For the 47th chapter of the ECLYPSE INVITES Podcast series an artist from Turkey. He’s one of the founders of ÇARK, a label that embodies the daily struggle for survival, especially in difficult times like the ones the country is going through. He’s also a firm believer of the communicative power of music and we can only trust him and let his set speak. Welcome VARUS!
ECLYPSE: What is your name, age, and where are you from?
Hello, my name is Egemen, I’m 29 years old,I’m from Istanbul
ECLYPSE: Why “Varus”?
“VARUS” was the nickname I used in the online games I played during my childhood. The fact that it comes from that period makes it more special, meaningful, and fun for me
ECLYPSE: What inspired you to produce and DJ and when did you start?
The main thing that motivated me was the desire to tell stories. Before music, I wanted to make films, and I pursued that path all the way to cinematography. But, to be honest, if you want to make films you either need to be very wealthy or not live in Turkey.
As a listener, I began actively exploring electronic music in 2019 and realized how powerful its potential for creating atmosphere was. Being able to create such atmosphere allows me to overcome a boundary, to go beyond words and show what I’ve always struggled to express through language.
That’s why I started DJing in 2022. But over time, especially towards the end of 2024, I began to feel that DJing wasn’t enough to convey what I truly wanted to express. That’s what eventually led me to start producing music
ECLYPSE: What is the meaning behind your music?
We live in a postmodern world, and I’m in pursuit of what cannot be expressed with words. Where language falls short, I seek ways to either show or evoke. This search moves in a direction that resonates with the current state of the world. I follow the sense of alienation brought by postmodernism, intertwined with the eeriness and uncertainty born from mechanization. By following the questions that have always existed within me, I try to create through these emotions
ECLYPSE: Who are the Producers and DJs you are looking the most up to?
When it comes to DJing, I would definitely say Scalameriya. He uses existing material in a completely unique way, creating an entirely new sound and trapping you inside that sonic world. The experience I had when I listened to Scalameriya live is something I genuinely can’t describe with words.
I also really admire Parapher, both as a producer and a DJ. Especially in recent years, he has been blending different genres to deliver incredibly fluid and unique performances. There’s no need to even mention the atmosphere he creates — it speaks for itself.
As for producers, I’d say KRTM, Öspiel, Scalameriya, OPTIMUSS, Gostwork, OMT,jiimi and my dear friend HYS are among the artists who inspire and impress me the most
ECLYPSE: Tell us about ÇARK, we knew something was in the air as Prøpaganda hinted it in his interview, how did it start and what does it represent for you?
ÇARK is the story of an idea.
This story began to take shape in my mind back in 2023. To explain how it started, I need to describe the conditions of that time. In Turkey, collectives were unfortunately not supporting one another—instead, they were engaged in toxic behaviors like blackmail under the guise of being “underground.” The most tragic thing I witnessed was people hiding behind the Antifa flag while collaborating with the police. That triggered a strong desire in me to initiate something. But at that time, I was alone and didn’t have strong connections with others.
Around mid-2023, I met AИGL. It was her first gig in Istanbul, and it was a very powerful performance. Over time, our friendship grew. However, in 2024, due to certain incidents, there were attempts to censor AИGL’s sound. She refused to compromise and continued to play as herself. That integrity deeply affected me. I told her about the idea of ÇARK and proposed we build it together. She embraced it immediately, without hesitation.
We began working on ÇARK in August 2024. From the very beginning, we envisioned it not as a label, but as an ideological movement. Our goal was to step away from the brutality of the capitalist system and create space for people who truly want to produce—space where they can express themselves freely and without constraint.
The name “ÇARK” became especially meaningful in this context.
In its mechanical sense, a çark is a gear—a toothed wheel that interlocks with others, setting systems in motion. We see each individual in this movement as one of those gears. Every person’s contribution keeps the larger structure turning; together, we generate momentum.
Symbolically, ÇARK represents a collective force where each part serves a greater purpose—highlighting unity and resilience. And that’s exactly what we’re trying to build.
In essence, we are trying to spark a mass movement. We are resisting the ideological apparatuses of systems and states by building our own. The only thing we expect from this effort is to help shape a true and grounded subculture—and to reach more people through it.
I know this struggle will take many years. But maybe that’s exactly what building culture really means.
ECLYPSE: What are your expectations for 2025?
My biggest hope for 2025 is to celebrate ÇARK’s first anniversary with a free and independent event—one that aligns with ÇARK’s vision—in a place where there are no visa restrictions and no one is judged for their sexuality, ethnicity, beliefs, or language.
We’re preparing a 4-track collaborative EP with AИGL. Trying to create the best we can is already challenging, but doing it in a way that aligns with ÇARK’s ideology makes it even more demanding — precisely because it needs to reflect ÇARK
ECLYPSE: Do you think Techno as a genre has evolved in the past years?
In the past few years, sound has undergone a remarkable transformation. When I first discovered industrial music — within the 130-135 BPM range — it had a much heavier, deeper, and more patient character. Nowadays, techno as a whole has accelerated, and naturally, the industrial sound has followed suit, becoming more aggressive and high-paced. New subgenres have emerged, and new aesthetics have formed. It’s a natural evolution.
What concerns me, however, is the direction of this evolution. When I look at today’s mainstream sounds, I see a dominance of “impact” elements — explosive, instant-gratification structures. These sounds often seem tailored for quick engagement, especially in DJ sets or on social media. Just a few years ago, there was more narrative, more structure, and more depth in how DJs approached their sets.
Social media plays a major role in this shift. What was once underground can now be easily packaged and turned into a part of pop culture. The urge to commodify moves faster than ever. But I don’t believe these “impact sounds” are built to last. Sounds crafted purely for instant pleasure tend to lose their novelty and become repetitive — and eventually, audiences turn elsewhere.
In my view, the future of sound lies in genre blending — a willingness to experiment across styles while staying true to one’s roots. Artists who can break the mold, who are unafraid to innovate and build a meaningful narrative, will be the ones shaping what comes next. Because sound cannot rely solely on speed or aggression. It must carry meaning, context, and aesthetic integrity. And that requires patience, depth, and a clear vision.
I’m one of those who believe in that vision.
ECLYPSE: How is your local DJ scene?
First of all, I want to speak honestly — about the reality of things.
To be completely honest, I believe the local scene is almost entirely shaped by the dynamics of popular culture. Talent, innovation, or artistic vision rarely determine who gets a platform. More often, it’s about who you know or how much profit you can generate for someone else.
From a technical standpoint, things aren’t in great shape either. Venues, sound systems, and organizational structures are often inadequate. There are many collectives operating under the “underground” label, but their motivations are rarely about preserving or contributing to underground culture. Some of these so-called collectives — and I’ve witnessed this firsthand — even go as far as reporting each other to the police just to protect their own interests.
All of this leads me to one conclusion: it’s very difficult to imagine a sustainable future for this music culture in Turkey right now. The scene is heavily driven by fast consumption. Will something shift in the industrial soundscape here over time? I honestly don’t know. But under these conditions, ÇARK is not — and will never be — a Turkey-centered project. It is a globally oriented platform, one that moves with intention and refuses to compromise its values.
Trying to build something meaningful in Turkey is extremely challenging, especially within this genre. I believe this difficulty is closely tied to the collective mindset of the society. There is a tendency to consume rather than to create, to accept rather than to question. Unfortunately, this reflects not just in the producers, but in the audience as well. When most listeners are driven by fast consumption, it’s nearly impossible to cultivate a long-term cultural ecosystem.
The truth is painful — but it cannot be ignored.
And our path is shaped not by denying that truth, but by confronting it head-on.
Thank you so much for accepting ECLYPSE’s invite, we are looking forward to promoting your music in the future on our label, we are honored to have you here!
Listen to 𝐄𝐂𝐋𝐘𝐏𝐒𝐄 INVITES: VARUS on SoundCloud now!
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