Tag: Amsterdam The Netherlands

Live Footage: Alice Phoebe Lou Performs “Only When I”

Acclaimed Cape Town-born, Berlin,-based singer/songwriter, multi-instrumentalist and JOVM mainstay  Alice Phoebe Lou grew up in an intensely creative home: her parents were documentary filmmakers, who took a young Lou to piano lessons. As a teenager, the Cape Town-born, Berlin-based artist taught herself guitar.

When she was 16, she went on a life-altering trip to Paris to visit her aunt. Armed with an acoustic guitar, a young Lou met some of the city’s buskers and street performers, eventually learning poi dancing from some of them. After completing her studies, she returned to Europe, first settling in Amsterdam, where she made money as a poi dancer.

Some time later, she relocated to Berlin, where she quickly developed a reputation as a well-regarded busker — and for a fiercely punk rock-like DIY approach to her career. With the release of her self-released debut EP, the Cape Town-born, Berlin-based JOVM mainstay began to receive national and international attention that led to a number of performances at  TED events in London and Berlin during the following year.

2016’s Orbit was a critical success, leading to Lou earning a Best Female Artist nomination at that year’s German Critics’ Awards. Building upon a rapidly growing profile, she wound up playing at the 27th Annual Conference for the Professional Business Women of California — and she appeared on bills with Sixto Rodriguez, Boy & Bear, and Allen Stone. Lou need the year with three, sold-out multimedia events at the Berlin Planetarium. Those Berlin Planetarium shows were so popular and in such high demand that additional shows had to be added to her tour schedule in 2017.

In 2018, the live version of “She” amassed over four million views on YouTube, and was featured in Bombshell: The Hedy Lamarr Story — before the studio version of the single had been recorded or released. She then spent the bulk of the year working on the material, which would eventually comprise her sophomore album, 2019’s Noah Georgeson-produced Paper Castles. According to Lou, the album was “about nostalgia, about growing into a woman, about the pain and beauty of the past, about feeling small and insignificant but finding that to be powerful and beautiful, about acknowledging that childhood is over but bringing some of it with you.”

The recently released Glow is the highly-anticipated follow-up to Paper Castles, and the album’s material may arguably be the most raw and personal her growing catalog. The material which finds Lou frequently delivering lyrics in a old school, jazzy croon paired with scuzzy guitars, sauntering and strutting bass grooves and mesmerizing piano sequences finds Lou being unafraid to be vulnerable and yearning while embracing songwriting as her truest, most honest form of expression. “I used to feel quite self-conscious about writing love songs,” the acclaimed JOVM mainstay says in press notes,” but now I like the idea that your music can be a friend to someone, and make them feel as though they’re being related to. This album simply poured out of my heart and my subconscious, and there was no stopping the lovestruck nature of them. Sometimes love, love lost and the ways in which these matters of the heart affect us, are the most relatable feelings in the world.”

Much like the rest of us, last year brought challenges both personally and as an artist for Lou. “I spent more time alone than I ever had,” she shares. “I shaved may head. Had an ego death. Fell in love. Had my heart broken. I was a raw little mess. And that was what I wrote about.”

And to celebrate the album’s release, the acclaimed singer/songwriter released a self-directed bit of live footage of her and her backing band performing the slow-burning and hushed “Only When I.” Nodding at Quiet Storm soul, the song, which is centered around Lou’s plaintive and ethereal crooning, twinkling keys, atmospheric synths and a strutting bass line is a heartbreaking and familiar admission of the lovesick and lonely — and full of desperate longing for companionship and that touch of someone you can’t get back.

Throwback: Black History Month: Wu-Tang Clan

Today is February 28, 2021. It’s the last day of February and of Black History Month. Throughout the past month, I’ve featured Black artists across a wide and eclectic array of greens and styles — with the hopes that this series will serve as a sort of primer on the Black experience and on Black music.

While we’re at it, let’s remember the following:

Black culture is American culture — and Black music is American music.
America’s greatest and beloved contributions to the world are Black music styles — the blues, jazz, rock ‘n’ roll and hip-hop.
Black art matters.
Black lives matter — all of them, all of the time.

I’ve often said that hip-hop is the lingua franca of everyone under about 55 or so. And to that end, I’d almost guarantee that everyone from New York to Beijing, from Buenos Aires to Amsterdam from Johannesburg to New Delhi knows and loves the legendary Wu-Tang Cla

Live Footage: JOVM Mainstays Altin Gün Performs “Ordunun Dereleri” with Metropole Orkest

Amsterdam-based Turkish psych pop act and JOVM mainstays Altin Gün — founding member founding member Jasper Verhulst (bass) with Ben Rider (guitar), Erdinç Ecevit Yildiz (keys, saz, vocals), Gino Groneveld (percussion), Merve Dasdemir (vocals) and Nic Mauskovic (drums) — can trace their origins to Japser Verhulst’s repeated tour stops to Istanbul with a previous band and a deep and abiding passion for ’60s and ’70s Turkish psych pop and folk, fueled by music discoveries Verhulst couldn’t find in his native Holland.

But as the story goes, Verhulst wasn’t just content to listen as an ardent fan, he had a vision of where he could potentially take the sound he loved. “We do have a weak spot for the music of the late ’60s and ’70s,” Verhulst admitted in press notes. “With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We’re not trying to copy it, but these are the sounds we like and we’re trying to make them our own.”

Altin Gün’s sophomore album, last year’s Grammy Award-nominated, critically applauded Gece further established the band’s reputation for re-imagining traditional Turkish folk through the lens of psych rock and pop. Now, if you’ve been frequenting this site over the past couple of months, you may recall that the Dutch JOVM mainstays’ highly-anticipated, soon-to-be released third album Yol will be teh third album from the band in three years. And much like its predecessors, the album continues their long-held reputation for drawing from the rich and diverse traditions of Turkish and Anatolian folk. But because of pandemic-related restrictions and lockdowns, the members of Altin Gün were forced to write music in a new way for them: virtually — through trading demos and ideas built around Omnichord, 808 and other elements, including field recordings and New Age-like ideas by email.

“We were basically stuck at home for three months making home demos, with everybody adding their parts,” Altin Gün’s Merve Dasdemir says in press notes. “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.” As a result of the new approach, which featured Ommichord and 808 driven arrangements, the album finds the band crafting material that’s a bold, new sonic direction: sleek, synth-based, retro-futuristic Europop with a dreamy quality, seemingly informed by the enforced period of reflection. Additionally, the album finds the Dutch act working with Ghent, Belgium-based production duo Asa Moto — Oliver Geerts and Gilles Noë — to co-produce and mix the album, marking the first time that the band has collaborated with outsiders.

I’ve written about three of Yol‘s released singles:

“Ordunun Dereleri,” a mesmerizing re-imagining of an old folk standard and a fitting example of the act’s new sound: glistening synth arpeggios, four-on-the-floor and motorik groove. While the song finds the acclaimed Dutch act taking their sound to the dance floor, there’s an underlying brooding and dreamy introspection to the song.
“Yüce Dağ Başında,” a coquettish, dance floor friendly strut featuring Nile Rodgers-like guitar, glistening synths, a sinuous bass line, bursts of mellotron, copious cowbell and percussive polyrhythm centered around lead vocals from frontwoman Merve Dasdemir. Sonically, the infectious new single — to my ears, at least — reminds me of Evelyn “Champagne” King’s “I’m In Love” and “Love Come Down,” and Patrice Rushen‘s “Forget Me Nots.”
“Kara Toprak,” a sleek reworking of a classic folk song by Turkey’s legendary and beloved, blind poet and musician Âşık Veysel featuring wah wah-pedaled funk guitar, sinuous disco-influenced bass lines, shimmering and atmospheric synth arpeggios, copious amount of cowbell serve as a lush bed over which Merve Dasdemir’s gorgeous and sultry lead vocals, ethereally float over. Much like its predecessors, the song is swooning and coquettish seduction — a gentle tug of the sleeve from a new, potential lover/a new situationship that says “Come on, let’s dance already! Show me what you’ve got!” But ironically enough, while it’s an infectious, dance floor friendly rework, the song is about life’s transience and the inevitability of death.

The Amsterdam-based JOVM mainstays have quickly established themselves as a must-see live act, selling out headlining shows across the US and the European Union, and playing sets across the major global festival circuit, including Coachella and Bonnaroo before the pandemic. Now, as you may recall Yol was officially released today through ATO Records/Cadence Music Group — and to celebrate the occasion, the band released a highly desired taste of a concert they recorded with the Grammy Award-winning Dutch jazz orchestra Metropole Orkest at Amsterdam’s Koninklijk Theater Carré last October.

So we have some live footage of the JOVM mainstays performing a gorgeous and incredibly cinematic rendition of album single “Ordunun Dereleri” — and the footage is very much a glimpse of a world that seems so far away.

Throwback: Black History Month: Aretha Franklin

February 10 is the tenth day Black History Month. And if you’ve been frequenting this site over the past month, I’ve been proudly featuring Black artists across a wide and eclectic array of genres and styles that I think can guide you towards further understanding of the Black experience. Of course, I hope that throughout this month you’ll remember — and appreciate the following:

Black culture is American culture — and Black music is American music.
America’s greatest and beloved contributions to the world are Black music styles — the blues, jazz, rock ‘n’ roll and hip-hop.
Black art matters.
Black lives matter — all of them, all of the time.

Tonight I thought it would be best to write about Aretha Franklin, the Queen of Soul. You can Google any pertinent biographical information but I have a story about ‘retha that I’ve mentioned on several occasions: I landed in Amsterdam Schiphol Airport early in the morning one mid-January Sunday. After going through customs and retrieving my suitcase — a suitcase that I had gratefully borrowed from a girlfriend — I took the commuter train into Amsterdam Centraal Station to discover that I had a couple of hours before anything was open.

A smiling, blonde waitress waved me in a few minutes before they were about to open. They had an oldies radio station on the air, playing familiar and beloved hits from a variety of decades. Within about two hours of being in Amsterdam, I was reminded of how ubiquitous Black music and culture are, and how important the Queen of Soul is when this radio station started playing ‘retha — and the waitress happily sung along in slightly accented English. Now, whenever I hear ‘retha, I think of that Dutch waitress singing along.

Live Footage: Nana Adjoa Performs on NPR’s “World Cafe”

Born to a Ghanian father and a Dutch mother, the rising Amsterdam-born and-based Ghanian-Dutch singer/songwriter and multi-instrumentalist Nana Adjoa joined her first band when she was a teenager. She choose bass because “every other instrument had been claimed,” she recalled with a laugh. Perhaps it may have been a lucky twist of fate. Unbeknownst to Adjoa, her mother had once played bass in a Ghanian Highlife band and still happened to have her guitar.

Later, the JOVM mainstay went on to attend the prestigious Amsterdam Conservatory, where she studied jazz — electric bass and double bass; however, she began to realize that her musical passions lay elsewhere. She joined a variety of local bands, began writing her own music and in 2014 entered herself in the Grote Prijs van Nederland — the longest-running and biggest pop music competition in her homeland. Adjoa made it to the finals, but most importantly, she gained a band, a manager and the confidence to launch a solo career.

Interestingly, since the release of Down at the Root, Part 1 and its follow-up, Down at the Root, Part 2, Adjoa has developed a reputation for being restlessly creative, crafting material centered around an adventurous yet accessible sense of musicianship and deft poeticism. Building upon a growing international profile, the Ghanian-Dutch artist released her critically applauded Wannes Salomé-produced Big Dreaming Ants, late last year.

Continuing upon the momentum of last year, Adjoa begins her year with a live, three-song set for NPR World Cafe filmed in Amsterdam. The live session featured live version of the the following album tracks:

“She’s Stronger,” a slinky yet expansive New Wave-like number with a rousingly anthemic hook that describes the deep, inner reserve of strength and resiliency that women routinely pull from through their daily existence. It’s arguably one of the harder rocking songs of Adjoa’s eclectic and growing catalog.
“No Room,” a song that’s slick and seamless synthesis of Afro pop and indie rock, centered around a shimmering and looping guitar line, looped vocal samples and Adjoa’s achingly tender vocals. The song seems to evoke a narrator, who’s stifled and restricted, and desperately trying to break free.
“National Song” a slow-burning and gorgeous lullaby sort of song that on one level warns of the dangers of nationalism and on another level, details a narrator, struggling with her own identity and place when she generally doesn’t fit into one particular box, one particular race or even one particular nationality.

Each of these songs are probing, nuanced portraits centered around deeply personal observations and thoughts, delivered with an unflinching honesty and self-assuredness. And it shouldn’t be surprising that the Dutch JOVM mainstay was also named an NPR Slingshot Artist to Watch for 2021.

Amsterdam-based Turkish psych pop act and JOVM mainstays Altin Gün — founding member founding member Jasper Verhulst (bass) with Ben Rider (guitar), Erdinç Ecevit Yildiz (keys, saz, vocals), Gino Groneveld (percussion), Merve Dasdemir (vocals) and Nic Mauskovic (drums) — can trace their origins to Japser Verhulst’s repeated tour stops to Istanbul with a previous band and a deep and abiding passion for ’60s and ’70s Turkish psych pop and folk, fueled by music discoveries Verhulst couldn’t find in his native Holland.

But as the story goes, Verhulst wasn’t just content to listen as an ardent fan, he had a vision of where he could potentially take the sound he loved. “We do have a weak spot for the music of the late ’60s and ’70s,” Verhulst admitted in press notes. “With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We’re not trying to copy it, but these are the sounds we like and we’re trying to make them our own.”

Altin Gün’s sophomore album, last year’s Grammy Award-nominated, critically applauded Gece further established the band’s reputation for re-imagining traditional Turkish folk through the lens of psych rock and pop. Now, if you’ve been frequenting this site over the past couple of months, you may recall that the Dutch JOVM mainstays’ highly-anticipated, soon-to-be released third album Yol will be teh third album from the band in three years. And much like its predecessors, the album continues their long-held reputation for drawing from the rich and diverse traditions of Turkish and Anatolian folk. But because of pandemic-related restrictions and lockdowns, the members of Altin Gün were forced to write music in a new way for them: virtually — through trading demos and ideas built around Omnichord808 and other elements, including field recordings and New Age-like ideas by email. 

“We were basically stuck at home for three months making home demos, with everybody adding their parts,” Altin Gün’s Merve Dasdemir says in press notes. “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.” As a result of the new approach, which featured Ommichord and 808 driven arrangements, the album finds the band crafting material that’s a bold, new sonic direction: sleek, synth-based, retro-futuristic Europop with a dreamy quality, seemingly informed by the enforced period of reflection. Additionally, the album finds the Dutch act working with Ghent, Belgium-based production duo Asa Moto — Oliver Geerts and Gilles Noë — to co-produce and mix the album, marking the first time that the band has collaborated with outsiders. 

I’ve written about two of Yol‘s released singles:

  • Ordunun Dereleri,” a mesmerizing re-imagining of an old folk standard and a fitting example of the act’s new sound: glistening synth arpeggios, four-on-the-floor and motorik groove. While the song finds the acclaimed Dutch act taking their sound to the dance floor, there’s an underlying brooding and dreamy introspection to the song.
  • Yüce Dağ Başında,” a coquettish, dance floor friendly strut featuring Nile Rodgers-like guitar, glistening synths, a sinuous bass line, bursts of mellotron, copious cowbell and percussive polyrhythm centered around lead vocals from frontwoman Merve Dasdemir. Sonically, the infectious new single — to my ears, at least — reminds me of Evelyn “Champagne” King’s “I’m In Love” and “Love Come Down,” and Patrice Rushen‘s “Forget Me Nots.

Yol’s third and latest single “Kara Toprak” is a sleek reworking of a classic folk song by Turkey’s legendary and beloved, blind poet and musician Âşık Veysel featuring wah wah-pedaled funk guitar, sinuous disco-influenced bass lines, shimmering and atmospheric synth arpeggios, copious amount of cowbell service as a lush bed over which Merve Dasdemir’s gorgeous and sultry lead vocals, ethereally float over. Much like its predecessors, the song is swooning and coquettish seduction — a gentle tug of the sleeve from a new, potential lover/a new situationship that says “Come on, let’s dance already! Show me what you’ve got!”

Interestingly enough, the song’s title translates into English as “black soil” and the song is about life’s transience and the inevitability of death. And as a result, the Altin Gün take manages to be sensual and rapturous. And in a world, in which every one of our actions is seemingly imbued with death, it’s a hauntingly gorgeous reminder of the fact that our mortality is inescapable.

Yol is slated for a February 26, 2021 release through ATO Records/Cadence Music Group.

Kevin Rodrigues is a Paris-born and-based electronic music artist, producer and DJ, best known in electronic music circles as Worakls. Rodrigues, who grew up in a musical family, started to learn the piano when he had turned three. After studying in a conservatory, he started to dedicate his time to electronic music and composition.

After receiving acclaim for his remixes and his earliest solo releases, Rodrigues along with his friends N’to and Joachim Pastor founded Hungry Music in 2014. Since the formation of Hungry Records, Rodrigues has been praised by Billboard, who referred to him as a “rising French DJ” and described his tracks as “serious techno with a light touch,” full of focused, nervous energy.”

In 2019, the rising French electronic music artist, DJ and producer released his full-length debut Orchestra. The label went on a brief hiatus — and they returned with a slew of releases including a series of remixes to celebrate the second anniversary of Orchestra‘s initial release.

Recently, Patrice Bäumel, an acclaimed East German-born, Amsterdam-based electronic music artist, DJ and producer remixed Orchestra album track “Detached Motion.” The remix finds Bäumel retaining the arpeggiated and gently morphing synths of the original, the East German-born, Dutch-based producer’s take feels cinematic and expansive, with the track slowly and continuously building up energy and tension paired with a muscular and insistent thump and euphoric hooks. Sonically, the song — to my ears, at least — is a seamless synthesis of Tour de France-era Kraftwerk and deep house, imbued with a cosmic sheen.

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Live Footage: Amsterdam’s Altin Gün Performs “Ordunun Dereleri”

Deriving their name from the Turkish phase for “Golden Day,” the Amsterdam-based Turkish psych pop act Altin Gün — founding member founding member Jasper Verhulst (bass) with Ben Rider (guitar), Erdinç Ecevit Yildiz (keys, saz, vocals), Gino Groneveld (percussion), Merve Dasdemir (vocals) and Nic Mauskovic (drums) — can trace their origins to Japser Verhulst’s deep and abiding passion for 60s and 70s Turkish psych pop and folk and to frequent tour stops in Istanbul with a previous band.

As a result of his tour stops in Istanbul, Verhulst wound up discovering a lot of music that wasn’t readily available in his homeland. But as the story goes, he wasn’t just content to listen as an ardent fan, he had a vision of where he could potentially take the sound he loved. “We do have a weak spot for the music of the late ’60s and ’70s,” Verhulst admitted in press notes. “With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We’re not trying to copy it, but these are the sounds we like and we’re trying to make them our own.” The Dutch act actively interpret and reimagine this beloved material through a contemporary 21st century lens. “Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country’s musical past, their heritage, like ‘House of The Rising Sun’ is in America,‘” Verhulst explains.

The act’s sophomore album, last year’s Grammy Award-nominated, critically applauded Gece helped the Amsterdam-based act win further worldwide acclaim for their reimagining of traditional Turkish folk through the lens of psych rock and pop. The band’s highly-anticipated third album Yol, the third album from the Dutch act in three years, finds the act continuing to draw upon the rich and diverse traditions of Turkish and Anatolian folk music. But as a result of pandemic-related restrictions and lockdowns, the members of the Dutch act was forced to write music in a new way: they traded demos and ideas built around Omnichord, 808 and other elements, including field recordings and New Age-like ideas by email.

“We were basically stuck at home for three months making home demos, with everybody adding their parts,” Altin Gün’s Merve Dasdemir says in press notes. “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.”

As a result of arrangements featuring Omnichord and 808 — and the new songwriting approach, the album finds the band crafting material that’s a bold, new sonic direction: a sleek, synth-based Europop sound with a dreamy quality that may have been informed by the enforced period of reflection. Additionally, Yol finds the members of Altin Gün enlisting Ghent, Belgium-based production duo Asa Moto — Oliver Geerts and Gilles Noë — to co-produce and mix the album, marking the first time that the band has collaborated with outsiders.

“Ordunun Dereleri,” Yol‘s mesmerizing first single finds the Dutch act pairing an old folk standard with an arrangement centered around atmospheric and glistening synth arpeggios, four-on-the-floor drumming paired with Mediterranean-like polyrhythmic percussion, shimmering bursts of guitar, a sinuous, motorik groove and plaintive vocals. And while, being a sleek and futuristic push in a new sonic direction, the track finds the band balancing careful and deliberate attention to craft with a dreamy introspection.

The members of Altin Gün filmed a livestream concert for Dekmantel Connects that will air December 17, 2020 at 8:00PM Central European Time/2:00PM Eastern Standard Time/1:00PM Central Standard/12:00PM Mountain Standard Time and 11:00AM Pacific Standard Time. The livestream will feature a sneak peek at the band’s forthcoming album, including this gorgeously shot live footage of the aforementioned “Ordunun Dereleri” filmed in what looks like an abandoned factory.

Yol is slated for a February 26, 2021 release through ATO Records/Cadence Music Group.

New Video: Amsterdam’s Altin Gün Releases a Cinematic and Feverish Visual for “Ordunun Dereleri”

Deriving their name from the Turkish phase for “Golden Day,” the Amsterdam-based Turkish psych pop act Altin Gün — founding member founding member Jasper Verhulst (bass) with Ben Rider (guitar), Erdinç Ecevit Yildiz (keys, saz, vocals), Gino Groneveld (percussion), Merve Dasdemir (vocals) and Nic Mauskovic (drums) — can trace their origins to Japser Verhulst’s deep and abiding passion for 60s and 70s Turkish psych pop and folk and to frequent tour stops in Istanbul with a previous band.

As a result of his tour stops in Istanbul, Verhulst wound up discovering a lot of music that wasn’t readily available in his homeland. But as the story goes, he wasn’t just content to listen as an ardent fan, he had a vision of where he could potentially take the sound he loved. “We do have a weak spot for the music of the late ’60s and ’70s,” Verhulst admitted in press notes. “With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We’re not trying to copy it, but these are the sounds we like and we’re trying to make them our own.” The Dutch act actively interpret and reimagine this beloved material through a contemporary 21st century lens. “Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country’s musical past, their heritage, like ‘House of The Rising Sun’ is in America,‘” Verhulst explains.

The act’s sophomore album, last year’s Grammy Award-nominated, critically applauded Gece helped the Amsterdam-based act win further worldwide acclaim for their reimagining of traditional Turkish folk through the lens of psych rock and pop. The band’s highly-anticipated third album Yol, the third album from the Dutch act in three years, finds the act continuing to draw upon the rich and diverse traditions of Turkish and Anatolian folk music. But as a result of pandemic-related restrictions and lockdowns, the members of the Dutch act was forced to write music in a new way: they traded demos and ideas built around Omnichord, 808 and other elements, including field recordings and New Age-like ideas by email.

“We were basically stuck at home for three months making home demos, with everybody adding their parts,” Altin Gün’s Merve Dasdemir says in press notes. “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.”

As a result of arrangements featuring Omnichord and 808 — and the new songwriting approach, the album finds the band crafting material that’s a bold, new sonic direction: a sleek, synth-based Europop sound with a dreamy quality that may have been informed by the enforced period of reflection. Additionally, Yol finds the members of Altin Gün enlisting Ghent, Belgium-based production duo Asa Moto — Oliver Geerts and Gilles Noë — to co-produce and mix the album, marking the first time that the band has collaborated with outsiders.

“Ordunun Dereleri,” Yol’s mesmerizing first single finds the Dutch act pairing an old folk standard with an arrangement centered around atmospheric and glistening synth arpeggios, four-on-the-floor drumming paired with Mediterranean-like polyrhythmic percussion, shimmering bursts of guitar, a sinuous, motorik groove and plaintive vocals. And while, being a sleek and futuristic push in a new sonic direction, the track finds the band balancing careful and deliberate attention to craft with a dreamy introspection.

Directed by Bob Sizoo and Najim Jansen, the recently released visual for “Ordunun Dereleri” is an incredibly cinematic fever dream that follows the Dutch act’s Erdinç Ecevit Yildiz driving a white BMW through a sodium and fluorescent-lit cityscape and into an eerie forest where he encounters the rest of the band. Even stranger things occur.

Yol is slated for a February 26, 2021 release through ATO Records/Cadence Music Group.