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Emir Toğrul Miscellaneous




Analyses of Emir



Wiley Trieff



Film Analyses



Drink From The Fountain Of Uncertainty



Metalliquement Votre Analysis



Fear Through Eternity




Italian: Aristocrazia


Slovenian: Paranoid Zine






Analyses of Emir


Wile Trieff


Well, this probably won't be terribly popular, but this is a relatively unknown page so what the hell. I've long felt that not nearly enough underground-type music comes out of Africa or the Middle East. Like it or not, lawlessness and depravity have called every corner of this planet 'home' at one point in time or another, and for better or worse, the Middle East is home to both for now. So much so that it seems tailor-made for a lo-fi metal treatment. Every now and then, some necessarily obscure demo from 'Damaar' or 'Ayat' will surface, but thats not nearly enough. 

Well, Emir Togrul is a half-Turkish, half-Armenian expat who runs an independent record label called Merdumgiriz, and yes, its definitely of the lo-fi metal arena. Good luck hearing them now though, Bandcamp has canned all association with them for their 'troubling' themes. Call me crazy but I bare the knowledge, not the opinion mind you, that frightening realities will 'not' maintain any less of a presence just because cowards don't like being reminded of them. Why is this knowledge and not opinion? For starters, known physics allows for such things. True, the lesser understood quantum realm allows for a lack of awareness to alter an object's placement. Nevertheless, a powerful awareness is required for such things. Alas, reactionaries of any cult or creed, particularly those with a hard-on to accuse others of being reactionaries, have never been noted for their broad attention spans or insightful minds. Clearly this applies to anyone who attempts to alter or destroy evidence of history simply because they are too weak to come to terms with the fact that this planet did not accrete 4 billion years ago simply to cater to their infantile pretensions of reality.

Like it or not, every corner of this planet has been Genocide's home at one point in time or another, and for better or worse, the Middle East is Genocide's home for now. So yes, mass murder is a recurrent theme amidst Merdumgiriz's flock. They are most certainly 'not' NSBM though. There isn't a shred of politics, or nationalism, or any of that idolatrous pond-scum shite in their music. No, they fucking hate 'everyone', and in a confrontational manner as well, and that is among the more worthy of mental postures one could assume. 

So if you like Emir's music, or are intrigued by him at all, then feel free to circulate the link down below, which contains his Malediction toward Bandcamp. A fair warning though beforehand. If you are one of those who believe the artificial status quo you adhere to will 'not' be destroyed and replaced by something else in the not-too-distant future, or otherwise cling like a desperate junkie to any reassuringly human construct, then you will almost certainly not find this pleasant reading. For those relatively awakened and self-aware, read on if you choose.


Wiley Trieff





Drink From The Fountain Of Uncertainty Analyses




Metalliquement Votre



Viranesir – Should men be free?


This analysis is from the French radio show Metalliquement Votre transcribed to text.


Those first notes may sound familiar, because we played it a couple of times before. It's Viranesir, Emir Toğrul's latest project, which we have talked about in a special show a couple of weeks ago. I decided to talk more about him, because I am fascinated by his art. This year he released a film linked to an album that we are going to analyze. Tonight, we let the music speak.



Those that follow this show for a while now know my loyalty to Emir Toğrul, this Turkish artist. He's the man behind Yayla, which is a really unique Ambient Black Metal project, but also for some months the man behind Viranesir, his new project, more relaxed. But if Emir creates a new musical project, it is not just because. This one is linked to his new film Drink from the Fountain of Uncertainty. So when I'm telling you those words I am also a cinematographic critic, to analyze this twofold work recently released, again by Merdümgiriz.

Fountain of Uncertainty is a strange album: every note, every rhythm, every idea on this album is disconcerting, and that is what we are forced to witness at the beginning of the album started by Ovulation: a track that puts really high synths, low guitars, really artificial drum sound, terrific voices and bewitching melody that can be a bit disturbing first time around, but when our fears are gone, it appeases us. And that is the idea of the album. We are always disturbed by sonorities, rhythms or ideas proposed by Emir when we listen to his albums for the first time. Other times you listen to it, you will get into a kind of big thoughtful and pleasing journey, even pleasing for the people that think they don't have enough time to think, because this album is only 29 minutes long. This journey I am talking about is far from being linear, because it is including 5 songs (6 including the bonus on the DVD edition) that are musically unrelated: some are gloomier sounding, when others are more neutral. That is what changes your mind: from Ejaculation, a really tormenting track, to A Stark of Dark which actually sounds way darker, all your emotions are going to be torn. Or, as I said before, the first time listening to this album can be disturbing or even decisive if you are not in the right kind of mood, that is because the album is not easy listening at all and really hard to understand. Each track is a very original, and the originality in this album may be a bit excessive, like the first notes in Ejaculation, the centerpiece of the album, accentuated by this drum machine, is going to crush your ears before becoming a real part of your universe. And that's why Viranesir is here before all: a journey inside your soul by exploring different feelings that are expressed by the music, and so this album is really introspective and makes you have a better understanding of yourself. That is why it is not easy to discuss; it is really individualistic. It is not made to be listened as background music. Do not play it in a party with friends, I'm sure it isn't going to work. St. Augustin said that if God was a part of us, we should know and learn more about ourselves. And that's exactly why I think he listened to Viranesir; we're exactly talking about introspection right now. But when I'm saying it, I feel like I am becoming a hipster, so let's head back to music with Stark of Dark, second track from Fountain of Uncertainty.


[Stark of Dark]

Drink from the Fountain of Uncertainty is, as the album that goes with it, a really strange film, breaking all the pre-determined codes established by occidental cinema. You know, my cinematographic culture is near, but like really near inexistent, so I'll try to do my best to stay as discerning as I can be. For this film, which is a melodrama, I think we could talk about as somewhat of an instrumental film, because every image, every scene, is a way for Emir to make into a song, not always in the best possible way. But beyond all that stuff, there's a really great sound mix so each scene has lots of ambient noises mixed really well. But to know more about the film, it could be great to talk about the story: Musician, about 25 years old, not really sociable, not really likeable, lives only for music, and especially for Viranesir, his one-man-band that he spends all his time recording demos for, demos that he is also hesitant to share with anybody, a paradox that his mother won't forget to remind him. So he has an altercation with his father, that had an other child with an other wife, a fact Musician can't really accept, he also has an altercation with his best friend, played by Emir Toğrul who is deep into his career as a doctor so he doesn't have much time playing music, and with his mother that he calls a whore who just wants to have sex and always more sex. This scenario may look a bit like a basic one, but it may make you think about some subjects about the hero that are a bit complicated to identify with. As I said before, he is really introverted and puzzling: so when he has altercations with all his friends and family, is he doing the worst mistake he could make, or the most salutary act? Neither of them. Watching this character literally would be like watching what he didn't do in the film. Musician is to me not a full entity, but just the unreasonable part of an everyday man, that decides to suppress everything that can hinder his desires. He gets liberty for his art, but he hinders himself from his own society. So it's a kind of irresponsibility, a thing that is specific to childhood, because there's a part of us that is still a child that we can hear each time we grumble. So it's possible to ask oneself if his friend he has an altercation with could actually be a part of himself. The part that does not live in childhood dreams... So here's for the story from which we can extract metaphysical interpretations that I don't explain in full, metaphysical interpretations that is not really technically helped by the film. The film is not dynamic enough for the story for me. Some scenes, such as the one he's on the road to find her mother last about twenty minutes, and don’t add enough to the film. This film a bit too empty for me, but the sound treatment gives an interesting side to it. For the rest, it's very amateurish but far from being bad. The actors are really good, but after 2h10mn one feels a bit bored. But once one starts thinking about it, he feels like he learns something, and his opinion changes, because even if it's technically not really great, one understands how deep it is, and goes even deeper when he establishes links between it and the album. To resume, I would say it's a film one needs to be thinking about to be able to appreciate. We'll be making those links just after listening to Ejaculation, the centerpiece from this album.



Musician is searching for himself, for his personality and for his reasons of being here. He decides to break up with his close relationships. Is it a good choice? He's free to do whatever he wants however he wants. But socially he's not free at all. Because sometimes breaking up with ones family is good but most of the time it's pretty hard and that's what the track list of the album suggests: it starts with Ovulation, where he is searching himself, doesn't know where he is going (with all that strange voices in the music and that monotonic rhythm), what is amplified by Stark of Dark is the hero becoming really dark, before Ejaculation where he explodes and breaks up with his best friend, then it is Sight of Light where he is satisfied by what he has done, but, like after each illegitimate orgasm, we have a guilty conscience, so here's Fertilization to remind him that yes, he's made a mistake that he is going to have to assume. So, no happy endings here! The front cover is not innocent as well. You all have seen that the dick on the picture is sick, and that's the synthesis of all that we have said before. Musician is defeated by letting his urges overrule, that why I'm asking three questions that I'm not going to answer: Should humanity be free? How much? And what are his levels of conscientiousness? 


[Sight of Light]

To resume, I would say this new double piece of art is a really great one, with a well-thought concept, maybe the best thing Emir Toğrul has ever made. The cinematographic part is not technically insane, and can be a bit strange for people that are not motivated enough to analyze it like I have done. The album lasts only 29 minutes but speaks a lot and it is a really awesome one. I won't give a note to this masterpiece, which doesn't need one, but don't hesitate to listen to it again and again.




Willow Dewclaws





Fear Through Eternity Analyses






Che il black metal sia sempre stato vicino all'ibridazione tanto musicale quanto infra-mediatica non è certo una novità: artisti che hanno sconfinato in altri lidi più o meno saltuariamente (Ulver, Ildjarn, Vinterriket), libri fotografici collegati all'immaginario di genere ("True Norwegian Black Metal" di Peter Beste, per citarne uno), senza contare gli ormai infiniti documentari o pseudo-tali (da "Satan Rides The Media" a quell'assurdità di "The Misanthrope" firmato Nocturno Culto, con tutto ciò che scorre nel mezzo). Questo articolo tratta in realtà di un esperimento su entrambi i fronti.


Poco più di un anno fa recensivamo "Nihaihayat", quarta e a oggi ancora ultima fatica del turco Emir Toğrul, mente della one-man band Yayla. Ora ci ritroviamo a fare un tuffo nel passato, al 2012, quando la Merdumgiriz, etichetta dello stesso Toğrul, diede alle stampe l'album "Fear Through Eternity". Il lavoro in questione è una parentesi esclusivamente ambient, completamente basata sull'utilizzo di sintetizzatore, senza nessun effettivo contatto con i suoni del metal estremo; allo stesso tempo, questo album è anche la colonna sonora dell'omonimo film scritto, diretto e prodotto ancora una volta dall'inesauribile Toğrul. Proprio questo film è il contenuto del dvd da poco arrivato in redazione.


Dimenticate tutto ciò che sapete o presumete di sapere sulla cinematografia sperimentale: "Begotten" di Mehrige (nettamente il lungometraggio "più black metal" mai concepito, a mio personalissimo parere) non ha niente a che spartire con quanto viene qui messo su pellicola. I trentasette minuti di girato in completo bianco e nero, che dovrebbero rappresentare "la storia dei figli del Male abbandonati", sono in realtà... una cosa che non ho assolutamente capito. Ciascuno degli otto brani del disco rappresenta una diversa scena del film: all'inizio, durante l'abbandono, una figura incappucciata (l'attore Deniz Arı) cammina in uno spazio aperto e si dirige verso le mura di pietra di quello che pare un castello. A seguire, ogni brano ritrae un diverso momento del peregrinare di questa figura all'interno della costruzione: a volte in stato di totale immobilità ("Decrepitude"), altre in un'angosciante andirivieni all'interno di una stanza illuminata solo dalla luce filtrante dalle strette aperture di pietra ("Chagrin"). Altrove, ancora, l'intero pezzo è niente altro che una sequenza di zoom-in/out sulle mani dell'uomo, appoggiate a una parete e solo vagamente percettibili a causa dell'oscurità assoluta che permea la scena.

Le atmosfere e gli spazi lambiti dal lavoro sonoro di Yayla sono più che apprezzabili: mettono in luce una certa capacità di evocare umori poco rilassanti, a volte disturbati e in generale molto cupi, cui si uniscono echi marziali che arrivano vagamente a ricordare i Triarii (di nuovo "Decrepitude", con il suo incedere a passo di marcia). Allo stesso tempo, la lunga "Essence..." fa uso di un più vasto campionario di suoni, vicino all'ambient melodico e intimista di stampo simile al primo Eluvium. D'altro canto, devo ammettere di non riuscire a comprendere appieno il significato del cortometraggio, dei suoi lunghi stacchi di completa oscurità, del significato di determinate scelte stilistiche, su tutte la staticità dell'immagine e il registro assolutamente minimale.


Esperimento piuttosto interessante, tirando le somme, quanto estremamente imperscrutabile, "Fear Through Eternity" è un'opera convincente dal punto di vista musicale, più interlocutoria dal punto di vista visivo. A ogni modo, per poter comprendere appieno questo viaggio di dannazione, la sensazione è che si renda necessaria la guida di Emir Toğrul, poiché lo spettatore sprovveduto non possiede i mezzi per trarre le dovute conclusioni.







Paranoid Zine


Pisanje o tem avdio-vizualnem projektu turškega umetnika (ja, po ogledu tega filma je postalo jasno, da je Yayla oz. Emir Togrul več kot le black metal izvajalec) je bilo neverjetno naporno. No, vsaj umsko. Namreč blokada, ki se mi je ustvarila znotraj lastnega umotvora, je bila večja kot vse perzijske legije namenjene proti Šparti. Nikakor, ampak res nikakor se nisem znal spopasti s Fear Through Eternity, pa čeprav sem si ga ogledal več kot enkrat (ali dvakrat, ali trikrat …). In verjemite mi, ko vam rečem, da 37 minut bolščanja v Emirjevo konceptualno vizijo o izgubljenih otrocih zla (Story of the forsaken children of evil) sploh ni lahko. Ne, ni! A presenetljivo in več kot le dobrodošlo je to, da teh 37 minut mine hitreje, kot bi mislil. Relativnost časa je resnično precej mind-blowing zadeva, odvisna od različnih dejavnikov, a o tej temi raje kje drugje. Pri black metalu mi je že od nekdaj fascinantno, kako se vsi ti artisti specializirajo za neka področja. Tako imamo naprimer tiste, katerih glavni navdih je oče laži, se pravi vsemogočni veleposestnik teme Satan, pa tiste, ki jih inspirira duh narave in njene okolice, spet nekateri prisegajo na totalno punkovsko black metal anarhijo, nato se najdejo takšni in drugačni fantastiki, ki se oklepajo simfoničnih elementov, ambientalnosti, atmosfere in raznoraznih filozofij. Black metal je raznovrsten in takšen naj tudi ostane.


Kar se tiče Fear Through Eternity, je tudi ta projekt specializiran, in lahko vam povem, da gre za specialno zanimiv končni izdelek Yayle, ki v sebi nosi več, kot utegne razkriti prvi pogled. A gremo počasi. Kot sem že omenil, je Fear Through Eternity avdio-vizualen projekt (pred izdajo filma je v lanskem letu izšel istoimenski soundtrack ambientalne narave, ki je fundamentalna podlaga za film) Emirja Togrula, ki je vseoče one man banda Yayla. Togrul je očitno preklemansko nadarjen posameznik, saj tip poje, igra kitaro, bass, klaviature in programira bobne. A zanj to očitno ni dovolj in ker izgleda, da bi rad povedal še več, kot je že, se je odločil postati še filmar. In to ne kakršnikoli filmar, sploh ne, temveč nekakšen black metal David Lynch (v grobem smislu). Svoj projekt je razdelil na osem poglavij (imena le teh najdete kot tracklisto na soundtracku), ki se v svoji biti nahajajo nekje v globinah nezavednega. Kaj točno ta poglavja sporočajo, vam dajejo slutiti naslovi teh osmih nadaljevanj. A ni tako lahko, kot se tu bere, zato pravim, da je bit teh kratkih vizualnih poglavij res zakopana nekje v podzavesti vsakega posameznika, ki se bo lotil gledanja tega kratkega filma.


Ko človek sliši, da se je neki black metal izvajalec lotil posneti vizualen projekt, taisti človek pričakuje popolnoma drugačen rezultat, kot je Fear Through Eternity. A izgleda, da je Emir človek, ki ga krasi določena mera inteligence ter posledično tudi razmišljanja, ki se lotevajo nevsakdanjih tem, tudi do neke mere eksistencialnh (sodeč po ogledu filma) predvsem pa ezoteričnih. Ezoterika pa je svet, ki kliče po prikazanem ambientu in atmosferi, ki prihaja s strani glasbe, ki je bila skomponirana izključno za ta film (izdana pri založbi Merdumgiriz leta 2012). Fear Through Eternity ni film, v katerem bi bilo polno akcije (dejansko prave akcije sploh ni) in nekih dogajanj. V filmu ni krvi, groze, padlih angelov ali hudiča, kot bi pričakovali za black metal vizualen projekt ali film (še pomnite Cradle of Fear?!?). Dogajanja so bolj ali manj statična, njihova aktivnost pa je pogojena s premiki kamere ter kadriranjem posameznih sekvenc. Kadri so umetniškega tipa in dosti poudarka je na kontrastih (predvsem črno-belo). Z lahkoto zatrdim, da je Togrul precej nadarjen posameznik, vešč tudi rokovanja s kamero, produkcijo in montažo. Edino zares metalsko je v tem projektu vzdušje, ujeto v film. To je temačno, moreče, a začuda ne daje vtisa depresije. Film tistega, ki si ga ogleda, prisili k napenjanju možganov in razmišljanju, kako, zakaj in kaj sploh bi nam Emir Togrul rad povedal, a obenem se čisto nezavedno ter nepričakovano v nas pojavijo vprašanja, ki se tičejo nas kot posameznikov ter naših individualnih življenj. In to je dosežek, ki si ga lahko nekdo, kot je Emir Togrul (Yayla), šteje v čast. Namreč, da nekoga s svojo umetnino spodbudi k razmišljanju o sebi.


Vsi tisti, ki vas interesira nekaj drugačnega in ste navdušenci nad vizualnimi projekti nevsakdanje narave ter vas zanimajo drugačni aspekti življenja, potem je Fear Through Eternity nekaj, kar se vam splača pogledati in zanj vzeti čas. Togrul je namreč neverjetno talentiran človek, pri katerem black metal ni samo lifestyle, temveč state of mind oziroma mindset. Za tiste, ki pa pričakujete neko tipično black metal blasfemijo in nikoli končano udrihanje po Rimo- katoliškem očetu ter njegovem pankrtu, boste razočarani. Fear Through Eternity je namreč nad tem.