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Yayla Reviews



German: Crossfire 8.5/10


Cadaver Garden


Metalstorm 8/10


World Of Metal 9/10


Merchants Of Air


German: Franconia Metallum 80/100


Scumfeast Zine 4/5


Spanish: Black Metal Spirit 82/100


Greek: Rock Overdose 85/100


Metal Observer 85/100


Turkish: Metal Perver 90/100


Occult Black Metal 80/100


Brutal Sedition


Don's Metal Reviews 92/100


Metal Trenches 8.3/10






Metal Curse 8.5/10


Italian: The Pit Of The Damned 7.5/10


Portuguese: Misantropia Extrema 4/5


The Metal Observer 7/10


French: Metallian Magazine 5/6


Mario's Metal Mania


Italian: Headbang 7/10


French: Psychopathia Melomania


Teeth of the Divine


German: Crossfire Metal Webzine 8.5/10


Spanish: The Breathless Sleep


The Grim Tower 8/10


Metal Temple 9/10


Apoch's Metal Review 8.5/10


Battle Helm


Exclaim! Magazine 7/10 4/5


Italian: Aristocrazia


Metal Kaoz 7/10


French: Metalland


Ultima Music Blog 8.5/10




Heavy Metal Tribune


Wicked Channel


Italian: 7.5/10


Spanish: Queens Of Steel 7.5/10


Occult Black Metal Zine



Fear Through Eternity



Italian: Il Pozzio de Damniati 7/10


Metal Temple 9/10






Pinpoint Music


DeafSparrow 3.5/5


French : Metalland


Dont Count On It Reviews 8/10


Leper Kolony 8.5/10


Musical Warfare


Metal Crypt 3.5/5


Curse Of The Great White Elephant 7.5/10


Italian : Il Pozzio de Damnati 8/10


Slovenian : Paranoid Zine


Russian: Musica M-Board 4/5


Metal Temple 9/10


Metalstorm 8.1/10


From The Dust Returned 7/10


Italian: Headbang 8/10




Satanisme is voor ons nuchtere Hollanders een broodje kaas. Niks bijzonders. Voor Emir Togrul de man achter Yayla is het een vijf gangen menu dat bloedserieus moet worden opgediend. heet het. En het is in en in zwart.


De Turkse multi instrumentalist en filmmaker maakt nihilistische black metal met ambient invloeden: ijzig snerpend gitaargekras met razende drums en hellekrijsen waar aan het einde van de nummers een toetsje keyboard wordt uitgerold voor het atmosferische aspect. Je zou denken laat dat ding toch gewoon weg, maar als de plaat is uitgedraaid ben je dat apparaatje echt dankbaar. Want op deze vijfde plaat klinkt Yayla nog net zo nihilistisch, rauw en depressief als op zijn voorganger. Tekstueel is Emir ook een zonsverduistering in huis. Falen, dood, oneindig lijden, schuldgevoelens. ‘I believe this is hell / that I will suffer even after I die eternally’, aldus de openingstekst van Altars In Temple Sewers. Een inktzwarte plaat die alle zonlicht opslokt.


Pim Latuny







Der aus der Türkei nach London ausgewanderte Emir Toğrul gründete sein Soloprojekt Yayla bereits 2007 und veröffentlichte bislang ein Demo und fünf Alben. Das letzte Album „Nihaihayat“ hatte ich damals schon an dieser Stelle besprochen und ich war schwer angetan. Vier lange Jahre sind seitdem ins Land gezogen; so viel Zeit ist noch nie zwischen zwei Yayla-Veröffentlichungen vergangen. Aber allein der Opener „Altars In Temple Sewers“ mit seinen düsteren Kirchenglocken im Hintergrund zeigt, dass es musikalisch keine großen Veränderungen gibt. Irgendwo zwischen Black Metal, Ambient und Funeral Doom pendelt Yayla und hinterlässt einen finsteren, rabenschwarzen Eindruck. Dieses Mal sind die Songs deutlich kürzer als früher; nicht mehr über zehn bis fünfzehn Minuten, sondern nur noch um die fünf. Dadurch klingt alles kompakter und nicht mehr so ausschweifend. Der gutturale Gesang klingt böse und versetzt den apokalyptischen Soundtrack in die richtige Grundstimmung. Düstere Keyboards umarmen schwammige, dünne Gitarren und bringen eine gewisse Ordnung ins Chaos. Es gibt nicht mehr so viele Instrumentalpassagen wie noch in der Vergangenheit. Die Soundqualität hat Demostatus, passt aber perfekt zur dargebotenen Musik. Das neue Album ist das bisher ausgereifteste Werk dieses Projektes. Wer auf finstere Horden wie Moloch, Abruptum, Midnight Odyssey oder Pestilential Shadows steht, wird hier drauf kaputtgehen! Das Teil gibt es neben der herkömmlichen CD übrigens auch als kultige, selbstgemachte Kassettenversion!  



Daniel Müller





Cadaver Garden


Merdumgiriz and everything that comes out of that camp is no stranger to darkness, oppression, obscurity and nihilism; and with the release of that certainly still remains the case. When this album was brought to my attention it was called their “best album ever”, and I have to agree. still follows the same formula that the other works that Merdumgiriz has come out with but this one seems more tightly knit and cohesive. Each song on this record plays well into one another creating a cohesive and damning listen.


Much like other works that Merdumgiriz has released it still has a chaotic and sinister edge to it and yet the majority of the songs on this record sport a sort of melodious nature all at the same time. Once you press play, you know what you are getting in to, and that is a twisting, dark and purely blackened listen that tends to stick with you well after you are finished listening. Each gnarled note is felt and each lyric and vocal is heard and through ten songs you are presented with a unique and wholly soul shredding listen.

Yayla crosses many different genres never sticking to one for very long. There is everything from doom, to black metal, to death metal and more and they do a good job of mixing everything together to create a cohesive listen. takes you into the abyss of your own mind, into the darkest reaches that your mind has to offer and makes you face that darkness all on your own. Once you begin listening you become shrouded in misery and pure darkness, and even so you enjoy what you are hearing and want to keep listening.


Even as sinister and twisting as this release is you just can’t seem to turn away. There is something about it that is very inviting and before you know it you are multiple listens deep. From full fledged metallic assaults to pure instrumentals and everything in between, provides you with plenty of diversity and variety and you never really know where Yayla is going to take you next. This release keeps you guessing from note one all the way through and keeps you interested and listening all the way through as well.

The longer run times on this release play well for Yayla as it gives them a chance to soak you in all of the poisonous and bleak atmosphere that they provide. They take you on a twisting journey through the darkest reaches of the soul and mind and spit you back out the other end. is unforgiving to say the least, and even so you still feel mightily compelled to press play and listen to what darkness awaits you around the “play” button.

Overall, I have to agree with Merdumgiriz with this being their most solid release to date. It has everything in a trademark Merdumgiriz record and then some which ultimately provides you with a thought provoking, heavy and memorable listen.


Jared Harisson







"I believe this is hell; that I will suffer even after I die… eternally". Well, after that opening line I feel like quoting the great Dax Riggs: "If this is hell, then I'm lucky".

I've been following Yayla's career ever since the sophomore album Sathimasal came out back in 2012 along with Emir's other brainchild, Blliigghhtted. I vividly remember getting lost in the fuzzy, bassy and highly entrancing black metal of Sathimasal. It displayed an odd sense of melancholia and despair, as if something more abstract and greater than the individual was in danger. on the other hand feels very human and even down-to-earth at points which reflects on the music as well. Yayla now focuses on a greater sense of melody and rhythm (as in the catchy beginning to "Mantras Of Separation") and less emphasis has been put to bass and fuzzy, disorienting riffs. These sorrowful melodies are accompanied by desperate lyrics that yours truly relates to a homesickness of sorts.

From the very beginning we are treated to raw melodic riffs that pay homage to the classic acts from the 90s while avoiding feeling too familiar. This might be because different themes revolving around black metal culture are mixed homogenously. is plagued with ritualistic instrumentals that almost take over half the running time of the album. These tracks lead the way to ghostly, slow and punishing riffs that evoke strong depressive/suicidal vibes, at times similar to Xasthur's work, that eventually erupt into more chaotic tunes producing a more "classic satanic" atmosphere related to older acts of this genre.

It's in these introductory instrumentals that plenty of experimentation can be found, "Pandora" being my personal favorite with keys that remind me of old Burzum juxtaposed with drumming that is highly erratic at times. Some of the organ-sounding keyboards are almost circus-like (both in "Pandora" and "Rats") and add further sense of confusion and uncertainty which seems to be the main theme of the album once all the changes in mood are considered.

My only gripe with this album is "They Are Losing You From Me" which to me does not work as a closer, unlike the title track with its great melodic riffs that almost made me think of Wolves In The Throne Room for a second. All in all, is a very multifaceted album that has plenty of material for everybody in love with this versatile genre, from the traditional to the experimental.




Rod Ourcellion





World Of Metal


A propósito de Æðra, dissemos que o black metal melódico é visto de uma forma totalmente diferente do que era duas décadas atrás. No caso de Yayla, outro projecto de black metal, outra one-man-band, temos precisamente uma amostra do que era o black metal mais melódico nessa altura. O projecto de Emir Toğrul, o músico turco responsável por todos os instrumentos e voz, tem um som verdadeiramente vintage dentro do espectro do black metal mas consegue imbuir toda uma atmosfera e ambiente muito próprios, sem nunca esquecer o peso e o caos em temas como "Everyday Is Death for Us". Uma daquelas obras que simplesmente não consegue cansar por mais vezes que se ouçam.




Fernando Ferreira





Merchants Of Air


Time for a chunk of harsh, primitive and relentless black metal, courtesy of Turkish act Yayla. It took the act five years and some adventures in bands like Blighted and Viranesir to finally complete this album, their fifth. According to the artist, this album is his best work and throughout the first listening sessions, I think I have to agree. In all it's roughness, in its lo-fi approach, the real beauty of this album gradually shines through.

The album opens with the track 'Altars In Temple Sewers', which immediately comes up with the gnawing and scratching old school black metal sound. This is one ugly song, but also one that starts showcasing an epic and atmospheric sound. Little by little, the keyboards come shining through and the whole thing starts getting better and better. By the end of the song, I'm convinced that this stuff is not inferior to the Dimmu Borgirs and Limbonic Arts of this world.

'Everyday Is Death For Us' only confirms that. In fact, this could have been a Limbonic Art song. This skull shattering piece of music is sheer insanity, only suited for experience black metal fans. That could also be said about the rest of the songs by the way. Seasoned black metal aficionados can easily appreciate this work, especially the ones who like to alternate their aural torment with stunning ambient pieces.

One of those awesome pieces of ritual ambient is 'Pandora', one that reminds of something between Puissance and Penitent. I know, that's a whole other genre but it certainly fits on this album. It's followed by the pulverising 'Funeral' a song that would have fitted perfectly on one of those old 'World Domination' compilations. That also counts for most of the tracks on this full-length. This is a killer, that's for damn sure.

I'm not going into a track by track description here. Instead, I'm going to end this review by recommending this album to all you black metal addicts out there. You want Chaos? Yayla delivers. You want aggression? Yayla delivers. You want atmosphere? Guess what, Yayla delivers. If you like music to beat you into a bloody pulp and offer a nice funeral procession afterwards, this one definitely deserves a spot in your collection.


Serge Timmers





Franconia Metallum


YAYLA zählen sicherlich zu der Riege der Black Metal Bands, die sich unumständlich und treffend mit dem Attribut „eiskalt spartanisch“ umschreiben lassen. Drums, Vocals/Gitarre und Bass, das war es. Keine oppulenten Keyboardschneestürme und keine fiepsenden Eisköniginnen. Ebensowenig finden sich hier Soli, was sehr gut zur erfrischend unterkühlten, kompromisslosen und ehrlichen Stimmung von YAYLA beiträgt. Auffallend sind schon beim ersten Abspielen gute Riffs und einfache Melodien – und alles unterlegt mit gut durchdachten Arrangements. Außerdem rocken YAYLA dafür etwas bodenständiger und dürften so auch diejenigen auf ihre Seite ziehen, die gerne mal das Haupthaar zu ungeraden Takten ordentlich durchschütteln. Im Gegensatz zu einigen anderen Vertretern bleibt die Melodie aber durchaus nicht auf der spiegelglatten Strecke was noch mal zusätzliche Sympathiepunkte bringt. Deutlich untruer ist dagegen die Produktion ausgefallen. Der Anstrich etwaiger Unprofessionalität, die den Charakter der Werke der Genrevorreiter entscheiden geprägt hat, ist fast komplett weggeschmolzen. Zwar ist die Soundqualität für heutige Verhältnisse auf einem hohen Niveau, die nötige Härte und Kälte wird trotzdem erreicht, wie z.B. bei der herrlich wie auf gefrorener Schwarzerde marschierenden Snare. Das und die Eingängigkeit der Songs dürften für kühle acht Punkte reichen.




Thomas Müller





Scumfeast Zine


Before I even get into the music by this one man project I wanna point out that the man, Emir Toğrul, makes each copy of this CD. It's also available on cassette. But even the t-shirts and patches are made by Emir. The guy is a true artisan, he paints the discs, cuts and inserts the prints for the jewel case and jacket, making all non-machined parts from scratch. All current and upcoming merch comes to fans direct from the hand of the creator himself. This guy is really DIY.

As far as the music goes well this is my introduction to Emir Toğrul's work in YAYLA. He's been involved in this ambient black metal project since the late 90s releasing four full lengths and after a long hiatus of four years is his fifth. I must say using the ambient term really does not convey the intensity with which the music on here is portrayed. At times this is very hostile but with some mild atmospheric touches provided when Emir breaks out the synths and the momentum to change the pace. I'd say more of a blackened doom feel is it.

Yeah this is the type of black metal I wanna hear at 3 am after work while drinking a beer. Songs like "Funeral" and "Everyday Is Death For Us" really make you feel like Emir knows the deal. Then of course he'll toss a real bone gnawer "Mantras Of Separation" which is my favorite song on here. A blackened death meets doom ripper. Another cool one is "Endless Regrets", an instrumental with hints of psych damage. There's a couple of instrumentals on here, the later one "They Are Losing You From Me" made me wanna say Yeah I was raised Catholic too. It's those synths that sound like church organs and this is from Turkey as well.









Black Metal Spirit


Con una trayectoria más que extensa y con una carrera en claro proceso ascendente se nos presenta este nuevo álbum de la one man band turca Yayla. En origen concebido como un proyecto de ambient-black metal de sonidos oscuros, casi repetitivos y cierto regusto a metal industrial, su propuesta ha ido evolucionando hasta convertirse en un black metal ambient mucho más pulido y maduro en donde las estructuras de los temas están mucho más trabajadas. Para comprobar esta evolución clara en el sonido de la banda solo tenemos que escuchar el primer tema en donde confluyen unos buenos riffs de guitarras, un atmósfera oscura de la mano de un tema que se antoja variado, dejando atrás esas estructuras repetitivas y monótonas de pasadas ediciones. El sonido de guitarra ha cobrado mayor protagonismo y presencia de manera que los temas giran en torno a ellos en la mayoría de los casos. Las atmósferas oscuras y casi que épicas sigue estando presentes gracias a la inclusión de los teclados, sobre todo presentes en aquellas partes más ambientales, está vez también cobrando protagonismo en algunos temas instrumentales. El álbum transita por terrenos del black, el doom, el ambient e incluso el death, esto nos da una idea de lo variado del mismo, y es que Yayla ha sabido recoger todo lo bueno que ha venido cosechando durante todos estos años para crear su álbum más completo hasta la fecha que conjuga a la perfección esa parte oscura que roza la experimentación con su vertiente más black de ascendencia ambient.









Rock Overdose


Τόπος: Βόλος


Ημερομηνία: Φεβρουάριος 2017


Ώρα: 13:10


(δύο φίλοι συναντιώνται τυχαία στην παραλία του Βόλου)


-Ωπ! Έλα ρε, τι γίνεται;


-Έλα. Όλα καλά, εσύ;


-Καλά μωρέ τα ίδια, όπως τα ‘ξερες. Βιαστικό σε βλέπω.


-Άσε ναι. Έμαθα το πρωί ότι έβγαλαν επιτέλους, μετά από 4 χρόνια, καινούργιο δίσκο οι Yayla. Μόλις τον άκουσα online σε ένα φίλο και τώρα τρέχω σπίτι να πάω να τον πάρω.


-Οι ποιοι;


-Οι Yayla. Τουρκικό Atmospheric /Black συγκρότημα, όπου χειρίζεται όλα τα όργανα ο Τούρκος καλλιτέχνης Emir Togrul.


-Α, τον ξέρω αυτόν. Τις προάλλες διάβαζα στο Rock Overdose την κριτική για τον καινούργιο δίσκο των Viranesir. Εκεί δεν παίζει;


-Ναι ακριβώς. Τα τελευταία χρόνια είχε επικεντρωθεί στις κυκλοφορίες των Viranesir και των Blliigghhtted και τώρα επιτέλους κυκλοφόρησε καινούργια δουλειά με τους Yayla.


-Πολύ ενδιαφέρον. Και για πες, τι λέει ο δίσκος;


-Άσε, πολύ δυνατός. Ένα ακόμα σκοτεινό και ατμοσφαιρικό άλμπουμ από τον Emir, ο οποίος συνεχίζει ακάθεκτα να βγάζει καλές κυκλοφορίες. Για ακόμα μια φορά η παραγωγή είναι τραχιά, με τα φωνητικά να έρχονται από το βάθος, δημιουργώντας μια πολύ ωραία μυστηριώδη ατμόσφαιρα, ενώ η μουσική κυμαίνεται κυρίως ανάμεσα στο Black και στο Doom, είδη που γενικά ταιριάζουν και δίνουν μια ωραία αντίθεση. Στα Black σημεία, πάντως, οι ταχύτητες δεν είναι πολύ γρήγορες, όσο θα περίμενε κανείς, αλλά κυμαίνονται σε πιο mid-tempo ρυθμούς, αν και υπάρχει αρκετή ένταση στον ήχο.


-Black και Doom όπως χρησιμοποιούσε γενικά και στους δίσκους των Viranesir και των Bliigghhtted, έτσι δεν είναι.


-Ναι ακριβώς. Δύο είδη που γενικά τα συνδύαζε με επιτυχημένο τρόπο. Βέβαια, φαίνεται ότι όλη η εμπειρία από τις προηγούμενες κυκλοφορίες των Viranesir και των Bliigghhtted έχει εισχωρήσει στη μουσική αυτού του δίσκου. Για παράδειγμα η ατμόσφαιρα που κυριαρχεί στο δίσκο είναι εξαιρετική, ενώ και τα πλήκτρα έχουν πλέον σημαντικό ρόλο, πλήκτρα που δεν ακουγόντουσαν τόσο στους παλαιότερους δίσκους των project του Emir. Τώρα, όμως, βρήκαν το δρόμο τους και στους Yayla, και μάλιστα με πολύ ωραίο τρόπο, αφού σε συνδυασμό με τα αργά Doom σημεία, τα  σκοτεινά και απόκοσμα φωνητικά, και την υπέροχη ατμόσφαιρα, δημιουργείται πολλές φορές μια φανταστική απόκοσμη αίσθηση. Και αυτό γίνεται ακόμα πιο έντονο σε κομμάτια, όπως το “Rats”, όπου οι μυστηριώδεις μελωδίες, σε ταξιδεύουν μακριά, ενώ σε τραγούδια, όπως το “Pastorale” και το “They are Loosing you from me”, η μουσική βγάζει μια υπέροχη θλίψη και μελαγχολία.


-Από ότι μου λες, φαίνεται φοβερός ο δίσκος.


-Και είναι. Θα έλεγες ότι μετά από τόσα χρόνια και μετά από τόσους δίσκους, θα είχε χαθεί η έμπνευση και ότι ο Emir θα είχε πέσει σε μια αίσθηση επανάληψης. Όμως με το Pa.sto.rale διαψεύδει τους πάντες και μας χαρίζει ένα φοβερό σκοτεινό και ατμοσφαιρικό δίσκο. Όσοι παρακολουθούν την πορεία του θα πρέπει οπωσδήποτε να αποκτήσουν το συγκεκριμένο δίσκο. Δεν θα το μετανιώσουν.


-Ωραία, οπότε για να μη το μετανιώσω κι εγώ, πάω να τον πάρω.


-Και πολύ καλά θα κάνεις. Πάρε με να μου πεις πως σου φάνηκε.


-Έγινε! Τα λέμε.




Μίνως Ντοκόπουλος





The Metal Observer


After spending the better part of five years focusing on the experimental black metal project Blliigghhtted and the multidimensional, shape-shifting, and increasingly controversial creative outlet Viranesir, Emir Toğrul seems to be returning to his roots with the fifth Yayla full length, Yayla has been known for striking an equilibrium between ambient passages and monolithic black metal, and, while continues in that vein, it would seem the constant tinkering and experimentation with his other projects has brought a more full bodied, balanced sound.


This experimentation presents itself in the structuring of the songs, as nothing is presented in a linear fashion. Much like previous albums, the buzzing, trance-inducing tremolo riffing is still present, yet it’s presented in a way that’s less monolithic. Perhaps it’s the rambunctious percussion that constantly shifts or the way that the riffs transition from sweeping trems into cyclical patterns resembling drone, it’s clear that shows Toğrul furthering the band’s sound while retaining its signature. Despite the shift, presents itself as a rather dark and mystical ambient black metal album, checking off the hallmarks of the style.


Beginning with the heaviest hitting, and longest, track of the album, “Altars in Sewer Temples”, discordant growls, ominous rumbling bass and frenetic percussion make way for distorted trem riffing, growing in stature until collapsing under its own weight. Tendrils of airy synths break free, as the rest of the instruments take a back seat. This pattern reemerges several times throughout the album, offering this interplay between stark black metal and synth driven, ambient passages which border on dungeon synth in a few spots. It’s rather trance-inducing at times, as the din of the black metal and the lull of the synths merge seamlessly evoking an almost mystical feel.


Mesmerizing and buzzing guitars notes reverberate through cyclical patterns of murk on “Endless Regrets” while a chaotic beat backs the soothing synths of “Pandora”. In spite of all of the colliding elements and nuanced movements, is an album that is immediately accessible, though repeated listens do unveil hidden intricacies. While the albums does seem to lean more towards sweeping passages of black metal, clouds of ritualistic ambient often move in, like the sparse electronic flitting and percussion amid single struck synth notes on “Rats” and the mesmerizing synth string tones of “They Are Losing You from Me” that closes out the album. It’s quite clear that is not going to be for everyone, but those looking for ambient black metal that is chaotic and mesmeric should give this a try.




Shawn Miller





Metal Perver


Merhaba arkadaşlar, bugün ülkemizin güzide köşesi Adana’dan olup, Londra’da müzik icra eden Yayla ile bu sene yayımladığı yeni albümü “” konuğumuz. Tek kişilik bir müzik projesi olan Yayla’nın yaratıcısı Emir Toğrul’dan biraz bahsedeyim. Londra’da yaşayan ve film yapımcılığı yapan Emir aynı zamanda Merdumgiriz Records’u işletiyor. Çeşitli projelerinin içeriği yüzünden plak şirketinin adı birçok skandala karıştı, bandcamp’den atılan ilk grup oldu ve mahkemelik oldu.
Kahramanımız Emir beş sene süren albüm yazım aşamasına Kanada’da başlar. Bir kere intihar girişimi ve bir kere de akıl hastanesine kaldırılması söz konusu olan bu beş sene içerisinde Londra’ya taşınır. Bu süreçte diğer projeleriyle 17 (on yedi) albüm, kendi plak şirketiyle 20 küsür farklı sanatçının albümlerini yayımladığını da buraya yazmamda fayda var.


Hissettirdikleriyle ilgili sayfalarca yazılabilecek olan bu kıymetli albüm için duygularımı anlatmadan önce içeriğinden bahsedeceğim. Atmospheric black olarak tanımlayabileceğimiz eser 56 dakikadan oluşuyor ve 5 Şubat 2017’de yayımlandı. Kayıtlar bize anlatılmak istenene hizmet olarak adeta küflendirilmiş (iyi anlamda). Bu suretle 56 dakika boyunca kasvet, yoksunluk ve içine kapanıklık hakim. Albüm içerisindeki klavyeler, çanlar gibi diğer ögeler de tam yerinde ve yeterince kullanılmış. Vokal kullanımları da bu ayarındalığa dahil. Bateri kullanımları gerçekten ilginç ve farklı; hele ki bazı kısımlarda öyle bir kullanılmış ki o sakinliğin içinde yıkılan bir kaleden dökülen surları ve düşen kaya parçalarını anımsatıyor ya da bilemiyorum bana öyle geliyor da olabilir, gerçekten inanılır gibi değil bazı kısımlar. “” bizi asla alışıldık hareketlere maruz bırakmıyor ve muhteşem bir giz yaratıyor.


Bilenler ve bilmeyenler için Yayla ilk albümünden bu zamana güzel işler yapıyordu ve “” ile bu olayı zirveye taşımış durumda. Tamamen içten ve samimi bir iş söz konusu, anlatılmak istenenin anlaşılabilirliği ve öncekilere kıyasla eklenen materyaller de albümde çok üst düzeyde. Muhteşem bir atmosfer ve çok özel melodiler mevcut. Tarzda mevcut hareketler bir yana “”de bol tekrarın sıkıcılığına düşülmüyor, olması gerektiği kadar tekrar mevcut ve bu bunaltıcı değil, tam tersine sizi albüme hapsedici bir etki gösteriyor. Komplike hareketler beklemeyin; doğallık, soyutluk ve karanlık var…


“” dinlendiğinde yapanının içindeki bütün o dingin fırtınaları bize aktarıyor. İlk parçanın açılışıyla yaşam ve ölümün herhangi bir şey ifade etmediği, herhangi bir umudun ve yarınların olmadığı bir albüme hoş geldiniz diyor adeta. Tamamen bir iç dünyadan ibaret olan “”de kimi zaman karşılaştığımız sakinlik ve yöresel dokunuşlar bize Namrun’daki yıkılmış kaleleri ve harika albüm kapağındaki manzaraları anımsatıyor, bazen ise çalkantılı sularda karanlık dalışlara çıkartıyor ve bizi tekinsizlikle başbaşa bırakıyor. İçerisinde dünyadan kendini soyutlamışlığı dolu dolu yaşayacağınız “”de hissettirilen çaresizlikler ve iç mücadeleler albümü dinledikçe daha da lezzetleniyor ve dinleyeni kendi içine çeken bir etki yaratıyor.


İçine kapanık dünyasında oluşturduğu hüznün notalara aktarımı ile oluşturulan “”de bu soyutlanma sağlanırken hem içindeki o depresif şiddeti yaşatıyor hem de karanlık gökyüzünün altında bizi acı ve hüzünle yanlız başına yol almaya terk ediyor. Bir başına olmak, bir başına bırakılmak ve bundan bir anlamda memnun olmak albüm boyunca muhteşem anlatılıyor. Albümün adı verilirken “Pastoral” yani tabiat ve bir takım dünya güzelliklerine, yani güzel ve uyumlu olana ironi olarak verilmiş; aslında dünyanın ne kadar uyumsuz, anlamsız ve vahşi olduğuna dikkat çekiliyor.


Yayla’nın “” albümünün, hatta Emir Toğrul’un bir projesinin ilk Türk kritiğini yazmış bulunmaktayım ve yine sitemizde onunla yapacağımız bir röportajın müjdesini şimdiden veriyorum. 2017 başladı başlayalı şimdiden çok güzel albümler çıktı. “” de hem ülkemizden olarak hem de atmospheric black metal olarak 2017 yılını çekilir hale getiren albümlerin en güzellerinden birisi. Umuyorum ki Emir hem Yayla ile hem de diğer projeleri ile daha da iyilerini yapar ve bana da yazmak düşer. “” albümünü herkese tavsiye ediyorum ve şimdiden iyi dinlemeler diliyorum.




Muhammed Izmirlioglu





Occult Black Metal


  Yayla  are  a  solo  project  from  Turkey  that  has  been  featured  before  in  this  zine  and  plays  an ambient  from  of  black  metal  and  this  is  a  review  of  his  2017  album  ""  which  was  released  by  Merdumgiriz.

  A  very  dark,  heavy,  and  melodic  sound  along  with  some  grim  yet  high  pitched  black  metal  screams  start  off  the  album  and  you  can  also  hear  the  ambient  elements  in  the  background  and  death  metal  growls  are  also  used  at  times  and  when  tremolo  picking  is  utilized  it  gives  the  songs  more  of  a  raw  feeling.

  A  couple  of  the  tracks  are  very  long  and  epic  in  length  and  the  synths  also  gives  the  music  more  of  an  epic  atmosphere  when  they  are  brought  onto  the  recording  and  when  the  music  speeds  up  a  decent  amount  of  blast beats  can  be  heard  and  some  of  the  tracks  are  ambient  instrumentals  along  with  the  use  of  actual  drums  which  makes  the  approach  to  the  genre  a  little bit  more  different  and  there  is  also  a  brief  use  of  melodic  guitar  leads  and  the  songs  also  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts.

  Yayla  creates  another  recording  that  remains  true  to  the  ambient  black  metal  style  of  previous  recordings  while  also  being  guitar driven  and  adding  in  more  death  metal  influences  this  time  around,  the  production  sounds  very  raw  and  heavy  while  the  lyrics  cover  ascendant  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Yayla  and  if  you  are  a  fan  of  ambient  black  metal,  you  should  check  out  this  album.




John Larsen





Brutal Sedition


Yayla is Emir Togrul's first band, which he formed all the way back in 2007. I first heard about the band when they released Sathimasal back in 2012. I downloaded but I never listened to it because I had a whole bunch of other stuff on my plate. I'm terrible when it comes to stuff like that. I download all of these metal albums yet I never get around to reviewing them or even listening to them. Five years later, Emir told me that he released a new Yayla album called I guess I can make up for all those missed opportunities by reviewing this album.


The production has that piercing, abrasive quality that I love so much. It makes it sound like it was recorded in some ancient temple in a distant location that has been lost to modern man. It sounds very occult, is what I am trying to say. The music draws a great amount of influence from doom metal. Everything is slow and dirge-like. The drums play slow, pounding beats that often sound ritualistic in structure. Some of these beats feature elaborate cymbal work that help to make things more lively. What makes the music even more lively are the mid-paced rhythms they play on occasion, which sometimes feature rapid double bass. There are even moments when they hit us with rapid fire blast beats that are crushing in their delivery.


Emir's vocals are haunting. His performance consists of a rasp that is a slight amount of reverb applied to it. Personally, I'm more used to larger amounts of reverb, but he's so talented that he only needs a little bit to go a long way, since he hits us with a performance that is menacing and chills to the bone. It's hard for me to think of black metal vocalists that perform with as much dark emotion as this guy. The guitars are sublime. Emir plays a lot of slow-paced chords that have a grim, piercing tone and have been carefully arranged for maximum impact. Most of them sound like they were pulled from dark, frightening depths, but there are others that sound strangely melodic. Every moment on this album holds a different surprise. There are also plenty of moments when he hits us with vicious tremolo riffs that skewer the soul.


Emir told me that this was the best album he made to date, and I'm inclined to agree with him. There's a tremendous amount of detail packed into every song. Not only does he fill the album with an amazing mixture of black metal and doom metal, but there are also moments when he presents us with some fascinating dungeon synth, such as on “Rats”. Emir Togrul creates music that is far more expressive and imaginative than what so many others can manage. His approach is unorthodox when compared to others, but his end products, such as this album, are incredible.


Hell Raven





Don's Metal Reviews


Finally coming back to form, Turkish ambient black metallers Yayla are joining the continued and expanding ranks of work from mastermind Emir Toğrul as he continues to explore the psychotic madness with yet another one of his solo efforts. Abandoning the approach of the bands’ original works with the five-year layoff, the bands’ return effort and fifth overall was originally released February 5, 2017 on Merdümgiriz Records.

Much like with the vast majority of the bands’ previous efforts, the overwhelming sense of this one is still right up-front with the overbearing ambient elements. Fueled by the dark, desolate guitars droning on endlessly throughout the soundscape here alongside the rampaging drum-work that’s utterly nightmarish, there’s such a strong and overall impactful amount of churning tremolo rhythms to drive this one along rather nicely. This atmospheric black metal-laced background is complimented nicely by the ever-present synths that adds a further dimension to the work throughout here, generating the kind of atmospheric evocations of madness typified by the droning riff-work as well as providing the melodic outlines for the stylish interludes that break up the aural assault featured elsewhere. It’s a strong and dynamic approach that results in finely-crafted, unrelenting assaults of melodic turmoil and madness with outbursts of furious black metal energies, and that serves this one well for the most part while pointing out one minor aspect of this that is a minor drawback. The album’s insistence on providing as many interludes as it does here is enough to interrupt the flow of the album’s descent into madness that was so engaging and coordinated that it feels somewhat like another band broke into the recording and placed them there as they’re stylistically out-of-place with the slower relaxing moods in place of the charging aggression and ambient workouts that were so proficient. Still, that’s not nearly enough to worry too much about this one.

Managing to work out quite a solid and impressive series of elements together with plenty of enjoyable features, this is an extremely strong and dynamic offering that continues to offer up Emir as one of the finest musicians in extreme metal and makes this a worthwhile offering for any fan of his other acts, the genre as a whole or the band’s past efforts.




Don Anelli





Metal Trenches


The Pitch: Turkish atmospheric black metal from the deranged Merdümgiriz Records (Blighted).  FFO Awe, Altar of Plagues, Titaan


What I Like: Despite being unable to read this band name without singing it like Eric Clapton, these guys have nothing to do with Derek and the Dominos.  This is the darkest form of atmospheric black metal you're like to find, as evidenced by the bands listed above.  I think I am especially drawn to connections with Altar of Plagues' Teethed Glory and Injury given the electronic and sometimes industrial-sounding influences on tracks like "Rats."  Similar approach to the vocals as well, with the grim snarls seeming to come from the back of a dark cavern.  But Yayla make some fairly unique strides on this album with their approach to the keys.  Many of these songs sound akin to compositions from Stranger Things or a Stanley Kubrick film.  When combined with the minimalist production and ugliness of the traditional black metal approach, Pas​.​to​.​rale becomes a special experience.


What I Don't Like: Taken as a whole, the album feels a little sloppy.  It seems to drift in some places and then have rough transitions others.  Each track individually has a lot to offer, but I'm not sure how well they all come together.


The Verdict: A unique take on atmospheric black metal that sounds like Burzum meets 80's film scoring.  While it could benefit from a better examining of the sum of its parts, Pas​.​to​.​rale is an experience worth partaking.


Flight's Fav's: Everyday Is Death For Us, Mantras Of Separation, Pastorale


Flight Of Icarus





Nihaihayat Reviews



Metal Curse


Emir Togrul, the main guy behind Yayla, is one busy dude. On top of playing all of the instruments, he apparently is a filmmaker and puts the materials for each CD together by hand. He also apparently hand paints each Yayla t-shirt that is produced. I say “apparently” because this comes from the band’s press release. I don’t doubt that Emir Togrul does a lot of work for his band, but when you consider how much absolute horse shit is put in your average press release… Let’s just say that I have my doubts about it. Trust me, I’ve seen some press releases that were so full of it that you wonder who wrote them and if the writer actually listened to the album they were promoting. Yayla’s newest release is going to stand or fall on its musical merits, not what’s written in their press materials. Nihaihayat, the follow-up to last year’s Sathimasal LP (unless you count the soundtrack for Togrul’s film Fear Through Eternity, from later in 2012), is much in the same vein as its predecessor. Like BurzumYayla is a band that prefers the epic length song. There are three actual songs, each one clocking in at over twelve minutes. The intro and outro tracks (“Integumental Grasp” and “In Senility”) are a hair over five minutes each. The three songs are very repetitive, beating riffs into the floor in the same way that Burzum, Judas Iscariot and old Xasthur used to. While Sathimasal was more “cold and empty” sounding, Nihaihayat has more of a “wall of sound” feeling. The guitars are more prominent and also fuller. It’s definitely noisier, with a raw, dirty feeling similar to Darkthrone’s Transylvanian Hunger LP. I normally want a more polished recording, but Nihaihayat has definitely grown on me. I like that this album, while structurally similar to Sathimasal, has a more in-your-face attitude. It’s more “immediate” where its predecessor was distant and cold. That “immediacy” made a big difference to me, because otherwise I would’ve said that this lacked progression or any major changes to the band’s style.









The Pit Of The Damned


Per chi ancora non lo conoscesse, Yayla è un progetto personale del musicista/regista turco Emir Togrul e questo è il suo quarto album. L'istrionico musicista mostra ancora una volta la sua personalissima concezione del black/ambient metal fatta di stratificazioni di suono e distorsioni ovunque, contrastati da lunghi tappeti di synth e tastiere votate alla tristezza e alla riflessione. In questo lavoro Yayla si mostra molto determinato e mette in campo tutta l'esperienza acquisita nelle precedenti release, infatti nei cinque brani che compongono questo “Nihaihayat” troviamo la lunga intro “Intergumental Grasp” e la conclusiva “In Senility” che si rifanno al precedente “Fear Through Eternity” (album epico e monolitico dal sound costituito prevalentemente da tappeti di tastiere atmosferiche recensito a suo tempo su questo blog) con suoni maestosi di synth evocanti paesaggi eterei e oscuri mentre nei restanti tre centrali l'anima di Yayla si rifà al suo aspetto più sonico, distorto e ipnotico con scorribande ai confini con l'industrial marziale e il noise ma suonato come solo Burzum potrebbe intenderlo (anche se nel suo insieme il suono di Yayla è molto più pesante di quello del maestro!). Una ipnosi continua e massacrante quasi robotica, assalita dalla voce cavernosa e degenera di Emir, chitarre claustrofobiche create ad arte per rendere tutto nebbioso e cupo, quasi a voler proiettare l'ascoltatore in un mondo a sé, lontano da ogni dove, la misantropia ad ogni costo, un viaggio sciamanico avvolto dal mistero. A volte dai difficili risvolti e dalle tortuose inclinazioni sonore, dissonanze e distorsione a ruota libera creano un pesante muro di teatrale e sofferta decadenza, un'onda continua, un magma di rumore nero che si riversa sulle nostre orecchie. L'effetto tocca il suo apice in “Disguises of Evil” (che è anche la mia preferita) per l'impatto devastante, mistico e ripetiamo ancora, ipnotico, che la composizione di Yayla riesce ad infondere. Un continuo lento declino senza meta, lunghi brani di geniale tormento e tristezza, intelligenti, rumorosissimi e profondi, pieni di uno stato d'animo provato, epico e intimista, un sound estremo per sensazioni di introspezione estenuanti. Yayla lo conosciamo e lo ammiriamo, la sua musica cinematica non è per tutti ed è proprio questo che lo distingue da tutte le altre band. Il suo mondo è sotterraneo e popolato da spettri e fantasmi, saggi, mistici e nere figure tutt'altro che innocue. Da odiare o amare, fate la vostra scelta... l'ascolto è comunque consigliato!


Voto: 75


Bob Stoner





Misantropia Extrema


Operado pelo multi-instrumentista turco Emir Togrul, o projecto Yayla editou quatro álbuns de originais desde 2011, com pouquíssimo tempo entre os disco para desenvolver a sua técnica ou abordagem. Talvez por isso, «Nihaihayat» não difere assim tanto dos seus antecessores. São três longas faixas (entre os 12 e os 15 minutos) enquadradas por uma introdução e um postludio instrumentais de cinco minutos cada que quase justificam, por si só, a o lado "atmosférico" do "black metal atmosférico" de Yayla. Nas músicas principais, Togrul opta por uma abordagem mais crua e caótica com ocasionais recursos a riffs repetidos até ao hipnotismo, numa espécie de mistura de Xasthur, Burzum e Ulver antigo que resulta bem até certo ponto. As vocalizações demoníacas encaixam bem no black metal do projecto, mas a estruturação das faixas não revela um particular esclarecimento, caindo por vezes em passagens algo inúteis que retiram o efeito aos melhores momentos do disco. Ainda assim, «Nihaihayat» é uma proposta muito decente de black metal atmosférico misantropo e extremo, em que Emir Togrul consegue a espaços criar música suficientemente evocativa para se tornar quase transcendental.




Misantropia Extrema





The Metal Observer


YAYLA is an atmospheric Black Metal act from the virtually dry Metal soil of Turkey, created and solely performed by Emir Toðrul. “Nihaihayat” is YAYLA's fourth full length album in as many years, but this is my first take at listening to his output. “Nihaihayat” takes the formula of atmospheric Black Metal acts made popular by DRUDKH, BURZUM and the like and adds a uniquely ritualistic feel to music while maintaining a rather simplistic approach.


YAYLA's songs on this album tend to be of the long form, with three of the five tracks being over the twelve minute mark, and the other two tracks being five minute ambient intro and outro pieces. “Nihaihayat” starts off with “Integumental Grasp”, an ambient track focusing on a haunting backdrop with bells and chimes floating throughout. The track wouldn't be out of place on a horror movie (or even the old PC game Shivers), but it serves as a rather calm and easing introduction to what lies ahead, even though it bears no resemblance.


Rather than continuing with ambient styled tracks, “Through The Sigil Of Hate” immediately envelopes the listener in a repetitive, almost ritualistic style of Black Metal. Dirty and muddy swirling trem lines and muffled double bass runs suck the listener in and refuse to let go for the entire thirteen minute run time. Vocals sporadically jump in out and come in even more distant than the drums, sounding at times like monastery chanting and at others a dirty and raspy Black Metal squawk. The swirling guitar lines and muffled drums continue with “Immortalizing The Nine”, although the tempo is a little slower and plodding, but remains almost ritualistic and repetitive. While “Through The Sigil Of Hate” maintains a consistent fast pace, the brooding atmosphere of “Immortalizing The Nine” builds into catchy yet simplistic riff coupled with a driving, militaristic drum beat that repeats for almost the entire song. “Disguises Of Evil” once again showcases the repetitive and cyclic trem riffing alongside fast paced double bass drumming, which continues for fifteen minutes, with only subtle changes in the tempo of drumming . Over the entire playtime of the Black Metal tracks, there isn't much change in tempo or delivery, but the cyclic, almost ritualistic feel of the music attempts to keep the listener sucked in.


The album closes off with five minutes of an ambient soundscape, utilizing long airy notes, inciting an extremely stark contrast to the past forty minutes. During the segments of chaotic, cyclic Black Metal, an underlying melody can be heard if the listener focuses. This is really reminiscent of typically long winded acts, and especially of DRUDKH's “Autumn Aurora”. The music on “Nihaihayat” is definitely grainy, under produced and simplistic, but in that rustic charm lies a certain beauty only obtained by a select few bands in the genre.


The cyclic riffing and dirty production are great when you're in the mood for it, but it's not an everyday listen. YAYLA's “Nihaihayat” may not reach the level of chaotic beauty mastered by DRUDKH, but it is far reaching in its attempt and outdoes many who have tried before. Perhaps a more varied approach would garner a wider audience, but it would probably affect the trance inducing approach in a negative way. This may not be the greatest atmospheric Black Metal album out there, but it is worth a few spins if you dig the style. For fans of atmospheric or cyclic Black Metal who don't mind focusing to find subtle beauty within chaos.




Shawn Miller





Metallian Magazine


Le projet solo et nihiliste du Turc, Emir Togrul, propose pour son quatrième album, un black dark metal intense à la limite de l'ambient, rappelant les profondeurs de Xasthur. Le côté épique est ici réellement présent: une très belle pièce!




Florent Bécognée





Mario's Metal Mania


Yayla from Turkey has been active since 2007. This band is a one man project and sounds ravaging. All instruments are played by him and he does that really well!. This is his fourth album and it sounds like pure depressive evil. Tight guitar riffs and drums that sound like a constant double bass. The vocals are very evil and filthy sounding screams. There are only 5 songs on this album that are good for 51 minutes. So the first thing that comes to mind is if this doesn`t get it doesn`t. His music will take you away and in a ecstasy that keeps you listening to the entire album. If I must give a band that sounds a bit like this then I must say that it keeps near to bands like Nortt. If you like black metal that is obscure and breath taking then you are going to enjoy this album.




William Nijhof







Dopo aver consumato e trattato Sathimasal nella maniera più giusta possibile eccomi di nuovo a controllare con la lente d'ingrandimento la nuova fatica della creatura Turca Yayla. Nihaihayat è presentato da una copertina molto affascinante che unisce il sacro al misterioso, orizzonti ben delineati che non lasciano spazi a grossi respiri, da questo punto di vista la proposta di questa nuova fatica non vede troppi cambiamenti, il soffocamento rimane alla base dell'opera e ciò è (per me) confortante. Però allo stesso tempo si percepisce la volontà di diversificare la forma perché Nihaihayat è più "monolite", più duro da buttare giù e quindi da riuscire a comprendere (per chi vuole definizioni precise ad ogni costo la musica è una sorta di black/doom dove tutto potrebbe significare il contrario di tutto).


Ormai abbiamo assodato come ad Emir Togrul piaccia dilatare la propria musica tramite ampie porzioni strumentali (straordinaria da questo punto di vista l'opener Integumental Grasp) e anche in questo caso non si fa eccezione, la materia però, a questo giro, diventa straordinariamente "scandita" come se l'unico fine sia quello di ottenere una costante marcia funebre. Se togliamo prima e ultima traccia ci restano difatti tre brani lunghi, cacofonici, dal sound disturbante (le chitarre "scarabocchiate" inquietano parecchio e non rendono l'ascolto dei più semplici) e distaccato come il clima che si respira nella classica fredda cantina sotto casa.


A stupire è la continua creatività di questo artista che tassello dopo tassello sta mettendo su una discografia di spicco per chi sa come e dove andare a cercare musica di qualità ma purtroppo celata ai grandi riflettori.


In tanti potrebbero cedere alla distanza (sotto i possenti colpi di chitarre che sono pura compressione) e sotto questo aspetto il nuovo disco appare certamente "meno facile e immediato", ma sta proprio qui il suo valore perché Nihaihayat è puro anestetizzante, vi blocca li finché l'ultima nota non sarà stata esalata e vi farà certamente (e silenziosamente) chiedere "quanto" realmente valga. La risposta come al solito è dentro di noi, saremo in grado di recepire il particolare/ritualistico messaggio? Di certo non servirà a molto fermarsi dubbiosi al primo ascolto, questa musica più gira e più si capisce, cose che prima apparivano brutte o fastidiose diventano magicamente speciali, pregne di una forza espressiva non comune. La musica firmata Yayla ancora una volta divide i propri meriti tra creazione e produzione, la linea che divide le due cose è molto sottile ed è realmente difficile riuscire a capire cosa sia di più a restare o stupire.


Il voto ideale per me sarebbe sette e mezzo (ma solo perché ritengo Sathimasal leggermente superiore) ma in ogni caso questa è musica che deve andare valorizzata. E chissà magari un giorno vedremo questo progetto oggetto di culto cotanto di ristampe e quant'altro giustifichi la parola "fenomeno discografico".









Psychopathia Melomania


Emir Togrul, en activité avec Yayla depuis 2007, en est le multi-instrumentiste. "Nihaihayat" est son quatrième opus et voit le jour le 21 Janvier 2013 sur le label Merdumgiriz tenu dans les propres mains d’Emir Togrul.

La pochette s’inscrit dans une démarche artistique cohérente, et surtout peinte à la main par l’auteur qui s’avère être non seulement musicien mais artiste peintre. On y voit un temple blanc plongé en arrière-plan comme dans un mirage étrange. Les premiers plans sont un enchaînement de montagnes aux allures impénétrables.

Musicalement l’album se décline en cinq titres d’environ dix minutes, respectant les codes du Black Metal dépressif, et le minimalisme reste de rigueur chez Yayla. Les rythmiques doom, fracturées, ambiantes et lourdes construisent toute l’originalité du projet.

Integumental Grasp sonne de manière précieuse et contraste fortement avec Through the Sigil of Hate qui suivra. L’auditeur plonge dans une ambiance plus mélancolique que malsaine, un peu à l’image d’un cauchemar glauque qui se terminerait dans un demi-sommeil torturé.

Through the Sigil of Hate est un concentré de Black Metal rapide à l’apparence mâchée. La voix qui en ressort rappellerait presque certaines éructations à la Beherit. La batterie dépressive se met en place au bout d’une minute et le titre s’étendra dans quelques variations de riffs intéressantes quand on pose une oreille attentive dessus, pour plonger immédiatement dans l’aspect ambiant que l’artiste veut partager. Voix parlées, criées, tempos changeants, nul besoin de basse à mon goût (certains avis semblent déplorer ce manque), le titre est assez complet.

Immortalizing the Nine est un long voyage dans les terres de l’Imaginaire. D’attaque plus douce que son frère précédent, la torpeur qui envahit l’auditeur se fait automatiquement plus pesante, puis se ponctue de passages répétitifs plus hachés mais toujours dans un esprit de recherche quasi expérimentale. Véritable crescendo à écouter de manière assez forte et exclusive, ce titre est une réussite qui reste assez longuement en tête une fois terminé.

Disguises of Evil est le titre le plus long et le plus complexe. L’ouverture à l’écoute étant forgée par les titres précédents, l’artiste peut se permettre quelques décalages et détails supplémentaires qui auraient peut-être été inaudibles « à froid ». Ici, règne une ambiance aux effets très « Burzumiens » (si je puis me permettre), dans la longueur et cette rythmique entêtante.

In senility viendra fermer l’opus avec douceur et la délicatesse de l’ouverture. Cela renforce la facette de poésie que renferme cet album de toute beauté qui me fait dire que le Black Metal est si riche que, même dans les profondeurs du genre Dépressif, on y trouve des créatures abyssales, fascinantes et multi culturelles.







Teeth of the Divine


“Do it yourself.” Does anyone in metal or music as a whole really “do it yourself?” And if someone really did (and excuse the improper tense) “do it yourself,” then they wouldn’t need the help of labels, press, and basically everyone else involved with getting an album off the ground. So, doing it yourself is really doing it with the help of others, but trying to look cool by saying you did it yourself. After all, no band has ever really gotten anywhere by doing it 100% themselves. And that goes for those smarmy indie rock bands…they’re so smug.


Probably the closest thing to a true DIY entity is Yayla main dude Emir Togrul. Togrul is responsible for not only the music, but the lyrics, artwork, label distribution and get this: the actual creation of the discs. Apparently, each copy of his Nihaihayat debut is handmade; Togrul sprays the disc, and then cuts and inserts the prints for the jewel case and jacket. Basically, he does the whole thing himself. From scratch. He does it himself, from scratch. Imagine the long hours he puts in…dude must love coffee. Compounded with the fact he’s from Turkey, Nihaihayat takes an entirely different front than the usual Xasthur/Krieg one-man black metal outing.


As predictable as the album is in its sonic design (production on this is so 2004), Togrul manages to place a hefty onus on mysterious dynamics, a lot of which start to click once “Through the Sigil of Hate” starts to gain footing. The riff attack is suitably blurry, as wry chords create what is the equivalent of a desert dust storm, all the while Togrul mumbles like a monotonous drone. No emotion = total awesomeness. The real track to watch here, though, is “Immortalizing the Nine,” where upon morose riff combos merge with dirge-like funeral doom dalliances, making it one of the finer one-man BM strokes to hit the pavement of late.


Regardless of locale or how the damn thing was created (burning CD’s is such an arduous task to begin with), Nihaihayat should land on some uber cult and true black metal radars. If nothing else, it’s another quality entry into swathed-in-black, black metal.


David E Gehlke





Crossfire Metal Webzine


Yayla klingt nicht nur türkisch. Nein, sie kommen sogar aus der Türkei. Sie gründeten sich 2007 und haben es bis heute auf ein Demo und vier komplette Studioalben gebracht. Das mystische Keyboardintro, das bereits 2008 aufgenommen wurde und lange fünf Minuten dauert, beschwört schon Düsternis herauf. Der Rest wurde zwischen September und Dezember 2012 aufgenommen. 2013 beginnt also verheißungsvoll. Yayla spielen sehr atmosphärischen Ambient Black Metal. Nach dem Intro scheppert uns eiskalter Black Metal entgegen, der an Boshaftigkeit kaum zu überbieten ist. Der Sound ist dünn, schwammig und undifferenziert. Das lege ich aber nicht als negative Kritik aus; ganz im Gegenteil: Durch den dünnen Sound klingt Studioalbum Nr. 4 richtig böse. Auch wenn man mit der Türkei immer Wärme und Sonne in Verbindung setzt: Hier wird Eiseskälte versprüht. Im Midtempobereich versprüht der künstliche Sound den Charme von Summoning. Yayla klingen durchweg böse und finster. Hier gibt es nur Dunkelheit und einen Funken Hoffnung auf Leben. Wie man als türkische Band so ein abgrundtief melancholisches Album aufnehmen kann, ist mir ein Rätsel. Es überzeugen die Jungs auf ganzer Linie. Dass hier nur zwei der fünf Songs Black Metal mit Gesang ist, und es sich bei den anderen drei Songs lediglich um Instrumentals handelt, fällt beim ersten Hören gar nicht auf. Zu sehr wird man von den düsteren Ambientsounds eingelullt und verfällt in Meditation, bei der man alles um sich herum vergisst. Yayla waren mir zuvor nie ein Begriff. Aber ich werde mich definitiv mal mehr mit ihnen beschäftigen müssen! Ich bin positiv überrascht!




Daniel Müller





The Breathless Sleep


Cuando supe que éste cd era de una banda de Turquía, imaginé entonces música con sonidos peculiares típicos del folklore de los países de ésa zona del planeta. Al escuchar Nihaihayat la cuarta producción de Yayla, que es en realidad un proyecto personal y no una banda en sí, me topé con un black metal al estilo nórdico, con canciones larguísimas y producción acorde al estilo, es decir, un sonido global que crea una atmósfera fría, desolada y gris.


Emir Togrul, es el gestor de éste proyecto y tiene el mérito de haber creado música no acorde a sus paisajes ni a su entorno, porque, sería más fácil crear ésas atmósferas grises y frías en lugares con bosques, nieve y temperaturas bajo cero, en donde sólo vea el sol cuatro horas al día. Este señor lo logra y si su objetivo es ése en quien escuche su música, pues debería sentirse realizado. Pero si bien es cierto que logra todo ésto en el oyente, musicalmente hay cosas que no ayudan, y es que el hecho de tocar todos los instrumentos y usar batería programada como que le resta calidad a las canciones.


El disco empieza con Integumental Gasp un instrumental típico del estilo con sintetizadores y ambientes lúgubres, si eres capaz de soportar 5 minutos de ésto sin antes pasar a la siguiente canción, pues felicitaciones, seguramente disfrutarás el resto del disco. Lo que más nos interesa empieza en Through the Sigil of Hate, con el típico blast beat de las bandas black nórdicas, riffs veloces osea, el clásico panal de abejas tras de tí, con melodías interesantes y una voz gutural distorsionada, no la que comunmente sueles escuchar en una banda black metal. Immortalizing the Nine es una canción algo mas melódica y lenta que la anterior, con un buen riff poco después del segundo minuto del track, lo único malo es que el riff se repite tantas veces que no es agradable que use casi la mitad de los trece minutos de duración de la canción en ése riff…pero como ya escribí antes, parece que el objetivo de Emir es crear un paisaje, un ambiente, una atmósfera de veneno, totalmente fría y oscura y por ése lado sí que le va muy bien.


Disguises of Evil sigue la misma fórmula en 15 minutos de duraciòn que empiezan muy bien, pero que con tanta repetición del mismo círculo de riffs la cosa se vuelve agotadora, y peor aun cuando no hay voces. In Senility es el instrumental de cierre de éste disco, hecho con sintetizadores y más ambiente nublado para los oyentes.


Nihaihayat para muchos puede que sea una obra maestra, el soundtrack preciso para la soledad en un día nublado…pero para muchos otros, un disco musicalmente mediocre. Para ése primer grupo les informo que Emir Togrul está metido en el mundo cinematográfico y tiene un corto donde usa la primera canción de éste álbum como soundtrack, además de éso, cada disco deYayla, así como el resto de merchandising es fabricado personalmente por Emir, es decir, dibujado, copiado, sellado, olido, ensuciado por èl mismo, interesante!.







The Grim Tower


Yayla is an atmospheric blackened death metal project by Emir Togrul and is a completely handmade ordeal. All of the music featured here was completely composed by Emir as well as the artwork and all other materials. As for the music, it is a low-fi sort of blackened metal that should appeal to most fans of kvlt nature; but offers much more than the bare essentials. Emir’s vocal tone is certainly demonic sounding, reminding me of a fog that seeps into the walls while the sounds of some unknown ritual could most certainly be occurring in the background. Little is known about just what Emir is doing, and as far as I know “Through The Sigil Of Hate 12:55” might actually be a real connection with entities from beyond our realm of thinking with intentions unknown. The occult breathes through this release, it is definitely full of unrecognizable energy with black metal atmospheres that are for the most part, truly appealing. The tracks are quite lengthy and I’m under the impression that they had to be, because the rituals that encompass them more than likely took that long to reach their completion. I’m almost expecting a tall gentleman in a top hat to appear behind me and offer a small contract for my soul. At any rate, there is a certain art here that one can easily discern and will miss if they are just taking this as pure occult laden material (which it probably is.) I would certainly like this to Burzum’s Filosofem as it reminds me greatly of the same vibe but on a slightly different and more demonic, less Odinic level; which is probably what some of you are looking for. The album begins with an almost beautiful intro called “Integumental Grasp” and ends with a sullen closer called “In Senility 5:07” which seems to be the chilling end to the tale that is weaved on this album. In truth, I really wish that I knew what “Through The Sigil Of Hate, Immortalizing The Nine, and Disguises Of Evil” were about, but only Emir would know that. At any rate, I’d certainly recommend this as the polar opposite to Filosofem as it’s much more demonic but certainly reminds me of Varg’s work, especially on “Disguises Of Evil 15:08.”

But who I am to say that it’s demonic? It only seems that way. Whatever the case, it’s a work of art that comes handmade and hand-packaged. So if you purchase a copy of this, know that the hands who made it physically mailed it off to you. It’s a truly independent work from the artist to you, regardless if you understood the vision. This strengthens the bond between musician and fan that popular music labels will never understand. If you bought a CD of Metallica or the Rolling Stones today, what is the chance that the album would’ve been physically produced by them along with their signatures or a note of thanks in their own handwriting? 

You already know the answer to that question. This is the polar opposite where that statement is true. Not only will you get powerful atmospheres, but it’s all coming straight from the artist. Doesn’t get much better than that. 

Highlights: All (Intended to be one piece) (5 tracks, 51:00)



Eric May





Metal Temple

 has done it again!!, with releases like this is when I believe in the hope for mankind, that there are still some pretty good gifted musicians, composers, poets, that are available to do what it takes in order to keep the creativity and talent rising high, even when my mind is a little slow, and those releases could go underrated for some other idiots that are behind the computer, only writing for the joy of destroy, or in my case, for the joy of learning something.

The use and abuse of atmospheres is something that has always been of my taste, and the long (I mean long) duration of the songs may be difficult for the Metalheads that are not into this move, but if you want to know and learn that all in metal is not Satan, death, hell and some bitch for another, you should buy this album, and wait for the movie that Emir is about to release, now you see why I say he is a completed gifted person?.

The guitars are dark and raw, the percussion is well done, and you sometimes could feel, that comes out from a forsaken place, where no-one could ever hear you, and maybe that’s why the experimentation comes out, the use of keys complementing many parts of the songs is a real good thing, especially for the sake of the duration of the songs, but you must understand, this is the style of YAYLA, so you could not expect less from him.

This time I will only say one thing: I want to see the fucking movie now!!!! (No offense, the swearing is just a sign of desperation).









Apoch's Metal Review


Yayla is a one-man Ambient Black Metal project from Turkey. The man behind the madness is none other than Emir Toğrul, who is responsible for a demo and three full-length albums since 2011, two of which were released in 2012. Barely a year has gone by since the latter of those two, and we’re greeted with another opus of grim Black Metal under the name Nihaihayat. This release spans five tracks, and a total length of over fifty minutes, but, is this a case on quantity over quality, or is this release something that is well worth picking up?


Nihaihayat doesn’t quite fall into that heavy raw or analog production trap, but it is still rough around the edges. The guitars have a very despairaging distortion to them that isn’t too sharp. The bass is actually quite deep and loud in the mix overall. The drums are programmed, though sound pretty natural. The snares have a tight mid-range output, the bass kicks carry a very strong click that is buried a bit, and the cymbals sound great too, though sometimes there isn’t much of a variety to what you hear in that aspect of the kit. Finally, the vocals carry an echo, and are at a lower level that they blend in with the background more than the forefront, often making them a haunting afterthought.


Nihaihayat definitely wastes little time in establishing the atmosphere. The instrumental introduction “Integumental Grasp” sounds like something straight out of an eighties horror film, on par with A Nightmare on Elm Street thanks to the deeper bass notes and creepy chiming keyboards. This one sends a cold chill right down your spine, and may even have you looking over your shoulder in paranoia for the five minutes of its existence. Sadly, “In Senility” doesn’t quite have that same stalkerish vibe, but the haunting keyboards still play the album out well enough with more of a sweeping, supernatural vibe that feels more like an ascension from the hell the other tracks try to conjure up. Then there’s “Disguises of Evil.” Reaching over fifteen minutes, this track finds further roots in the melancholic early second wave Black Metal sound, moving at a trudging pace with faster leads to set the grim environment for the listener, which works surprisinly well for the first five minutes before slamming forward with faster, modern material that will wake you up from the paralyzing trance of earlier. Thankfully, the sudden jerk doesn’t cause the atmosphere to be completely lost, and it does eventually slow down, and continue to shift until the bitter end.


While the instrumentals are easily the most impressive, there’s still three others that do the Ambient thing well, if not well enough. “Through the Sigil of Hate” actually takes on more of a Drone performance with repetative drumming that goes on for quite some time, leaving the lead guitars to establish the atmosphere in plenty of spots. The vocals shift between a lower rhasp and deeper growl, showing through in the slower passages well to give a menacing touch to an already venomous assault of blistering speed, hatred, and utter madness as you approach the nine minute mark. Unfortunately, this comes off such a haunting track that it clashes widly with your expectations. But, variety is definitely not neglected on this release. “Immortalizing the Nine” actually moves at a mid-tempo pace after a crushing start that better fits the expectations laid out by “Intergumental Grasp.” The infectious rhythm in the guitars will have headbangers everywhere banging their heads in unison through much of the song, though some passages are handled in a way that you’ll end up slipping out of reality, put into a trance, or even a literal deeep sleep from the hypnotizing drum patterns.


Yayla may be churning albums out rather quick, but it seem that Emir Toğrul knows very well what he’s doing. For an Ambient driven Black Metal album, Nihaihayat ends up being an interesting and varied release. This keeps the album fresh from track to track, but sometimes the atmospheres don’t quite match, jerking you between worlds and pulling you out of the recording at times. A lot of the emotional impacts end up subtle, but still strong enough to get the job done, ranging from paranoia, to even knocking you out through hypnotizing droning patterns. Of course, this is definitely more of a niche recording, but if this kind of Metal is your thing, then it is definitely worth checking out and soon since a new album is more than likely already in the works, and Nihaihayat is an album not worth neglecting when that happens.









Battle Helm


Turkish black metal. From what I understand there is a growing metal scene in Turkey even though it is small. But truly devoted it seems. YALYA has that whole B/W aesthetic going for them on this release. The one made so famous by Darkthrone and Burzum in the 90s. And carried on by Xasthur and a handful more bands. If the music matches the aesthetic this could be one of the highlights of black metal in 2013 even though it is still early on. Don’t know about highlight of the year but this is black metal that follows pretty close on to the likes of (early) Darkthrone, Burzum and Xasthur. With almost no means YALYA manages to create a netherworld feeling of entering the 7 levels of Purgatory as described by Dante Alighieri. You gotta love being taken on a dark journey to fully appreciate this inferno of a record.


Anders Ekdahl





Exclaim! Magazine


Yayla is the brainchild of multi-instrumentalist Emir Togrul, and Nihaihayat is the latest exploration of the Turkish black metal necromancer's vision. At five tracks and 51 minutes, Nihaihayat is an expansive, windswept piece. The long instrumental passages create a deep sense of isolation and spatial emptiness — when Togrul's vocals do come in, they are layered and distant, somehow at once breathy and searing as a blast furnace. This isn't a record that focuses on preternatural speed, but rather atmosphere and environment. The crashing cymbals and icy riffs combine to create a sense of eerie loneliness, even when the sound swells and presses in closer. At once hot and haunted, Yayla capture that peculiar shiver that only comes when you find yourself standing in a lone cold spot in an otherwise warm room, as though you were sharing the space with a ghost.




Natalie Zina Walschots



Nihaihayat is entirely composed and performed by Emir Togrul, operating under the moniker Yayla. This is the fourth album he’s released in the last 24 months, but it’s far from watered down. Three sprawling and scathing black metal tracks are sandwiched between shorter moody and ambient instrumentals. At times blistering, others punishing,


Yayla’s use of dense atmospherics, lo-fi vocals and repetitive passages makes the album a powerfully hypnotic experience without boring the listener. This is cold and bleak black metal the way I like it. And to think Togrul is from Turkey!


Rating: 4/5


Matt Hinch







Il Medio Oriente ha già da tempo dimostrato il proprio valore all'interno della scena Black Metal, a partire dai Melechesh passando per Ekove Efrits fino ai più recenti Al-Namrood ed Episode 13 i risultati sono stati spesso più che buoni. Nei meandri più underground di questa scena si muove Yayla, one man band turca giunta al quarto full intitolato "Nihaihayat" che non mi era capitato di incrociare nonostante apprezzi la musica prodotta in questa area.

Se come me non sapete cosa aspettarvi di preciso, vi consiglio di guardare bene la copertina poichè è uno di quei casi in cui rappresenta alla perfezione le sonorità proposte: è un Black arido ma profondo, l'impressione è di essere imprigionati nei tetri sotterranei di qualche misterioso santuario circondato solamente dalla sabbia di un deserto che lentamente penetra e intimorisce il malcapitato ascoltatore. Il sound è saturo, l'uso del riverbero sulla voce infonde oscurità sia nelle fasi in clean, dal retrogusto quasi cerimoniale, che in quelle in scream, decisamente più demoniache; anche la drum machine ne trae vantaggio, i suoni di base sono comunque buoni e non fanno pesare l'assenza del tocco umano ma è l'effettistica catacombale a renderla veramente efficace, oltre al fatto di essere stata programmata molto bene. Notevoli i riff, lo stile è puramente Black sia nella loro struttura che nel modo in cui vengono riproposti più e più volte ma alternano con naturalezza passaggi orecchiabili ad altri più furiosi; in entrambi i casi la qualità c'è, tanto che la ripetitività a tratti ossessiva non risulta per niente pesante, sembra anzi una tormenta di sabbia che mantiene costante la propria distruttività e non accenna a diminuire per un lasso di tempo non indifferente. Le tre tracce "principali" sono infatti tutte sopra i dieci minuti di durata e sono racchiuse da un'intro ed un'outro di sola tastiera dal sapore desertico, la quiete prima e dopo la tempesta.

Non ho ascoltato i precedenti lavori di Yayla, pertanto non conosco l'evoluzione che ha avuto il progetto; di certo con "Nihaihayat" mostra le proprie capacità e maturità, è un album che potrebbe risultare molto gradevole a chi ama il lato più atmosferico e profondo del Black Metal. Un'altra gradita conferma di come la scena orientale sappia rendersi interessante.







Metal Kaoz


I love Black Metal, no matter the band’s country of origin. But when the release comes from a country that we don’t hear often, especially in the scene of extreme Metal, then listening becomes mandatory. So, when I got the chance to review the new YAYLA album from Turkey, I jumped right into it. YAYLA is the project of Emir Toğrul, who handles all instruments and who has released since 2007 a demo and three studio albums. “Nihaihayat” marks his fourth effort.


"Nihaihayat" is yet another release that I consider uneven, since one may enjoy this in its entirety or feel completely bored with it. I will start with the opening and closing tracks, which are two ambient instrumental pieces with nice keyboard melodies and have nothing to do with the rest of the tracklist. Their slow melodies are able to calm you down creating nice soundscapes that will travel you afar.


Regarding the three other songs, the sound changes completely; here we have pure Black Metal that is melodic, dark and haunting. The pace alternates between really fast rhythms with blast-beats, typical fast melodic riffs and slow breaks that reach almost Doom levels, where the sound is really murky and torturing, while the slow distant vocals create a great atmosphere. The problem is that during the 13-15 minutes duration (of each song) there are three or maybe four repetitive riffs. Don't get me wrong, there isn't nothing bad with repetitive riffs, especially when these are great (as it happens here), but when each one lasts for 2 or 3 minutes or maybe longer, then things may start to become a little boring. And yeah, it is great when a new riff makes its appearance, but after a while falls into a repetitive mode. However, the bigger problem lies in the production, which sounds too “muddy” and choked mistreating the music.


In my opinion, “Nihaihayat” had the means of becoming a fantastic album. The riffs and the melodies are great, the drum work is very good (even if they are programmed), the ambient atmosphere is amazing and the slow parts with the depressing and haunting music and the eerie and chorus-like vocals create beautiful soundscapes. But the production and the long repetitive music patterns prevent you from really enjoying the album. Nevertheless, it is an album that should be definitely checked out and that can’t be graded lower than... 7/10


Minos Dokopoulos







La chronique du deuxième album du one-man-band Turque mené par Emir Togrul avait été l’une de mes premières pour Metalland. YAYLA nous proposait un black metal ambiant/atmosphérique de bonne facture, aux ambiances épaisses et noires, qui nous transportaient au-delà de l’espace et du temps et il faut le dire qu’avec ce nouvel album la formule reste quasiment inchangée.

Non pas que Nihaihayat soit un simple copier/coller de son prédécesseur, mais quelques caractéristiques qui faisaient le succès de l’opus précédent sont toujours présente à savoir ce mur de guitare impénétrable, une batterie programmée et cette voix si lointaine. Une fois le tout fusionné, cela donne cette musique si particulière qu’affectionne Togrul, c’est-à-dire un black metal froid (carrément glaciale même), lancinant et aux riffs inlassablement répétés sur une longueur qui dépasse généralement les dix minutes (mise à part l’intro et l’outro).

Les quelques différences avec son grand frère son toute fois notables, comme le côté un peu plus "aérien" de la production beaucoup moins étouffante cette fois-ci, de ce fait le coté mélodique ne se retrouve pas noyé sous un déluge de saturation, mais le son reste tout de même crasseux et envoutant, seul problème, Togrul ne se décide toujours pas à inclure ne serais-ce qu’un semblant de basse à sa musique (une habitude dans le style black metal !). Les compos quant à elles ont gagné en maturité, et le titre "Immortalizing The Nine" en est l’exemple parfait avec cette intro lente et pesante à la limite du doom qui enchaine avec un riff heavy entêtant. La majorité des titres présente une structure avec quelques changements rythmiques qui viennent briser l’hypnotisme qu’exerce sur nous la musique du Turque. Le plus gros changement (et là est ma seule déception vis-à-vis de l’album) est le retrait des claviers qui donnait à la musique de YAYLA sont coté dérangeant et si spécial.

Pour conclure, un album dans la ligné de ce que le one-man-band a l’habitude de nous proposer, un album toujours extrêmement personnel, Emir Togrul n’a rien perdu de son talent et de sa force de composition et de toute façon je ne peux qu’encourager les sorties dans un pays où les groupes de black metal ne sont pas légions!






Ultima Music Blog


Yayla explodes out of the gates with this long-winded opus. Nihaihayat could be viewed as one of the high water marks for Turkish black metal. Although I'm not exactly well versed in black metal, I can safely say this album may live up to these so called allegations.

Nihaihayat spans 51 minutes across 5 tracks. Yep, you guessed it. You're going to be getting some lengthy pieces of material here.Yayla lays down different elements of the black metal genre in this release, which is a breath of fresh air considering many bands of the genre like to stick to one formula with their work. This works for the "diehards", sure, but I feel black metal has a lot more potential.

Getting into this album, you come up to the first track, "Integumental Grasp", that lays down the atmospheric side of this work. The chiming bells add a nice effect to the already ominous background. It almost sets you at ease but at the same time you are also set with an uneasiness of unknowing. It sounds a bit strange but you'll just have to listen to understand. This continues on for around five minutes and changes up in a few spots. Its a great opener and kind of gets you ready for the rest of the album in an odd way.

"Through The Sigil Of Hate" doesn't hesitate to submerge you into heavy, black metal style riffs. The roaring of Emir's vocals engulfs your soul even further into the chasm that he creates. Although this track may come off as repetitive to the naked ear, there is a lot more to it than the repeated riffage that occurs. You'll find a subtle poetic piece underlying the instrumentals, as well as hard to reach atmospheric elements that are also occurring at the same time. I'm quite certain it is on purpose, but even so it can be hard to hear these characteristics underneath all of the "fuzziness" that black metal tends to create. You'll come across well placed transitions that have a progressing quality to them. It feels like it opens up for the listener allowing a sort of exploration.

"Immortalizing The Nine" is most likely my favorite track of this record. This tune shows off more variety in composition. From the deep, poetic singing vocals combined with the doom-like riffs to the almost rock-like guitar riffs (not sure how else to explain it, but definitely a different genre could be a placed there). With this exploration, you get more variety of course. As you all may know, from previous reviews, I will always dig the variety. This may take away from the "true black metal" but let us be honest here; different can be good. Yayla proves to be one of the artists that turns music into a journey. "Immortalizing The Nine" is a great example of this. Also, that chilling vocal piece at the end may send chills down your spine.

"Disguises of Evil" clocks in as the longest track of the album, and to me feels like it could be the finisher of Nihaihayat just because of the set tone as the track progresses. In the beginning it feels much like that of the atmospheric black metal you find that seems to draw it's sound from desolation and cold. Although repetitive, which tends to be one of my main staples about black metal occasionally, it presents itself well and somehow is able to keep me listening. This "journey" builds more momentum near the end, "In Senility". "In Senility" is the second of the two atmospheric heavy tracks on Nihaihayat. It feels like a true resolution instead of an abrupt end or a cliffhanger.

Nihaihayat may not fancy those that are true to the old black metal styles. The combination of assaulting black metal and soothing atmospheric elements provides the listener with a style of black metal that many may not hear at a first glance. Yayla creates an album that kicks off the year the right way. So if you're looking for an album that differentiates the styles of black metal, you'll love this right away. Just make sure you have enough time to listen to at least one track.




Jeffrey Allee







Atmospheric ambient BM from Turkey. Yayla is one man project with a high level of creativity. The embodiment of DIY spirit. He not only composes, records, mixes and masters the music he also hand paints all the cds and Yayla shirts. Emir Togrul takes us on a dark perilous journey into the abyss with this latest release, it is also part of a short film which you can view on the youtube video below this review.

Integumental Grasp lays the ground work for the deep perpetual darkness that awaits in the coming tracks. The most intriguing element of this song is in its simplicity, an effortless composition that somehow manages to hypnotize and lead us into a splendid void of curiosity. Through the Sigil of Hate, raw guitars, dark ambient vocals reminds me of Nortt or early Behemoth. Immortalizing The Nine begins with a deep vortex of vocals followed by a layered gritty guitar riffs to compliment this dark structure. Disguises of Evil is a long path through hell itself, a long procession of madness. In Senility is an elegant title for an enticing and elegant composition to leave us back to our earthly confines. 

Emir Togrul has been able to achieve a dark hypnotic trance like state with this latest release. If you want to check out more-look up his previous album Ruhizolasyon from 2010. I am very impressed by the fact that this is a one man project considering every composition has you feeling like there are more musicians involved. I recommend this album for all dark ambient BM enthusiast.


Frank G





Heavy Metal Tribune


I still can't believe I actually missed out on Yayla's Sathimasal last year. Looking back on the record it displayed Yayla mastermind Emir's ability to create cold, atmospheric black metal that manages to captivate listeners despite being almost an hour long and containing only 5 songs. The band starts off early this year with Nihaihayat, their fourth full length release in as many years.


Unlike Sathimasal that started off with the aural onslaught from the start, Yayla takes a slightly different approach this time, kicking off the album with the instrumental Integumental Grasp, a soothing, keyboard driven ambient track that places the listener in the midst of the mountains, complete with sounds of wind chimes and bells. Yet this is just a false sense of calm that Yayla is instilling in the listener as all hell breaks loose with Through the Sigil of Hate, replacing that soothing mood with one of chaos, at first almost sounding like barbaric bestial war metal bands like Archgoat, with the raw, abrasive guitar tone and the sinister, destructive atmosphere. And although the similarities last for just a short moment at the beginning of the album, it does not mark the reduction of the harshness of the music that Yayla has put in place.


Compared to the material on Sathismasal, the music on Nihaihayat is much more aggressive and energetic, first with the high mix of the drums on the album. The programmed drums of Emir are chaotic and often lack a constant rhythm, especially with the bass drums and the snares, and whether this was done intentionally or not, it is hard to deny the overall impact that this has on causing a deep sense of unease on the listener. The riffs, while still maintaining that bleak outlook of Sathimasal, has a more abrasive edge this time as well. Emir's vocals also take the role that the various instruments have taken, and even without the availability of the lyrics, his vocal execution easily sends shivers down the listener's spine, alternating between inhuman shrieks and deep clean vocals, sounding like chants from the nether world.


The long tracks on the album ensure that the listener has all the time that he wants to soak in the atmosphere that Emir has laid down on Nihaihayat, with the smooth intertwining between the harsh black metal and the ambient of songs like In Senility. Certainly a nice record to accompany cold, lonely nights.







Wicked Channel


Yayla is a Turkish black metal one-man band out of the mind of Emir Togrul. Nihaihayat, which is due out January 21, 2013, is a five-track, 51-minute journey that does not disappoint the listener. I will nitpick on one bit of the album though. The opening track, Integumental Grasp, is over five minutes of wasted space building up to the other four tracks which are the meat of the album.

The three middle tracks on the album all clock in at over 12 minutes long while the opening and closing tracks barely traverse 5 minutes. With having only 5 tracks, you would think that you are getting short-changed, but you are not. Tracks 2-5 more than make up for the lack of quantity with quality. I have never been a guy that avoided epic tracks. Some of my favorite songs are long songs. If a song is epic enough to hold you attention for over 10 minutes, that makes it even stronger.


While Togrul utilizes a more ambient black metal approach to the song writing process, there are other genres of metal hinted upon on Nihaihayat. My standout track is probably Disguises of Evil. It breaks 15 minutes and utilizes the same riff throughout most of it, but the continuing droning of the same riffs etches it into your mind as you begin to envision an arctic freeze in your mind.
Overall, Nihaihayat is a more than ample release that should be checked out and owned later this month.





Montagne dietro montagne e lassù nell’orizzonte un enorme tempio. Una visione mistica, qualcosa di indefinibile. Uno scenario perduto. Vede così la propria musica Emir Toğrul, musicista e compositore turco che si cela dietro al nome Yayla. One man band autrice di un black metal atmosferico, imponente, determinato da composizioni lunghe, oltre a due pezzi che fungono da intro (composta nel 2008) e outro, ma di natura ambient. Meno di un’ora di musica, ma in realtà il tempo sembra dilatarsi già nel momento in cui entra “Through the Sigil of Hate”, mostruoso black metal ferale in cui i tempi si sollevano e diminuiscono come una marea.  La voce di Emir sembra provenire dall’antro di una caverna e scuote le vibrazioni stesse delle chitarre, così fredde e scheletriche. Quasi 13′ di una marcia solenne e battuta dai venti dell’infinito. Forse non il genere di brano per tutti. “Immortalizing the Nine” è un roboante di distorsioni e di un tappeto sonoro di sottofondo che riesce difficile capire la vera natura degli strumenti. Di sicuro c’è un basso dalle frequenze ampie e che in tutti i brani si esprime in appoggio alle chitarre. All’improvviso salta fuori un riff graffiante e con il 4/4 quel fraseggio melodico diventa quasi catchy, nonostante quella nebulosa di distorsioni e riverbero. Successivamente il brano concede ulteriori sviluppi e si dimostra, nei suoi oltre 13′,  più dinamico del precedente. “Disguises of Evil” ha un tono vagamente alla Burzum. L’incedere del drumming (molto probabilmente una drum machine, usata per l’album) è ipnotico, scandito, sommesso, le chitarre cantano vibranti riff di ghiaccio ed epica indoeuropea. C’è qualcosa di esotico e antico insieme. Un motivo pagan che si srotola per oltre 15′. Anche “Disguises of Evil” presenta una certa serialità come “Through the Sigil of Hate”, ma rispetto ad essa offre melodie più seducenti come “Immortalizing the Nine”. “Nihaihayat” è l’album per i cultori del raw and atmospheric black metal. Distorsioni caotiche, batteria che sembra un tuono soffocato, riff lunghi e ripetitivi. E’ il lato più oscuro del black metal e non so quanti possano poi avere la forza di guardare a questa nera medusa del genere. Yayala dal 2011 ad oggi ha inciso ben quattro album, rivelandosi un autore in continuo fermento e in attività compositiva e di registrazione della propria musica. “Nihaihayat” è denso di oscurità e di un’epica arcaica.







Queens Of Steel


Desde Turquía nos llega el último trabajo de YAYLA, un proyecto unipersonal del músico Emir Toğrul. “Nihaihayat” es esta novedosa obra y sigue la estela de sus tres anteriores discos que han sido lanzados en estos dos últimos años, es decir, un Black Metal experimental basado en unos ambientes lúgubres y con un sonido bien limpio que permite captar al oyente todos los detalles posibles.


Cada uno de los cinco temas es un viaje a través de las exóticas tierras turcas, con una sobresaliente ejecución instrumental y unas atmósferas tan frías como penetrantes. La primera y la última canción sirven como presentación/final del compacto, siendo las de más corta duración e instrumentales. Las canciones restantes tienen un recorrido medio de 13 minutos y son lo verdaderamente esencial de “Nihaihayat”. “Through The Sigil Of Hate” e “Immortalizing The Nine” se caracterizan por unas guitarras heladas que cortan nuestros oídos con oscuros riffs afilados, una voz de ultratumba, unos teclados que ayudan a crear unos sepulcrales ambientes y unos efectos de sonido realmente evocadores. El tema restante “Disguises Of Evil” es también instrumental, y aporta un nuevo punto de vista de YAYLA, hundiéndote en la más profunda de las miserias.


Black Metal experimental con unas atmósferas penetrantes. Eso es YAYLA en pocas palabras, por lo que si disfrutas de los sonidos más sombríos, “Nihaihayat” es tu obra.


Puntuación: 7.5/10


Sergio Fernanadez





Occult Black Metal Zine


Yayla are a 1 man band from Turkey that plays a mixture of dark ambient and raw and primitive sounding depressive black metal and this is a review of their 2013 album "Nihaihayat" which will be released by Merdumgiriz.


Drum programming ranges from slow, mid paced to fast beats, while the synths bring a very dark ambient and atmospheric sound to the music, as for the bass playing it has a very dark tone with riffs that follow the riffing that is coming out of the guitars.


Rhythm guitars range from slow, mid paced to fast black metal riffs that are very dark, raw and primitive sounding with a depressive feeling being utilized at times and there are no guitar solos or leads present on this recording.

Vocals range from high pitched and deep black metal screams as well as a brief use of clean singing, while the lyrics cover dark and evil themes, as for the production it has a very dark, raw and primitive sound with the songs being long and epic in length.


In my opinion Yayla are a very great sounding ambient black metal band and if you are a fan of this musical genre, you should check out this recording. RECOMMENDED TRACKS INCLUDE "Through The Sigil Of Hate" and 'Disguises Of Evil". RECOMMENDED BUY.









Fear Through Eternity Reviews





Pit Of The Damned


Yayla è il progetto con sede in Turchia del musicista Emir Togrul che abbiamo conosciuto qualche tempo fa con un lavoro di grande fascino ma che affrontava tutt'altra sonorità rispetto al presente "Fear Through Eternity", dal titolo "Sathimasal" da noi allora ben recensito. Il valore di questo musicista ermetico consiste nel creare musiche estremamente profonde e coinvolgenti, oscure e molto criptiche. Yayla stavolta elimina ogni tipo di suono distorto, al contrario del precedente lavoro, e misura la sua capacità compositiva con una colonna sonora preparata ad arte per un suo film, dal titolo ovviamente uguale all'album "Fear Through Eternity", di cui si può vedere il trailer sul sito, sito che ospita tutti i lavori del suddetto artista (purtroppo non siamo riusciti a risalire alla tematica del film, ne a vederlo, non conosciamo il suo scopo commerciale o la sua distribuzione, ma sembra sia autoprodotto dall'autore, e quindi ci siamo accontentati del trailer). Il nostro cavaliere nero si arma di soli synths e qualche sparuta percussione e spolvera otto brani molto legati tra loro, tutti molto bui e riflessivi, nebbiosi e umidi. La colonna sonora così concepita e staccata dal collante immagine, risulta molto ostica e monolitica al primo ascolto per poi divenire famigliare, interessante e piacevole ai successivi ascolti. Siamo di fronte a qualche cosa di ferale ma molto melodico che ricorda a tratti la colonna sonora del film "Nosferatu" con K. Kinski, capolavoro dei mitici Popul Vhu, luminari del krautrock ma con uno spirito oscuro, più vicino alle cose sinfoniche, ambient e melodiche di Burzum (vedi la parte iniziale del brano "Der Tod Wuotans" dall'album "Hlidskjalf"), una spruzzatina del sound mistico dei Dead Can Dance senza cantato, ed i prestigiosi giochi percussivi del duo anglo/australiano, e il gioco è fatto. Questo album non è per tutti e la sua musica è cosa che più distante si possa udire dal mondo del metal o del rock! Ma chi avrà la volontà e il piacere di affrontarlo a orecchie ben aperte, non ne rimarrà certo deluso, anzi ne assaporerà la profonda nuova catarsi di un musicista molto molto motivato. Ascolto da provare!


Voto: 70


Bob Stoner





Metal Temple


For a strange reason, YAYLA is starting to become a very close band to my heart, not only because they contacted me and took me as a friend, but due to that the music has gone straight to down my spine, without words, only the feeling transmitted by Emir in each and every note played along the album.


First of all: this release is only based on keyboards, it's for a movie of the same name of the album, created by the same guy that plays, which speaks very well of his great talent not only in music but in visual aspect, it's a short release, only one song goes beyond 10 minutes, but in only few minutes you would start to understand the title, the fear that wants to be transmitted goes to the listener, making it not different from what has been done, but with the intention that wants to be done.


Musically speaking… well it's a soundtrack, hard for someone like me to describe it but I'll give a try: The keys here recreate an orchestra, which will be fully appreciated when the movie comes out, for now I only could say: I respect a lot what YAYLA has been doing, and this new album is a clear show of full talent and intelligence.











Sathimasal Reviews




Pinpoint Music


The last time I visited Turkey for music it was for their brilliant psychedelic scene of the mid 70′s. I also occasionally dipped back for some 80′s pop music, but that is neither here nor there. This is a bit different though both give me the same feeling. I may just be biased but I whole heartily embrace global metal with open arms. Turkey is not know for its black metal scene so hearing a one man project, especially at this caliber, is exciting. Well to be honest its damn amazing. Not only is the music wonderful, the vocals are barely existent as they are more a part of a depressive wall of noise. I am thankful for this article as Sathimasal is one of the most enjoyable records of 2012 that I almost missed. All Hail Turkey, the land of shimmering psych, poğaça, and harrowing black metal.


Kaptain Carbon







This one's a 'grower', but, thankfully, it grows within a minute or two instead of a full listen, when you then force yourself to listen again until you find some excuse to "like" it.  So what's the deal?  Well, the big problem with this, which we'll just get out of the way now, is that it sounds like the entire thing's been recorded through about five miles of glacier.  There's a thick hiss over the majority of the music that has that classic, raw, 'frozen' feel of the best underground black metal, but it's a little too cold.  Truly frostbitten, no kingdom in sight, only a loss of fingers and toes.  But, give it a few minutes, and you actually get used to the freeze; it numbs your sense of production and puts it to the side since it doesn't matter in this context. As such, Yayla succeeds in underground black metal.  There's a ton of repetition in the style of Burzum, but lots of expression through the usage of memorable riffs and emotionally-driven keyboards. Only the worst of emotions, however, kind of like Lermontov-turned-black metal.  And that's a perfectly awesome way of expressing it.  Sometimes, though, this technique loses itself in its own winter.  The drums are usually barely noticeable, the keyboards and sound-effects can dampen the rest of the music, and you'll occasionally hear strangely clear and clean bass lines among what's otherwise a snowstorm of hate. And this is what keeps Sathimasal from true greatness.  Thankfully, for a one-man-band release he provides more than enough, at least more than Xasthur ever could.








On ne peut pas dire que la Turquie soit le premier pays producteur de metal extrême, mais il recèle quand même quelques petits groupes (VALEFOR, ZENITH MAUDLIN, EZAYAH) qui font leur nid malgré la difficulté de percer dans ce milieu. YAYLA fait partie de ces groupes, et présent sur la scène extrême depuis sa première galette, une démo en 2009 puis un album en 2011, le one man band mené par Emir Togrul est sur le point de sortir son nouvel album de black ambiant, Sathimasal.

Pour planter le décor je dirais qu’écouter ce nouvel album de YAYLA, c’est un peu comme lire une nouvelle de H.P Lovecraft, on se retrouve dans une forteresse inconnue, immensément grande avec comme seul toit, un ciel sans étoile éclairé par une lune blafarde. Cette forteresse est en fait la dernière demeure des Grands Anciens, qui attendent d’être délivrés, pour pouvoir enfin répandre la terreur et reconquérir cette Terre qu’ils habitaient bien avant qu’elle ne soit devenue ce qu’elle est. Nous sommes nulle part et partout à la fois, sous terre, sur terre et dans l’espace intersidéral.

Les guitares représentent ces murs, moites, qui transpirent quelque chose de malsain et d'insupportable, Emir Togrul les utilisent comme fondation de sa musique, la saturation est compacte et rien ne peut la traverser. La batterie elle, est très en retrait et ne sert vraiment que de support a cette musique hypnotique, menée par des riffs répétés inlassablement, à la manière d’un mantra satanique. Mais c’est surtout cette production lointaine qui nous fait vraiment voyager, véritable parti pris, risqué, qui fera sans doute fuir beaucoup de personnes, sans parler des chants hurlés d’Emir Togrul quasiment inaudibles, noyés par des torrents de décibels ultra saturés qui feront pâlir les plus raw d’entre vous.

Sathimasal est un album spécial, chaque pièce présente vous fera fuir davantage ou vous confortera dans l’idée qu’Emir Togrul possède un talent créatif hors du commun. La longueur des titres, la production crasseuse et la linéarité représente quand même un gros point faible mais la richesse, le talent, et l’ambiance de l’album sont un point fort, le mieux c’est d’écouter ce Sathimasal et de se faire sa propre idée.






Dont Count On It Reviews


I can't recall many bands that I've listened to from Turkey, or I guess what I should say is that I haven't heard many bands from Turkey that have made me remember them. I have had a rather troubled past with metal bands from eastern European countries, so I usually try to avoid them unless I'm already familiar with their work. With this sophomore release from the one-man band Yayla is poised to take the world by storm based on what I've heard and read about it thus far. 

I guess I should start off by saying that when I stack this up with the other black metal releases from Eastern Europe that I've heard, this one, from a pretty underground project, is pretty good. I mean that in pretty much all categories too. In production, atmosphere, and intention, this thing pretty much blows away most albums I've heard from any band that's come out of that side of the world. Now, I'm not saying this is the most unique thing you're going to hear this year, the bands that influenced this project are still pretty apparent from early listens, but for what the project has done on here, it honestly tops most of what it's influences have been doing. I hear Burzum (and honestly I haven't cared about any of Varg's post-prison albums at all), Emperor (broken up, still great, but not doing anything so...), and some Incantation in there as well (when they actually put out an album I'll care more than I do now). I don't want to sound cynical, in which most reading this probably think that I've gone way past that point already, but when I listen to this record, it sounds fresher than anything I've heard from those projects, and others in over a decade. 

The production on here really fits the music being played. It really helps to create this wall-of-sound sort of vibe to the guitars that really makes the entire record sound huge. It's not so overwhelming that the bass and drums get swallowed in the mix, though the vocals do at some points. The reason I'm starting there is because unlike a lot of other groups and projects that mix together ambient styles with black metal this one doesn't feel like someone had a bunch of random black metal-ish songs and a couple of ambient parts and thought they'd work on an album together, these two styles, if I'm being simplistic about it, are fused together. The riffing really recalls that of the band's mentioned above, being very old-school tremolo picked, along with blasting drums for the better part of the album as well. These are epic songs, with the shortest one being the seven and a half minute instrumental opener. In all honesty though, that is probably the album's biggest fault, the length of these tracks. As most readers probably already know, I am a fan of long songs with lengthy passages of experimentation, but unfortunately, while this album holds long sections that are mainly instrumental, they'll carry on that same part for minutes at a time without really changing anything, and that can get rather dull. Sure, on first listen it's kind of an endearing quality to this album, but multiple listens just prove to be more taxing than they need to be. 
It's a well done piece of work that is, honestly, one of the best releases I've heard from a band on that side of the world in a long time, it's just bagged down by some overly long tracks. I have yet to hear the most recent release from the project yet, titled Fear Through Eternity, yet so I can't really say how the sound has progressed, but if the tracks can become a bit less repetitive, I think it will do a world of good. Definitely check this album and project out if you're a fan of atmospheric black metal that recalls some of the vibe of the early and mid-90s bands. 

Overall Score: 8
Highlights: Emperor; Elegy to Wars Never Fought, Conjurer; Prophetillars Will Hollow


Ian Flick





Leper Kolony


Yayla's Sathimasal is my introduction to the Turkish metal scene, and I'd have to say a pretty damn good one. Hypnotic is the word that's being used about this band and it's the right one. Being one man with a low budget, Yayla presents repetitive black metal in a structure similar to Abyssic Hate – long, simple, repetitive riffs that intend to draw you vortex-like into their sounds – but with the outer aesthetic of Paysage d'Hiver – lo-fi guitar tones sat with ghostly, ambient keyboards. Yayla, however, delves into much more indecipherable territory than both of these bands, at times being difficult to comprehend through the blare of static that shrouds the interwoven layers of the music. This is not necessarily a bad thing. The white noise serves somehow to fuse the very sounds of each instrument together. The production is actually very nice, raw yet filled with rich layers. Drums sit right back. In fact mostly all you can hear of them is a metallic, artificial pounding of a snare drum. This is a classic blacknoise beat that totally inverts the way drums are used to create rock (?) music, so I'm giving it the thumbs up. The incantatory vocals sit slightly away from the foreground, and they are pretty awesome. Dark whispers curdle forth from the yawning caverns opened by Yayla's dense atmosphere. Vocal use is actually quite sparing, which puts emphasis on the repetitive riffing and ambient sections. Opening and closing tracks are completely instrumental.


"Fordreame Wonderlore" is a powerful opener, too - dark, insistent, and brimming with feeling. This is followed by the trio of songs which use Emir's grim-ass vocals entitled "Emperor", "Harvester" and "Conjurer". "Emperor" is my least favorite track on this record, as some riffing I found to be not in keeping enough with the grim atmosphere, but it's a long song and it still has moments of dark beauty. The other two tracks juggle entrancing black metal and dark ambient brilliantly. The final song, a thirteen-minute instrumental entitled "Will to Walk Paths to No Temple", is an epic journey into dark emotions, like staring inwards to your soul and when you're there and finally see it, only the bleak sadness of the world is there. Of course in that sadness is reflected the beauty of life.


Sathimasal is a work that's being praised for its relentless dark nature, and I suppose that's one way of looking at it, but I found it to be a heartfelt trance-like voyage into some very murky waters that are not always easy to appreciate. I recommend listening to this album several times if you want to properly appreciate it, as there is more depth to the music than initially meets the eye. It's music that requires patience and I admire that in a band. Not everything should always be laid out accessibly for us the immediately indulge in.


Conclusion: Sathimasal is an excellent example of how bedroom black metal can be done with taste and substance, and proof that you don't necessarily need loads of money to make excellent music. Highly recommended.

Standout tracks: "Foredreame Wonderlore", "Conjurer, Prophetillars Will Follow", "Will to Walk Paths to No Temple"


Score: 8.5







Musical Warfare


Turkish one-man black metal project Yayla has emerged from seemingly nowhere in the last couple years, managing to quickly churn out three full-length releases. Despite coming from a place that's not exactly known for producing quality metal bands, Yayla nevertheless are crafting some pretty impressive material if 2012's Sathimasal is any indication.


Yayla's approach on Sathimasal is atmoshperic, ambient black metal in its pureset form. We're talking fuzzed out, hypnotic bursts of sound somewhat in the vein of bands like Velvet Cacoon or early I Shalt Become. It gets fairly repetitive in some places, but that's the point isn't it? Tracks like the opener 'Fordreame Wonderlore' settle into an oppressive groove of fuzzed out blackened riffing and then pummel you with it until your mind is engulfed by the bleak, discordant assault. Yayla mercifully provides a little variation over the course of the album, throwing in some nice keyboard sections in a few places and varying their sound between all-out ambient blackness and more melodic leads. Third track 'Harvester; Modesty Of All Malevolence' even throws in some almost post-rockish lead work towards the end.


The one minor flaw I found with this album lies in some rather questionable production issues. Over the last two tracks the bass becomes more audible, and it has such a weird tone that it almost sounds like the bass is playing a completely different song. Perhaps this is just the way the mix turned out, or maybe Yayla is so kvlt that they're subtly punishing those of us with good enough speaker systems to notice the bass. Either way it's sort of annoying but doesn't detract too much from the album's overall quality, and unless you're using really good headphones or speakers you're probably not going to notice anyway. Sathimasal is a great slab of ambient blackness from a very promising new artist.







Metal Crypt


Turkey isn't exactly what can be described as a country with a huge extreme metal scene, I've come across a few in my time both good and bad, but very few as promising as this fairly recent obscure act by the name of Yayla.


Consisting of a sole member called Emir who handles all the instruments, Sathimasal utilizes an approach that dredges the depraved depths of black metal, twisting and manipulating it into something altogether perverted before spewing out what can only be described as a vile cacophony of ritualistic black metal which is nothing short of unnerving or exhausting.


The first and last tracks are both instrumentals, but the music is such that they fall in line perfectly with the other three tracks as when you do hear Emir's sparse vocals, it's evident they're nothing more than an additional instrument in the conjuration of Yayla's nightmarish and disintegrating atmosphere alongside the enduring reverb soaked drone of the guitars and repetitive drum programming.


"Fordreame Wonderlore" begins the hellish descent with its apocalyptic surge of heavily distorted guitar and relentless drumming which has to be said remains pretty one-dimensional for its whole seven minutes. While this repetition is effective in getting the basic message across, it is abused a bit too much throughout Sathimasal. Still though, when this album is good, it is exceptionally so. None more evident than "Emperor; Elegy to Wars Never Fought" which is somewhat comparable to a journey through a vast and eerie underground city inhabited only by the stench of the dead. The ending passage of ambience has a slight similarity in its arrangement to "Tomhet" and ties up the song in wickedly hypnotic fashion.


The next two songs are much the same in their arrangements; the very definition of lo-fi, much in the way Mutiilation and Paysage d'Hiver are. When describing the guitar I would use the term 'riffing' very loosely for a lot of the time there are no discernible riffs at all, the guitar is distorted to the point where it's just an impenetrable suspended drone drifting in and out. The vocals range from a low pitched nigh-inaudible groan to a more typical throaty rasp and as stated play a bit-part role as they're so buried in the mix. "Harvester..." retains the quality of the previous song, the same bottomless and infernal atmosphere though suffers like the next by being overlong and ends up fizzing out over halfway through.


When it's good, it's fucking brilliant, but the truth is much of the album could easily have been condensed by cutting all the songs in half as it just tends to lose focus after a while. With a bit more refinement then Emir could definitely be on to something. Nevertheless Sathimasal still contains some quality material and if you're in the mood for some arcane black metal that's focused heavily on the pitch black ambient side of things ala old Leviathan or even Urfaust then definitely give it a go.



Sounds like - Lurker of Chalice, Negative Plane, Burzum


Chris Cowgill





Curse Of The Great White Elephant


Bleak and dessicated, dripping with sorrow, Sathimasal will smother you. Even experienced spelunkers of cavernous, coffin-dwelling chasms will be overwhelmed with the thick layer of decaying flesh and minds dripping all over this noise. It's oppressive, at times too oppressive and prone to falling into ruts from which it takes forever for songs to escape. This one man project from Turkey has churned out a collection of tunes so massive and over-stuffed, they can barely be absorbed in a single listen. But there in lies the charm ofSathimasal: it's not perfect, but it's an intense, full body listen that demands attention.


Sathimasal takes influence from where ever it can find it: elements of Beherit, Emperor, Burzum, the various Mories projects, Lunar Aurora, Incantation. Look at that list... it's easy to see howSathimasal could really be that damn oppressive and atmospheric. Only when one begins listening to the album, they come to a realization. It's all oppressive atmosphere. Sathimasal is one massively large piece of ambient skull hammering. There is very little in terms of dynamic progressions or even slightly adventurous musicianship: riffs, bass lines and drums are repeated at a machine-like pace for long, barren stretches of minimalism drenched in a swampy compound of brilliant, cavernous production and massive, overwhelming keyboards. All the individual tracks pretty much follow these same basic patterns: repetition, shift, repetition, shift, etc. For some seriously long tracks: the shortest track "Fordreame Wonderlore," an all instrumental track, comes in at a puny 7:38. This album was quite literally designed to inundate you.


Yet despite this, Sathimasal works most of the time. In the right frame of mind, in the right atmosphere, it can be utterly transfixing. Its almost has a Drone-like quality to it, which makes it feel like a unique experience. And it's the production that makes it all possible. The guitars and drums have a distant quality to them, while the bass rumbles the very Earth right underneath the surface. The keyboards overwhelm the other instruments in just the right fashion to creat a swirling, vortex like effect. The only thing I can compare it to is S.V.E.S.T.'s Urfaust, though the production here is much stronger. This is easily my favorite production job of 2012 so far.


Sathimasal is a charming album, one that appeals to my personal taste quite nicely. But it's not perfect, particularly in the song-writing department: the repetition starts to become a crutch at several points, and feels artificially extended from time to time for the sake of testing listener endurance. As charming as being blasted by the same riff can be for a time, there is a breaking point and Sathimasal continuously push it on every track. The final, vocal and keyboard section of "Emperor; Elegy To Wars Never Fought" is incredibly beautiful for the first few minutes, and by the end you are ready to strangle the female vocalist and break the keyboard player's hands. Sathimasal is in desperate need of some self-editing, and I can't help but wonder if we would have had a classic on our hands had Emir Togrul, the man behind Yayla, had shown some self restraint.


Which he did not... at fucking all. Sathimasal is a tyrant who wants complete control, and it's going to get it at any cost. I find this both appealing and yet slightly boring, and I admit that Sathimasal has been perhaps the hardest album for me to gauge so far this year. I've been listening to it with almost religious zeal, yet never really become as enamored with it like I want to. I can say this: Sathimasal is an album that I think just about everyone should try to experience, to see just how much abuse you can take. A powerful atmospheric experience perhaps, but not always a powerful listening experience.


Rating: 7.5/10







The Pit Of The Damned


Celato dietro questa one man band troviamo il polistrumentista turco Emir Togrul. Il suo personale progetto è caratterizzato da una catarsi sonica perfettamente riuscita che per l'intero lavoro perseguita senza dare tregua. Il suono di Yayla è dilaniato e magmatico con un incedere talmente funereo e cerebrale che a stento si riesce a dare un giudizio tecnico alle partiture degli strumenti o alla voce, echeggiante e distante quasi quanto l'inferno! Un'atmosfera plumbea ed interminabile ci avvolge creando immagini luciferine che portano l'ascoltatore a non inquadrare mai esattamente la fonte da cui arriva il suono, tanto è compresso, marziale, fumoso e rumoroso. Il risultato di questo sound ci fa sprofondare in una palude tanto fitta, introspettiva e densa, tanto coinvolgente che per liberarci non ci resta che spegnere il lettore a forza. Come se un album dei primi Ulver fosse suonato oggi con la forza psichedelica e noise di Boris e con il fascino di Jesu; questo album è una chicca per figure romantiche e oscure, figure d'altri tempi che non esistono più!


Voto: 80


Bob Stoner





Paranoid Zine


Ko sem prvič slišal za turški band Yayla, so moje misli zaposlovala kontradiktorna pričakovanja: naivno in povsem neutemeljeno sem na eni strani pričakoval radoživ, hiter in veseljaško razgiban oziroma na drugi strani umazan in brutalen black metal. Na srečo so se ob prvem poslušanju le deloma uresničila slednja pričakovanja, saj je bilo pozitivno presenečenje tako dosti večje. Sathimasal je na trenutke umazan, toda bolj kot to je melanholičen, morbiden, žalosten, temačen. Na albumu je v ospredju močna in težka atmosfera, ki jo sicer srečamo pri bandih, ki proizvajajo tematsko siucidno in samodestruktivno obarvano glasbo. In čeprav bi človek na podlagi opisanega takoj tako sklepal, vseeno menim, da one man bandu Yayla ne grozi razpad zaradi samouničenja, saj turobno atmosfero razbijajo za depresivni black metal netipični elementi. Ker je atmosfero in občutke le težko opisovati, saj temeljijo na še posebej subjektivnem dojemanju, se v trenutku pisanja ne spomnim boljšega kot primerjave z veličastnostjo, ki leži v Aresovem (Aeternus) vokalu, in epskostjo iz hiše Darkestrah.

Atmosfera je glavni ključ do uspeha, ki Yaylo z albumom Sathimasal dviguje nad dolgočasno povprečje black metal bandov, ki se glasbeno zanašajo na redke menjave ritma, na deset in več minut razvlečene repetitivne riffe ter skromno uporabo vokalov. Na Sathimasal so kitare in bobnanje potisnjene v ozadje, od koder se daje prostor klaviaturam, basu in drugim efektom. Medtem ko se bobni nikoli ne premaknejo iz ozadja, si kitare to dovolijo, ko drugi instrumenti obmolknejo. Vendar korak iz sence drugih instrumentov ne pomeni odstopanja od prvotne akustične podobe, efekt na kitarah ostaja nespremenjen, kitare ostajajo zavite v skorajda neprepoznavno in zamolklo hreščanje. Podobno so posneti vokali, za katere ima poslušalec občutek, da prihajajo nekje iz oddaljenega, zaprtega prostora.

Pa smo ponovno pri atmosferi. Poseben miks albuma, ki je kitaram dodelil vlogo šumeče akustične podlage, na kateri se jasno sprehajajo klaviature in bas kitara, ki ni potisnjena v povsem nerazločno ozadje, od koder je pri drugih bandih sploh ni moč slišati, je temelj že omenjene atmosfere. Odmaknjeni vokali nato opisano atmosfero, lahko rečemo tudi akustično sliko, še dodatno poudarijo.

In ker je tokrat že tako ali tako vse drugače in postavljeno na glavo, naj za konec povem, da je recenzirani plošček drugi studijski album te turške zasedbe z izredno zanimivim zvenom imena v slovenskem jeziku. Ker pa žal nisem imel priložnosti slišati prvenca Ruhizolasyon ali istoimenskega demo posnetka Yayla, tudi ne morem govoriti o nikakršnem razvoju ali spremembah, ki bi spremljale Emira Togrula, možakarja za Yaylo, pri nastajanju petih ambientalnih mojstrovin pod skupnim imenom Sathimasal. 







Musica M-Board


В той части Турции, которая удалена от курортов на безопасное расстояние, жил паренек по имени Эмир. Он любил Бурзум, свою родину и работал пастухом. Пас баранов, любил их кудрявых (а может и драл?), и вдохновлялся умиротворяющей природой диких мест и горным воздухом. Однажды он решил играть митал, купил гитару, сопутствующие ей прибамбасы, назвал свой прожект Яйла (так называлась площадка в горах, где он командовал барашками) и воплотил свою мечту в жизнь. А-а-а, он еще создал свой лейбл, для выпуска нетленных творений. А вскоре, очень далеко от плоскогорий Турции...


Пастушеские творения никоим образом не соответствуют расхожему мнению о пасторальных буднях работников кнута и пинка с матом, перемежающимся ходовыми выражениями, типа «Э-гей, скотина!» и «Куда прешь, тупое животное!». Все начинается с однообразного тремоло-дрочева в духе тру-норвегиан середины 90-х, затем бывают эмбиентные вставки, а вокал абсолютно неземной, и погребенный в музыкальной куче-мале, обиженно клевещет, яки призрак из обычной двухкомнатной квартиры. Тру-блэк Саммонинговского толка с добавлением всего того, что не дает спать по ночам впечатлительным детишкам. Проблем здесь Эверест, но они все затушевываются атмосферой, которая рулит по настоящему. Вокал в жопе, его глушат риффы и долбень, и даже синтезатор. Запись, качества посредственного. Разнообразия не хватает. Туповато. Однако, затхлость пещер, вонь кала летучих мышей, чувствуется. Ночная, мистическая музыка для адептов тьмы и одиночества.


Я думаю, что когда Эмир спускался с гор со своим стадом, и ему встречались Петров с Васечкиным, или же долбоеб Шурик на ослике, ему хотелось обратно, туда, где этих Кавказских пленников не встретишь. Туда, где первозданно. Он вернется, верю!


Моя оценка: 4 из 5







Metal Temple


Turkey… I don't know much (maybe nothing) about this country, but YAYLA has come to me as a revelation; still the fact that only one person is able to do something so good is strange to me, but what else could you say when a project like this comes and touches you in the inner parts of your soul… remembering that darkness is still out there, but only depends on you to find the good of it?


This kind of bands, the ones whom use the ambient and maybe noise in their songs have always been hard for me to describe, but I'll give a try, hope this doesn't turn to be some stupid words from a mindless son of a… ok, the first thing I noticed is the use of good and long instrumental parts in each track, something that is hard to hear, but after a few hearings this becomes more listenable and starts to make a way in your memory.


The guitars here are very amazing, keeping that tone of classic Black Metal, raw but at the same time "frost" and very cold, but sometimes with a sweet and polite, if you could say that, touch in them making more creative the experience of listening to this type of music; these guitars go hand-in-hand with the bass lines, making them notice in the fast and slow parts, the keys put the atmospheric touch of bitterness and desolation, keeping each track in the good way of causing ambient becomes true when you put play. The production of this release is clearly good for this kind of music, keeping all the instruments as notorious as they should be, and not falling in the mistake of using too much the noise or the "Black Metal cliché" sound, fitting perfectly each track with the next and so.


The only thing that doesn't fits for me in this album: the drum programming, this kind of drumming has been a long time especially in the Black Metal bands, making sometimes the music repetitive and common, at this case the very good use of the rest of the instruments make this sound pass, but still is something that doesn't adequate too much for me.


"Sathimasal" has a very good sound, sometimes catching and friendly; in others relentless and implacable for the fans of classic Black Metal, always making a challenge for the listener in use of long instrumental parts. Things to improve here and there, but nothing that really erase the good things this production has.


Just for the record: YAYLA is a band you should put an eye on, after hearing this, I know deep inside Emir has many more at his sleeve.









Metal Storm


Staring directly into the void, unsure if this journey through dark and empty maelstroms of negativity will enlighten me or drive me insane. As the crimson red doors start to open in front of me, an electric shiver runs down my spine. A deep cave of pitch-black intensity is what awaits me and as I make my way through the cavernous labyrinth, the voices can be heard: Hymns to celebrations never performed, requiems to the dead never mourned, elegies to wars never fought... 

A sudden misstep and I fall.
A radiant abyss… Where men meet themselves. 

…Heh. Sorry about that, guys. There's just something about that artwork that I find truly inspiring and quite scary for some reason, just like Giygas from the game Earthbound. While the music didn't affect me as much as the artwork, it didn't let me down and it gave me some vivid images. So what have we here anyway? Ambient black metal from Turkey is what's on the menu today. Yayla is a project created by Emir Toğrul in 2007 and Sathimasal is his sophomore album. Five songs running through 55 minutes, so it goes without saying that this is not something for those times you just want a quick listening. 

The guitars are incredibly fuzzy but with a gentle touch to them. In fact, one of the strongest points of this album is the sound of the guitars. The whole production is spot on for this atmospheric and mid-to-fast-paced style of black metal. There's a certain warmth in this music which kind of goes against the classic "grim and frostbitten" sound and together with the mesmerizing guitars and the very audible and pulsing bass, it makes the overall product oddly pleasing. Soft black velvet through your ears and a bassy wall of sound that washes through your veins.

It can get a bit repetitive though. The first song serves pretty much as a test to the listener. An instrumental of almost 8 minutes that has the same fast tempo the whole time with only the keyboards providing some melodies. The album pretty much assures you that if you can deal with that song, the rest counts as a smooth and more varied ride. Keyboards are present most of the time but kept in the background (as they should be), giving a fuller and highly hypnotic sound especially in the three middle tracks which are the highlights here.

Conclusion? Very nice, trance-friendly and sometimes even relentless black metal. There's room for improvement though, especially in regards to the songwriting but the good outweighs the bad and once Toğrul manages to make it sound more varied, Yayla will definitely be a project to count on.


Performance: 8
Songwriting: 7
Originality: 7
Production: 10


Mr. Doctor





From The Dust Returned


Balancing ambient and black metal aesthetics against one another efficiently is not as easy as it might sound, but it's this very coupling which saves Yayla's sophomore Sathimasal from becoming what might otherwise prove a relatively average blast off into the bowels of this super saturated genre. On the surface, this is a one man act from Turkey, with Emir Togrul performing all instruments and ominous vocals. He's created a clamor of sodden death and decay here which fully soaks the listener into its cavernous and oft chaotic disposition. Deeper and darker albums than this one are seldom experienced, but those not in the mood for dipping their heads into its churning, volatile ichor would be best avoiding it, because despite the tranquil transitions speckling its onslaught, this is neither subtle nor accessible by any stretch of the imagination.


As if to prime the audience directly for the ensuing punishment, Sathimasal opens with a 7+ minute rush of blasted instrumentality called "Fordreame Wonderlore". This is a long way to go without a structural change, yet it maintains its tempo with confidence while the synthesizers play off against the writhing, incendiary burst of early 90s Mayhem-like tremolo chords. Thankfully, the other four tracks, which are all considerably longer in duration, feature a wider dynamic. "Emperor; Elegy to Wars Never Fought" intersperses its own blasting with a delightful ambient/synth break seeped in angelic, shimmering choirs; or churns into a slower, molten groove above which Emir's vocals feel like disembodied spirits haunting a subterranean cathedral. "Conjurer; Prophetillars Will Hollow" has higher pitched riffing, tolling bell tones and a brighter rasp that seems to tear at its structure like a hell hound pawing and tearing at blood-tinted curtains. But my favorite track here was the nigh on 14 minute closer, "Will to Walk Paths to No Temple" which almost felt like an underground alternative to Summoning, not only for the title but for how it moaning its obscurity over the broken beat, a current of dense and deadly sadness.


Sathimasal does often run into problems with its sense of overwhelming repetition, especially in the faster drum sequences, but this is hardly a unique issue to Yayla. A bit more variation would not hurt this music, in fact it would seem welcome in its expansive, hostile atmosphere. That said, I had an even greater issue with the production. It seems far too level, and as a result the vocals, which are distant to begin with, often find themselves too lost under the weight of the riffs and the savagery of the blasting, or the denseness of the keys. Perhaps if they were panned more, or if the voice itself was more eclectic in its percussive meter, it would become more prominent. Beyond these issues, Sathimasal delivers what it promises, a bleak and unnervingly drowning trip into the muted red arches of horror implied by its cover image. Try and envision a blacker, hyper interpretation of the ominous, resonant death of bands like Embrace of Thorns, Vasaeleth, or Mitochondrion only with a cavernous aesthetic and submerged keyboard eloquence not unlike the Australian project The Crevices Below; nearly always on the attack.


Verdict: Win [7/10]









Una volta ascoltato Sathimasal il primo pensiero è stato quello di andare alla ricerca del primo discoRuhizolasyon (lavoro, a quanto pare, interamente strumentale). Il secondo disco dei turchi Yayla è difatti quel genere di black metal che con me va a nozze, di quello che ti cinge e ipnotizza, quello che ti getta addosso chili e chili di neve virtuale (che poi da una band turca ti aspetti ben altre sensazioni e ciò ti sorprende anche) per poi svegliarti magicamente quando le note smettono di vibrare nell'aria.


I nostri martellano e "sinfonizzano" come solevano fare (divinamente) un tempo i Parnassus, la differenza è che gli Yayla usano le tastiere in maniera più fredda e in dosi meno massicce (ma se le tastiere di solito vi creano prurito lasciate perdere in partenza), ma come loro riescono ad unire due parti così agli antipodi come se fosse cosa del tutto naturale.


Sathimasal vede la presenza di cinque canzoni, la prima e l'ultima proseguono molto bene il lato unicamente strumentale (spezzando una lancia a loro favore si può dire che il cantato cambia di poco le cose, una volta immersi nel sound si resta comunque pietrificati seduta stante senza avvertire grossi mutamenti) mentre le restanti tre "confortano" con un urlo sibilino e diabolico, ulteriore orpello d'abbellimento su formula consolidata. Le orecchie non faticheranno a creare un certo feeling con la musica (se si è ovviamente portati a questo tipo di frequenze), la puntura anestetizzante entra subito in circolo e lascia fare alle chitarre ciò che vogliono. Quest'ultime violentano ma con grazia, apparentemente sembrano voler creare caos e distruzione ma andando aldilà di un semplice ascolto si scopre il loro reale ed intimo scopo.


Sathimasal è fortissimamente compatto, le sue composizioni sono lunghe e possono facilmente portare un orecchio non preparato (o annoiato) ad un facile sfinimento. Se la ripetizione (duplicazione) di intensità ad oltranza di solito non vi urta potreste avere una concreta chance di entrare in questo occulto e cavernoso mondo, altrimenti razzolate pure altrove perché qui troverete solo muffa stantia.


Io penso che finirò dentro questo vortice molto spesso, gli Yayla dimostrano ancora una volta come si possa generare qualcosa di estremamente catalizzante con mezzi "primordiali", in fondo basta cogliere la giusta ispirazione, il resto vien da sé (e pazienza se la personalità non regna totalmente in questa casa).