Yaman Palak is a Swiss Expatriate, born in Zug Switzerland to a Turkish-born father and a Swiss/Russian mother.

Next to performing live as a solo artist, Yaman Palak composes music for film/TV.

Yaman Palak is a composer and music producer based in Queens NY. At times Electronica and other times Ambient, Yaman’s music invites the listener to cinematic atmospheres, seductive and liberating. 

“As a composer, I’m interested in creating captivating cinematic atmospheres that are inviting and hypnotizing. I’m trained to compose in various styles of music (Cinematic, EDM, Pop, Rock, Classical, and more). When writing music, I created signature tracks scored towards the clients' unique needs. I’m able to create fully mastered cinematic tracks at my production studio with a fast turnaround. As a professional composer and music producer, I’ve worked for short films, radio, music recording studios, and more. Among my clients are DuArt Media Services, Recorded Books, National Library of Congress, Clocktower Productions, and more. I’ve composed the score for Timo Shaub's short film 'Eros' that was awarded the second prize at the Lucerne Festival Short-film Competition in 2010.”

See Yaman Palak’s video reel on this homepage for work samples. Yaman Palak is always excited to receive new film/TV scoring assignments. Reach out with inquiries via email at yamanpalakmusic[at]gmail.com



                Artist Statement


Yaman Palak, Mills College Oakland, CA, 11.19.11


Getting acquainted with the realm “music practice” as an autodidact in my early youth enabled me to explore my creativity without boundaries. My environment at that time did not impose any musical trajectory; rather it challenged me to strive for creative retrieval. My involvement as a guitarist and singer in a rock band was an important exposure that influenced the forming of my musical perception. We created our pieces by composing and arranging together, thus the process of creating music and performing music was inseparable. Equally, my early involvement with “music practice” combined creating and performing music simultaneously. 

I have maintained this deductive approach towards my music creativity. It enables me to compose music while maintaining my role as a performer and perform music while maintaining the role of a composer. In order to voice a composed thought I have to be able to express/ perform it. This interconnectivity is represented in the term “music practice” that I have introduced above. 

The term “music practice” also voices my aspiration to approach music with its integrity. In order to encounter my “music practice” without judgment, I try to disintegrate musical idioms. The composite palette of musical options liberates me to choose material intuitively. However, the challenge is to distill the appropriate material for every practice anew.  

I consider the forming of my musical perception dynamic rather than static. It can be described as a fluctuation between anticipation and regression, a negation of progress, the flourishing of the ever-present, and an affirmation of the atemporal.