Kit Sebastian - L’addio/Hayat
© Kit Sebastian
Entering the scene four years ago in London, Merve Erdem and Kit Martin have carved a unique niche for themselves with their innovative sound. The duo has since garnered recognition for their dreamy vocals and intricate musical arrangements. Their musical compositions serve as a junction where various cultures intersect, and this intricate fusion is distinctly showcased in their latest album ‘L'addio/Hayat’. The record not only takes the listeners on a nostalgic ride, but equally creates a liminal world that is emblematic of their musical style.
In our interview, we embark on a journey to uncover the essence of their latest record, immersing ourselves fully in the world they've created. So, join us for a ride.
Interview by J. Rusen
CR: Congrats on your recent record ‘L’addio/Hayat’, what a sonic experience! How did the concept for the record come about?
Kit: On singles, it's always nice to juxtapose soundscapes, and these two worlds we present are ones that interest us. ‘L'addio’ was influenced by Italian soundtracks from both sides of the sixties. A light romantic orchestration from the early part of the decade, with a funk sound from the late 60s. This was meant to contrast 'Hayat' which has a rougher sound and is influenced by the Turkish records we love.
While ‘L’addio’ means farewell in Italian, ‘Hayat’ means life in Turkish. Is there perhaps a connection between these two titles, or is it purely coincidental?
Merve: This is a very intriguing question! Actually, it was a coincidence. But now, looking back on it, it feels like there was something more deliberate underneath.
I wrote the lyrics for ‘Hayat’ during a phase when I was just fed up with everything. I had a tendency to try to control every little thing and make it all perfect, and it was exhausting and draining. I had to come to terms with the fact that certain expectations, especially those tied to external factors, needed to be let go. The song, in a way, is about embracing that acceptance – that you've got to keep moving forward in life, leaving behind the resentments and disappointments. It's about being gentle with yourself and acknowledging the fleeting nature of our existence, where everything remains transient.
Shifting gears to ‘L’addio’ - which actually came along quite a bit later. It got its name from the obvious – it's about the end of a fictional relationship. But personally, it carries a more profound meaning. I wrote it when finally that acceptance created a shift in my approach to things I used to attempt to control, recognizing that you can only pursue things and people to a certain extent. Beyond that, it’s wiser to just bid farewell and forge ahead. As you journey forward, you may encounter even richer connections and better occasions.
© Kit Sebastian
The video for 'L’addio' resembles a cinematic ride into the 1960s. What inspired you during the filming process?
M: We have a genuine fascination with the aesthetics and visual landscape of the 60s. The music video draws its primary inspiration from the late 60s neo-noir and crime thrillers like Louis Malle's L'ascenseur Pour L'échafaud, Jean-Pierre Melville's Le Samouraï and Le Doulos, along with some black and white Antonioni films.
The song’s initial idea comes from a flat opposite my window that's inhabited by drug addicts. We are both neighbours and strangers, yet there is no way to connect to each other. The constant movement and activity in that space always intrigued me, becoming a source of engagement whenever I was bored or couldn’t sleep. So, the theme of the song had a voyeuristic aspect and we wanted the music video to capture this essence at its core. As we settled on the location, which is a carpark near Kit’s house in the suburbs of London, the storyline naturally took shape. The whole setup and how we shot it were carefully thought out to give off that peeping Tom feeling. However, we wanted to infuse a touch of playfulness into it. So, we centered the story around a backgammon game, adding a pinch of Turkish culture and a lighthearted twist to the otherwise enigmatic and liminal world that the music video captures.
How would you describe your artistic growth as a duo since you released your debut album ‘Mantra Moderne’ four years ago?
K: Technically we’ve come a long way, the original vision remains, and now it’s just ways to perfect the methods of working.
M: Plus, when brainstorming ideas and dividing tasks, we're totally in sync – we’re more familiar with each other's strengths and preferences. That just makes creating and working together a lot smoother.
Previously, you have delivered beautiful renditions of songs such as Sezen Aksu’s ‘Sinanay’. Are there any other musicians you are inspired by?
K: It's hard to record a cover because one must have respect for the original artist but also believe that you can add something new and worthwhile to the composition, however I've always found the melody you hear at the end of the film Walking the Streets of Moscow haunting and beautiful: so maybe that.
M: We’ve lost a real legend, Erkin Koray, very recently. I’d say his track ‘Yagmur’.
What are your three favourite records of all time?
K: Sevil’s self-titled album by Vagif Mustafazadeh, Manfred Krug's 'Ein Hauch von Frühling', Aphrodite's Child's -'666'
M: It’s hard to choose only three! Ziad Rahbani - ‘Houdou Nisbi’, Love - ‘Forever Changes’, Jose Mauro - ‘Obnoxius’.
Finally, what exciting projects do you have in store for the future?
Kit: We’re currently working on another album, which will of course come with various music videos, but also looking at interesting ways of releasing songs.
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