The Singles Jukebox

Ethno-pop semi-banger alert!

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[6.29]Leonel Manzanares de la Rosa: Turkish ethno-pop, Serbian turbofolk, Romanian manele and Bulgarian chalga are scenes that constantly steal from each other, i get it, but “Mor” sounds like it all that borrowing went too far and now there are no distinct elements.
[4]

Iain Mew: The song is the perfect blend of easygoing sway and energetic banger, Yener is as smooth as she is powerful, and it’s only the couple of moments when the blaring synths from the chorus are allowed to cut right through that it becomes clear how much they were pushing the whole thing from the background.
[8]

Ryo Miyauchi: While the tight shuffle of a production demands a sharp vocal workout, Hande Yener hangs back. Her looseness speaks to a more effortless cool alongside the heated dance thump. She loosens up even more to prep for a chorus, taking it in fully as the beat opens up too. The combo of the acoustic strum and her swagger is an enticing way to set up a scene, even if she gets outdone by the beat when the chorus actually does arrive.
[7]

Alfred Soto: The interaction between traditional melodies and electronic gewgaws makes for compelling music, and this Turkish singer projects the necessary sultriness.
[6]

Will Adams: Even if the chorus melody ends up being the least compelling aspect, “Mor” features some of the more impressive guitar-and-synth relationships I’ve heard recently.
[6]

Edward Okulicz: “Mor” is a pretty straight-forward ethnopop dance track with verses that promise a belter of a chorus that doesn’t quite come. I’m fond of quite a lot of this sort of thing that comes from south-east Europe, and Turkish pop sits nicely at the end of a highly listenable continuum. Sure, it’s stuck in one gear for the whole running length, but it is at least in a pretty groovy gear.
[6]

Scott Mildenhall: This could carry more of a kick, if Yener were to go for broke with one or two overlong notes, or the track were to dramatically drop out before one of the choruses, but it gets by fine without the need for that kind of showing off. Each constituent part is steady to the point of repetitiveness, but the subtle rhythmic juxtapositions between them are quickly attention-grabbing in a more stealthy way.
[7]