#turkish music

[elmaagacininkrali]

o güzel kupa kızıydı, sinek valesiydim bense

[downfalldestiny]

لعلّ في الأقدارِ التي لا نُحبها خيراً نجهلهُ 🌊 🇹🇷 !.

[nofatclips-home]

Sultan İbrahim’in Huzurunda Oynanılan Raks (traditional) and Gel Ey Denizin Nazlı Kızı (Aleko Bacanos cover) by Çaglar Fidan, live in Istanbul for Petites Planètes

[poetrybyonur]

As requested by a couple of my followers, I’ll be occasionally posting videos of my city, Istanbul, paired with music and poetry. This particular video is of a quarter in Istanbul called Örtaköy, a very picturesque area on the Bosphorus. Rumi is my favourite and my inspiration. Music is by the band Kara Güneş.

[aimbutmiss]

I feel like we need more variety in songs when talking about characters and ships. I mean, focusing on English songs alone can be very restrictive. So here's my translation of a Turkish song that fits shuggy from Shanks' POV perfectly (in my humble opinion) Give it a listen, it's a classic!! It's always good to broaden your horizons 🔥🔥

Even if you don't call or ask, don't think I have forgotten you

I'll put the world aside, you mean more to me

You made me fall in love with you, then sneaking, you left me

I looked for you everywhere, I couldn't ask anyone

I waited for you to come back, you didn't knowingly

Knowing that I love you, you didn't come because you were scared

Even if you don't call or ask, don't ever think I've forgotten you

I'll put the world aside, you mean more to me

I'm all alone against the world, that won't do

How could you go, leave me like this? you're ruthless

You thought I would forget, baby, but my eyes are still looking for you

I'll get your news, I'll hear them somehow

I'll know who you're with, what you've been up to, what you're doing

My mind is always on you, whether you love me or not

I never cheated you, I don't like cheating at all

I'm all alone against the world, that won't do

How could you go, leave me like this? you're ruthless

You thought I would forget, baby, but my eyes are still looking for you

[faintingheroine]

Yüksek Yüksek Tepelere (traditional Turkish song sung during the “henna night”, a ceremony for the bride the night before the wedding):

Lyrics:

“Don’t let them establish homes in high heights,

Don’t let them give girls to far away regions

Don’t let them demean the one and only of her mother

Let it be known to flying birds,

I missed my mother

Both my mother and my father

I missed my village

If only my father had a horse and came here

If only my mother could sail and come here

If only my siblings knew my whereabouts and came here

Let it be known to the flying birds,

I missed my mother,

Both my mother and my father

I missed my village”

Wuthering Heights:

Catherine:

“I thought as I lay there, with my head against that table leg, and my eyes dimly discerning the grey square of the window, that I was enclosed in the oak-panelled bed at home; and my heart ached with some great grief which, just waking, I could not recollect. I pondered, and worried myself to discover what it could be, and, most strangely, the whole last seven years of my life grew a blank! I did not recall that they had been at all. I was a child; my father was just buried, and my misery arose from the separation that Hindley had ordered between me and Heathcliff. I was laid alone, for the first time; and, rousing from a dismal doze after a night of weeping, I lifted my hand to push the panels aside: it struck the table-top! I swept it along the carpet, and then memory burst in: my late anguish was swallowed in a paroxysm of despair. I cannot say why I felt so wildly wretched: it must have been temporary derangement; for there is scarcely cause. But, supposing at twelve years old I had been wrenched from the Heights, and every early association, and my all in all, as Heathcliff was at that time, and been converted at a stroke into Mrs. Linton, the lady of Thrushcross Grange, and the wife of a stranger: an exile, and outcast, thenceforth, from what had been my world. You may fancy a glimpse of the abyss where I grovelled! Shake your head as you will, Nelly, you have helped to unsettle me! You should have spoken to Edgar, indeed you should, and compelled him to leave me quiet! Oh, I’m burning! I wish I were out of doors! I wish I were a girl again, half savage and hardy, and free; and laughing at injuries, not maddening under them! Why am I so changed? why does my blood rush into a hell of tumult at a few words? I’m sure I should be myself were I once among the heather on those hills. Open the window again wide: fasten it open! Quick, why don’t you move?’

‘Because I won’t give you your death of cold,’ I answered.

‘You won’t give me a chance of life, you mean,’ she said, sullenly. ‘However, I’m not helpless yet; I’ll open it myself.’

And sliding from the bed before I could hinder her, she crossed the room, walking very uncertainly, threw it back, and bent out, careless of the frosty air that cut about her shoulders as keen as a knife. I entreated, and finally attempted to force her to retire. But I soon found her delirious strength much surpassed mine (she was delirious, I became convinced by her subsequent actions and ravings). There was no moon, and everything beneath lay in misty darkness: not a light gleamed from any house, far or near all had been extinguished long ago: and those at Wuthering Heights were never visible—still she asserted she caught their shining.

‘Look!’ she cried eagerly, ‘that’s my room with the candle in it, and the trees swaying before it; and the other candle is in Joseph’s garret. Joseph sits up late, doesn’t he? He’s waiting till I come home that he may lock the gate. Well, he’ll wait a while yet. It’s a rough journey, and a sad heart to travel it; and we must pass by Gimmerton Kirk to go that journey! We’ve braved its ghosts often together, and dared each other to stand among the graves and ask them to come. But, Heathcliff, if I dare you now, will you venture? If you do, I’ll keep you. I’ll not lie there by myself: they may bury me twelve feet deep, and throw the church down over me, but I won’t rest till you are with me. I never will!’”

(Chapter 12)

Isabella:

“You’ll not be surprised, Ellen, at my feeling particularly cheerless, seated in worse than solitude on that inhospitable hearth, and remembering that four miles distant lay my delightful home, containing the only people I loved on earth; and there might as well be the Atlantic to part us, instead of those four miles: I could not overpass them!”

(Chapter 13)

Really I am once again appreciating Neslihan Cangöz for titling her feminist essay on Wuthering Heights in Turkish “Yüksek Yüksek Tepelere”. Brilliant choice of title.

[x-heesy]

𝙸𝚗𝚝𝚘 𝚖𝚢 𝚋𝚕𝚘𝚘𝚍𝚢 𝚜𝚘𝚞𝚕 😭

𝕥𝕚𝕞𝕖 𝕗𝕝𝕚𝕖𝕤 𝕓𝕪

𝕠𝕧𝕖𝕣𝕥𝕚𝕞𝕖

𝕀’𝕞 𝕚𝕟 𝕒 𝕤𝕥𝕠𝕔𝕜𝕒𝕕𝕖, 𝕞𝕪 𝕝𝕠𝕒𝕕 𝕚𝕤 𝕙𝕖𝕒𝕧𝕪

𝕀’𝕞 𝕚𝕟 𝕒 𝕤𝕥𝕠𝕔𝕜𝕒𝕕𝕖, 𝕞𝕪 𝕝𝕠𝕒𝕕 𝕚𝕤 𝕙𝕖𝕒𝕧𝕪

𝕀’𝕞 𝕚𝕟 𝕒 𝕤𝕥𝕠𝕔𝕜𝕒𝕕𝕖, 𝕞𝕪 𝕝𝕠𝕒𝕕 𝕚𝕤 𝕙𝕖𝕒𝕧𝕪

𝕀’𝕞 𝕚𝕟 𝕒 𝕤𝕥𝕠𝕔𝕜𝕒𝕕𝕖, 𝕞𝕪 𝕝𝕠𝕒𝕕 𝕚𝕤 𝕙𝕖𝕒𝕧𝕪

𝔻𝕠𝕟’𝕥 𝕝𝕖𝕥 𝕪𝕠𝕦𝕣 𝕒𝕓𝕤𝕖𝕟𝕔𝕖 𝕓𝕖 𝕞𝕚𝕤𝕤𝕚𝕟𝕘

𝕤𝕒𝕝𝕥 𝕝𝕒𝕜𝕖 𝕚𝕟 𝕥𝕙𝕖 𝕨𝕠𝕦𝕟𝕕

𝕐𝕠𝕦’𝕣𝕖 𝕚𝕟 𝕞𝕪 𝕔𝕣𝕠𝕡, 𝕜𝕟𝕠𝕥 𝕓𝕪 𝕜𝕟𝕠𝕥

𝕐𝕠𝕦’𝕣𝕖 𝕚𝕟 𝕞𝕪 𝕔𝕣𝕠𝕡, 𝕜𝕟𝕠𝕥 𝕓𝕪 𝕜𝕟𝕠𝕥

𝕐𝕠𝕦’𝕣𝕖 𝕚𝕟 𝕞𝕪 𝕔𝕣𝕠𝕡, 𝕜𝕟𝕠𝕥 𝕓𝕪 𝕜𝕟𝕠𝕥

𝕃𝕠𝕜𝕞𝕒𝕟, 𝕨𝕙𝕒𝕥 𝕒𝕣𝕖 𝕪𝕠𝕦 𝕕𝕠𝕚𝕟𝕘?

𝕀 𝕒𝕞 𝕚𝕟𝕔𝕝𝕚𝕟𝕖𝕕 𝕥𝕠 𝕤𝕒𝕪

𝕀’𝕞 𝕚𝕟 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕟, 𝕕𝕒𝕞𝕟 𝕥𝕣𝕠𝕦𝕓𝕝𝕖

𝕀’𝕞 𝕚𝕟 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕟, 𝕕𝕒𝕞𝕟 𝕥𝕣𝕠𝕦𝕓𝕝𝕖

𝕀’𝕞 𝕚𝕟 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕟, 𝕕𝕒𝕞𝕟 𝕥𝕣𝕠𝕦𝕓𝕝𝕖

𝕀𝕤𝕪𝕒𝕟𝕝𝕒𝕣 (𝕣𝕚𝕠𝕥𝕤) 𝕓𝕪 𝕃𝕒𝕝𝕒𝕝𝕒𝕣 🇹🇷

@frenchpsychiatrymuderedmycnut

[van-eazy]

🎶 🎵 🎼

[mywifeleftme]

211: Erkin Koray // Arap Saçı

Arap Saçı Erkin Koray 2021, Pharaway Sounds

Pharaway Sounds’ Arap Saçı (Arab Hair) collects 24 Erkin Koray tracks originally issued as singles between 1968 and 1976. Koray is best known in the West for his groundbreaking fusion of Anatolian/Arabic folk and classical with crunching psychedelic rock on his 1974 debut LP Elektronik Türküler. However, as Angela Sawyer’s tart liner notes observe, Turkey was predominantly a singles market at the time, and back home Koray did most of his damage on 7”. The limitations of the format, and the preferences of Koray’s record company, preclude the kind of long-form acid voyages he undertook on Elektronik Türküler, but he's able to generate plenty of smoke on these “pop” singles.

Highlights abound. Arap Saçı kicks off with 1973’s “Mesafaler” (“Distances”), a scorching psych banger complete with cowbell that only stops rocking to periodically gawp and stare fixedly into space for 20 or 30 seconds at a time before shaking itself awake to get back to business. (Is there footage of a Turkish TV performance featuring liquid light art? You bet your hairy ass there is.)

The waltzing, organ and hand drum-led “Komşu Kızı” (“Girl Nextdoor”) is a classic melancholy Middle Eastern ballad that hides a wild, surprising drop two-thirds of the way through; Koray freaks “Aşka İnanmıyorum” (“I Do Not Believe in Love”) with his insinuating croon and serpentine guitar licks; “Istemem” (“I Do Not Want”) mixes a light-stepping folk beat with some stinging solos that aren’t too far off what Uli Jon Roth would get up to in Germany with Scorpions a few years later. There really isn’t a bum track to be found.

This new compilation covers much of the same ground as the ‘70s Erkin Koray (AKA Mesafaler) and Erkin Koray 2 (AKA Şaşkın) singles compilations, and Pharaway Sounds opts to follow their track sequencing as closely as possible—a good choice, as they had a great flow, though a bit frustrating for those hoping to track Koray’s musical development chronologically. Regardless, we know that Koray was exposed to Western music as a young age, learning Occidental classical music on the piano as a child and discovering rock ‘n’ roll as a teen. According to the liners, Koray was performing songs by Elvis, Fats Domino, and Jerry Lee Lewis in the late ‘50s, and by the late ‘60s, when he began to emerge as a recording artist, he’d clearly imbibed industrial quantities of Hendrix, Cream, and the other usual psychonauts.

In a previous review, I briefly contrasted Koray with Egypt’s Omar Khorshid, a fellow guitar god and contemporary pioneer in electrified Arabic music. Khorshid had some familiarity with Western pop music, but he was working with the top stars in Arab folk and classical, using electric instruments to push traditional Eastern music forward rather than to fuse it with rock. Koray on the other hand was a long-haired freak who claims to have fought in the streets with a knife and joined Anglo-American-inspired combos with names like Mustard (Hardal) and Sweat (Ter). By the late ‘60s rock had become popular in Turkey, as had Arabesk music, which Sawyer describes as “a purposely uncouth… appropriation of Arabic pop and folk, popular with rural or marginalized folks who were suddenly encountering pockets of urbanized Europe in their backyard.” Koray intuitively crossbred the invasive genre (rock) with the reactionary one (Arabesk) and found himself one of the fathers of a powerful new mongrel breed of psych music.

By reissuing both Elektronik Türküler and these essential singles, Pharaway Sounds has done a real service to psych and non-Western rock aficionados. Koray makes a great gateway to the other masters of ‘70s Anatolian folk-rock, including Selda, Moğollar, and Barış Manço, a loose affiliation of artists that has been one of my most prized discoveries of recent years.

211/365

[kirstythejetblackgoldfish]

Shot in the dark but

I've been looking for a song for the past five years

It's most likely Turkish, Bulgarian or Albanian, and just has a sort of Balkan sound to it in general. It might even be a remix of a song

There used to be a popular YouTube mix by a Romanian DJ called something like 'Araba Bulgareasca Mix 2019' and I think it was the third or fourth song

It had a bit that, to the English ear, sounded like 'Kizi kizi kizi kizi kizi kizi bekkkkk' in a deep male voice

It also had a bit that sounded like 'Ul sagobor sagobor'

EDIT: If anyone remembers the Arap-Turk Karmasi 2020 mix, what was that one Turkish song by Yusuf or something, after DJ Kantik's Kul?

[musicmoreweirdthangood]

Osman İşmen Orkestrası, 1978: “Melvana”

Turkish instrumental disco

[elmaagacininkrali]

we grew up together, we raised each other

[downfalldestiny]

Magic Vibes 🪟🎐!.

[idiotcoward]

Meshum - Enigmatic Existential Essence

Holy fuck… when I found out this album was all done by just one guy in Ankara my mind was blown. Workin Öztürk deserves way more acclaim. The guitar, bass, and drum playing are all so perfectly tight and layered. The vocals are growling and perfectly rhythmic. I don’t even know how he does half the stuff he does with his voice. This is ABSOLUTELY a record you should check out if you love death metal. This has to be one of my favorite metal releases in 2020’s.

[sublime---frequencies]

Size diğer tarafa güvenli bir yolculuk diliyoruz Erkin.

Acıların dinsin ve göklerde süzülesin!

Erkin Koray June 24, 1941 - August 7th, 2023.

Thank you for the music Erkin. Thank you for the grace, elan, and aplomb that you brought to everything you did. It was a honor to be your friend, chaperone, and fetcher of small spoons.

There are too many stories really, but a highlight for me was being driven around Istanbul in 2012 by Erkin and visiting his teenage haunts across the Bosphorus on both continents. Wherever we went, he was greeted like a king. And he was a KING! A real one.

The Album Mechul (SF067) that SF released in 2011, is the only sanctioned physical release by Erkin Koray done in the last twenty years. We spent the last few months preparing a new edition of this album with him.

Little did we know when he said "time is of the essence" what that meant.

Condolences to his daughter Damla @erkinkorayofficial who stood by his side with unnerving strength and poise, and who now holds the legacy of this music.

And condolences to all the who worshiped at the altar of the KING of Anadolu rock!

There will never be another like Erkin Koray!

-HM

[mordere-diem]

Favorite shots from Mabel Matiz - Karakol / Uçkun / Fan (translation by me)