Taken from: Hologram İmparatorluğu
Release Date: November 11th, 2016
Istanbul has a deep, layered history. From its beginnings as a fishing village to one of the pillars of the Roman world. The final stop on the Silk Road. The centre of the Ottoman Empire as the Turks spread their huge net across the Middle East. Across the centuries the city drew in cultures and blended them. Growing up there, singer-songwriter Gaye Su Akyol breathed all that in every day, along with her family’s ancient roots in Anatolia. Those rich traditions combine to form part of the sound she’s developed on her album Hologram Ĭmparatorluğu (Hologram Empire), where sultry Turkish melodies twine around spiky, twanging guitars and insistent rhythms.
“When I was young, we visited Anatolia every year. I had the chance to observe and realise the different perspectives and practices of cultures. That made me feel closer to the diversity of Anatolian civilisation. But when I heard Nirvana’s Nevermind for the first time, my mind blew up. I discovered other Seattle bands, then people like Nick Cave, Joy Division, Sonic Youth, and Einstürzende Neubaten. A bit later I heard Jefferson Airplane’s “White Rabbit.” The dark, mellow mood of the music, the use of the instruments and the vocal technique of Grace Slick greatly inspired me and led me into psychedelia and then surf bands. What they all did seemed to fit with older Turkish singers I loved like Selda Bağcan and Müzeyyen Senar.”
The daughter of acclaimed Turkish painter Muzaffer Akyol, Akyol earned a degree in social anthropology and worked as an artist before creating music took over. She experimented, feeling her way towards her vision. And when she met the band Bubituzak, something clicked. They understood what she was doing; they became part of her art. Together they recorded her debut, Develerle Yaşıyorum, in 2013, following it with acclaimed, masked performances in Turkey and at festivals across Europe.
That first disc seeded the ground. The new album, Hologram Ĭmparatorluğu, bears the full fruit of the partnership. It digs deeper, fired with a seductive, shadowy passion. The thick swirl of Oriental strings on “Hologram” plunges towards the heated boil of “Fantastikir Bahti Yarimin.” The dark lullaby of “Dünya Kaleska” weaves a haunted post-punk spell before building to the album’s climax “Berduş,” where spaghetti western guitar cracks over a propulsive rhythm and a sensuous Anatolian melody. The sound is cinematic and gorgeous and Gaye’s luminous voice brilliantly orchestrates these shifting moods.
In Gaye Su Akyol’s universe, the past becomes folded into the present and launched into the future. Hologram Ĭmparatorluğu is heady, powerfully intoxicating and beautifully dangerous.
“Your art is something you have to find yourself,” Akyol says. “I’m looking inside my consciousness to my culture. I love rock but there are hidden things in my subconscious. Call it Turkish art rock if you like.”
Past, present, future.
Her music, her art.
- Alternative Rock