There is something magical about the way Nilipek writes her songs. Her music floats but never drifts away. It is light but never simple. It wraps itself around your thoughts softly, and then gently tightens its grip. With Uydurduğumuz Oyunlarla, her fourth and most striking album to date, Nilipek has given us something fragile and firm, full of clarity, complexity, and an unmistakable sense of soul. Released in May 2024 after a four-year break following Mektuplar (2020), Uydurduğumuz Oyunlarla (translated as The Games We Made Up) is an album that whispers truths and sings rebellion. It is about the lies we believe, the roles we play, and the silent revolutions that happen inside us. But make no mistake, this is not just poetry set to music. It is an intricate, layered, musically adventurous work, blending alternative pop, dream pop, indie, and a subtle current of Turkish ethno elements. It is a record that invites deep listening and rewards it richly.
The first thing you’ll notice is her vocal performance. Nilipek.’s vocals are soft, but they command absolute attention. They guide each song with melodic precision and finesse. Her tone is crystalline, dreamlike. But it carries weight. You don’t just hear her singing, you feel her presence in every syllable. Her voice moves with intent, like a careful storyteller tracing lines in the air. The guitar works are angular, jangly, and elegant. Each riff feels carefully considered, each chord progression familiar yet fresh and unique. There’s a brightness to the playing that recalls the best of indie pop, but underneath it, a tension that hints at something much deeper. The guitars shimmer and echo, sometimes gently distorting, intertwining threads between melancholy and hope. They carry emotion like the wind carries scent, light, invisible, unforgettable. Synths are everywhere, yet never overdone. They offer ambiance, color, and texture. Sometimes they bloom into full melodies, other times they haunt the background like distant memories. The production is modern and delicate. It understands space. Nothing is cluttered. Each electronic element serves a purpose, sometimes to lift, sometimes to stretch, and sometimes to dissolve entirely into silence.
Uydurduğumuz Oyunlarla’s strength also lies in the interplay between instruments. Strings and brass appear not as ornaments but as voices that demand attention. There are passages where a lone horn or violin line feels like they’re speaking directly to you, carrying a message too subtle for words. It’s rare to hear arrangements this intuitive and restrained. The drums, both live and programmed, are crafted with care and sophistication. There’s a delicate balance of control and play. Some beats are crisp and minimal, others more experimental, with polyrhythmic breaks, smart fills, and subtle shifts in tempo that make these songs feel more alive. Additional percussion adds texture, often with a quiet nod to Turkish musical traditions. These moments don’t shout, they shimmer at the edges, offering heritage as atmosphere rather than instruction. The basslines are the invisible architecture of this world. Rich, melodic, and deeply supportive, they serve as glue, binding guitars, synths, and drums with quiet strength. The bass never tries to outshine, but its presence is always hearable. It anchors everything in place, giving the album its grounded feeling even as the melodies drift into dreamscapes.
Lyrically, the album is introspective and political, poetic and pointed. Sung in Turkish, the words are soft in sound but sharp in meaning. Nilipek writes with an elegance that doesn’t demand understanding, it offers a deep dive into many meanings The songs speak of independence, identity, and illusion. She sings of what we hide from ourselves, and what we invent to survive. These are songs written for anyone who has ever felt stuck inside a version of themselves they didn’t choose. And yet, for all its conceptual ambition, Uydurduğumuz Oyunlarla is never heavy-handed. It floats. It flows. The pacing of the album is near perfect. Eleven songs glide by in 45 minutes, with transitions so natural you barely notice the shift until the next mood has settled in. The structure is fluid, like a river cutting through a quiet city. You’re never jolted, only moved. The production, co-handled by Nilipek, Berkay Küçükbaşlar, and Taner Yücel, is utterly superb. Every detail is accounted for. Every sound feels placed with care. It is a clean, atmospheric, deeply modern production that still allows for warmth and breath. It respects silence. It trusts the listener to feel what is unsaid.
This album, more than any of her previous work, feels like a declaration. Not of power, but of presence. Nilipek sounds more confident, more free, and more herself. Her musical evolution, from the minimalism of Sabah, through the more textured explorations of Döngü and Mektuplar, has led to this point, where complexity and clarity finally meet. It is no surprise she called this her most independent record. By the end of the album, you feel like you’ve returned from somewhere. Not far, but deep. You’ve walked through quiet streets. You’ve visited old wounds. You’ve danced alone in your room. You’ve imagined a new life. And maybe, just maybe, you’ve let go of a few made-up games. Uydurduğumuz Oyunlarla is more than an album, it is a beautiful offering. A soft revolution. A quiet victory. This is a record to sit with. To return to. To memorize by heart. And it may just be one of the most beautiful alternative/indie pop albums of 2024.
Thoughts Words Action 