One can’t help but notice a colorful blend of geographies and cultures coursing through Gevende’s music. They deftly incorporate motifs, instruments, and languages from all over the map, constructing what might be called a multicultural tapestry. Their personal escapades across far-flung locales set the stage for this: while prepping their first album Ev, they traveled from Iran to India, immersing themselves in local jamming sessions. The encounters they had—particularly with lengthy ceremonies and ritual music—opened their minds to new ways of experiencing time and sound. Some see this as one reason behind their break from conventional track lengths and their comfort with slow-building compositions, as evidenced in Sen Balık Değilsin Ki (2011).
They also aren’t shy about drawing from different languages and ethnic motifs. In Sen Balık Değilsin Ki, for instance, “Beboyin Yerkı” nods to an Armenian folk tune and features guest guitarist Eivind Aarset from Norway. If you fancy a kaleidoscopic portrait of musical cross-pollination, there it is—Armenian melodic notions laced with a cool Scandinavian jazz vibe. Song titles range from Turkish (“Sanki,” “Sustum”) to English (“Vigeland”) to Armenian (“Beboyin Yerkı”), highlighting the band’s inclusive spirit. Beyond that, vocalist Ahmet Kenan Bilgiç often opts for meaningless syllables or an invented language, making the voice into a universal instrument rather than a vehicle for standard lyrical meaning. Let’s call it “post-linguistic,” if you will, and it all stems from the group’s fascination with transcending the confines of spoken language.
Their numerous cross-border collaborations have only expanded this multicultural dimension. Amsterdam-based bass clarinetist Tobias Klein and French guitarist Damien Cluzel figure among those who have jammed with Gevende, injecting European experimental jazz flavors into the ensemble’s evolving sound. Then there’s the aforementioned synergy with Balbazar, seamlessly weaving Turkish and French musical sensibilities. From the global scene, look no further than Tinariwen, who marry Tuareg melodies from the Sahara with Western rock and blues. They’ve garnered worldwide acclaim for this so-called “desert blues,” which parallels Gevende’s use of Anatolian inspirations within more contemporary frameworks. Similarly, the Netherlands-based Altın Gün reimagines Turkish folk songs within a funky, psychedelic rock context. Where Altın Gün revisits the 1970s Anatolian pop repertoire, Gevende composes original material that merges a swirl of local idioms and broader influences. (For the record, “gevende” in Kurdish means “wedding musician,” a little cultural nugget tying them again to the region.) All told, Gevende’s music often feels like a sumptuous world tour without the hassle of booking flights. From: https://www.turquazz.com/anatolian-alchemy-how-gevende-turns-folk-dust-into-sonic-gold/
