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Bertolt Brecht - İYİ ADAMA BİR İKİ SORU /FK

1632131325162

Barış | Niştîman im (ji strana Nasir Rezazî)

music: 123
lyrics: dilara sakpinar
recorded by can aykal at the stone house in bodrum, turkey
mixed by kai andersen at athletic sound, halden, norway
mastered by bjorn engelmann at cutting room, stockholm, sweden.

ilhan ersahin: saxophone
dilara sakpınar: vocals
burak ırmak: rhodes, synth
feryin kaya: bass guitar
berke can özcan: drums

the sun's in my eye
kiss me
this is our place 
with the things i've left behind

the clear blue sky, under we lie 
you lift me up with your smile
a touch from deep inside

i breathe you in, 
while you breathe me out
and the sun in the arms of love

as if it is an endless day
we don't rush for anything
as if we have so much time
we feel safe

i breathe you in while 
you breathe me out
and the sun in the arms of love

sun in the arms of love feat. ilhan ersahin

Jak & Janet Esim - Anoche Me Sonyava Yo

Caz Ve Ötesi - Saygun Arpalı - 14 Mart 2015

-Kara Toprak - - Hakan Halil Tolgahan -

Sound Painting II: Heichalot is the second episode in a series of musical paintings that translate spiritual visions and experiences into the language of sound. This track is a sonic exploration of Merkabah Mysticism – an ancient tradition describing the soul's mystical journey ascending through the seven celestial palaces, known as Heichalot, towards the throne of Divine glory. The inspiration also reaches back to the biblical story of the prophet Elijah, whose ascension into heaven in a fiery chariot (Merkabah) became one of the archetypes of this transcendent path.

The visual counterpart to this sound painting is the track's cover art, depicting a spiral staircase viewed from above. The image is a visual metaphor for "Heichalot". The levels represent the seven palaces – a path of down-up, where one can only walk in circles, remaining trapped within a single palace. The staircase is inverted; descending is ascending. True ascent, past these levels to the radiant center (Divine glory), requires a radical leap into the void – a paradoxical "fall" that allows for transcendence to Heaven, bypassing the traps of the palaces. Thus, this image and this track reveal the nature of this mystical ascent.

The track begins with a deep silence, symbolizing a state of contemplation, focus – an important starting point for spiritual elevation. From this primordial void, the first motif gently emerges ("View Piano", "View Ethereal") – like the first spark of a vision or a quiet call to begin the journey. It is the slow awakening of consciousness on the threshold of mystical realms.

As the track develops, the music gains movement and power. This is the phase of overcoming the Heichalot – successive, increasingly elevated celestial palaces, symbolized by the steps on the cover's visual staircase. Each subsequent layer of sound, each appearing melody or rhythm, is interpreted as passing through different spheres, encountering guardians (whose presence is signaled by SFX effects) and gradually approaching the goal. The sure, yet majestic beat at 70 beats per minute and the powerful bass form the foundation of this journey – the pulse of the Merkabah, the driving force lifting the soul. Spatial effects play a key role here – creating a huge, ethereal space, conveying the boundlessness and radiance of the celestial spheres, perhaps hinting at the "whirlwind" accompanying the ascent.

The creative process was a deep analogy to this spiritual journey. It began in the "silence" of an empty project, like a soul in a state of anticipation. The first sounds were the "appearance" – the impulse that set the direction.

Sound Painting II: Heichalot

Senem Diyici Quartet - Dolama Dolamayı

Münir Nurettin Selçuk - Bilmem Bu Gönülle Ben

Fuat Saka 
Nenni / Yıkılır Zulmün Son Kaleleri (1990) 
Otuzüç Kurşundan* 
Şiir: Ahmed Arif | Müzik: Fuat Saka 
Görsel: Avaz-ı Güncişkha (Mecid Mecidi, 2008)

"Diyarbekir Kalesinden Notlar ve Adiloş Bebenin Ninnisi, Ahmed Arif" 

1. 
Varamaz elim 
Ayvasına, narına can dayanmazken, 
Kırar boynumu yürürüm. 
Kurdun, kuşun bileceği hal değil, 
Sormayın hiç 
Laaaaal... 
Kara ferman çıkadursun yollara, 
Yârin bahçesi tarumar, 
Kan eder perçem 

Olancası bir tutam can, 
Kadasına, belâsına sunduğum, 
Ben öleydim loooy... 
Elim boş, 
Ayağım pusu. 
Bir ben bileceğim oysa 
Ne âfat sevdim. 
Bir de ağzı var dili yok 
Diyarbekir Kalesi... 

2. 
Açar, 
Kan kırmızı yediverenler 
Ve kar yağar bir yandan, 
Savrulur Karacadağ, 
Savrulur zozan... 
Bak, bıyığım buz tuttu, 
Üşüyorum da 
Zemheri de uzadıkça uzadı, 
Seni, baharmışın gibi düşünüyorum, 
Seni, Diyarbekir gibi, 
Nelere, nelere baskın gelmez ki 
Seni düşünmenin tadı... 

3. 
Hamravat suyu dondu, 
Diclede dört parmak buz, 
Biz kuyudan işliyoruz kaba - kacağa, 
Çayı, kardan demliyoruz. 
Anam sır gibi saklar siyatiğini, 
"Yel" der, "Baharın geçer". 
Bacım, ikicanlı, ağır, 
Güzel kızdır, bilirsin, 
İlki bu, bir yandan saklı utanır 
Ve bir yandan korkar 
Ölürüm deyi. 
Bir can daha çoğalacağız bu kış, 
Bebeğim, neremde saklayım seni? 
Hoş gelir, 
Safa gelir, 
Ahmed Arif'in yeğeni... 

4. 
Doğdun, 
Üç gün aç tuttuk 
Üç gün meme vermedik sana 
Adiloş Bebem, 
Hasta düşmeyesin diye, 
Töremiz böyle diye, 
Saldır şimdi memeye, 
Saldır da büyü.... 

Bunlar, 
Engerekler ve çıyanlardır, 
Bunlar, 
Aşımıza, ekmeğimize 
Göz koyanlardır, 
Tanı bunları, 
Tanı da büyü.. 

Bu, namustur 
Künyemize kazılmış, 
Bu da sabır, 
Ağulardan süzülmüş. 
Sarıl bunlara 
Sarıl da büyü... 

(Hasretinden Prangalar Eskittim, 1968)

*Ahmed Arif'in Diyarbekir Kalesinden Notlar ve Adiloş Bebenin Ninnisi şiirinden bestelenen bu şarkı, ilk olarak Fuat Saka'nın Nenni / Yıkılır Zulmün Son Kaleleri albümünde Otuzüç Kurşundan ismiyle yer almıştır. Aynı şarkı, 1998 tarihli Seçmeler I albümünde ise Yediverenler olarak geçmektedir.

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