“Turkey standards” is a phrase I’ve loathed since I first got into extreme music. I’m talking about contemporary productions, of course. The tendency to blindly support poorly made local productions under the guise of “support the local scene” is the real problem. This attitude prevents artists from improving, leads to an increase in subpar releases, and discourages new listeners from exploring local music. They end up in “smile and nod” mode when the topic comes up, instead of genuinely enjoying the music.

Serpent of Old’s album “Ensemble Under the Dark Sun” proves that when you genuinely care about and put effort into your craft, you can achieve remarkable results regardless of country or so-called standards. Vocalist Ozan Gürbüz (Decimation, ex-Abolish, ex-Gore Dimension), drummer Kerem Kaan (Archaic Vanity, ex-Grotesque Ceremonium), and guitarist Doğa Tarhan (ex-Undoer) formed the band in Ankara in 2018. Later joined by Yalaz Öner (Thrashfire, Archaic Vanity) and Atakan Güçlü (Archaic Vanity, In Revel of Seduce), the band started writing. Even before releasing any material, their ambitious attitude and distinct Ankara death metal style made them a name in the extreme underground scene. They drew attention when they were announced as the opening act for Blood Incantation (although the event was canceled due to COVID-19) and signed with Transcending Obscurity Records, raising expectations for their future work. “Ensemble Under the Dark Sun” meets these expectations splendidly.

From the first seconds of the opening track “The Sin Before The Great Sin,” the album makes its dark and ominous intentions clear.

The album is a riff-driven masterpiece, with dark, gloomy, and creative riffs seamlessly flowing into each other. The guitar work, rich with dissonant and atonal transitions, avoids the usual song structures and instead offers an ever-evolving journey. The general dark atmosphere remains unbroken, making each track a lesson in guitar craftsmanship.

Drummer Kerem Kaan’s performance on the album cements his place as one of Turkey’s finest drummers. The complex sections, precise attacks, and perfect rhythm choices elevate the music without overwhelming the listener with non-stop blast beats.

I had the chance to play with Ozan for a short time in Abolish, and I can see how much he’s improved since then. Instead of sticking to one vocal style, he switches between brutal growls and fierce screams, nailing both. Having multiple vocal styles on an album is great, but having one person deliver them all is even better.

Once again, coming out of Ankara’s Deadhouse Studios, Ozan Yıldırım handled the mix and mastering, delivering one of his cleanest works yet. It’s a refreshing change from the cheap, poorly produced local releases that flood the market.

The band’s album is currently one of the most listened to on Bandcamp. It has received top scores from major international critics and is being hailed as one of the best albums of 2023. The praise isn’t just local, which speaks volumes about its quality. I hope their success continues, and I wish them the best in their future endeavors.

From my enthusiastic review, you can tell how much I enjoyed this album. I highly recommend it to anyone looking for quality music, not just to support local artists (though you should do that too). This album is definitely worth your time.