Nemrud, the Progressive Shaman

Nemrud is an outstanding Turkish prog rock group whose members are also active in different musical activities in Turkey’s music scene. The lyrics, traffic of the tracks, effects and analogue synthesizers make their work have a worldwide accepted aesthetic standard.

In their third and latest album, this high qualification in sound gratefully connects with their visual spiritual correspondent the legendary Betül Atlı.

Nemrud was established in the second half of 2008 in Istanbul by Mert Göçay, Harun Sönmez and Aycan Sarı and released its first conceptual Progressive Rock album “Journey of the Shaman” by Musea Records from France in 2010. In the debut album keyboardist Mert Topel appeared as a guest musician, then became a permanent member while Mert Alkaya became the drummer of the group in 2010 and ex-RA and ex-Dilemma bass guitarist Levent Candaş joined the band in 2015.

The group is named after the Mount Nemrut; a 2150m high mountain lies in southeastern Turkey, known for the tomb-sanctuary built in B.C. 62 by King Antiochus I Theos of Commageme on the top of the mountain overlooking the Euphrates Valley. It is flanked by the statues of Ancient Gods of East and West, erected on both Eastern and Western side of the 50m tumulus, but heads are no longer attached to the statues that were originally about 8-10m tall.

In their debut that is recorded as analog, the group tells the story of the physical and spiritual journey of “Mitos”, a Shaman living in the steps of Central Asia, upon the message he received from the other world. The songs represent the three kingdoms in Shaman belief.

In 2013, the group’s second LP, “Ritual” was also released by the same French company. This new concept album tells the story of a schizoid individual who tries to face with himself in his dreams to result with some kind of enlightenment.

“Ritual” was recorded at Papağan Studio (the studio of the band Flört where they also record analogue tracks) and The Kulube in two sessions between September and October 2012.

Finally, their self-titled last album was released by Rainbow45 Records in May 2016. The album was recorded in series sessions at Erekli Tunç Studio in Istanbul – Turkey and mixed by Larsen Premoli in Milan – Italy, between December 2015 and January 2016. Formed of four tracks, all the songs are group performances as compositions and arrangements.

The album’s cover was designed and illustrated by Turkish artist Betül Atlı, who had also designed the cover for various artists in early 70’s.

Betül Atlı, graduated from İstanbul State Fine Arts Academy in 1968, worked for The American Publishing Bureau in Turkey between 1969-1970 and in that time period, she made covers for the Turkish pressings of the records that are originally released by RCA and Atlantic.

These Turkish releases were manufactured by a company called Melodi which was known as the first LP pressing company of Turkey. In this period she made alternative covers of the albums such as Led Zeppelin II and singles like Elvis Presley’s Rubbernecking and Suspicious Minds singles, Jethro Tull’s Living in the Past single and various singles of Engelbert Humperdinck etc.

The LP cover of Zümrüt, Hümeyra’s “Ölüm-Olmasa” single were her contributions to Turkish artists in that period. She also contributed Ergin Bener’s (former producer of Melodi) new company Yonca. For Yonca Records she made the covers of singles like Ersen’s “Unutma Sakın-Süreyya” and her last works till now were Okay Temiz’s “Denizaltı Rüzgarları” single and Alpay’s Güven Park LP. Her works can also be seen in the singles of 1970 Milliyet Music Contest between High Schools.

After 1976 she had several academic degrees on art and she became professor of textile designing in 2001. Finally she made a comeback to music industry with the kind demand of Salih Karagöz of Rainbow 45 records and made a fabulous cover art for Nemrud’s third studio album that was released in May 2016. The cover is based on the lyrics of the album which have a general theme of Shamanism. Betül Atlı gives a visual life to the lyrics of Mert Göçay.

If we focus on the musical aspects of the third LP, we will witness a progressive rock faithfulness of a group formed of Mert Göçay (vocals and guitars), Mert Topel (keyboards including ARP Odyssey), Mert Alkaya (drums) and their brand new bass guitarist ex RA and ex Dilemma member Levent Candaş.

The opening track of the album is “Gods of The Mountain”. In this progressive work Nemrud uses mythological elements. The opening track begins with eclectic efects of wind of or something supernatural. The guitar parts reflects a psychedelic touch while string synthesizer partitions and other synthe solos open the doors of perception. Anatolian pop influenced guitars and analogue synthe sounds make a fusion in this prog song. In one movement of the song analogue synthesizers and Hammond sounds make a great combination. Some parts of the song give the mystical touch of Barış Manço and Kurtalan Ekspres’ instrumental track Çoban Yıldızı via the effects of the electric guitar.

The second track of Side A, “Lion of Commagene” begins with an arpeggiator reminding of the Goblin and synthesizer melody reminding of Uriah Heep’s Wonder World. Then drums, bass and guitar accompanies the synthe main line where vocal continues in parallel to the melody line. The synthe solo transforms the track a perfect Italian style prog. Finally a Fripptronic guitar with synthesizer give way to another vocal part.

The first track of Side B named “The Euphrates” starts with an arpeggiator introduction, after the first part it transforms to a melodic structural phase which is provided with guitar and analogue synthesizers. This part has many influences of Alan Parsons’ Project. Track continues with a Moogy/Arpy solo. After the first vocal parts, a well-tempered synthe solo follows. The effects make a transition to a psychedelic interval and then a looping bass gives way to a bluesy guitar solo. Sounds of electric piano referring to Rhodes transforms to a hard rock sound with highly industrial synthesizer sounds; this connects to a similar bass riff and guitar solo.

Forsaken Throne which is the last piece of the album starts with a wind effect, an arpeggiator in a parallel riff with the guitar constructs the introduction. A synthe accompany similar with the sound of Solina strings synthesizer with a clean guitar riff combines with drums and bass. Wendy Carlos type of analogue synthe touches give access to vocal parts; as the vocal flows a great Hammond sound type accompany and guitar arpeggios and a powerful bass and drum groove cover the whole song. The vocal part is concluded by a synthe solo and transformed to a fuzzy rock ambience. Then a psychedelic part follows with guitars and synthesizers. This part is rejoined to the group performance by a bass riff and flanger effects. This groove makes a transition to a rock sound and the song is finalized with fading arpeggiator.

As we witness in these three albums, Nemrud is one of the great contemporary Turkish groups that have a stable tendency in experimenting. Although they use English lyrics, their musical attitude revokes many native aspects. Therefore as a group targeting a worldwide prog audience, it is natural to adopt English for the lyrics, but also reflecting their local side in their music and conceptual creativity is a positive value added for the enforcement of a native rock.