Peki Momés

Defining Peki Momés’ self‑titled debut album as “a breath of fresh air” might seem paradoxical for a project that feeds with conscious emphasis on vintage aesthetics: funk, the dancefloor, and references to pop sounds of other times. Yet the Turkish artist based in Germany stands out for her ability to reformulate past sonic legacies into an expressive and contemporary language. Her music blends naturally sounds and rhythms from different eras and latitudes using a sonic grammar of its own. The result is a sound that gives the impression of looking beyond the obvious, while still delivering familiarity in listening.

At the heart of the entire project is “Göç Mevsimi”, a track that shows how the singer can balance danceability and refined production with equilibrium, with its enveloping groove and calibrated arrangements it is one of the most interesting tracks of the past year. At the same time, “Rüya” confirms this attitude: its hypnotic drive and melodic path have drawn international attention, to the point of earning airplay overseas on Iggy Pop’s radio show.

Through the rest of the album, more contemplative moments alternate with others that keep the overall energy alive, highlighting the cohesion of a project conceived in its entirety. In “Masmavi” Peki Momés’ ability to let psychedelia and disco flow with elegance stands out, thanks to well‑measured synthetic textures and melodic lines that always keep alive the contrast between lightness and depth. On the other hand, “Yaşlı Dünya” seems rather to pull the listener into a hypnotic vortex, more than inviting them to dance, then gradually bringing out Eastern‑tinged sonorities and timbral nuances that transform the track into an ambiguous and evocative experience. On the more playful side of the album, “Oyun” takes on an interesting role also for its explicit stylistic nod to Japanese city pop sounds. Indeed, Peki Momés has repeatedly acknowledged the influence of Japanese artist Akiko Yano on her work and in “Oyun” this heritage emerges in a play of harmonic lines that glide between dance‑oriented electronic sparkles and jazz‑flavored phrasing. The ending is also convincing, oscillating between the lyrical tension of “Bahar” and the closing track “Laleler” which, with its Anatolian grooves and its funk‑psychedelic impulses, reprises the main stylistic directions of the record.

Overall, Peki Momés does not reach spectacular peaks beyond the key tracks already mentioned, yet it remains coherent and qualitatively solid from beginning to end, with a well‑defined artistic vision that sacrifices neither expressive intensity nor stylistic unity. The Turkish artist is already at work on her next album and we are curious to see how she will further evolve her sound language.

16/01/2026