{"id":98,"date":"2025-12-21T22:36:20","date_gmt":"2025-12-21T19:36:20","guid":{"rendered":"https:\/\/unite-mag.com\/2025\/12\/21\/sbogom1000\/"},"modified":"2026-09-10T21:27:02","modified_gmt":"2026-09-10T18:27:02","slug":"sbogom1000","status":"publish","type":"post","link":"https:\/\/unite-mag.com\/en\/sbogom1000\/","title":{"rendered":"Sesin Ak\u0131\u015f\u0131nda Bir Proje: Sbogom1000"},"content":{"rendered":"
\n

R\u00f6portaj:<\/strong> Ay\u00e7a G\u00fcne\u015f<\/p>\n

Foto\u011fraf: <\/strong>Aksel Ada<\/p>\n

Sbogom1000, \u00fcretimlerinde deneysel unsurlarla do\u011faya ait t\u0131n\u0131lar\u0131 harmanlayarak kendine \u00f6zg\u00fc bir ses alan\u0131 olu\u015fturan ba\u011f\u0131ms\u0131z bir projedir. Dijital platformlarda yay\u0131mlanan \u00e7al\u0131\u015fmalar\u0131, minimal ve atmosferik ses yakla\u015f\u0131m\u0131yla dikkat \u00e7ekmektedir. Canl\u0131 performanslar\u0131nda ise daha esnek ve anl\u0131k m\u00fcdahalelere dayal\u0131 bir yap\u0131 benimsemektedir. Sbogom1000\u2019in yarat\u0131c\u0131 s\u00fcreci, \u00fcretim y\u00f6ntemlerine ve ba\u011f\u0131ms\u0131z sahneye bak\u0131\u015f\u0131na dair \u0131\u015f\u0131k tutmaktad\u0131r. <\/p>\n<\/div>\n

\"\"\/<\/p>\n

\n

\u201cSbogom1000\u201d isminin arkas\u0131nda bir hik\u00e2ye var m\u0131?<\/strong><\/p>\n

Her isim gibi, bu da bir t\u0131ls\u0131m.<\/p>\n

Prod\u00fcksiyon s\u00fcreciniz nas\u0131l i\u015fliyor? Sesleri toplama, yap\u0131land\u0131rma ve bir par\u00e7ay\u0131 tamamlamay\u0131 nas\u0131l tarif edersiniz?<\/strong><\/p>\n

\u00dczerinde \u00e7al\u0131\u015ft\u0131\u011f\u0131m par\u00e7aya g\u00f6re de\u011fi\u015fiyor, tek bir s\u00fcre\u00e7 yok. Bir rutin olu\u015fturmak benim i\u00e7in \u00e7ok \u00f6nemli. K\u00fc\u00e7\u00fck bir rit\u00fcele sahip olmak ya da beni do\u011fru ruh h\u00e2line sokan bir mek\u00e2na gitmek her \u015feyi \u015fekillendiriyor.<\/p>\n

Genellikle bir \u015feye kafay\u0131 takar\u0131m ve kazmaya ba\u015flar\u0131m. Bazen bu bir enstr\u00fcmand\u0131r, bazen bir sanat ak\u0131m\u0131d\u0131r. Son \u00e7al\u0131\u015fmam \u201c\u043e\u043c\u0430\u0439\u043d\u0430, \u0442\u0438\u043d\u0438\u0448\u0430 \u043f\u043e\u0433\u044a\u043b\u043d\u0438 \u043c\u0435!\u201d neredeyse tamamen 1970\u2019lerden kalma bir elektronik orgla kaydedildi. Alb\u00fcm, o orgu sesini ve \u00e7al\u0131\u015fma bi\u00e7imini ke\u015ffetme s\u00fcrecine d\u00f6n\u00fc\u015ft\u00fc. S\u00fcre\u00e7 \u00e7ok yal\u0131nd\u0131; enstr\u00fcman kendi kendini ifade ediyordu. Kendine \u00f6zg\u00fc bir t\u0131n\u0131s\u0131 vard\u0131. Hem ham hem de yumu\u015fak. Yaz boyunca g\u00fcn do\u011fumuyla uyan\u0131p elimden geldi\u011fince uzun s\u00fcre \u00e7ald\u0131m. Fikirler h\u0131zla geli\u015fti ve seyahatlerimden ald\u0131\u011f\u0131m alan kay\u0131tlar\u0131yla birle\u015ferek alb\u00fcm\u00fcn ana g\u00f6vdesini olu\u015fturdu. Alb\u00fcm yakla\u015f\u0131k iki y\u0131l \u00f6nce yay\u0131nland\u0131.<\/p>\n

Son zamanlarda elektrik gitarlar\u0131n ve y\u00fcksek sesli amfilerin geni\u015f d\u00fcnyas\u0131n\u0131 ke\u015ffediyorum; beni evim d\u0131\u015f\u0131nda prova yapmaya iten b\u00fcy\u00fck bir girdap. Belirli bir yere gitmek, o mek\u00e2na dair al\u0131\u015fkanl\u0131klar edinmek binan\u0131n kokusu, amfilerin u\u011fultusu\u2026 Fikirlere a\u00e7\u0131k bir atmosfer yarat\u0131yor. Yeni \u00e7al\u0131\u015fmalar\u0131mda, besteye ba\u015flamadan \u00f6nce nihai sonu\u00e7la ilgili daha net bir vizyona sahip oluyorum. Enstr\u00fcman art\u0131k konseptin merkezinde de\u011fil, ama h\u00e2l\u00e2 bir dayanak noktas\u0131. Bir sesin ve bir ruh h\u00e2linin pe\u015finden gidiyorum.<\/p>\n

Yap\u0131 genelde en son gelir. \u00c7al\u0131\u015fmalar\u0131m\u0131n arkas\u0131nda elbette bir yolculuk ve bir hik\u00e2ye var ama esas olarak ula\u015fmak ve i\u00e7inde kalmak istedi\u011fim \u00f6zel bir hissi in\u015fa ediyorum.<\/p>\n

Bir par\u00e7ay\u0131 tamamlamak zor \u00e7\u00fcnk\u00fc her zaman yap\u0131lacak daha fazla \u015fey varm\u0131\u015f gibi geliyor. Bir eseri bitirmeden \u00f6nce bir s\u00fcre kendi kendine \u201cmayalanmas\u0131na\u201d izin vermenin bana iyi geldi\u011fini fark ettim.<\/p>\n

Bu projenin \u00e7\u0131k\u0131\u015f noktas\u0131 neydi? Sizi bu \u00f6zel sese y\u00f6nlendiren \u015fey neydi?<\/strong><\/p>\n

Bu, bir a\u015fk mektubu olarak ba\u015flad\u0131; g\u00fcndelik hayat\u0131n \u00f6tesinde bir zihin ve beden h\u00e2line bir sayg\u0131 duru\u015fu. K\u0131sa s\u00fcreli ama derin b\u00fcy\u00fclenme an\u0131. Bunu sese d\u00f6kmek hi\u00e7bir zaman kolay olmad\u0131. Al\u00e7akg\u00f6n\u00fcll\u00fcl\u00fck, birlik ve durgunluk gerektiriyor. Ar\u0131nman\u0131n ger\u00e7ekle\u015febilmesi i\u00e7in ki\u015finin kendini uzun, yo\u011fun bir dalgan\u0131n i\u00e7ine b\u0131rakmas\u0131 gerekiyor.<\/p>\n

Ama\u00e7 her zaman bu h\u00e2li davet etmekti. Bunun ger\u00e7ekle\u015fmesi i\u00e7in havan\u0131n belirli bir \u015fekilde hareket etmesi gerekiyor. Atmosfer bas\u0131nc\u0131 y\u00fcksek, \u0131\u015f\u0131k lo\u015f olmal\u0131. Sab\u0131r da \u015fart. Bu h\u00e2li \u00f6nce kendim i\u00e7in yaratmak istiyorum. Ba\u015fkalar\u0131 m\u00fczi\u011fim hakk\u0131nda farkl\u0131 hik\u00e2yeler anlat\u0131yor. Ge\u00e7en gece bir ki\u015fi kalabal\u0131\u011f\u0131n i\u00e7inde uyuyordu; yan\u0131ndaki ise a\u011fl\u0131yordu. \u0130kisi de ge\u00e7erli tepkiler ve ikisini de i\u00e7ten birer iltifat olarak g\u00f6r\u00fcyorum.<\/p>\n

Sizi en \u00e7ok etkileyen m\u00fczik t\u00fcrleri veya sanat\u00e7\u0131lar kimler?<\/strong><\/p>\n

Memleketimin ortas\u0131ndan bir nehir ge\u00e7er. B\u00fcy\u00fcrken s\u0131k s\u0131k suyun ak\u0131\u015f\u0131n\u0131, do\u011fan\u0131n sesini ve \u00e7ok da uzakta olmayan \u015fehir g\u00fcr\u00fclt\u00fcs\u00fcn\u00fc dinlerdim. En b\u00fcy\u00fck ilham kayna\u011f\u0131m\u0131n bu oldu\u011funu s\u00f6yleyebilirim.<\/p>\n

Canl\u0131 performanslar\u0131n\u0131z kay\u0131tl\u0131 \u00e7al\u0131\u015fmalar\u0131n\u0131zdan hangi y\u00f6nleriyle farkl\u0131?<\/strong><\/p>\n

Konserlerde her \u015feyi canl\u0131 yapmaya \u00e7al\u0131\u015f\u0131yorum. Belki birka\u00e7 alan kayd\u0131 d\u0131\u015f\u0131nda hi\u00e7bir \u015fey \u00f6nceden kaydedilmi\u015f olmuyor. Amac\u0131m, sesin her y\u00f6n\u00fcn\u00fc ger\u00e7ek zamanl\u0131 olarak \u00e7almak ve y\u00f6nlendirmek; bu da \u00e7ok fazla prova gerektiriyor. Art\u0131k neredeyse hi\u00e7 laptop kullanm\u0131yorum ve ekipman\u0131m\u0131n \u00e7o\u011fu olduk\u00e7a ilkel. Benim i\u00e7in konserin ger\u00e7ekten g\u00f6zlerinin \u00f6n\u00fcnde ger\u00e7ekle\u015fmesi \u00f6nemli. Bu \u015fekilde risk daha b\u00fcy\u00fck; \u00e7ok \u015fey ters gidebilir ama e\u011flenceli olan da bu. Ger\u00e7ek bir performans olmad\u0131\u011f\u0131 zaman kendimi hem seyirciye hem de kendime yalan s\u00f6yl\u00fcyormu\u015f gibi hissediyorum.<\/p>\n

Bu yakla\u015f\u0131m k\u0131s\u0131tlay\u0131c\u0131, \u00e7\u00fcnk\u00fc ayn\u0131 anda \u00e7ok fazla de\u011fi\u015fkeni kontrol edemiyorum. Canl\u0131 m\u00fczi\u011fim daha sade ama daha canl\u0131 oluyor.<\/p>\n

\u015eimdiye kadar yay\u0131nlad\u0131\u011f\u0131m kay\u0131tlar farkl\u0131 take\u2019lerden olu\u015fuyor ve post-prod\u00fcksiyonda yo\u011fun \u015fekilde i\u015fleniyor. Sahnede icra edilmeleri imk\u00e2ns\u0131z. Bir ses m\u00fchendisi olarak kayd\u0131 ald\u0131ktan sonra onu de\u011fi\u015ftirme iste\u011fine kap\u0131l\u0131yorum; kendi \u00e7al\u0131\u015fmalar\u0131m\u0131n bir t\u00fcr ses kolaj\u0131na d\u00f6n\u00fc\u015f\u00fcyor. Bu cerrahi bir i\u015f. K\u00fc\u00e7\u00fck detaylarda kayboluyorum ve ortaya \u00e7\u0131kan \u015fey, kayna\u011f\u0131ndan tamamen farkl\u0131 oluyor. Sesleri gizlemeyi, dokular\u0131 tan\u0131nmaz h\u00e2le gelene kadar \u00fcst \u00fcste bindirmeyi seviyorum. \u0130lk dinlemede fark edilmeyen k\u00fc\u00e7\u00fck s\u00fcrprizler b\u0131rak\u0131yorum.<\/p>\n

En yeni bestelerimde ise bu durum de\u011fi\u015fmeye ba\u015flad\u0131. Performans\u0131 m\u00fcmk\u00fcn oldu\u011funca oldu\u011fu gibi yakalamaya \u00e7al\u0131\u015f\u0131yorum. Odan\u0131n ve \u00e7evrenin kendisi, \u00e7ald\u0131\u011f\u0131m m\u00fczik kadar \u00f6nemli. Canl\u0131 performans ve st\u00fcdyo aras\u0131nda bir evlilik kurmak istiyorum. Hi\u00e7bir zaman tamamen ayn\u0131 olmayacaklar, \u00e7\u00fcnk\u00fc \u00e7al\u0131\u015fmalar\u0131m do\u011fa\u00e7lamaya ve do\u011fal akusti\u011fe dayan\u0131yor. Ama birbirlerine daha yak\u0131n olmalar\u0131n\u0131 istiyorum. Bu formda hen\u00fcz yay\u0131nlanm\u0131\u015f bir \u00e7al\u0131\u015fmam yok.<\/p>\n

Yak\u0131nda \u00e7\u0131karmay\u0131 planlad\u0131\u011f\u0131n\u0131z alb\u00fcm, EP veya projeler var m\u0131?<\/strong><\/p>\n

S\u00fcrekli beste yap\u0131yor ve kay\u0131t al\u0131yorum. Kesinlikle bir \u015feyler kayn\u0131yor. Uyumaya \u00e7al\u0131\u015f\u0131rken bile bana bakan birka\u00e7 par\u00e7a var. Belki onlar\u0131n zaman\u0131 yak\u0131nd\u0131r.<\/p>\n

Ba\u011f\u0131ms\u0131z bir \u00fcretici olarak kar\u015f\u0131la\u015ft\u0131\u011f\u0131n\u0131z en b\u00fcy\u00fck zorluklar neler?<\/strong><\/p>\n

M\u00fczik yapmay\u0131 seviyorum. Bu konuda bir zorluk ya\u015fam\u0131yorum. Onun d\u0131\u015f\u0131ndaki her \u015fey ise s\u0131radan.<\/p>\n

Ba\u011f\u0131ms\u0131z bir sanat\u00e7\u0131 olarak yarat\u0131c\u0131 kontrol sizin i\u00e7in ne kadar \u00f6nemli?<\/strong><\/p>\n

Her \u015feyi bilin\u00e7li bir niyetle yapmaya \u00e7al\u0131\u015f\u0131yorum; bu \u00e7al\u0131\u015fmalar\u0131m\u0131n temel unsuru. Her konser, her par\u00e7a, her g\u00f6rsel bilin\u00e7li bir ama\u00e7la yap\u0131lmal\u0131. Zihnin i\u00e7inde tam olarak anlayamad\u0131\u011f\u0131m\u0131z \u00e7ok \u015fey oluyor ve d\u0131\u015f d\u00fcnya da s\u00fcrekli beklenmedik k\u0131vr\u0131mlar ve sarmallar f\u0131rlat\u0131yor. Bunu kabul edip onunla \u00e7al\u0131\u015fmak, yeniden \u00fcretmeye ba\u015flaman\u0131n en kolay yolu.<\/p>\n

Bir duruma uyum sa\u011flamak ve ondan en iyi \u015fekilde yararlanmak ilgin\u00e7 sonu\u00e7lar do\u011furabilir. Kendili\u011findenlik ve do\u011fa\u00e7lama da benim i\u00e7in \u00f6nemli. Parmaklar\u0131n\u0131zdan m\u00fczik kendili\u011finden akt\u0131\u011f\u0131nda b\u00fcy\u00fcl\u00fc bir \u015fey olur. Bu nedenle san\u0131r\u0131m bir miktar uyumsuzluk var.<\/p>\n<\/div>\n

\"\"\/<\/p>\n

\n

(ENGLISH)<\/p>\n

Sbogom1000 is an independent music project that develops a unique sound language through the integration of experimental elements and organic sonic materials. Its work, released across digital platforms, is characterized by a minimal and atmospheric approach. Live performances are shaped by adaptability and moment-based decisions. This interview provides insight into Sbogom1000\u2019s creative process, production practices, and perspective on the independent music landscape.<\/p>\n

Is there a story behind the name \u201csbogom1000\u201d?<\/strong><\/p>\n

Like any name, it\u2019s a spell.<\/p>\n

How does your production process work? Could you describe how you collect sounds, structure them, and finalize a track?<\/strong><\/p>\n

It depends on the track I\u2019m working on\u2014there is no unified process. Building a routine is extremely important to me. Having a small ritual or a place that puts me in the right state of mind helps shape everything.<\/p>\n

I usually become obsessed with something and start digging. Sometimes it\u2019s an instrument, sometimes an art movement. My last release \u201c\u043e\u043c\u0430\u0439\u043d\u0430, \u0442\u0438\u043d\u0438\u0448\u0430 \u043f\u043e\u0433\u044a\u043b\u043d\u0438 \u043c\u0435!\u201d was almost entirely recorded on a 1970s electric organ. The album became an exploration of that organ\u2014its sound and the workflow it dictated. The process was very straightforward; the instrument spoke for itself. It had a specific timbre\u2014raw yet gentle. Throughout the summer I woke up at sunrise and played it for as long as I could. Ideas grew quickly, and I infused them with field recordings from my travels, forming the main body of the album. It was released almost exactly two years ago.<\/p>\n

Recently, I\u2019ve been exploring the vast world of electric guitars and loud amps\u2014a rabbit hole that pushed me to rehearse somewhere other than my home. Going to a specific place and creating habits around it\u2014the building\u2019s smell, the hum of the amps\u2014creates an atmosphere rich with ideas. With my newest work, I approach composing with a clearer vision of the final result. The instrument is no longer the center of the concept, though it remains an anchor. I chase a sound and a mood.<\/p>\n

Structure usually comes last. There is always a journey and a story behind my work, but I\u2019m primarily building toward a specific feeling\u2014one I want to inhabit.<\/p>\n

Finalizing a track is difficult because there\u2019s always more to be done. I\u2019ve found it useful to let a piece \u201cferment\u201d for a while before finishing it.<\/p>\n

What was the starting point of this project? What led you toward this particular sound?<\/strong><\/p>\n

It started as a love letter\u2014an homage to a state of mind and body beyond everyday life. An ephemeral episode of profound enchantment. Capturing that in sound was never easy. It requires humility, unity, and stillness. One must allow a prolonged, saturated wave of intensity to wash over them for catharsis to occur.<\/p>\n

The aim has always been to invite that state in. For that to happen, the air must move in a certain way. The atmospheric pressure should be high, and the light dim. Patience is key. I want to create this state for myself. Others tell me different stories about my music. The other night, someone was asleep in the audience while the person next to them was crying. Both reactions are valid, and I take them as sincere compliments.<\/p>\n

Which music genres or artists have influenced you the most?<\/strong><\/p>\n

A river runs through the middle of my hometown. Growing up, I often listened to the river\u2014the sound of moving water and the natural habitat around it\u2014alongside the daunting urban environment nearby. I would say that\u2019s my biggest influence.<\/p>\n

In what ways do your live performances differ from your recorded work?<\/strong><\/p>\n

I try to do everything live during concerts. No prerecorded material\u2014except maybe a few field recordings. My goal is to perform and conduct every aspect of the sound in real time, which requires a lot of rehearsal. I rarely use laptops anymore, and most of my gear is very rudimentary. It\u2019s important to me that the concert truly happens in front of the audience. There\u2019s more at stake that way; a lot can go wrong, but that\u2019s part of the fun. Without a real performance, it feels like lying\u2014to the crowd and to myself.<\/p>\n

This approach is limiting, since I can\u2019t control too many variables at once. My live music becomes more stripped down, but also more alive.<\/p>\n

The records I\u2019ve released so far are built from different takes and heavily manipulated in post-production. They\u2019re completely unperformable live. As a sound engineer, I\u2019m always tempted to alter recordings after capturing them\u2014it becomes a sound collage made from my own material. It\u2019s surgical work. I get lost in tiny details, and the result becomes very different from the source. I like to bury sounds, layer textures beyond recognition, and hide easter eggs that listeners may not catch the first time.<\/p>\n

With my newest compositions, this is no longer the case. I try to capture the performance as much as possible. The room and environment are as important as the music itself. I want to merge the live and studio worlds. They will never be identical, since my work relies on improvisation and natural acoustics, but I want them to be closer. I haven\u2019t released any music of this nature yet.<\/p>\n

Do you have any upcoming albums, EPs, or projects you plan to release soon?<\/strong><\/p>\n

I\u2019m constantly composing and recording. Something is definitely bubbling up. There are a few pieces that stare at me when I try to fall asleep. Maybe their time is near.<\/p>\n

What are the biggest challenges you face as an independent creator?<\/strong><\/p>\n

I love making music. I don\u2019t face challenges in that regard. Everything else is mundane.<\/p>\n

As an independent artist, how important is creative control to you?<\/strong><\/p>\n

I try to do everything with intention\u2014that\u2019s essential to my work. Every show, every track, every visual should be created with conscious intent. There is so much happening inside the mind that we don\u2019t fully understand, and the world constantly throws unexpected curves our way. Accepting that and working with it is the easiest path back to creativity.<\/p>\n

Adapting and making the most of a situation can lead to interesting results. Spontaneity and improvisation are also important to me. There\u2019s magic in moments when music pours out of your fingers. So I suppose there is a bit of dissonance.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

R\u00f6portaj: Ay\u00e7a G\u00fcne\u015f Foto\u011fraf: Aksel Ada Sbogom1000, \u00fcretimlerinde deneysel unsurlarla do\u011faya ait t\u0131n\u0131lar\u0131 harmanlayarak kendine \u00f6zg\u00fc bir ses alan\u0131 olu\u015fturan ba\u011f\u0131ms\u0131z bir projedir. Dijital platformlarda yay\u0131mlanan \u00e7al\u0131\u015fmalar\u0131, minimal ve atmosferik ses yakla\u015f\u0131m\u0131yla dikkat \u00e7ekmektedir. Canl\u0131 performanslar\u0131nda ise daha esnek ve anl\u0131k m\u00fcdahalelere dayal\u0131 bir yap\u0131 benimsemektedir. Sbogom1000\u2019in yarat\u0131c\u0131 s\u00fcreci, \u00fcretim y\u00f6ntemlerine ve ba\u011f\u0131ms\u0131z sahneye bak\u0131\u015f\u0131na […]<\/p>\n","protected":false},"author":283014126,"featured_media":210,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1378],"tags":[],"class_list":["post-98","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-muzik"],"_links":{"self":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/98","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/users\/283014126"}],"replies":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/comments?post=98"}],"version-history":[{"count":1,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/98\/revisions"}],"predecessor-version":[{"id":212,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/98\/revisions\/212"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/media\/210"}],"wp:attachment":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/media?parent=98"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/categories?post=98"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/tags?post=98"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}