1.Can you give us an update on what has been going on with the musical project since the recording and release of the new album?
Well, Shadows of the Future Converged has just been released. Since the album was announced, I've observed an increasing sense of anticipation here in Türkiye. I'm currently managing the necessary mundane tasks that come with a release. For the remainder of the year, I'll probably focus more on other musical projects to contemplate new music. This lengthy process and cycle of creation, production, and review has passed for now, leaving behind these 11 tracks. That's the update, as substantial or insubstantial as it may seem.
2.Recently, you have released a new album, musically how does it differ from the stuff you have released in the past?
This album represents the most realized form of Ohol Yeg's expression to date in terms of production, complexity, and coherence. For this album, I've also collaborated with Wrath Vault, an old friend of mine, to reamp the guitars I recorded in my home studio. That definitely elevated the sound and provided a more saturated tone than I've ever had. Moreover, it tells a new sequence of an apocalyptic saga inspired by Turkic lore. This is the first thematic album I've ever made that conveys a holistic story. Finally, this is ultimately the most comprehensive album I've ever released, featuring 11 tracks; some might say this could have been two full-length albums or EPs, to say the least.
3.A lot of your lyrics cover Turkish Lore, can you tell us a little bit more about your interest in this topic?
Indeed, one of the main motivations for launching this project was to express a return to our roots, at least rhetorically and culturally, if not practically. What inspired me was the pure harmony with nature and the fact that it embodies the essence of my own roots. Even though, after 10 years, I am more grounded regarding these issues, I am still very much moved by the elements within the Turkic sagas. It still feels like it has not been explored as much as it deserves. While it is definitely not an unpopular area, its details, core, and entire story are just lost in the noise. This makes it a challenge to access what you want to discover and gain a broader perspective on the entire ancient Turkic lore. I appreciate challenges, so that provides another source of motivation, as it drives me to explore deeper.
4.What are some of the other lyrical topics and subjects you have explored over the years with your music?
A significant portion of my lyrics is driven by nihilism, absurdism, anti-religious approaches, and other philosophical themes, possibly even more than the Turkic aspect. Regardless of what people may call it, these are my (well, the Sazakan part of me at least) honest thoughts that I do not go around and share casually. Thus, these lyrics emerge from the depths of my mind, which is why they often sound encrypted—because they are. However, for this album, I've attempted to take a step further by being more explicit in what I am expressing, to convey the entire saga.
5.What is the meaning and inspiration behind the name 'Ohol Yeg'?
Ohol and Yeg are two separate entities from the Turkic mythos. They originate from cultures that are relatively distant from each other. Ohol (a.k.a. Uğola) is a god of atrocity in Yakut mythology; he symbolises victory in wars and conflicts, encompassing not only physical battles but also the internal struggles and dark thoughts within a person. Yeg is the name given to the devil in the Altay region by the Turkic peoples. In the band's lore, these two entities team up to conspire against the social structures of humanity, starting with today's popular religions that justify ownership over nature. This theme does not exist in Turkic lore, but it is something I conceived for the project, as people with similar beliefs wrote sagas in the past.
6.Can you tell us a little bit more about the artwork that is presented on the new album cover?
The album art captures the overall theme of the album with striking cover art by Vörgot Gainovel. The artwork features a vortex created by Ohol and Yeg approaching Earth to “destroy all social constructs, starting with religion.” It serves as a powerful metaphor for the thematic undercurrents of myth, apocalypse, and rebirth present throughout the record.
7.With this project you record everything by yourself but have worked with musicians in other bands, do you prefer to work solo?
Regarding my workload, I simply hate working solo. For Ave Sanguine, Seed of Cain, or Narken, everything becomes much easier when I handle only the production and vocals, etc. However, for intellectual projects with artistic depth and thought, I definitely prefer to work alone in isolation. Otherwise, I end up either producing something just for the sake of production or merely to make it sound good, or my bandmate's ideas inevitably integrate into the outcome. So, when I aim for self-expression, I work solo. However, in my other bands, I have the opportunity to break the bubble and collaborate with my talented bandmates' fascinating songwriting skills, which extends my horizons on different levels.
8.Over the years you also have been a part of a few splits, can you tell us a little bit more about the bands or musical projects you have shared these recordings with?
I've primarily worked with our close circle in Ankara, Türkiye. Specifically, Ave Sanguine, Narken, Seed of Cain, and Cosmic Funeral are the bands I'm involved with. I've performed live on guitar for Karanlık on several occasions and shared the stage with it, as it is another one-man band by Ahraz, with whom I share a strong connection. Other bands like Wrathfist, Azzaya, and Daelkyr are also groups we were in contact with in the past, mainly through Semiazaz from Ave Sanguine.
9.On a worldwide level how has the reaction been to your music by fans of black metal?
On an international level, I've only heard positive and motivating comments over these 10 years. Ironically, the few demotivating and drama-seeking comments I've encountered came from Türkiye. I suppose that won't change anytime soon, but who cares anyway, right?
10.What is going on with some of the other bands or musical projects these days that you are a part of?
Following this release, we plan to launch a new album with Ave Sanguine this summer. Semiazaz has already sent me his part, and I have begun working on the songs. After that, we also intend to release new music with Seed of Cain by the end of this year. Semiazaz and Allocer have also completed their parts, and once again, all that remains is for me to finalize it.
11.Where do you see yourself heading into as a musician during the future?
What a great question for this album! As a person, what I think about the future is already there in the album.
As a musician, I feel there is little financial benefit in Türkiye when someone releases a product. For instance, I had agreed to terms with several European labels for this album's release. However, due to increasingly challenging customs laws, I couldn't even collect my share of the copies without a significant payment. Additionally, there are simply no international payment options for royalties, like PayPal, requiring multiple methods and extra commissions. Ultimately, why would I collaborate with a foreign label that profits from my music? Printing the album in Türkiye was once viable, which I leveraged in the past, but now it’s nearly impossible without incurring huge costs and doing extensive paperwork.
So, why do I release the album? Because it's not a means for me to get paid; it's simply a form of self-expression and a product of my creation. Therefore, there's much more to it than just being a musician for the sake of being one. That's why the album is currently available only on digital platforms. If I hear of a decent label's solution, then I'll also consider a physical release. For the future, it seems like this will be the case for a while.
12.What are some of the bands or musical styles that you are currently listening to nowadays?
I have been listening to Whoredom Rife, Ungfell, Asagraum, Seth, Svartgren, Hagl apart from the classics like Darkthrone, Watain, Marduk, Inquisition etc. I have been listening to a lot of traditional music as well though, such as Turkic music, Nordic traditional songs and even Byzantine music.
13.Before we wrap up this interview, do you have any final words or thoughts?
Thank you very much for this opportunity; it has been an honor, and I appreciate the genuine questions.
.jpg)
No comments:
Post a Comment