The first track of this album, “Outside the Antalya” begins as a synth pad with a long attack plays, and a xylophone-like patch plays a melody. A rhythm is played with little bits of white noise made into a percussive instrument, and soon the sound of metal being hit with a very fast delay on it can be heard on the off-beat. The rhythm develops a little, and eventually, the xylophone can be heard as part of the rhythm section as well as being the main melody. Then, the rhythm section cuts out, and soon the rest of the song as well.
“Menu” begins with metallic, perhaps ring-modulated percussion. A synth string with a large attack comes in, and a fairly realistic sounding xylophone starts playing, but soon what sounds like a ring-modulated xylophone with delay plays interspersed with the other xylophone. Then, all cuts out except for the ring-modded xylophone and the swell of the synth string. The bass plays smoothly, and the xylophone comes in again, followed by the ring-modded xylophone. At the end, all instruments cut out except for the rhythm and the ring-modded xylophone, ending the song.
“Greco-Armenian” begins with a fairly artificial-sounding choir-ooh melody, with a percussive-melodic instrument played with a delay on it. A bass drum comes in slowly delay on it as well. A bassy melody is played on a xylophone-like instrument. What sounds like a percussive organ plays a melody, and staccato static plays as percussion again. This goes on for some time, until the static-y rhythm drops out, and after a bit the song fades out.
“Tavuk” starts with a synth organ playing a simple melody in a deceptive time-signature, which is accompanied by a resonant synthesizer tone. A synthesized-sounding marimba plays a melody, and a ring modulated melody of some sort is played. A rhythm comes in with a heavy bass drum. The instruments trade off melodies, and eventually the rhythm cuts out, and the song fades out.
“Belly Dancing Woman” is next, with a synthesized organ playing in the mid-range, which is soon accompanied by a synth bass and a wood-block rhythm, with something ring-modulated accompanying it. The rhythm develops, and while a little glitchy, is not overtly so. A ring-modulated instrument plays a metallic-sounding melody. A tom-tom is played in a fast manner, and as a ring-modded instrument plays a melodic rhythm, the song ends.
“The Male Dancer” begins with a semi-complex bass-drum rhythm accompanied by a synth melody and pad with something ring-modulated, which drops out at about 30 seconds to accommodate a synth melody. A ring-modded tone plays rhythmically with the beat, then develops into a semi-melody, but then cuts out, leaving the synth melody. The beat calms down, and the ring-modded tone returns, then leaves again. The synth plays a simple, higher melody, and the ring-modded tone comes back with quite a bit of delay on it. This delayed melody leaves after a while, and the pattern continues until the end of the song.
“Dein Bauch” starts with an FM-synth chord with a punchy rhythm that comes in soon, followed by a marimba that plays a melody. The punchy rhythm goes out, leaving the rest of the instruments to develop a little, only to return. The marimba stops playing, then comes back, and the song fades out.
“Paderborn” is the final track, and begins with FM-synthesized pads which play, and are soon accompanied by another punchy rhythm. A marimba-like instrument appears, plays a simple melody, disappears for a while, then reappears. There is a break-down with a bass drum driven rhythm that plays as the instruments come back, one by one. An FM-synth plays a chord once in a while. Eventually, the song fades out, ending the album.
(https://blackrobert.bandcamp.com/album/antalya, €3 EUR for digital, €6 EUR for tape)
