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  • Büşra Kayıkçı (b. 1990):
  • 1The Middle Of…02:30
  • 2Fernweh05:36
  • 3Unrooted03:22
  • 4Deep Seated Arrogance05:10
  • 5Olive Tree02:32
  • 6Quba03:38
  • 7Old Friend03:12
  • 8Tribute To Egyptian Song04:25
  • 9L'inno02:26
  • 10Into The Woods03:30
  • 11Vác04:13
  • 12…Nowhere02:25
  • Total Runtime42:59

Info for Places

Places is a continuation of my solo piano album Eskizler (Sketches), which was the result of my first compositional endeavours, studies written in early 2019. Those experiments in music reminded me of the sketches I would make in my work as an interior architect, at the start of a new project. I was profoundly influenced by the way these two disciplines – architecture and music – work with the same principles, one addressing the ear and the other the eye. It was inevitable, therefore, that I would follow an architect’s process when writing music. I devised my musical templates using methods I derived from architecture. And with this new album, Places, I feel I have taken those sketches a step further. I can hear them evolving, in a way. Sometimes I’ll try to construct a specific place I have in mind, one that I miss, but sometimes it’s just about an emotion. There are moments in life that make me believe places are also spaces in which we take refuge, and that we find shelter in our emotions, too. Those emotions become a shield, a roof over our heads protecting our inner peace.

For Büşra Kayıkçı, spaces acquire meaning only when they are visited and animated, when people are in them. In this regard, for Kayıkçı, musical and architectural spaces have one particular aspect in common: they were designed and constructed by someone. While one exists physically, the other is bound in time – it develops its shape horizontally, as it were, while being played, while being heard.

The pieces on “Places” follow principles that Büşra Kayıkçı transferred from architecture to her compositional work: in order to design a space harmoniously, she learned to first select the colors, shapes and materials, and then to combine them with each other. Similarly, in her music she defines harmonies, melodies, themes and motifs, form and tonal material as modular set pieces in order to combine them, weigh them against each other, and bring them into balance. “I always compose at the piano,” Kayıkçı states. “And I only write down a piece when it is finished.” She did not even jot down individual ideas for the pieces on “Places” immediately, but waited to see what she would remember the next morning: “What is still left in my head then determines the way I can continue with the piece.” Unlike on “Eskizler,” Kayıkçı uses industrial sound designs and electronic inflections on “Places.”

Büsra Kayikci, piano

Please Note: We offer this album in its native sampling rate of 48 kHz, 24-bit. The provided 96 kHz version was up-sampled and offers no audible value!

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