Second part of the triptych made by "2005", "2006" and "2009", featuring the solo production of Ali Ozkan during a first period of composition in which he favored the use of English language for his vocals, before moving to Turkish afterwards.
If I wasn't so convinced by "2005", here I am much more pleased and I discover most of the elements that made me enjoy his records with Channing Cope ("Sugar in our Blood" - 2005; and "Plunge into concept" - 2008) and Shere ("Not Los Angeles" - 2003).
There are still hesitations and it is in a certain way both a record and a research. You'll find a personal expression but also a work of exploration about the idea of writing alone the kind of quiet music a band could play, confronted with the then necessary expansion of his playing skills.
The dryness could make me think of Swell circa "41" and of a quieter, slowcore version of Helms, but the solo approach make it mostly intimate even if melodic references are found around math-rock elements.
Strangely, but it was the case for the Channing Cope and Shere records, the more time you spend listening to these songs, the more they seem to get a value. At first it seems neutral but slowly you'll start to comprehend the inherent subtleties of his songwriting and the intricacies of this collection, until crystallization.
I particularly enjoy the unconventional use of banjo on "miles and kilometers" played just like if it was an electric guitar, or the melody of "one and all" and "eternal accomplices", mixing tension and slowness around similar musical themes, and "trees stroke sky" appears like the stand-out track.
Mostly "2006" sounds like a draft which could have been reworked completely and developed as a debut album.