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Although Turkish pop is still the most popular music in Turkey, based on the views of the music critics such as Tolga Akyildiz and Suat Kavukluoglu, it is in deep crisis. It has long passed its golden era, which was created by arrangers such as Onno Tunc and Uzay Hepari and song-writers such as Aysel Gurel and Sezen Aksu. The musiquality is very low and the lyrics no longer have the literary value they once enjoyed. It is as if we are listening to the same song over and over again. There is no intention to try new things. If there is a successful song by a singer, it is immediately repeated by the same and other singers alike

The Turkish pop music scene is dominated by a certain group of singers and there is no space for novelty. Creativity is very limited in terms of lyrics, melodies and videos.

Radios and music televisions are dominated by administrators that have a similar mindset.

Maybe because of this vicious circle, in the last few years (especially with the soundtrack of Cagan Irmak’s 2008 film “Issiz Adam”) there is great demand for nostalgic Turkish pop music. It is as if we are in the golden age for Turkish oldies. Albums from the 70s are remastered and reproduced, and there are numberless events honoring nostalgic Turkish music. As is the case with almost every discipline in Turkey, the music industry had long forgotten the significance of archiving. Only a few names such as Naim Dilmener and Hakan Eren were collecting old material. Now, they are the ones whom everyone is consulting regarding old Turkish pop music.

           Another thing that must be mentioned here is the rebirth of Turkish Anatolian pop/funk music in the global area. Artists from New York to Paris are currently using samples from Turkish music manufactured in the ‘70s to create new music. There is a Turkish psychedelic funk craze. In major capitals of the world special concept nights are held, and second-hand and remastered albums are sold on internet auction sites. This is a major trend and is sure to continue for at least a couple more years.

            The big problem regarding this mania on oldies Turkish music is that the singers, arrangers, songwriters, and composers of that era are not making any money although their work is used over and over again. Anything to bring the actual actors of this type of music into limelight and giving them what they actually deserve will definitely gain support and respect.


Naim Dilmener is a veteran music critic and collector who is very well-respected in everything related to local music, especially pop. Among many, his strong point is his knowledge of Turkish music history.

Tolga Akyıldız has been in the music industry for more than 20 years. He has worked for almost all music magazines as well as arts and culture sections of all newspapers. Has a good command of all genres.

Suat Kavukluoğlu is a young music critic and a culture and arts reporter. His passion is Turkish pop and he has a blog as well.

Anapop is an event held in September 2010. It is sponsored by the Red Bull Music Academy and is totally dedicated to Anatolian psychedelic funk music (the trend mentioned above). It lasted for 4 days had a tightly packed schedule filled with workshops, screenings and concerts. It was a huge success.

Headroom Istanbul is an independent music production and sound engineering studio. Analog equipment is available.

Hakan Ozgan is a sound designer and works freelance for TV advertisements. 


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