What led to the creation of Ruins of Xibalba?
''Oytun Bektas ( all instruments) ‘’The sole reason was my desire to create albums with a historical concept. When I examined the history of world music, I realized there was no such work that progressed album by album, at least not consecutively. Since creating Tir, I have always wanted to make such a musical and conceptual distinction, and Ruins of Xibalba was born from this desire.
The idea to create each release as a conceptual album that covers a wide range of different themes and cultures?
''Absolutely, yes. I aim to create albums with historical concepts, one after another, though not necessarily in a temporal sense. I try to approach this critically, aiming to challenge general understandings and present a more realistic view of distorted history.
You have two releases already this year, is it a project that inspires work easily once you find a subject?
''When I started working on the album about Shaman Culture, which I had lined up after Nyitting, I noticed the songs were progressing rapidly. Without a structural or standard understanding of music, I didn't think much about keeping the new recordings and spreading them over time. Although the composition phase was fast, it can sometimes be difficult to capture distinctive melodies that align with the album concepts. However, I was fortunate that these two albums developed while maintaining their unique identities.
Nyitting and Shaman are two completely different ideologies. The inspiration to create Nyitting based on the almost forgotten dreamtime of the Australian aborigine?
''I have always felt a duty to tell stories about the Australian continent. I think the Nyitting album is the first stage of fulfilling this obligation. Historically, the people and culture conveyed to us through books and visual media seem like a mere scene, as if they existed and then vanished. But that's not the case, and I tried to present this truth in the album as best I could, based on what I felt.
And Shaman where its practices are still in use and it has a deep spiritual connection?
''The roots and beliefs of the lands where I was born and lived for a while are based in the steppes of Central and Northern Asia. Shamanism has always been the closest and most innocent form of belief to my individual beliefs. Shamanism is an ancient belief that has left great legacies and teachings not only to the people of Asia but to the world. For this reason, it has become a significant stop on the journey of Ruins of Xibalba.
Is there a correlation or evolution between the two releases or once an idea is finished it complete and makes way for new ideas?
''The concepts and understandings of the albums and demos I have released under the name Ruins of Xibalba are independent of each other. However, they are inseparably connected in terms of historical progression.
Does this also tie into the idea of Nyitting having a physical (tangible) release whereas ''Shaman is purely digital (intangible)I initially made such a decision for Shaman, but this situation can change at any time and turn into a physical release.
The use of electronica to represent traditional ideas? Was it a conscious choice to use darkwave and synth to create the atmosphere?
''I am happy that each album has an experimental structure. I have had limited live instrument preferences, but I prefer to advance the basic trajectory of Ruins of Xibalba in the ambient-darkwave plane. I am pleased with this choice because I expect a high atmosphere in all the stories told, and I want to achieve this with an electronic-heavy combination.
Is Ruins of Xibalba a feeling an emotion more than a particular sound or style?
It's a half-and-half process. Before recording albums, I read and research extensively. By adding extra information to my current knowledge, I first develop a culture of emotion and conscience. Then, the composition begins to emerge technically.
The hint of darkness within your ambience?
Yes, there are dark truths.
Is it also a project where it will remain as solo effort? Does this allow complete freedom or will an idea allow other musicians or ideas to contribute?
I like working alone. In my Tir project, I occasionally collaborate with Thomas Helm for some songs, but for Ruins of Xibalba, I prefer to work solo. This approach adds to the mystery of the project. I plan to continue developing the band this way, as the sole member.
Future plans?
This is a long journey. There are countless continent I want to explore and places where I want to reveal the truth. So, I can say that the future is actually in my hands right now.
Tops six albums of all time?
Dead Can Dance / Within the Realm of a Dying Sun
Tenhi / Väre
Empyirum/ A Wintersunset…
Burzum / Filosefem
Summoning / Minas Morgul
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