Additionally, the songs "Yola Devam" and "Apayrı", which Yener performed together with Ege Çubukçu in her concerts, both entered the radio charts.

After releasing her debut album Senden İbaret (2000), followed by Sen Yoluna... Ben Yoluma... (2002) and Aşk Kadın Ruhundan Anlamıyor (2004), many songwriters and fans started to develop a sense for Yener's preferred musical style.

[1][2] The real hallmark of these pieces was their lyrics, which were mostly about an ended love after which Yener would be portrayed as a strong woman despite the separation and her hatred for her ex-lover.

[3][4] Emphasizing that the loser after the end of this relationship was the guy, these lyrics constituted the "classic Hande Yener concept" according to Hürriyet Kelebek columnist Sadi Tirak.

[5] Altan Çetin, Alper Narman and Fettah Can wrote and composed different pieces that created this concept of "a woman who leaves and doesn't look behind" in her first three albums.

[7][8] Additionally, she said that after the release of her third studio album, which included her hit song "Kırmızı", she entered a state of unrest due to her repetitive musical style.

"[1] According to Michael Kuyucu, "the daring lover [in the previous albums] has been replaced by a person who misses her loved one and continuously laments for his return.

"[23] The opening track, "Yola Devam", is an electronic dance piece written and composed by Ertuğ Ergin that starts with the lyrics "Yıkıldığın her an (Every time you fall) / Yok olmadığına şükret (be thankful that you are not destroyed) / Kalk, aynalara bak (get up, look in the mirrors)" and continues with the theme of holding onto life.

It has a lower rhythm compared to the songs that precede it in the album, and its lyrics state that being alone on Valentine's Day doesn't necessarily matter or mean anything.

In the photos, Yener wore a dress decorated with white stones and supplemented with a black tulle in the chest area resembling a butterfly.

[31] The increasing use of the Internet was an important factor for this sudden price reduction, as with the music piracy on rise the audience would not spend money to buy albums anymore.

[41] Henwood was influenced by the lyrics "Bu kız saf, kötülük yok içinde (This girl is pure, there is no evil inside her)" while working on the video's script.

[45] The second music video was shot in a seaside town near Rome for the song "Aşkın Ateşi" following a survey conducted on Yener's website by fans.

[51] In the video, Yener wore handmade and hand-painted geisha costumes, and its theme was concerned with demonstrating the pain of love in parallel to the lyrics.

[54] Aside from the three songs for which separate music videos were released, "Yola Devam" and "Apayrı" managed to make their way into some national radio charts.

[57] On 4 February, she appeared in Okan Bayülgen's program Televizyon Makinası on Kanal D and shared information about the album with the audience and performed a number of her new songs.

[59][60] Çubukçu later accompanied Yener on the same song at the promotional concert of the album, which took place on 10 March at the TİM Show Center in Maslak.

Yener took the stage with Tan Sağtürk and his dance team in these parties, which continued throughout the summer months in various cities in Antalya, İzmir and Muğla.

[68] Yener appeared on the stage alongside dancers from the contest Benimle Dans Eder misin?, and again performed the song "Apayrı" together with Ege Çubukçu.

While the dance-style infrastructures of the pieces and Yener's collaboration with other artists on the album were generally appreciated and praised, reactions to her new musical style were mixed.

"[72] Writing for Sabah, Oben Budak commented positively on the work, adding "While Pop is going through a vicious circle that doesn't astonish anyone, Hande is constantly choosing a new way to renew herself and her music, regardless of the whole [community].

[12][73] Writing for the Günaydın supplement of Sabah newspaper, columnist Rahşan Gülşan was disappointed with Yener's change of style, and found her new vocal techniques strange, adding that the "Hande image" created through the years was ignored.

"[2] Writing for Gala magazine, radioman Michael Kuyucu also criticized Yener's change of musical style and her "docile" vocal techniques.

While evaluating the album as a "light stumble" in her career, he stated that the songs contained "a perfect sound, vocal and clean tone".

Evaluating the album's performance in the year it was released, Michael Kuyucu wrote, "It sounded a little bit stupid, but it did not fully affect the artist.

Because the community and radios featured songs from the album like "Aşkın Ateşi", "Yola Devam" and "Kim Bilebilir Aşkı", which resembled her previous hits and continued its path in full spate.

"[24] Yener herself made a similar statement by mentioning that the album was "not well-received initially", but later some of its songs like "Kelepçe", "Kim Bilebilir Aşkı", and "Aşkın Ateşi" became hits.

[75] Tolga Akyıldız evaluated the album and wrote, "It wasn't a sound that could be easily accepted by former Hande Yener fans.

"[76] Writing for Dikkat Müzik website, radioman Olcay Tanberken described Apayrı as "an exceptional above-the-line album which that had its name carved in both Yener's career and Turkish pop music.

"[88][89] Serhat Tekin, also from the same newspaper, indicated that he found Yener's new album Carpe Diem (2020) successful by describing it as the "2020 version of Apayrı.