. A fine experience.

Video : "Şurmat" Soundfile : "Bergama Gaydasi" Booking : arzu@pozitif-ist.com

Info label of this album : http://www.doublemoon.com.tr/en/album_en.asp?album_id=1

For sale with audio fragments : http://LaçoTayfa.calabashmusic.com/

Double Moon Rec. Mercan Dede : Su (2005)***°'

Mercan Dede here continues his earlier approach of a style which fits well within the popular World Trance music and partly also somewhat with New World Fusion. In the early stage of his carreer his music might be even more than today a minimal trance techno with acoustic elements because now the acoustic playing is more present and speaking more on its own than before. Nice to see is cooperation with a variety of musicians, from various countries. Two tracks are with Indian musicians : Sheema Mukherjee plays sitar and co-composed “Ab-l Lâ'l”, and there’s also female singer Susheela Raman on “Ab-i Beka”. Mercan Dede still takes care of electronic sounds and ney mostly. An important guest musician on many tracks is Hugh Marsh who improvises on violin. In general the music still is somewhat minimal world trance music, with a slow moving whirl, which is like a circular wheel of repetition, a foundation for a mood thing with its own repetitive space for some improvisation. There are also a few adaptations of traditionals, like “Abi-cesm” sung by female Turkish folk vocalist Sabahat Akkiraz. This track is an old traditional with modern effects, like an attractive deep wahwahbass, mixed with the traditionally stringed instruments. And secondly there’s “Ab-I Beste”, which is based upon a poem by Abdi of Urfa, and which is sung by popular male folk singer Özcan Deniz. “Abi-i Hazân” uses a fragment of hiphop into fusion. The theme of all tracks is water with some variety of forms. Like some mass of water there’s a slow movement, but also a coming back to a stagnated form with some variety in content. The true inspiration never goes very deep, but the variety surely is colorful and enjoyable.

Audio : "Ab-l Rû" (or fragment), "Ab-l Lâ'l"(or fragment),"Ab-i Zen", "Ab-i Tarab", "Ab-i Beka", "Abi-i Hazan",

"Abi-cesm"

Info on artist : http://www.doublemoon.com.tr/en/artist_en.asp?artist_id=2

with album : http://www.doublemoon.com.tr/en/album_en.asp?album_id=40

Info with audio : http://mercandede.calabashmusic.com/

Homepage : http://www.mercandede.com/md/EN/index.html

Other review : http://www.doublemoon.com.tr/en/news_detail.asp?news_id=350

& http://www.cdreviews.com/index.php?option=content&task=view&id=556&Itemid=27

& http://www.rockpaperscissors.biz/index.cfm/fuseaction/current.articles_detail/project_id/210/article_id/4082.cfm

Article : http://www.bbc.co.uk/radio3/awards2005/profile_mercandedeclubglobal.shtml

Harmonia Mundi Melike : Macar (TÜ/IRQ,B,NL,MAR,2006)***'

This is a very special kind of folkopera with certain grandeur, musically led by Iraqui born acoustic guitar (studied in UK) and kanun player (studied in Iraq), and composer Osama Abdulrasol. It is one of the projects by Osama, because he also has his own ensemble and played with many more Belgian folk groups and singers (Olla vogalla, Wannes Vande Velde, Luc de Vos, Oblomow, Djamel,..), as well as with the Brussels based groups Nahdha (Arabic Renaissances music), Les Mesopotamian (Iraqi classical music), as a duo with Lula Pena (Portuguese fado singer), with the Ghent based fusion band Elftwelv trio (jazz music with Arabic music) Jahede Wehbe (Lebanon, Arabic classical music) and with the theatre company Woestijn 93.

Lead singer is Melike Tarhan. She grew up while listening to Turkish classical music, and later Turkish folk music. She has a university degree in German languages. She also studied Indian and classical singing techniques. Further on she worked as a lead singer with Belgium based world fusion groups bigband Olla Vogala, TriOttoman, Tri a Tolia, Ushak trio & Hüzam trio. She also sings Arabic songs with IndiAra, an Indian-Arabic music- and dance project and songs in the Old Portuguese language with Pandora² (A project based upon the performance of the popular Cantigas de Santa Maria), besides a few other projects.

Other participators are from Belgian (Wouter Vandenabeele, project leader from Olla Vogala, and Stefaan Smagghe: violin and Lode Vercampt : cello) Dutch (Henk De Laet : double bass & backing vocals), Turkish (Bekir Gürbüz : baglama, cura, backing vocals) and Moroccan (Azdine Jazzouli : percussion) origin.

The story is about a boy who dies at war during the Canakkale War in 1917, leaving his mother with pain. The story ends with a cry of why wars still occur as means to rule over life. The story works on a different level as an association with what happens in Iraq. Most texts are traditionals, but there is also adapted a part of the lyrics from “Down by the Sally Gardens” by Yeats. It is the only English part, on a track sung in a Turkish flavoured song style.

The style is a mixture of Turkish folk singing with European classical chamber music mixed with an “Arab” flavour. There’s a calm melancholy and always present beauty, developing in a rather silent way with a certain dignity of a keeping things at a safe distance with full perspective. The orchestra (Wouter for instance I remember well as a remarkable independent-folk violinist) succeeds well in bringing a fresh approach tof arrangements based upon certain melodic traditions without going outside a calm temper, as if all is presented as a kind of funeral tribute, losing the idea to celebrate and dance, with dignity and respect for life. “Bülbülüm Altin Kafeste” has surprisingly a Latin flavour mixed in it (acoustic guitars, rhythm) without losing its convincing original core. Only “Icimde Bir Kösede” is arranged more simply, led by voice and guitar mostly, making a more personalized moment of contemplation. Very nice is to hear a nez improvisation that introduces the concluding track, a song which represents the concluding cry, which, like flamenco builds up some tensions, but still finds a certain inner peace, because its voice will be heard at least by some. A very succesful release.

Audio : "Macar I,"Emirdagi","Nazife hanim" ; more audio on http://melike.calabashmusic.com/

Homepage : http://www.melike.be

Other reviews : http://melike.mondomix.com/en/chronique2253.htm

& http://www.6moons.com/worldmusic/macar.html

& http://www.cdroots.com/hm-makar.html

Dutch introduction : http://users.skynet.be/bs163285/artist/melike/melike_nl.html &

http://www.muziekcentrum.be/cdb/details/organisation.asp?id=42676&g=2 &

http://www.ccleopoldsburg.be/html/voorstellingen%200607/voorstellingen/07/melike.htm

Info on Osama Abduralsol : http://www.osamamusic.be/ & http://www.muziekcentrum.be/cdb/details/person.asp?id=3124

Later release as Trio A Tolia see on next page->

Pasion Turca / Mega MüzikHarem IV : rhythm forever (2004)*°°

Harem is a project by four percussionists: Suat Berkay, Bülent Aydogduoglu, Can Akin and Eser Aygun. This fourth project attracted some DJ’s and vocalists.

The style varies a bit depending also on who co-operated. It is definitely dance related music. The additional beats vary from very hard pumpin’ beats of (close to what they call hardcore beats, especially the tracks by DJ Usy-Ja Worksz) mixed with easy direct effects and samples and dirty talk, like an erotic female voice saying “give it to me one more time” or with a male voice expressing inexplicit sexual lyrics like “shake that belly, baby” making the music very sexual "2nd shakra" related down-beat music. The Turkish rhythms are used by the DJ’s as a sample, or occur on more quiet moments, or in the best case as the fundamental groove. In some way it is mixed in such a way that the music comes closer to tribal African music, but still in a very Turkish way.

Not all tracks have heavy electronic beats. A track like “La Pasion Turca” proves the fundamental group doesn’t need much in the way of extra arrangements or mixes. This particular track is with oud and electric violin by Omer Ocal. “Prophecy” for instance is with some orchestral arrangements (played by Mehmet Ali Hevenk Ensemble). In general there’s enough rhythmic complexity that makes the complete product convincing and rewarding. Also the bonus tracks are fine.

Info : http://www.pasionturca.net/harem.html

Other items : http://www.tulumba.com/icy_itemsFiltered.asp?mode=1&filter=Harem&cN3=200

or http://www.musto-gusto.us/product.asp?intProdID=38

More info : sun@pasionturca.net / montaruli@telefonica.net

1.demo Hayvanlar Alemi : Bir (2004)***

In this release the group shows the attitude of a free Krautrock group. They are an instrumental improvisation group with simple but effective moody instrumentals of electric bass repetitions and evolutions, drums and hand percussion, partly Turkish, electric guitar or saz ? and keyboards. Especially on the last and longest track these keyboards give it a certain spacey effect. Interesting and enjoyable.

Remark of group on review : "Just to make you know, there are no keyboards on both discs, and hardly any bass guitar on the first one (only on the tracks 8 and 9) Everything that sounds like keyboards are made with an electric guitar and an electrified violin. There are no saz on it as well, but a bouzuki (on the tracks 2 and 6) and there are also some non-instrumental sounds (on 1 and 4)."

2.demoHayvanlar Alemi : Bekçi (2005)**°

On this newer 3-track demo the group takes calmer and longer improvisations which also include some radio vocals and voice recordings as experimental effect.

3.demo Hayvanlar Alemi : Bir / Bekçi / Akvaryumda Sabah (2004-2005)***°

On their latest version of a presentation demo they combined "Bir" and "Bekçi" into one release with one extra track from 2004. This was a very good idea, because then you get much more of an impression that this final version became a collection of recording sessions. After having listened a few times again to "Bir", this still sounds to me like a Krautrock improvisation, rhythmically driven, with a slightly stoned feeling, and with basically handpercussion, electric guitar and electric bass, so it seems (see remarks up). A very moody and successful session. "Bekci" is a bit more experimental, with on "Park" slightly Russian voices speaking, while the band improvises on top of it, in a rather psychedelic and also moody way. The titletrack has spoken word as fundament, also with the impression this comes from a radio, and with another smooth improvisation on top of this, with slices of Turkish singing coming true. Last track is completely built on radio fragments of mostly talks including radio wave distortion, and strangely enough, sounds like deliberate experimental music. The last piece, another improvisation, on guitars and drums from 2004, concludes the collection perfectly.

4.Seyhan Müzik/003 Rec. Hayvanlar Alemi : Gaga the world of animals -Beak (rec.2006,pub.2007)****

The group has now released an official and professionally recorded album, which sounds like one take of hung together improvisations of 10 more or less equal in time sections. The group’s kind of improvisation, I guess must have had some preparations of ideas, so in that way it does not sound so linear as most psychedelic music, and has some vague flavours of the old Krautrock improvisations, which were very structured. The music is always moody, slightly slow in rhythm, eating itself away into space, uses a bit of spoken word/song like another instrument, uses layers of guitars, uses a bit of feedback or surf like effects here and there, and is always well balanced. At times there are hints in style close to the instrumental Replikas (one of the other great new Turkish bands).

As a hidden bonus we hear a track of over 10 minutes using some exotic television or radio fragments, Hawaiian and easy listening exotic instrumentals, birds and sea mixed with the group’s improvisations.

A rewarding album, which should interest foreign psychedelic music lovers.

Hayvanlar Alemi are Hazar Mutgan, bass ; Isik Sarihan, drum set, bell, shaker, sampling ; Özüm Itez, guitar, bendir, kalimba, hashish ; and Gökçe Basar, guitar, door ; with guest Mehmet Öd, vocals and Hazar Mutgan, suppositional violin on track 8.

5.demo Hayvanlar Alemi : Summer Hits 2007 -ep- (rec.2000 & 2007)***

This 3-track album was recorded last summer, as a quartet (-the band now is performing and recording as a duo, but it doesn’t mean this was the last appearance as a quartet-). The first track, “Biz Bir Aileyiz” is a rendition of a Malaysian pop tune, although it sounds very Anatolian/Turkish rock to me, with a few small elements of dub added as well. The track “Yerçekimsiz Ortam” dates back to 2000, and is a re-adapted new version of the mystery track on their official album. The tune evolves in its playing to a great psychedelic wa-wa ending. Sadly the cdr I have starts to vibrate with skipping noise clicks which gets worse and worse near the end, (-something which happens quite too often with copying cdrs, with storing cdrs, by oxygen and humidity combusting cdrs etc. oh I do hate this format) but I can still hear what’s going on. The third track improvises in a calm bluesy Turkish psychrock fashion, very moodily in a psychedelic way, with that nice element of echoing, submarine-like, high note pulses, played on the electric guitar. It is a bit more direct rock compared to the other releases. For me it sounds promising. Could be a nice vinyl EP.

Free download here

6.demo Hayvanlar Alemi : Süper -single- (2007)***?

7.demo Hayvanlar Alemi : Pancarlarin Dansi -single- (2007)***'

reviews might be added later

Audio on http://www.seyhanmuzik.com/ ; Label : http://www.003records.com/003/ ; Info : karayorgan@hotmail.com

Homepage (with audio) : http://www.hayvanlaralemi.org & http://www.myspace.com/hayvanlaralemi next CD

Pre-release / CLCX Rec. Hazerfan : Lost Nowhere (TÜ/US,2005)***°

Hazerfan had various changes. Murat Bayhan and Goktan Kural after theband Time Machine had formed Bonustrack in Turkey. Then the name was changed to Hazerfan. Then both Turks moved the band to San Fransisco in 2003 and quickly found a very compatible, female singer/lyricist Beth Hada who seems to be inspired by the power of the band. Also new to the band is Cris-P, on electric bass and Patti Weiss, on violin. The music is really great and powerful hardrock. The production and evolution I think has improved the music. It is driven by great drumming, electric bass and emotional electric guitars. Various tracks have oriental, Turkish melodies (also in violin) but not necessarily. The combination of bass, drums (partly Turkish), electric guitar, electric violin (mostly oriental), together with the general oriental/Turkish flavour and beyond really gives a very attractive sound. Recommended to any serious hardrock fan !

Audio : "Spellcaster", "Nine 8", "Black Spirit","Chasing the Sun", "Evil Eye", "Neyzen","Impeller", "Hyperspace"

or http://www.soundclick.com/bands/0/hazerfanmusic.htm & http://www.myspace.com/hazerfan

Info : http://www.hazerfan.com or http://www.angelfire.com/band/bonustrack

Other review http://www.powerslave.com/bands/bandprofile.php?band_id=676

Zihni Müzik/EMI Ihtiyaç Molasi : Milad (1999)***°'

I heard Ihtiyaç Molasi were amongst the pioneers of the second generation of groups creating a more progressive sound (in the end of the nineties). The strongest point of the group is the ability to make a lot of evolvements and different approaches of arrangements within one song. The first two tracks for instance (like "Cizgi") evolve fluently from a Chamber Music Rock (RIO) skilled instrumental music with complex rhythms (drums, crafted el.guitar, el.bass, piano) towards more funky poprock rhythms and then even some poprock song with even more relaxed rhythms. This combination is renewing from a poprock point of view. The third track, "Cengi" is more Turkish folkrock with a jazzy violin. I heard that promising track before on the compilation album "Sesimizi Yükseltiyoruz !". Also the following track, "Milad" is a Turkish folk melody in a proggy version, which is, like the next more chamber music rock track, "Ortamali" with very varied arrangement changes. "Shine" is an English spoken pop song, with no typical Turkish elements any more.

I personally think in here the talent of the group don't come out as much as in the rhythmically more composed earlier instrumental tracks. The Turkish folk influence can be heard again in some of the other tracks, refreshing in combining it with more progressive guitar playing and rewarding rhythmic skill. A talented group !

Musea's description : "Ithiyac Molasi is a current Turkish band performing a soft-jazz-rock, strongly crossed by eastern influences. Not concerning its latest, "Milad" (1999) could evoke an American production. What is noticable is that this record is distributed by EMI in its country ! The vocals in English differenciates thanks to a slight accent not disturbing for the listener. Progressive rock influences do not miss, often represented by seventies-styled keyboards."

PS. I don't think their latest album is equally rewarding. I assume they developped a more straight rock sound.

Homepage : http://www.ihtiyacmolasi.com/ & http://www.myspace.com/ihtiyacmolasi Biograpy attached in txt-file here

Review at http://stevehegede.tripod.com/turkey.htm Contact : mail@ihtiyacmolasi.com

Zihni Müzik label contact : http://www.zihni.com/ Contact : zihni@zihni.com

EMI Label contact : mehmet.portakal@emimusic.com

This item for sale at an English speaking page : http://www.shroomangel.com/shroom/rs7.asp

Turkish article : http://www.dergibi.gen.tr/muzik/ihtiyac.htm

New item 1,5 might be more straight forward rock ? : http://www.tulumba.com/icy_itemdesc.asp?ic=MU9399207DQ815

Doublemoon Rec.

Ilhan Ersahin : Hariklar Diyari (Wonderland) (2002)***°

There are so many musical genres elements present the music has a certain urban cultural richness, I think with all elements expressing the richness from Istanbul. The elements are basically fusion, with DJ work, folkloristic arrangements, and a cool modern female voice. I once read an article in The Wire that mentioned an Istanbul Western-tinged club style called "Beyogly Beat". This style according to Jason Gross, the writer of this article, uses Turkish scaled music with traditional instruments and modern beats / fusions. He considered the Burhan Öçal fusion release reviewed on my pages, but also the Zen / Baba Zula / Replikas crossover folk prog rock releases (reviewed here as well) as being part of this style, with this Double Moon label, and with Ada Müzik as the most important labels to document such labelled releases. The Western styles are all present (jazz, fusion & pop) but with that typical Istanbul touch. There are also some fine Turkish classical arrangements added. Don't expect any of the mentioned genres to be to the fore, instead this is a good mixture of all what I mentioned. Only on the last track, "Ennio" the jazz fundament clearly leads. Imagine a mix of the Western styles of Jazz, Fusion, Pop, DJ mixes, think of this as to be derived from a Turkish scale, and with Turkish rhythms and you're close to imagining this "Wonderland". A very enjoyable release.

Because mostly electronica and World music mixes in many examples in general were done so poorly (unfitting and overwilling) Ilhan, who is basically a jazz saxophonist wanted to give a better and more spontaneous example of such possibilities, and like more releases within this "Beyogly Beat Fusion" genre he has succeeded very well.

Soundfiles : "Oriental Wind-MP3 or real audio),"Girl", Ask", "Sensiz Yasamam"

More info : http://www.doublemoon.com.tr/en/artist_en.asp?artist_id=10

Biography Ersahin : http://www.lightmillennium.org/biographies/ilhan_ersahin_bio.html

complete Live concert at VPRO : http://cgi.omroep.nl/cgi-bin/streams?/nps/4fm/2003/musicmeeting/wonderland.rm

with pictures and info : http://www.omroep.nl/nps/4fm/artiesten/wonderland.html

EMI/D.Moon Istanbul Blues Kumpanyasi : Sair Zamanlar (1999)****°

A very interesting and refreshing 'new fusion' comes from this group : blues, boogie, ska, psychedelic and Anatolian music (and even jazz) has been blend here perfectly. I never was very fond of blues or boogie (with some exceptions) but this surely is a new sound ! The arrangements sound alive and fresh, pleasure making. I heard nothing like this before. If you, like me, were never fond of boogie (except with some Canned Heat may be from which they give 3 great Turkish versions too) start here ! Do you like usions you never thought of being possible ? Start here ! A few of these instrumental tracks are improvised progressive or psychedelic rock ("Hüseyni Twist" for instance) without ever loosing the fusing capability (moody sax there). This CD is highly recommended. I can imagine they're a great live band too.

Short soundfiles : "Biskotin","Sair Zamanlar" & more on http://www.myspace.com/sairzamanlar & http://www.myspace.com/ibk1997

Label entry group : http://www.doublemoon.com.tr/en/artist_en.asp?artist_id=11

with album : http://www.doublemoon.com.tr/en/album_en.asp?album_id=20

For sale with audio : http://istanbulblues.calabashmusic.com/

Contact : pozitif@superonline.com, sarpkeskiner@yahoo.com, concerts : aries@fornet.net.tr

Review : http://www.thephatplanet.com/music.ihtml?pid=7099&step=4

In their new release, listening to the soundfiles on the net, it seems the group have left out all Turkish elements, so seemed to have become a more "normal" blues etc. related band :

http://www.musto-gusto.us/product.asp?intProdID=499

Double Moon Rec. Mercan Dede : Seyahatname (2001)***°'

Mercan Dede is a modern (Rumi) Sufi musician (ney,bendir,accomplished singer) and DJ (born in Turkey, but based in Montréal, Canada). He studied under the Turkish ney master Niyazi Sayin. Beside his talent to mix world music sounds and Turkish/chamber Jazz rhythms with modern production his approach to music is completely from a spiritual foundation, a combination which makes his music deep and rich. The production reminded me at Peter Gabriel's "Passion", a release which made world music suddenly popular. Here 10 musicians have the same impact, into an enriched new sound, into the most perfect "world music" related music combined with a soundscape mix I heard so far. Beautiful and unique. Highly recommended.

P.S. (I had the impression the easy musical trick of a nice sounding 'drone' has been used in his earlier recordings, and a few more times here to build upon it its music, but what has been been build over such moments is however structral enough and convincing here).

Video (complete tracks) : "Gülname", "Hayalname" ; Short soundfiles : "Gülname", "Semaname", "Hayalname",

"Neyname", "Vefaname", "Askname", "Falname","Sirname". Audio : "Gülname"

Personal Web Page at http://www.mercandede.com/index.html (DJ work/musician)

with Mercan Dede musician at http://www.mercandede.com/md-english/index.html

Label page : http://www.doublemoon.com.tr/en/artist_en.asp?artist_id=2

with this album : http://www.doublemoon.com.tr/en/album_en.asp?album_id=14

Biography and interviews (in English) at a seperate txt.file with biography,interviews

Other short introduction : http://www.goldenhorn.com/display.php4?content=artists&page=mercan_dede.html

Other older release "Sufi Dreams" with soundfiles at http://www.goldenhorn.com/display.php4?content=records&page=ghp003.html

'Journey of a Dervish' with soundfragments at http://www.goldenhorn.com/display.php4?content=records&page=ghp009.html

Article with picture at http://www.zaman.com.tr/2001/02/18/kultursanat/kultursanatdevam.htm

Concert poster here

For sale with audio : http://mercandede.calabashmusic.com/

More about Sufi Music : http://www.khamush.com/music/

Another Sufi musician that might cross its roots music source is Hassan Hakmoun (Morocco) who colaborated with Adam Rudolph. Nusrat Fateh Ali-Khan is of course the most known Sufi singer (Pakistan) in the West.

Another interesting connection with Sufi is the filosopher Gurdijev who composed Sufi music with very complicated schemes. Worth to trace. Keith Jarrett onterpreted this work, but I still prefer interpretations closer to the original intention. (A review of one of Gurdjiev's musical explorations at

http://psychevanhetfolk.homestead.com/esotheric.html)

Kalan Müzik Murat Ses : Culduz (TÜ/Ö,1999)***'

Murat Ses is known to be one of the most important musicians from the older generation and for sure as a keyboardist out of Turkey. He played with Siluetler and with the first Mogollar group before, to name only a few. But also in the second generation of musicians and music he reappears to regain an important role.

This CD is part of a trilogy. While only the first track has somewhat disappointing hard electronic beats, from then on the music transforms into a unique sound of what I call ethno electronic music. It is a very refreshing sound that can be associated with even Indonesian way of melodic picking of notes. This might be the first electronic World Music I heard. It surely is music without borders. As relaxing as New Age, but much more original and personal. It can also be called "progressive", in means of being an ethnical fusion electronica. At the same time it's on the edge of accessible instrumental Pop, but then it is much too serious to be called Pop. These are easy listening melodies made with intelligent arrangements. It's very refreshing, and it's intellectually as well as emotionally very stimulating. Completely different from any electronic music I heard coming out from Turkey. The only music I heard I can compare is from Indonesia, where some musicians tried to express the sound of Indonesian music with electronic sounds. Very good.

Audio : "Humbaba", "Ulug Bey", "Cathay", "Barbossa", "Azimuth", "Indian Ocean","Culduz", "Creuset", "Seven Seas"

More information at a separate page about Murat Ses & at http://muratses.com/culduz.htm