while today, a vast majority of his works are studied under his name, atay ilgün worked on various solo and collaboration projects over the decade. below you can find a detailed info and biography about past-current aliases and collaboration projects covering a wide array of work.
you can find solo and more recent works here.
asphodel performing live at crimea memorial church, may 2017
photo: meltem taymen
a tryst of wolves
a tryst of wolves is a project by gavan kearney & atay i̇lgün. both were drawn together by a shared interest in the uncanny, haunting aspects of turkish, irish & english folk musics, psychedelic soundscapes, atmospheric progressive textures and cinematic touches.
‘wound & light’ is the product of two year’s e-mailings and bouncing of stems/files between the two artists, and is a multi-layered piece in both context and sound that simply can’t be pigeon-holed by a genre. bringing together and blending each artists’ distinctnesses and flourishing on the fertile common ground, the result is eclectic yet integrated and is graced by sterling contributions from sproatly smith, kim guy, jo lepine, moonswift, nancy wallace, katy english, alex monk, james vella, a. m. ferrari fradejas and santiago fradejas.
the weathered (taken from wound & light)
asphodel is a musical and visual project of atay i̇lgün and alper yıldırım started in 2012. asphodel, focuses on textural / ritual music and it’s combination with experimental film. it’s infrastructure is always contextual and subtext is as significant as sound and vision.
their first project 青木ヶ原, 樹海 (aokigahara, the black sea of trees) was critically acclaimed as it was chosen as one of the best albums released that year by numerous highly prestigious websites. it was performed live on various venues and events in istanbul including a performance in istanbul industrial festival but maintained it’s underground status. after more than five different editions released by wounded wolf press which was distributed all over the globe, sold-out and highly sought after, in 2016, this album was published on lp format by invisible birds.
following the release of 青木ヶ原, 樹海, asphodel did a split 7-inch release music for observatories i (a 7-inch serie curated by wounded wolf press, a homage to brian eno) with kaosmos and a rework album entitled singing hills, a re-study of the same theme under a different alter-ego. the theme is ashberry.
singing hills contains two tracks and both lasts over twenty minutes; the windflower’ and ‘geosmin’. windflower is a piece particularly inspired by the life-cycle of wildflowers that are observed and collected in thrace. (those flowers were also used during printing process of ‘enuma elis’) sounds of trees, studied as the chimes of the earth, shaken by strong gales conjure the essence of sound. geosmin is a piece studying the metaphysics and aftermath of scents. how they mark the river of time, how deeply one can experience what is felt through the scents in the harvest of memories.
these two studies and remix work such as copernican pulses (altrostatus remix) and hiraeth (fescal remix) were solo efforts by atay i̇lgün.
duo is now working on their second full length album l o v e and a movie with director caner bozkurt.
IIIB (taken from 青木ヶ原, 樹海)
the hogweed and the aderyn
the hogweed and the aderyn is a cosmic folk duo formed in london by atay ilgun and gozde omay which has yet flourished in turkey. with subjects such as secret trysts between an astonomer’s and a king’s daugther in stars to turkish literature classics such as memed, my hawk their music can be described as a combination of archaic sounds in union with science, folklore, and the unknown. all erstwhile. they previously have released two ep’s on wounded wolf press.
their first and last lp cosmogyral is to be published in 2018.
astronomer’s glass tower (taken from cosmogyral)
ashberry is a solo project of atay ilgün dedicated on the exploration of acoustics and landscape. resin (the first ep in ‘r’ trilogy) was the first publication from wounded wolf press and had a crucial impact on the later publications and direction. style wise it gathers various field recordings and unskillfully performed old family instruments.
in 2016 wounded wolf press published the entire trilogy of eps in one disc entitled in music we are still together.
and they came in the form of rain (taken from resin)
treefingers is a solo project of atay i̇lgün focusing on ambient, drone-based and industrial music. it wanders through sounds of minds under the confusion of micro-cosmos and universe, supernovas with vivid details of elemental clouds, dreamy lands where giant machines were meant to be natural belongings creating beautiful forests. it does these with a zen like beautiful and very beautifully crafted soundscapes which simply deserves to be experienced in an environment where it’s sounds can live in. when it lives it gains the capability to slow one’s metabolism to turn the listener inside for an hour of healing , both physically and mentally.
shimmers (taken from op.1)
solo project created to archive personal recordings, has two publications (fraülein and sarıl bana). only 100 editions of each were made and now are nearly impossible to acquire.
an extract from atay’s notebook;
“source material is ukulele recordings made by atay and gözde all around the europe. baylebridge was the one to take the recordings into the environment of tape delays, infinite reverbs of mountain holes, gothic buildings, rural landscapes and idyllic memories.
personally speaking i think that one might listen the actual recordings if he or she wants to remember. but the impression of our experiences in a memory in the brain is something totally temporal, and insubstantial. i might give you the recordings and expect you to treasure, understand them as much as i do but it will be a failure, because they are mine. so rather than attempting to a destined misery and failure here they are presented in a way where the impression, the way i hear them is musicalized, earthed to a sonic landscape. this way, you can hear and feel how i re-collect these memories from my life.
it was a very hard choice for me to release this since it’s very personal and may not be a pleasurable listen to many. the production of baylebridge could still be there, this audio files could have existed anyway but i would use them only as a source for nostalgia or a tool to remember the way i remember things at this very present while the actual recordings would be a direct link for memories. i mean i won’t be remembering the same happenings or these particular slices in time the way i do now in a few years. every memory gets more valuable, idyllic and dream like in time as it changes while some of them fadeaway completely. this is nothing but a pathetic attempt of mine to make memories eternal marks in time.”
we still got a bit more time (taken from sarıl bana)