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Album starts with Preface. Firstly, some Turkish percussion, then flute-guitar and keyboard enters. Just from this song, Asia Minor's sound shows up - flute-guitar or keyboard-driven. Later on, modern drums enter and closes in a rush of synth, guitar and drums. "Mahzun Gozler" (Turkish: Grieved Eyes) includes suprising Turkish words that follows Turkish pop dominant in late 1970s. It's a love song, starts with an empressionist look, after nearly 3 minutes, song speeds up again with the help of flute, resembling Genesis and Camel style. When it gets relaxed, lyrics start, just keys lead here with 1960s psychedelic influences. The song closes with the sound of gong. "Mystic Dance" is a blend of soft guitar and flute with the help of synth. "Misfortune" starts with a synth effect, and again speeds up suddenly. After lyrics, song has a changing tempo. "Landscape" is another song under the effect of synth. Good mystical feeling. "Visions" differently opens with bass guitar, soon joined with electro. In middle of the song, good melody waiting for you. Overall, instruments are balanced equally. I feel some Van der Graaf Generator here. "Without Stir" is an excellent show of guitars, nowadays all teens listen this kind of songs, or all intros are like this. Ahead of its time. "Hayal Dolu Gunler Icin" (Turkish: For Days That Filled Up With Dreams" starts with bass, like Visions. Soon flute joins here, creating good ambiance, with guitar arpeggios. The song is fast in middle, but finishes relatively slow. "Postface" just repeats the intro of Mahzun Gozler. Okay for exiting. Conclusion: Quite good, a not widely known gem of symphonic progressive carrying various influences, from both Turkish and French music. 7/10 social review comments | Review Permalink
Posted Saturday, February 18, 2017 | Review this album | Report (Review #1694140)

Taking influence from sci-fi television is both positive and negative. In re-reading the book it’s obvious to me that the positive comes in the form of visualization. I knew how to compose a scene in my head and because I knew how to do that I knew how to describe it with a certain level of competence. It’s equally obvious that the negative comes in the form of time. We’ll get to this more later, but one of the things I’ve realized about TV and movies is that the viewer engages in, for a lack of a better notion, an agreement with the creator. We all know that a television show has an hour, minus commercial breaks, to solve the problem and add in a b-plot. So if the hero just so happens to be in the exact right place at the exact right time…well, that’s just expedient. Books have more time, both to develop the plot and to allow the hero to find what he or she needs. The reader also has more time than the television viewer to see such plot expedience and say, “Wait, what?”[2]

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