From Turkey they come until us the notes of a handful of bands; but these few ones that succeed in crossing the Bosforo decidedly have another gear.
Merry's Funeral are a duo of Istanbul founded since some years but that only recently started to publish some tracks. Their album "Metanet", issued as digital download a couple of months ago on bandcamp will be soon published in cd by the Polish label Batcave production.
As the band's name suggests us they refer tothe most introspective and existentialist sideof the new wave, with lyrics that behind the dark appareance often use metaphors that lead to deeper interpretations for the ones who  know how to read between the lines.... mission not impossible because on their facebook page there  the translations of some of their lyrics in more than a language; the rest can be done with some curiosity and the help of an online translator.
But let's go  to the music: "Metanet" is composed by 9 tracks; the one that opens the album "Ölüm" (that means death), it is not a deathwish in the Christian Death's style  but rather an emphatize with a person who is going to finish is Earth journey, and that desires t to forget joys and affections not to suffer for the detachment. The music is driven bya bassline close to the style of Simon Gallup, but the song develops melting with mastery the references to the origins with a more modern sound; with some inserts that makes me think about a sort of contaminations used to express the tension with the sounds of notes with a "western movie style" close to the one that Ennio Morricone used to point out the climax moments of the soundtrack that he composed.
"Paranoya" has a more modern sound but always intimately dark as you can notice by the guitar chords and the voice full of emphasis and emotion of Julius Wentor  that represents well the inner tensions connected to fears and obsessions; the text is metaphoric: it talks about the fear of the shades that follow us in the emptiness of the night; are they ghosts or people empty and dreadful like a ghost?
"Katastrof 1708" has been composed in memory of the 1999 Marmara earthquake, that took the life of more than 40.000 people, this is one of the most melancholic tracks of the album; almost a sound representation of the pain left by a tragedy; the music is slow in an uniform way; as the astonishment that leaves you paralyzed; every chord of the bass  is as heavy as a tear that falls, the text seems to describe a sort of bewildered snapshot of a disaster and of the supernatural strengths  that caused it.
"Duvarda Böcekler" (bugs on the walls)  is about these creatures that proliferate on summer as traces of death on a wall that don't take care of humans; a lyric apparently banal, that metaphorically can hide deeper interpretations, sang with an emphatic interpretation; the music follows the best tradition wave; it's slow and veined of sadness; a grief that in their music never turns into anger but that rather sounds like asad resignation.
"Mutlu Metanet" "Happy Fortitude" looks likea chronicle of an attempt to survive in a world felt different from how you are; here strength consists of killing or to suffocate the fear in order to be able to carry on; the music melts some Cure reminders with modern arrangements and sounds, like the short appearances of the synth.
"Geçmişin Laneti" it has an introspective and desperate lyric in the style of Heart and Soul" sung with a pathos from which the sadness transpires;  like a lament coming from the heart without even the strength to become a loud cry; the music represents perfectly that emotion; with the inserts that sound like whispers arising from the melancholy base and the bassline in the final part of the track  that it seems to express a sense of disorientation.
"Siyah Şehir" has a more modern sound with the rhythm of the shynts  but there is a melacholic atmosphere in the foreground; perhaps the one of the lyric that seems to remember some happy moments lost in the meanders of a black city; where only at night one is free to be himself.
"Yanılsama"" it is a short instrumental where a synthetic sampling of a brass section accompanies the slow and painful riffs of an acoustic guitar; like the voice of the dreams that tries in vain to bring the light in a dark reality.
The album is closed by "Günler", a cover of a Turkish song that I think is totally unknown to the foreing public; it is a lovesong for someone who is not here anymore", and both the singing both the music, give the feeling of ballad full of bitter sweet nostalgia that represents perfectly the yearning for a goodbye to a person that someone still wishes to hold among his harms.
This album is a great debut, that shows us that the new wave is not dead suffocated beneath the make up and the appearances, but that there are still around some bands  able to understand its deep sense and to perform it in a present days style.