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It’s hard to put Duman under an individual genre, while various influences could be heard throughout their albums — but a grunge experience coupled with Turkish folk themes and a standard Arabic vocal design could somewhat offer an preliminary idea. The hardcore group of fans of Duman could be filled mostly by teens around age 18, however the music group is truly a substantial influence in the present day Turkish rock picture. Although they could not be the first ever to cover Arabic designs or folk tracks, they were certainly the first ever to make such musical techniques large in 21st hundred years Turkey. Duman are made up of three long term people: Kaan Tangoze (vocals/guitars), Ari Borakas (bass), and Batuhan Mutlugil (guitars). The 1st roots from the music group may be within Mad Madam, that was a cover music group with a arranged list filled with tracks from Seattle organizations. Kaan Tangoze and Ari Borakas had been collectively in Mad Madam until Tangoze flew to Seattle to gain a graduate level. Upon time for Turkey with a small number of tracks shaped in the nature from the Seattle picture, Tangoze shaped Duman with Ari Barakos from his previous group and Batuhan Mutlugil from another regional cover music group. After first determining to utilize program drummers, drummer Alen Konakoglu had taken upon this responsibility as well as the group released Eski Köprünün Altinda in 1999. Basic electric guitar lines, catchy choruses, and a romantic method of daily subjects produced Eski Köprünün Altinda a stunning debut in Turkey. “Koprualti,” “Hatun,” “Halimiz Duman,” “Hayati Yasa,” “Istanbul,” and even all of the album’s music instantly became gig faves. “Istanbul” was also highlighted in the documentary film Crossing the Bridge, aimed by Fatih Akin. Second work Belki Alisman Lazim premiered in 2002 and highlighted Cengiz Baysal on drums. With help from much cover from the Sezen Aksu traditional “Herseyi Yak,” the record was a mainstream strike and the music group became another big part of the Turkish rock and roll picture. The recording and following tour spawned many identical rings as Turkish record brands searched for another Duman. Nearly every music on Belki Alisman Lazim was popular, and the objectives for the band’s third recording was sustained. After 3 years, a whole lot of gigs, as well as the launch of live recording Konser in 2004, another installment in Duman’s documented history premiered in 2005: Seni Kendime Sakladim was a far more bluesy and psychedelic and much less catchy record, with fewer tries to achieve well-known strikes. Cengiz Baysal was over the drums once again and Tangoze attempted more politics lyrics. Turkish music authors were divide, as some thought that Duman had been out of tips among others believed that the record shown a newfound maturity. Many gigs around Turkey implemented its discharge.

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