"Planet X" album has been included in the "BEST ALBUMS OF 2012" list by Canadian radio CJSW 90.9 FM.

Furthernoise Magazine
Collaborative Soundtracking - Erdem Helvacioğlu and Per Boysen

Cinematic music offers performers and composers an opportunity to explore dramatic emotions, while underscoring plot as a supplement or enhancement to a visual image, aspects missing from music composed for listening. It's even more fun if the host movie involves the supernatural. On Sub City 2064, multi-instrumentalists Erdem Helvacioğlu and Per Boysen deliver the soundtrack preceding a sci-fi/horror film (whose current state hovers between ideation and synopsis), by turns eerie, meditative, with echoes of electronica and rock. The ten pieces on this album are not cues, since the movie was little more than an inspiration, but fully developed pieces, ranging between four and seven minutes each. They are all the more remarkable considering the long distance nature of the collaboration, with Boysen in Stockholm and Helvacioğlu in Istanbul. 

Helvacioğlu's previous albums, (one reviewed here) have been electro-acoustic soundscapes or moody improvisations for guitar and effects, while Boysen's previous recorded work is closer to pop music and techno environments. The story is that they met at a live looping festival in 2007, struck up a friendship and decided to make a recording together. Working remotely and sending material to and from each other via the postal system, they have produced this superb collaboration Sub City 2064, which combines recollected vocabularies from different avenues of pop music and stadium rock as depicted in Reef Edge Race to the lounge dub-jazz, complete with echoes of a Hammond B3 organ, on Future Wide Open. From the daylight transitions in the album's opening moments, each track establishes an atmosphere redolent of distant worlds. 

Harvesting Alga is one of the more peaceful vistas, which features processed flutes and guitars set among watery twizzles, rising like bubbles. Boysen and Helvacioğlu channel a mellower Floyd-esque influence on Legends of Lost Land, as evidenced in its looping slide guitar and tenor sax. Although he also performs on EWI and various guitars, Boysen's only flute playing on this album is on alto, whose lower register is almost disconcerting, contributing to the overall eerie atmosphere. His middle-eastern melodies run through Physalia Physalis, a fast moving river glimpsed moving behind the trees. The ghost of Helvacioğlu's guitar looping improvisations on the final track, Future Wide Open develops into a sunny but slightly off-kilter beach party dub, before it slowly fades into the twilight from which the album emerged.

Review by Caleb Deupree

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Sub City 2064