Artwork provided by branding and graphic design studio Arman Akıncı, as conceptualized for The Lost Movie by Philogresz.
CF: How and where was this mix recorded?
At my living room with an elusive northern sun on me face, using CDs, records & the right hand movement.
CF: Tell us a bit about your background, how did you first get in contact with music and how would you trace your journey up to becoming a full time producer and label owner?
Via indie music, especially Brit pop / rock in general. – I played the guitar, bass and very little keys & percussions. I’ve also been terribly inspired by Istanbul’s club scene between 1999 – 2002, shout outs to some legendary clubs like Godet, Nu Pera. Back then, we use to go to the club on Tuesdays, man Tuesdays!
Later on of course moving to the Netherlands kinda started triggering the rest, it brought my first encounters with analog machines, studio mixers (big 48 – 100 channel ones – Neve, SSL), sound recording, etc.
I started a label as a way to be free and curate things not just for my own music but also for other musicians, I crave for exploring new grounds, and like to choose different “words” to explain the same things.
CF: You are originally from Turkey, but have lived across various other countries. How have the different cultures informed the way you listen to and produce music?
Very obvious reflection. I think the Philogresz sound is a constantly evolving one, having different layers each and every year with each and every relocation. When I started making music in Istanbul, I was very much into harmonies & melodies – then when living around Rotterdam, it was aurally colder and more overproduced. Further along, Antwerp got my sound shaped into a more spacey & balearic direction.
Re-locations do drastically alter your sound in my opinion.
CF: The Lost Movie is your upcoming debut album on PHIL, what’s the story behind the record and what can we expect as listeners?
It’s an outcome of my cinematic perception, approach, and interpretation of constantly intriguing dusty compositions.
I’d say it’s a result of the tiring yet inspirational shifts over the years. The LP has been written in different cities like Istanbul, Rotterdam, Antwerp and the current final stop: Amsterdam – different surroundings & moods.
I think it’s best to listen to the album while imagining slow motion film scenes – like time warped or like floating on the air or watching a plane making a turn when you are in it. It’s like a time lapse.
CF: What do you normally listen to at home? What are 3 of your favorite albums past or present?
Currently listening to: Isoa Tomita, Dhafer Youssef, Depeche Mode, Jan Garbarek, John Cage, Vangelis, Jefferson Airplane, Eric Truffaz 4tet, Delia Derbyshire, Darkside, Frank Zappa, Debussy, Adrian Younge, Chromatics, Holy Other, Palma Violets, and John Beltran.
Top 3 albums:
CF: What is your favorite thing about living in Amsterdam?
So far, its geographic position and being a great hub to travel to other places.
CF: Aside from the release of your debut album, how is the future shaping up for you?
I’m very careful with giving insights for the future, I stopped that a while ago. I want to start living the present more often, especially with the new year.