Released in 1994, the second album by Tarkan established the singer as a star not just in Türkiye but Western Europe—a rare feat. Lush, polished but playful, the music here splits the difference between international pop and Turkic traditions, resulting in slyly progressive hybrids like “Şeytan Azapta”, which opens with a folk march before steering into something that sounds like Prince; or “Eyvah”, which blends Middle Eastern music with clubby, electronic textures—a sound that modernised the past without breaking from it.