After a prolonged silence that left fans eagerly awaiting their return, Nemrud, the Turkish Progressive Rock vanguard, has resurfaced with their fourth studio album, “At the End of the Day.” Formed in 2008 by Mert Göçay (vocals, guitar), Mert Alkaya (drums), and Levent Candas (bass), Nemrud quickly distinguished themselves as pioneers in the Turkish Progressive scene, crafting a sound that melds the Psychedelic textures of the late ’60s and ’70s with modern, introspective narratives. This new album, released as a double LP on October 24, 2025, explores a tapestry of profound themes: the fractures of internal conflict, the erosion of moral structures, humanity’s inexorable march toward decay, and the complex dualities of justice and corruption. The band’s signature style—rich in layered instrumentation, dynamic shifts, and emotive vocal delivery—serves as a perfect vessel for these reflections, translating abstract philosophical concerns into compelling sonic landscapes. In this interview, we dive deep into the creative process, philosophical underpinnings, and sonic experimentation behind “At the End of the Day,” exploring how Nemrud continues to shape and expand the boundaries of Turkish Progressive Rock while resonating with a global audience.
Nemrud has been considered a pioneer of Turkish Progressive Rock since its inception in 2008. How do you perceive your role in shaping the local scene, and how has your perspective evolved over the years?
From the early days of progressive rock in continental Europe, Turkey also had remarkable artists who blended Western influences with local musical traditions. Nemrud’s sound was shaped by listening to and absorbing these early attempts — combining the Western prog aesthetic with melodies rooted in our own culture. When our first album was released, there were virtually no other bands in Turkey creating music in this style. Over time, as Nemrud’s music began reaching listeners all around the world, we noticed that new bands started to appear, encouraged by the fact that prog from Turkey could find an international audience. We’re truly proud to have played a pioneering role in the development of progressive rock in our country. Our hope is that more Turkish bands will continue to emerge, gain visibility on the global stage, and take their place at festivals worldwide.
“At the End of the Day” marks your return after several years of relative silence. How did this period of inactivity influence the creative process for this album?
We actually began recording this album back in 2020, right at the moment when the COVID-19 pandemic was shaking the entire world. In Istanbul, strict curfews began every evening at 8 PM, so our routine became entering the studio early in the morning and playing until the lockdown started. It was an unusual and challenging atmosphere, but also strangely inspiring — the world outside was silent, and we were able to sink deeply into the music. The long gap that followed was due to a combination of serious health issues and the fact that the band members were living in different countries, which made the process even more complicated. Despite these challenges, we never disconnected from music. We contributed to various projects and stayed active creatively. What truly lifted our spirits during this period was seeing new progressive rock bands emerge. Witnessing this new energy in the scene motivated us to come together once again and finally finish the recordings. In a way, the silence, the obstacles, and the time apart all became part of the album’s DNA.
The album explores themes such as internal conflict, moral decay, and the decline of justice. Were these concepts present from the start, or did they emerge organically during the writing and recording sessions?
No, the core concepts were already present from the very beginning. By the time we started preparing for the album, all the songs had been written by Mert Göçay, and as a band we focused on shaping the arrangements and completing the recordings. The themes you hear — internal conflict, moral decay, the erosion of justice — came naturally from the world we’ve been living in. For quite a long time, humanity has been struggling under the weight of these issues, and unfortunately things don’t seem to be improving. We felt compelled to reflect this atmosphere honestly. With this new album, we’re expressing our own form of resistance against the system, against the pervasive sense of darkness, and against the growing hopelessness.
Musically, Nemrud has always blended psychedelic textures with progressive structures. Did you consciously aim to expand or evolve this signature sound on the new album?
From the very beginning, Nemrud has remained committed to its own musical identity — a blend of Western progressive traditions and the melodic heritage of our own region. We’ve never felt the need to abandon that foundation, but rather to refine and deepen it. With At The End of the Day, we approached this palette with a sense of maturity and introspection. In many ways, the album is our tribute to melancholy and to the emotional depth that has always been present in our sound. Each side of the record carries its own distinct atmosphere, resonating with a different feeling. By the time the listener reaches the finale, we hope it feels like completing a peaceful form of meditation — a journey that evolves naturally from one state of mind to another.
Could you walk us through your compositional process? How do the three of you collaborate on arrangements, instrumentation, and dynamics?
Our internal dynamic has remained remarkably consistent since the band’s early days. Each of us contributes in a way that naturally complements the others. Mert Göçay the band’s founder, guitarist, vocalist, and, on this album, also the keyboardist, is responsible for all the songwriting and lyrics. Once the core compositions are in place, the three of us come
together and the arrangement ideas start flowing effortlessly. Levent Candaş, our bassist and the most musically seasoned member of the group, provides the foundation of Nemrud’s groove-oriented sections, giving the music depth and character. Meanwhile, Mert Alkaya a well-known drummer in Turkey shapes the dynamic and energetic side of our compositions with his distinctive rhythmic approach. Even though we come from different musical backgrounds, meeting on the common ground of Nemrud has been our greatest strength. That diversity is exactly what allows the arrangements, instrumentation, and dynamics to evolve so naturally when we work together.
The album is a double LP—a format that naturally allows for extended explorations. How did the physical structure of the record influence your song selection, sequencing, or pacing?
Nemrud has always been known for long-form compositions, pieces that take their time and allow the listener to fully absorb the message and atmosphere. In many ways, At the End of the Day was conceived as a single continuous work. The recurring themes in the music, the lyrical motifs, and the emotional arc all point toward that unified structure. However, to fit the album onto a double LP, we had to make certain structural decisions. Some sections needed to be shortened or divided, and in a few places, we even re-recorded parts to ensure the transitions worked naturally within the physical limitations of vinyl. Our priority was to preserve the integrity and narrative flow of the album while respecting the format. In the end, we’re very happy with how it turned out. The double LP format not only supports the scale of the music but also enhances the listening experience, giving each side its own emotional space while still contributing to the larger whole.
Many of your tracks feature intricate layering of instruments. How do you approach balancing complexity with accessibility to ensure the emotional core of each song is felt by listeners?
In our earlier albums, we approached arrangements with a “less is more” philosophy, keeping guitar and keyboard layers minimal and focusing on clarity. But on At the End of the Day, we allowed ourselves much more freedom. We opened the valves completely, so to speak, and embraced a richer, more expansive sonic palette. That said, complexity only works when every layer has a purpose. We were very careful in selecting tones, textures, and frequencies so that nothing would clash or compete. Each element had to support the emotional core of the piece rather than distract from it. For listeners who experience the album on vinyl and through a high-quality sound system, the depth of these layers becomes especially vivid. Our hope is that they won’t just hear the complexity also they’ll feel it, discovering new details with every listen and becoming part of the album’s journey.
Vocally, Mert Göçay delivers performances that are simultaneously intimate and expansive. Can you share how vocal lines are developed in relation to the instrumental framework?
Vocals in Nemrud have always been conceived as an extension of the instrumentation rather than a separate layer placed on top of it. Since Mert Göçay writes all the music and lyrics, the vocal lines usually emerge very early in the compositional process often at the same moment as the main themes or motifs.
Instead of treating vocals as the dominant force, we approach them as another instrument that moves within the atmospheric and progressive framework of the songs. Mert’s delivery tends to be intimate when the narrative requires closeness, and expansive when the music opens up into broader emotional or conceptual territory. During rehearsals and recording sessions, we refine the vocal phrasing based on the dynamics of each section: sometimes the lines follow the guitar or keyboard textures; other times they contrast them to highlight tension or resolve. The goal is always to keep the voice aligned with the emotional trajectory of the composition, ensuring that it enhances rather than overrides the instrumental storytelling.
The Turkish Progressive Rock scene has its own unique characteristics. How do you incorporate local musical influences while appealing to an international audience?
Turkey has a very distinctive musical identity, shaped by centuries of cultural intersections. We naturally draw inspiration from the melodic sensibilities of Turkish music and from the emotional landscapes of Eastern storytelling where beauty and tragedy often coexist. Making music on lands that once hosted some of humanity’s earliest civilizations carries a certain responsibility, and we try to honor that heritage while remaining rooted in the structural language of Western progressive rock. This combination gives us a wide creative space: listeners can hear both modern, global influences and subtle historical textures throughout our work. Much like the statues on the summit of Mount Nemrut witnessing both sunrise and sunset, our music tries to bridge different worlds and perspectives. This duality is one of the reasons we chose the name Nemrud in the first place, and it continues to guide our approach as we reach audiences far beyond our own geography.
Were there any specific albums, bands, or artistic movements that served as major influences during the creation of “At the End of the Day”?
To be honest, there wasn’t a specific album or artist that directly influenced the creation of At the End of the Day. Nemrud has long been firmly rooted in the traditions of old-school progressive rock, and that foundation naturally shapes our musical direction. However, when it comes to inspiration, this album reflects something a bit different. During the writing and recording process, we found ourselves drawn to elements outside the typical prog framework aspects of Eastern philosophy, healing frequencies, and subtle vibrational concepts. These influences were woven gently and intentionally into the music, not as overt motifs, but as an underlying energy that guides the emotional flow of the album. In that sense, At the End of the Day carries a certain mystical quality. We released it with the belief that listeners who approach it with focus and openness might feel its deeper vibration, not just hear it.
The themes of humanity’s ultimate end and moral decay are quite heavy. How do you translate such abstract or dark concepts into musical motifs, rhythm, or atmosphere?
Translating abstract and often dark themes into music is always a delicate process. For us, it begins with identifying the emotional core of the concept whether it’s fear, resignation, conflict, or a quiet sense of hope beneath the darkness. Once that emotional anchor is clear, the musical language starts to form around it. For At the End of the Day, the themes of humanity’s decline and moral erosion naturally led us toward contrasts: wide, atmospheric passages that evoke emptiness or existential weight; slow-building crescendos that mirror inner turmoil; and rhythmic patterns that feel unstable or unresolved, reflecting the tension of a world losing its balance. We also rely heavily on recurring motifs. A melody that first appears in a fragile, almost whispered form may return later with more intensity or distortion, symbolizing how small human conflicts can grow into collective collapse. Harmony plays a similar role consonance and dissonance become tools to depict moral clarity or decay. Atmosphere is perhaps the most important element. Layers of sound, textural shifts, and dynamic spaces allow us to create a sonic environment where these heavy themes can breathe. Rather than illustrating darkness directly, we try to suggest it giving listeners enough space to feel the weight of the concept and interpret it through their own emotional lens. In the end, the goal isn’t to overwhelm but to resonate. Even when dealing with dark subjects, we want the music to guide listeners through the experience, not leave them trapped inside it.
Production-wise, did you experiment with any new recording techniques, effects, or mixing approaches that differed from your previous albums?
As with our previous albums, the foundation of the recording process was capturing the drums, bass, and guitar together in the same room. Playing live as a trio gives the music its natural feel the small imperfections, the human energy, the organic interplay. We’ve always believed that these nuances are essential to Nemrud’s sound, so we leave them exactly as
they are. What sets At the End of the Day apart is the range of instruments and textures we incorporated this time. For the first time, we introduced classical guitar, piano, and mellotron into our arrangements, expanding the emotional palette of the record. These additions allowed us to explore new colors without drifting away from our core identity. Another significant difference is the density of the keyboard work. As mentioned earlier, we used far more layers and textures than in previous albums, carefully shaping each one to maintain clarity and depth. On a high-quality sound system, listeners will notice how these layers create a rich, immersive landscape that supports the album’s conceptual journey.
Psychedelia often emphasizes mood, texture, and improvisation. Are there moments on this album that were born spontaneously in the studio, as opposed to meticulously composed beforehand?
Most of the album was composed with clear structures before we entered the studio, but the chemistry within the band always leaves room for spontaneous moments. While the core framework was already set, certain sections evolved naturally during recording sometimes through subtle refinements, sometimes through entirely new ideas that emerged in the room. A good example is the ending of ‘Keep on Slay’, the final track on Side A. The interplay between drums, bass, and guitar in that section wasn’t planned exactly as it appears on the album; it grew organically from the energy of playing together. These moments are important to us, because they capture the instinctive side of our music. When working on long, conceptual compositions, there’s always a temptation to keep adjusting things new ideas appear endlessly, alternate arrangements seem possible, different instrument choices open new doors. It can easily become a loop where you feel trapped by perfectionism. Over time, we’ve learned that the healthiest approach is to recognize the
moment when a piece feels honest and satisfying, say “this is it,” stop the tape, and move forward.
The rhythm section of Mert Alkaya (drums) and Levent Candas (bass) has always been pivotal in creating Nemrud’s sonic identity. How do you approach the interaction between drums and bass in this album?
The interaction between drums and bass has always been a core element of Nemrud’s sound, and on At the End of the Day, that foundation became even more essential. One of the greatest advantages we have is the long-standing musical relationship between Levent Candaş and Mert Alkaya. They had been playing together long before Nemrud was formed,
and the deep understanding they developed over the years became a tremendous asset for the band. Because they know each other’s instincts so well, their communication in the studio is almost effortless. The grooves often emerge naturally Levent’s melodic, yet grounded bass lines shape the harmonic movement, while Mert’s dynamic drumming responds with both precision and emotion. Rather than approaching each part separately, they build the rhythmic architecture as a unified force. On this album, we encouraged them to explore more interplay and subtle nuances. Some sections rely on tight, almost mechanical synchronization to convey tension, while others open into more fluid, breathing rhythms that mirror the album’s emotional arc. That balance, the ability to be powerful without being overwhelming, intricate without losing clarity comes from the trust and shared language they’ve built over many years. In many ways, the rhythm section is the heartbeat of At the End of the Day, and their synergy allowed the rest of the music to expand with confidence and depth.
If you could summarize the emotional journey you want listeners to experience while traversing “At the End of the Day,” what would that journey look like?
At its core, At the End of the Day is designed to guide listeners through a wide emotional arc one that mirrors both the fragility and resilience of the human experience. We didn’t want the album to simply describe darkness; we wanted it to move through darkness, allowing each listener to confront their own questions, doubts, and reflections along the way. The journey begins with a sense of internal conflict, the feeling of standing at a threshold where something is shifting, both personally and collectively. As the album unfolds, the music carries the listener through tension, uncertainty, and moments of emotional turbulence. These sections are meant to be unsettling at times, because they reflect the world we’re living in. But the farther you travel, the more the perspective expands. The music gradually opens into broader, more contemplative spaces where resignation turns into acceptance, and acceptance into a quiet form of hope. By the time the final notes fade, our intention is for the listener to feel a sense of release not necessarily a resolution, but a deeper understanding of their own emotional landscape. In that way, the album is less about providing answers and more about offering a passage: a journey from the noise of the outer world toward the stillness within, where clarity and meaning can begin to take shape.
Looking forward, how do you see Nemrud evolving in the next phase of your career, both musically and thematically?
With four conceptual albums behind us and listeners from all around the world discovering our music through vinyl, streaming, and progressive rock communities we feel that Nemrud is entering a new phase. Musically, we aim to continue exploring long-form storytelling, deeper atmospheres, and the blend of Eastern and Western elements that has shaped our identity from the beginning. There is still so much to uncover within that language. What we truly hope for in the next chapter is the chance to bring this music to international stages. Despite our global reach and nearly two decades of history, we’ve never had the opportunity to perform outside of Turkey. We’ve applied to festivals before, but often without
receiving a response. Yet we strongly believe that Nemrud’s sound rooted in concept-driven progressive rock and shaped by a unique cultural background could offer something meaningful and distinctive to audiences worldwide. If the right opportunity arises, we are ready. Our goal is simple: to share the immersive world of Nemrud live, to connect with listeners face-to-face, and to contribute to the global progressive rock scene in a more direct and dynamic way. We hope the coming years will finally open that door.
Finally, for listeners who are discovering Nemrud for the first time, which track would you recommend as an entry point and why?
For new listeners, I would still recommend starting with “Keep on Slay.” Even though this piece appears at the end of the A-side’s larger musical block and is best understood when heard in the full context from the beginning of the album it stands out as a powerful introduction to what Nemrud represents. The track opens with an energetic drive that immediately draws the listener in, then gradually settles into an impressive groove shaped by the interplay between bass, drums, and guitar. This combination of momentum and atmosphere reflects many of the defining elements of our sound: evolving structures, psychedelic touches, and a strong emotional undercurrent. While At the End of the Day is ultimately meant to be experienced as a continuous journey, “Keep on Slay” offers a glimpse of that world in a concentrated form. If this track resonates with a new listener, exploring the album from the very beginning will reveal the full narrative and musical depth behind it.
“At the End of the Day” stands as a testament to Nemrud’s enduring vision: a band unafraid to confront the darker facets of human experience while weaving an expansive, meticulously crafted sonic tapestry. Through intricate instrumentation, psychedelic textures, and a progressive ethos that honors both tradition and innovation, Nemrud continues to assert their voice on the global stage, reaffirming their position not merely as pioneers of Turkish Progressive Rock, but as boundary-pushers capable of resonating far beyond geographical and cultural borders.
For longtime followers and new listeners alike, this album offers a journey that is as cerebral as it is visceral—a reflection on society, morality, and the individual’s place within the inexorable march of time. In embracing both complexity and accessibility, Nemrud proves that Progressive Rock, when executed with dedication and imagination, remains an art form capable of profound emotional and intellectual impact.
Purchase their new album “At The End Of The Day” on Bandcamp: https://nemrud.bandcamp.com/album/at-the-end-of-the-day