Produced by : Erdem Helvacioglu
Composed by : Erdem Helvacioglu
Recorded and edited by : Erdem Helvacioglu
Mixed by : Erdem Helvacioglu
Mastered at : Le Laboratoire Central
Photos : Jakob Polacsek
Design : Mountain
Date : 2012
Format : CD
Record label : Sub Rosa
Erdem Helvacioglu :
Togaman GuitarViol, Gibson Les Paul electric guitar, sine waves, various analog pedals and hardware fx processors
"Timeless Waves arguably sets him among the likes of Fennesz, Stian Westerhuis, and Keith Fullerton Whitman in terms of his innovative use of guitar and electronics...For those who've grown wary/weary of processed guitar, Timeless Waves might just renew your faith in the medium. Helvacıoğlu's palette is wildly varied, challenging, yet always beautiful."
Nick Storring, Exclaim Magazine
"A splendid opportunity to fill that gaping chasm in your collection marked ‘Turkish sound-art."
Kev Nickells, Freq magazine
"Helvacioglu’s subtly engaging guitar work and masterful use of effects keep things interesting throughout. Imagine tapes of Pink Floyd and Derek Bailey cut up and transformed into musique concrète by Pierre Schaeffer."
Barry Cleveland, Guitar Player magazine
"Having heard this disc I feel like I have to check out more of Erdem Helvacioglu’s stuff. Seek this out, it’s worth it."
Mike Griffin, Foxy Digitalis Magazine
"What Erdem Helvacioglu made in "Timeless Waves" is not a pretentious mapping of emotional world or an act of bumptious omniscence, as it's more correct to think about any track as sonic ganglions where many sketches are joined together in order to shape six emotional spheres, which are connected each other by trusses of neural connections and reticular bridges."
Vito Camarretta, Chain D.L.K Magazine April 2012
"Joy, the last piece of Helvacioğlu’s cycle, delivers exactly the kind of iridescent burst its name implies. Suggesting the kaleidoscopic sprees of Ecstatic Sunshine or the less weighty pieces of the Books, Helvacioğlu turns a playful guitar line into a neon ouroboros, letting it devour its tail time and again, the riffs locking into a rhythm that favors compulsory movement. The fun eventually fades into a sunset of noise, but then it returns again, slightly faster and smiling wider, dancing itself triumphantly into the distance."
Grayson Currin, Pitchfork Magazine April 2012