For those who’ve never heard of you, can you tell us a little about your solo project?
I originally started Irshi purely as a solo endeavor. Over time, however, the name Irshi became inseparable from my own artistic identity. Although my earliest work fell under post-black metal, I gradually shifted into what I now call Acoustic DSBM—a style I believe is unique in Turkey.
In March you released a new full-length—musically, how does it differ from your past work?
Altınlı Ablam (released March 3, 2025) carries a special historical and personal significance for me. Unlike my earlier songs, it’s not just music but the first-ever recording of a truly lost folk tale told to me by my grandparents. By committing this story to record, I transformed the album into a complete narrative experience .
The new album takes a more acoustic direction, while older releases were heavier. What prompted that change?
I began as a post-black metal artist because I loved the genre, but I realized it didn’t fully express my own voice. I was drawn to the calm, melancholic passages in DSBM—especially those rare moments of purely acoustic instrumentation. Since no one was naming or exploring “acoustic DSBM,” I decided to embrace acoustic guitar (my favorite instrument) as my main mode of expression. With Hope’s Diurnal Rhythms and now Altınlı Ablam, I’ve made Acoustic DSBM my primary genre .
On the new album you also cover “Anatolian legends.” What draws you to that theme?
That focus is unique to Altınlı Ablam. Hearing a folk tale from my own hometown that existed nowhere else—in no library or online archive—felt like a gift. Preserving and sharing it was too meaningful to pass up; otherwise, I might never have made an album centered on it.
What other lyrical topics have you explored in your previous releases?
When I first launched Irshi, I was angry—angry about my country’s struggles. My earliest lyrics were overtly political. Over time they evolved into social critiques, and lately into deeply psychological themes. Writing about my inner battles and sharing them through music has helped me grow; I’m almost unrecognizable compared to those first years, and I’m deeply grateful to this project for that.
What is the meaning and inspiration behind the name “Irshi”?
In Turkish mythology, an irshi is a forest spirit or fairy that often acts as a mentor and can shapeshift into animals or objects—but notably, it cannot lie. Since Irshi began as a way for me to speak unvarnished truths about my society, adopting the name of a creature that simply cannot lie felt completely natural.
Can you tell us about the artwork on the full-length cover?
The cover shows a long-abandoned house in Gökçen village, destroyed by an old earthquake. In the Altınlı Ablam tale, this is the home of Ayzıt Nine, the mystical woman who shelters the story’s young heroine on a remote mountain. The ruined house perfectly captures that sense of isolation and mystery.
Aside from a few session musicians, you record almost everything yourself—would you ever work with a full band?
Irshi is always going to be my solitary diary—my own unfiltered thoughts. That said, I do play in other bands: Moko (a Turkish midwest-emo/pop-punk group, one of the first of its kind here) and an acoustic outfit called Bulutların Üstünde, also unique in Turkey. But Irshi itself will remain a one-person project.
Since 2022 you’ve released a huge amount of material. Do you spend most of your time writing and creating music?
Absolutely. Almost all my free time goes into writing and playing music. If I’m too tired to compose, I at least listen and immerse myself in sounds—alone or with friends.
On the new album you have several guests—who are they and what did they contribute?
All of my guest artists are close friends:
Ali Bülbül (blues/jazz guitarist; also plays in Bulutların Üstünde)
Bladeckest (progressive post-death metal artist; co-wrote “Alev Esintisi” to honor our country’s wildfires)
Archura (alternative melodic post-metal/rock; collaborated on the Momo film OST)
SilverMoon (alternative rock; an old friend who released a debut album after just one year on guitar)
Each of them co-wrote specific tracks, adding their unique visions and making the album more diverse.
You’ve also done splits and other collaborations—who have you worked with?
Every artist I’ve collaborated with is a personal friend. Aside from Altınlı Ablam’s guests, I wouldn’t record with someone I didn’t know well. Trust and shared vision are essential.
You’re currently unsigned—are you looking for a label or have you had any interest?
I have no plans to sign. I’ll remain fully independent as long as there are people who share and support my work without expecting anything in return.
On a worldwide level, how have black-metal fans reacted to your music?
Many listeners find my style challenging—long, quiet, depressive acoustic tracks can be heavy. But those who embrace it can’t get enough once they discover the beauty within the stillness. There are also some elitist circles that refuse to acknowledge it as “metal,” but I think it’s too early to draw conclusions. This sound needs time to find its audience.
Where do you see yourself heading as a musician in the future?
I’ll continue balancing two lives—my day job and my music. Both are equally important to me, and I intend to keep walking both paths.
Which bands or styles have influenced your music, and what are you listening to nowadays?
So many underground artists inspire me, but a few standouts are The Peregrine, Grav Morbus, Eternal Tide, Acrosome, Blodstrupmoen, Evelyna, Shtandarth, Procer Veneficus, and Мохра—along with countless others.
Before we wrap up, any final words?
Thank you so much for your support and for this first-ever interview! Your interest in such an innovative genre truly honors me.
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