Kendra: When you grow up somewhere with such beauty in the architecture, are you constantly impressed or is that just home for you?

Taner: The fact that feeds me, are the experiences and the things more then the city and the architecture. Cities and the architectural character have an influence on the human being for sure. For instance; if I lived in the countryside for a couple of months I can become a totally different person. But in Istanbul, the place that we are hiding in and the things that happens in here affect us more then the architecture and cultural reference.

Kutay: I believe the place directs your reactions. And this adaptation period is as important as the facts that we experiencing for the production tone and style. When we say that we find a building beautiful, we don’t say that it’s just an aesthetic building, we appropriate its form of life with all windows, doors, roof and all the details included. On an other hand we accept its deficiencies and defects and make them as a part of our identification. In between all this acceptance and disagreements the production is influenced for sure. The privacy underlies this relationship so the production and your place have a strong connection to each other.

http://youtu.be/xIN5ceCcXhM

Kendra: Being that you have a synth, almost gothic style – were you inspired at all by The Cure at all?

Taner: I listened to the Pornography and Faith albums for years without getting bored. I cannot totally say that we got a direct influence from The Cure into our music. We are influenced by many things related and not related to our music. In my opinion, getting influenced doesn’t have a relation in sound and the musical connection. A terrible melody from music that you never listened to can influence you even though you are not into it.

Kutay: Faith is a very special album for me. The Cure influenced many genres in a way but I can’t say that we are influenced directly by The Cure. Our music taste influences our music in a way, but this doesn’t mean that we are doing same music we are listening to.

Kendra: Speaking of The Cure, your latest video for “Koca Bir Saçmalık” has a very ‘80s look to it. How long did VHS tapes last in Turkey before people switched to DVDs?

Taner: Considering the videos in the 80’s, even shot by handycam or high-budget productions, they all have a unique aesthetic and emotion which has a poetical meaning and this influences me. On the other hand this sort of an aesthetic vision became hip. We just wanted to use this a bit in our video and wanted to have fun actually. I think converting the hi-res movies into a lo-fi format, in sound and visual wise, give a different taste which I like. I have a sort of traumatic influence on VHS; My father and his friends had a film club that they rent films on betacam and tape formats. We had the chance to see the movies that haven’t been released or lately release in Turkey. I feel so lucky that had the chance to grew up with those movies. More or less VHS tapes lasted till the end of ‘90s, in Turkey.

Kendra: Fans can find “Koca Bir Saçmalık” on your release, Fantezi Müzik. When you were recording that album, what was on your mind most, and did those thoughts make it onto the record?

Taner: We just had the idea to create something different than our previous projects. We didn’t have specific borders. The general music production in Turkey has a sort of aesthetic that the vocal style and the volume beat up the music itself. We just didn’t want that sort of approach.

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