Gece

This second album follows swiftly on from last year's debut as the mostly non-Turkish Altın Gün (Golden Day) refine their blend of Anatolian rock, altering orientation to let psychedelic, progressive and folkloric traits rise up, according to each song's mood. Formed two years ago, this Dutch band's singer and keyboardist Merve Daşdemir was born in Istanbul, while vocalist, saz and synth player Erdinç Ecevit has Turkish roots.

A retro palette becomes a vivid, living soundscape as Altın Gün flirt with guitar distortions and keyboard settings that reflect the styles of the classic period of late 1960s and 70s Turkish song, covering a diverse spread of vintage material. Guitar and saz parts entwine in compact harmony, as highly detailed tune structures unspool, balancing the ‘cool’ and the ‘uncool’ in a purist fusion fashion, if such an act is possible. The much heavier ‘Leyla’ snuggles up to Black Sabbath, the verses and chorus alternating sharply in style; dirty riffing takes turns with a hushed phase as Daşdemir reveals a softer vocal character. The retro aura is invariably convincing. ‘Şoför Bey’ has a propulsion that evokes the German band Can, with deep rapport between drums, bass and percussion. Elsewhere, there are too many keyboard solos, where the guitar or saz should rule. Perversely, the slow disco of ‘Süpürgesi Yoncadan’ defies that criticism, with its highly synthetic snaking inside the ears, drum pads a-pinging, keys trilling.