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The critically acclaimed Amsterdam-based Anatolian rock and Turkish Psychedelic
Folk band, Altın Gün, spend their pandemic period in the studio and released two
albums! Yol, was released on Glitterbeat Records (Europe) and ATO Records
(America), Âlem, a release for charity is a bandcamp exclusive release. Buy a song,
protect at least 1m2 of nature.
Amsterdam’s Altin Gün have built a strong reputation for fusing past and present to
make brilliantly catchy, upbeat pop music, as seen with their Grammy-nominated second
album, Gece. Yol, their third album in as many years, continues that trend; while unveiling a
number of sonic surprises.
It should be no surprise to learn that the band again draws from the rich and
incredibly diverse traditions of Anatolian and Turkish folk music. But however familiar the
story, Yol as well as Âlem are not just records that reframes traditional sounds for a
contemporary audience. The albums which often presents a strongly international, poppy
sound, also signals a very different approach in making and recording for the band. Singer
Merve Dasdemir takes up the story: “We were basically stuck at home for three months
making home demos, with everybody adding their parts. The transnational feeling maybe
comes from that process of swapping demos over the internet, some of the music we did in
the studio, but lockdown meant we had to follow a different approach.”
Yol and Âlem displays a noticeable dreaminess, maybe born from this enforced time to
reflect. And select elements of late 1970s or early 1980s “Euro” synth pop also shine
through. This new musical landscape was nurtured by certain instrument choices; namely
the Omnichord. Altın Gün sounds like a Turkish kindergarten music teacher from the 1980s
using an 808!’
As ever, the tracks are the result of a true group effort, with ideas on the mentioned
Omnichord, 808 and other elements – such as field recordings and new age-esque ideas
– continually kicked about between the six band members. At a safe distance of course.
The records also owes something to a new approach to recording, with the band working
with Asa Moto (the Ghent-based producer-crew, Oliver Geerts and Gilles Noë) who mixed
the records. Before this the band always recorded on tape with their own sound engineer.
It would be wrong to say that what made Altın Gün such a loved and successful band
has been left to one side. The pressure-cooker workouts, ‘Sevda Olmasaydı’ and ‘Maçka
Yolları’ are classic cuts from the band. And on Âlem two originals on their signature
employment of a dizzying array of ideas and approaches can be heard with the marked
Brazilian feel of ‘Kara Toprak’ and the bands’ original ‘Kısasa kısas’ with a taste of cosmic
reggae filters through the grooves of ‘Yüce Dağ Başında’, and there is a steaming version
of ‘Hey Nari’ which gives the traditional composition by Ali Ekber Çiçek a kick onto the
dancefloor.
Altın Gün have maybe patented their own magical process of reimagining and sonic pathfinding, one probably not heard since the late 1960s and early 1970s British folk rock boom.
Less of a reworking than a seduction, their recordings transport the listener to a world
where the original songs never previously inhabited. Merve Dasdemir again: “After we
worked on them, they got a whole new life of their own. Maybe we went a little bit too
far (laughs).”