"Paradise Lost is a very accomplished and inventive album that serves as a great cinematic journey, managing to effortlessly weave together so many different influences and drift in different directions, whilst maintaining a real sense of wonder and interest as to what is around the next corner. Like all good albums, this needs to be listened to in full and deserves repeated listens."
Loose Lips, Jake D. Archer
"The best, most exciting music’s will of course be those that push boundaries and reimagine the past in new shapes moulded into fresh forms. Inal Bilsel’s break taking new album falls headlong into those categories..."
Magazine Sixty, Greg Fenton
"Narration from Bilsel is mixed with his spellbinding compositions and sound design for a truly unique listening experience."
Pro Studio Masters, Editorial
"The album is like a finely embroidered tapestry whose melodic and atmospheric construction constantly pulls you towards imagining a vivid other world. [...] Inal succeeds in moulding a new sound out of the many genres that he has internalized over the years. In my opinion, the album heralds a new and powerful musical wind in the region’s musical corridors"
The nuclear war brought an uncharted business opportunity for the clandestine company Simex. Their simulated reality machines exploit the desire to escape the gloomy existence of the post-war. These highly addictive brain-mangling devices need pre-programmed tapes to work. In an unconscious altered state, each tape transports the user to a different “world”, sometimes even manufactured from memories. Although anyone can tamper with the contents of a tape, the original unaltered SimTapes - the most realistic of them all - are a lucky find.
Near the ruins of Fabulous Varosha -a post-apocalypse themed pre-war amusement park- a settler inadvertently acquires a SimTape from a traveling merchant. Theirs is a closed society, governed by an elder committee who insist the world beyond their settlement is inhospitable. At the heart of the community is their sole SimEX machine. The only form of entertainment around. Realising the significance of this new tape, the elders send him on a quest to search for its origins.
All clues point to a place called Memory Lane, a street full of tape shops. During his quest to find this elusive place he suffers from SimTape withdrawal symptoms. In a delusional state of mind, his perception of reality becomes a blur. Did he become a tapehead, experiencing a tailored simulation made from his fantasies? Or is he really the chosen one, destined to be the salvation of his people?
CROWDFUNDING VIDEO SERIES
A New Analog Wind from Cyprus and Inal Bilsel
With his latest album, İnal Bilsel prepares to take music lovers on a journey to a very different, dream-like world. This young artist, who skillfully blends and hybridizes different musical genres in this album, takes us on an experimental musical adventure that is above/between genres. I am talking about a distinct, epic musical journey that is abstract enough to make it hard to fit into categories but at the same time can be palpably felt in the beats on which it is built. I think that the style İnal has created is that type of time-space hopping called an aberration, that within the music he is constantly calling attention to the search out of (beyond) time of a timeless/placeless discoverer. Throughout the album, even as İnal engages in a nostalgic archeology of that 1980’s cassette music burned into our memories, the music creates a post-apocalyptic atmosphere that leaves you confronted sometimes with “the Other,” other times with another form of belonging that is also a familiar “Thing.” This confrontation sometimes creates in the listener a strange feeling that we can call unheimlich, that is, frightening and strange but at the same time surprisingly familiar. When we look at its musicality, we see that long with the flow of this fantastic and intentionally ambivalent concept in the album, we also are in the presence of real musical mastery. İnal presents the listener with a one-hour musical feast in which, with exceptional skill, he shows us that the analog instruments from the 1970’s can be used even in complex arrangements; that an analog synthesizer can be turned into solo instruments such as a violin; and that even synthetic sounds can emerge as human(e) and sensuous. Along with his control of the instruments, İnal training in composition comes through in the sophisticated harmonic variations that he uses throughout the album. Another interesting facet of the work is that in an interesting way the music constantly encourages you to close your eyes. The album is like a finely embroidered tapestry whose melodic and atmospheric construction constantly pulls you towards imagining a vivid other world. In this work that transcends genres, İnal succeeds in moulding a new sound out of the many genres that he has internalized over the years. In my opinion, the album heralds a new and powerful musical wind in the region’s musical corridors.
Mete Hatay (2018, unpublished)