Greetings from Metalheads forever Magazine Oytun Bektas, How are you today?

Thank you so much.
Everything is fine, I am sure it will be a more ideal spring month after a tense pandemic.

June 27, 2021, you released a beautiful single “Majestic Emperor” a great composing, can you tell me a bit about this single and production behind this?

This song actually belongs to a story that I had planned for a long time. It’s about being influenced by Theodor Kittelsen’s “Soria Moria”, which I also used for the cover design, and being the actual person who made this journey. On the other hand, because I kept the DS tones in the background a bit in my last 2 albums, frankly it was my aim to put a strong ‘dungeon synth’ emphasis on this single. I think I achieved my goal, maybe DS lovers especially needed a song with this power too!

Earlier this year on March 5th you released your fourth album “Persepolis” can you tell me the production and process behind the album?

If we add the Ep, you are right. The story of Persepolis actually dates back to 3 years ago. My visit to Iran was about discovering the history of that geography. Bridges dating back to BC, secret passages and communication mechanisms produced by some mathematical genius in the city centers, etc. and of course Persepolis itself. A scene that has been incredibly accurately preserved up until the present age. I mean, since my visit all of these compositions have been in my mind like movie stills, and earlier this year, the harmonies started to flow rapidly. In a very short time, the anathema of the songs emerged and all that was left was some minor editing and mastering.

The Concept of the album on “Persepolis” is quite amazing, bringing back to the ancient days of Persia, Can you tell me what made you come up on this topic, any particular reason behind it?

From the very beginning, I have tried to keep Tir’s understanding of musical and theme description multifaceted. This includes subjects in the realm of mythology, dark art, melancholy, nature, the cosmos, history and wars. The power of Persepolis during that period where the album is set can never be denied, but it also cannot be denied that this Kingdom has a dark ‘torture side’, as in every kingdom. The point where I stand with my artist’s vision so to speak is on the silhouette of this city, the crimson rising to the sky through a huge, lonely desert. I mean, this album is a bit of a symphony concerning the mythological darkness that mystifies this scene. The song titles and the melody cycle also belong entirely to the continuity of this process. Red, ancient and scary.

You took just 3 months in creating a masterpiece like “Persepolis” Such a genius in music, how do you feel to make it in a short time?

First of all, thank you for this compliment! As you mentioned, it only took me 3 months to complete the compositions and mastering. Similar things happened in my previous albums. This is how my Urd, Skuld & Verdandi album also came about, which I still receive congratulatory messages from in many parts of the world. The biggest reason why my decision process about an album or songs usually takes a short period of time is because I don’t like to ‘repeat’ my recordings. In other words, when the melodies start to spin in my head, the harmony of the channels within themselves progress at an indescribable speed and hence I need to put pen to paper so to speak.

Can you tell me how your musical journey that started in the beautiful country of Turkey to Australia, what made you to make a move?

My wife and I had such a plan for a while. I am not someone who enjoys the chaotic life of urbanization very much. So we decided that it would be beneficial to move away and we moved to Australia.

How has the musical journey been for you, how do you feel where you are now?

To be honest, everything is going very well. Since my settling here, I have participated in digital music festivals both in the USA and Peru. I have also released an EP and an album, plus a demo album of my side project Ruins of Xibalba, and overall my musical life has been very intense and enjoyable since the first day I came here.

What would be some of the great moments?

My greatest luck was that I got in touch with very serious and nice friends in a short time. First of all, I had the happy coincidence to run into Peter from Brilliant Emperor Records and Jon from Quagmire Magazine – both like-minded individuals who are right into the same kind of music and big Tir fans, so this helped me to settle in and to complete my ‘adaptation’ process quickly.

How is the musical performance like, what would be some of the dream venues that you would want to perform?

Although I do not look at the idea of a concert positively, the feedback I received in the 2 festivals I took part in made me very happy. If we could turn back time and be in the 90s, I would love to play at the Dynamo Festival, or maybe the Prophecy Festival one day. Time will tell!

What are the next plans, and what are the concepts that you would to bring in the upcoming albums?

My first goal for now is to release Ruins of Xibalba’s debut album at the end of this year or the beginning of next year. On the other hand, I have a Tir split album idea with Tarkin Turfer, an important group from Australia. After all this, I think I can focus more on Tir’s new album. There will be more important changes and surprises coming soon as well!

Finally what would you like to say to the musical fraternity and fans?

Thank you again for the interview and your nice questions. It was very enjoyable for me. For almost the last 2 years, underground bands of metal and sub-genres have been experiencing serious difficulties. My only suggestion is to support these musicians which we all value. It is our duty to protect the dark art!

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