Monday morning means time for some Turkish rap…
[Video]
[5.83]
Katherine St Asaph: Slightly off-kilter rhythms, noir piano chimes, millennial R&B percussion, fluting instrumentals and reverb like smoke, and that’s before anything about the song itself.
[7]
Scott Mildenhall: Even if only 1 per cent as murky as the death that it was apparently inspired by, this has a lurching darkness that outstrips most attempts to offer similar. There’s a sky of pent-up rainclouds above Reynmen, and he gives them the space to simply make their presence felt, saying little, and saying it cryptically.
[7]
Ramzi Awn: Reynmen’s voice soothes with minor inflections and half notes, and the beat ticks along with some effective vocal flourishes. The bass could be bigger but overall, “Derdim Olsun” makes good use of a languid melody with no overt hook.
[6]
Joshua Minsoo Kim: I don’t find “Derdim Olsun” particularly fun to listen to, but there’s something to be said for how it really feels like a spectacle. That all its individual instruments harmoniously coexist is impressive — it makes its grandiosity feel unquestionable.
[5]
Nicholas Donohoue: The single’s image of a colorless Reynmen kissing the head of an aggressive but hand-sized and adorable animal is an apt visual version of the song.
[4]
Iris Xie: At 1:17, there’s a serpentine horn melody that flows around the snare drums, which reminds me very much of a similar songwriting decision in Chung Ha’s “Gotta Go.” Both of these songs exploit how trap music can provide a dark and scattered canvas to incorporate any other elements they find compelling. Combined with Reynmen’s convicted vocals, “Derdim Olsun” is determined to welcome you to an underground that you can’t help but walk into.
[6]