Pola (aka Norbert Dunai) has carved a unique space for himself in the electronic music scene as a DJ, the head of All Inn Records, and as a producer.

After conquering the Hungarian club circuit in his early years, he moved to Transylvania in 2007 where he was impacted by the contemporary house and techno movements of the area. His residency at Club Midi opened the door to receptive audiences and extended parties as he honed his signature style, fusing trippy melodicism with brawny grooves. 

He launched All Inn Records in 2009 which quickly grew into a platform for bright and innovative talent in Europe. All Inn has since expanded into three sub-labels, each catered to a different shade of house and techno. Pola’s constant search for musical ambition paired with an entrepreneurial spirit has built All Inn into one of the most respected independent electronic labels. 

In 2014, he began releasing productions, appearing on his own imprints and as a guest artist on labels including AKU, Bass Culture from France and Finale Sessions from the USA. Drawing inspiration from the cities he frequents—Berlin, Cluj Napoca, and Budapest—his keen sense of communal connection translates to intimate dance floors all around Europe.

- DISCOGRAPHY - 
All Inn 021 - Polarize - Time For Rucades EP - 12" - March 2014 
Larm – V.A – 001 - Polarize - Kindergarden - 3x12" - nov 2015
Scenario 006 – V.A. – Pola - Spy In The House - 12" - sept 2016
All Inn 026 - Pola - XXXIII (incl. Altitude Remix) - 12” - sept 2016
All Inn Limited 006 - Digger’s Daughter / Bypass - 12” - oct 2016
Finale Sessions 034 - Pola - ThirtyFour Sessions Ep - 12” - april 2017
All Inn 027 - Halo Varga - Future (Re-issue + remixes incl. Pola Remix) - 12” - june 2017
AKU 008 - Pola - Kuku Ep - 12" - nov 2017
Nilla 012 - Pola - Le Petit Panka Ep (incl. Arkajo Remix) 12" - april 2018
All Inn 030 - Laylla Dane - Tropical Dar Ep (incl. Pola Re-Ishmael Edit) - 12” - july 2018
All Inn Black 021 - Pola - Mio Hill Ep 12" - oct 2018
Bass Culture LTD 006 - Pola - Rise Above The Clouds  - 12” - nov 2018
VQSE014 - Theoretical Speed ‎– 40 Grams Of Latency (incl. Pola's Trumpless Remix) - 12” - may 2019
All Inn - X (Featured track Pola - Yellow) - 4 x 12" - oct 2019

メンバー

■ism(guitar,songwrite) 
http://www.facebook.com/ism126
https://twitter.com/#!/ism126
http://namida.biz/
■松村悠史(vo,bass) 
http://www.facebook.com/profile.php?id=100002060665886
https://twitter.com/#!/MATSU_CHANG  
http://angstromusic.bandcamp.com/
■モックン(drums)
■ヒラマツ(guitar,cho)
■ハメスギ(key,cho) 
http://www.facebook.com/profile.php?id=100002104365625
https://twitter.com/#!/mugiposan

バイオグラフィー
1999年、バンドのソングライターであるismを中心に四国は徳島で結成。複雑にパートチェンジ、メンバーチェンジを繰り返しながらも、徳島という辺境の地をホームに、県内外を問わず止まることなく積極的に活動を展開。

エモ/ポストロック/オルタナ/音響/ローファイ果てはノイズまで、あらゆるインディーロックを通過し、影響を受けるも、最近ではソウルやフュージョン、ハウス、ヒップホップやエレクトロニカなど様々なクラブミュージックに傾倒。さらには歌謡曲(特に80年代や90年代)、アニメ音楽やゲーム音楽の要素も取り入れながらも、唯一無二の純然たるポップネスを目指す。それらを一言にまとめるのは相当面倒なので、総称して自らセンチメンタルロックと名乗る。意味合いとしては、聞いたままセンチメンタルなメロディーと歌詞、あくまでロックな精神的なスタンスに由来する。

2002年より渾身の自主企画「消え去るより燃え尽きた方がいい」(略して消え燃え)を発足。自分たちが本当にかっこいいいと思える音楽のみという、ごくシンプルな一点のみにこだわり、毎回全国各地から自らブッキングし、地元徳島に多彩なゲストを招聘。主なゲストとしてはBEAT CRUSADERS/nine days　wonder/toe/54-71/COMEBACK MY DOUGHTERS/bandwagonなどなど。現在までに20回を迎える。

2004年10月に神奈川のインディーレーベルより初の単独音源となる1stミニアルバム「twice told twilight」を発売。それに伴い全国ツアーを敢行。と同時に平行してレコーディングを開始。2005年6月にthe chef cooks meとのスプリットCD「○+○+○○+○」(音と音)をヤマハ“CREAGE”からリリース。その後、BEAT CRUSADERSの四国ツアーサポート、そしてスプリットリリースツアーを展開。同年10月には待望のフルアルバム「the DANCER from FLASH BACK CITY」を同じく“CREAGE”から発売。このアルバムには、当時デビュー直前だった同郷の星・チャットモンチーの橋本絵莉子がゲストコーラスとして参加。

2006年8月、オーディエンス総数3万人を超え、国内のそうそうたるアーティストが出演する四国最大の野外フェス"MONSTAR baSH'06”に参加。

2007年2月、スウェーデンのエモプリンス“Last Days Of April”のトリビュートアルバム「tribute to Last Days Of April」に参加。バンド名と同タイトルの名曲をカヴァー。3月、 BEAT CRUSADERとSASPARAGUSのスプリットツアー “NIGHT ON THE PLANETARIUM”の愛媛公演にゲスト参加。

2007年9月、淡路島で行われたBEAT CRUSADERS主催の野外フェス“BOYZ OF SUMMER 07”に参加。lostage、the SHUWA、veltpunch、soulkidsなど、盟友のレコ発ツアーを各地でサポート。

2007年10月、メンバー脱退のため活動休止。様々な事情から名目上はismのソロプロジェクトへとシフトするが、事実上解散となる。ismは現在NAMiDAというユニットで活動中。

開催イベント 
消え去るより燃え尽きたほうがいい
2002.02.23
第01話 ＠大阪/難波GATE3
w/
・the T.V. DINNERS
・the guitar plus me
・minority blues band
・hush puppy

2002.07.06
第02話 ＠京都/西院OOH-LALA
w/
・toe
・working class hero
・beirut5
・frange

2003.08.16
第03話 ＠徳島/徳島JITTERBUG
w/
・NINE DAYS WONDER
・toe
・picket go north
・hush puppy

2003.12.13
第04話 ＠徳島/徳島JITTERBUG
w/
・BANDWAGON
・RAYMOND TEAM
・up and coming
・picket go north

2004.02.07
第05話 ＠徳島/徳島JITTERBUG
w/
・kiwiroll
・the guitar plus me
・fahners witch
・hush puppy

2004.05.02
第06話 ＠徳島/徳島JITTERBUG
w/
・BANDWAGON
・JOURNAL SPY EFFORT
・the sunset boulevard
・nooonehelpsme

2004.06.26
第07話 ＠徳島/徳島JITTERBUG
w/
・comeback my daughters
・dip leg
・minority blues band
・hush puppy

2004.08.20
第08話 ＠徳島/銀座CROWBAR
w/
・JOURNAL SPY EFFORT
・miaou
・25M FLOATER
・forget me not

2005.04.22
第09話 ＠徳島/銀座CROWBAR
w/
・the chef cooks me
・avengers in sci-fi

2005.06.11
第10話 ＠徳島/銀座CROWBAR
w/
・SEIKI (NAHT)
・LITE

2005.08.06
第11話 ＠徳島/銀座CROWBAR
w/
・54-71
・NINE DAYS WONDER
・the chef cooks me

2005.10.09
第12話 ＠徳島/徳島JITTERBUG
w/
・CRIME IN CHOIR (ev.AT THE DRIVE IN,31KONTS,HELLA/US)
・SHIFT

2005.12.09
第13話 ＠大阪/千日前CLUB WATER
w/
・the chef cooks me
・soulkids
・LITE

2006.02.11
第14話 ＠徳島/徳島JITTERBUG
w/
・BEAT CRUSADERS
・ザマギ
・三木祐司

2006.06.03
第15話 ＠徳島/銀座CROWBAR
w/
・kuh
・he

2006.08.28
第16話 ＠徳島/銀座CROWBAR
w/
・the SHUWA
・LITE

2006.11.03
第17話 ＠徳島/銀座CROWBAR
w/
・soulkids
・DRUGA

2007.01.26
第18話 ＠徳島/銀座CROWBAR
w/
・ala
・DOOKIE FESTA
・ミゾオチ

2007.02.12
第19話 ＠徳島/銀座CROWBAR
w/
・the chef cooks me
・poly ABC
・asphalt frustration

2007.09.24
第20話 ＠徳島/銀座CROWBAR
w/
・soulkids
・maegashira

------------------------------



2004.11.13
release show ＠徳島/銀座CROWBAR
w/
・パレン
・hush puppy
・F-C large selection'
・and more...

2005.02.26
final ＠徳島/銀座CROWBAR
w/
・he
・me

------------------------------



2006.04.30
1 ＠徳島/銀座CROWBAR
w/
・comeback my daughters
・lostage

2007.03.03
2 ＠徳島/銀座CROWBAR
w/
・RAZORS EDGE
・locoflunk

------------------------------



2005.04.29
1 ＠徳島/銀座CROWBAR
w/
・BANDWAGON
・anchorsong

2006.07.17
2 ＠徳島/銀座CROWBAR
w/
・NATURE LIVING
・forget me not

2006.09.16
3 ＠徳島/銀座CROWBAR
w/
・TRADEMARK
・poly ABC

2006.11.20
4 ＠徳島/銀座CROWBAR
w/
・TRACER AMC (アイルランド)
・miaou

2006.12.02
5 ＠徳島/銀座CROWBAR
w/
・ズボンズ

2007.01.13
6 ＠徳島/銀座CROWBAR
w/
・BANDWAGON
・HOLSTEIN

2007.03.10
7 ＠徳島/銀座CROWBAR
w/
・MAEGASHIRA
・ヒツジツキ

2007.04.28
8 ＠徳島/銀座CROWBAR
w/
・ヒツジツキ
・STRANGE FURCOAT

2007.05.06
9 ＠徳島/銀座CROWBAR
w/
・SHIFT
・ヨルズインザスカイ


------------------------------

TAILGATE × カクバリズム

2005.06.24
＠徳島/銀座CROWBAR
w/
・チャットモンチー
・SAKEROCK



DISCOGRAPHY

ALBUM / MINI ALBUM / SINGLE


■SUMMER FANG SUMPLER / single CD-R
2007.09.16 / 0yen (taxin) / SASA001 / SAYONARA SAYONARA rec.

01 音羽リリカル (ver.2.0)

------------------------------


■the DANCER from FLASH BACK CITY / 1st full album
2005.10.05 / 2.415yen (taxin) / YMCC-1013 / CREAGE

01 バナナフィッシュにさよならを
02 24時のイントロダクション
03 想い出重奏プリズム(instrumental)
04 白線(from FLASH BACK CITY)
05 八月のレベレント
06 トゥエルブ
07 ラストナイトライト
08 夜間避行(instrumental)
09 永遠に近い午後のスローモーション
10 赤い逆光(from FLASH BACK CITY)

------------------------------


■twice told twilight / 1st mini album
2004.10.09 / 1.400yen (taxin) / SL2 / sunsetlife records

01 白線
02 さよなら夕立ペイブメント
03 蒼違
04 赤い逆光
05 何も始まらなかった一日の終わりに

------------------------------

VA / SPLIT


■TRIBUTE TO LAST DAYS OF APRIL / VA
2007.02.21 / 1.890yen (taxin) / XQAF-1010 / EVOL RECORDS

01 All will break / nature living
02 BITTER TASTE / VELTPUNCH
03 Will the violins be playing? / reach up to the universe
04 Somehow / PINKLOOP
05 Off the cliff / even
06 Too close / The feather side
07 playerin / everyday, it's like a carnival (From AndMarkHer)
08 Last Days Of April (Early 90's Style) / mule

------------------------------


■RULE SOUND 2 / VA
2006.02.08 / 1.500yen (taxin) / ZNCA-1009 / THE NINTH APOLLO

01 SATISFACTION / BRAZILIANSIZE
02 花鳥風月 / BUZZ THE BEARS
03 SIXTH SENSE / LODGER
04 monotony / the whisper
05 残像 / GENERAL HEAD MOUNTAIN
06 BORN 2 DIE / Dogma
07 SaNa / 大車輪
08 アナログサンセット / the chef cooks me
09 wonder / vivid branch
10 永遠に近い午後のスローモーション / mule
11 キンモクセイ / MUSHAxKUSHA
12 夏の空 / SEGARE
13 NEW GENERATION PUNX / DISCRUNCH
14 Close to you / mfd
15 無敵のGOAL GETTER / SCHOOL YOUTH
16 Dynamite / DUB SACK
17 winding road / EDGE OF SOUL
18 Baby Sleep Tonight / CARAMELMAN
19 YOU GO GIRL / PAMPAS FIELD ASS KICKERS
20 NUMB NATION / G-FREAK FACTORY

------------------------------


■○+○+○○+○ / split with the chef cooks me
2005.06.29 / 1.400yen (taxin) / YMCC1012 / CREAGE

01 バナナフィッシュにさよならを / mule
02 トゥエルブ / mule
03 Sunrise / the chef cooks me
04 アンブレラ / the chef cooks me

------------------------------


■HERE COMES THE BOTTOM LINE... / VA
2004 / 1.200yen (taxin) / imps-03 / impulse records

01 12 / mule
02 The day / BUTCH
03 Issues persecute us / DRIFTAGE
04 足跡 / INFRO
05 独り / INFRO
06 Bombed like this stereo / THE OXIDE
07 Still / husupuppy
08 Stone won't roll / MINORITY BLUES BAND
09 理想も忘れて / forget me not
10 光の日々へ / HALKA GOAT

------------------------------


■heartstrings / VA
2002.04.10 / 1.200yen (taxin) / HS-01 / heartstrings records

01 極東の孤児 / ESCALATERS
02 灯火 / ESCALATERS
03 Perfect Weekend / Random Hearts
04 Secret All Night Long / Random Hearts
05 tender tender / mule
06 Romansick / mule
07 シカク / blue sky resemble sorrow
08 カンカク / blue sky resemble sorrow
09 YOUR CHOICE / VIBRATIONS
10 夜 / VIBRATIONS
11 Subdued Light / nature living
12 Afterthought / nature living
13 sensual gray / NILESTITUS
14 dogs in the millor / NILESTITUS

------------------------------


■TEARDROPS / 3 way split with husupuppy & 11sus4Liverty
2001. / 500yen (taxin) / TD1 / TEARDROP records

01 daylight sleeper / mule
04 Romansick / mule

------------------------------

DEMO TAPE


■teice told twilight

01 Romansick
02 she
02 late in the day
04 late in the day : solid ver. (bonus track)

------------------------------


■No Love In Town And Summer People (smell of the Footlights)

3 tracks

------------------------------


■1st DEMO (smell of the Footlights)

4 tracks

As my profile suggests, my name is Alexander Buccheri. I don't claim to be yet another guy who has revolutionised the dance/electronic scene or attempt to impart some self-styled sense of importance through a 3rd-person description. In essence, I love production, making intricate beats, melodies and fusing detailed composition with euphoric melodies. My current "day job" is studying for a PhD in computational physics which is unexpectedly time-consuming but if I can continue to interact through an extended network of like-minded people, hopefully I'll make myself sufficiently accountable to get ~50+ unfinished tracks and constant new ideas out there. 

See below for a mini-bio of my journey through music production and sound design (written in 2010):

I began producing music at the age of 13 after I heard "Spy Break" by the Propeller Heads on the film "The Matrix", with the aim of producing breakbeat as an alternative to playing the drums (which I never got). From an even earlier age I was listening to a wide range of dance music including PvD, Sasha, orbital etc and liked the idea of cross-pollination of genres (much like Hybrid does now). I owe a lot to the Wipeout 3 Soundtrack. 

The same year I was lucky enough to get hold of a cracked copy of Logic 4 Pro and taught myself how to use it on my old Model 2 iMac. Largely thanks to my Dad's expansive taste in music I was exposed to alot of different genres at this age, notably experimental breakbeat and DnB. I still consider Photek to be the out and out master of DnB with his seminal track "The rings around Saturn". This was still an exciting time for dance music, especially trance and much of that musical era 1995-2005) has formed my overall taste in music and seriously contributed to the direction my productions take. 

I've been producing for 9 years now but slowed down during my A-levels and ground to a halt in the last 2 years of my degree (of which was 4 years long). Having recently graduated, I'm now increasing my production rate again and hope to expand my knowledge base past that of Logic, to Ableton Live (which I stopped using on version 3), engage in the live performance of synthetic music and push my creative boundaries.

Somewhere inbetween all of this, I took home an Ableton Live 3 demo from the 2003 Mac show and was exposed to BT (Brian Transeau) who continues to be a pivotal inspiration when arranging and producing my own work, along side big beat acts such as the Crystal Method. 

hi there, i am a bluesman like back in the 1920's and 30's living and surviving from busking...someone whom got tired going along with a system that deliberately does certain elements of mankind down and in particular myself...back in the day it was due to skin colour and if you were brownskinned then you were done down...nowadays the new 'black' is white...it doesn't appear, to me at least, to be a bias based upon race any longer, merely upon the choices the individual makes in their life...if you believe that cannabis is a valued 'erb and economic/energy and food resource that we need to end the usual reason for wars and diminish our reliance upon the habitat destroying oil and paper industries and their affiliates, then you are done down...well i for one know that cannabis/hemp (the same plant) built our present day world and the seed of that plant is also the perfect long-term nutrition for mankind and thats why it's illegal and maligned in most folks minds...basically it suits their agenda to have this opinion amongst the many....gordon brown, the ex deputy prime-minister, was britains largest investor in hemp, why would that be i wonder..?  you figure it out...a clue would be 'jack herer's' book, 'the emperor wears no clothes' read that and you will become aware...anyway enough about why they've done us all down and a little background on me...i came to music  after an abusive childhood, using it as an escape first and foremost... arriving at playing an instrument seriously much later in life as something to learn patience...this was in late 1989, the week the berlin wall came down...i remember this because i was being shown my second chord by my good friend and neighbour, roy millard, a week after being shown my first chord and discussing whether we thought the wall would ever come down in our lifetimes, to which we both said in unison, nah..!  ...we watched in awe as a week later we were sat there and people were destroying it with hammers...since that time i had become an hobby guitarist and 8 years later a builder of high quality acoustic guitars...around 1990 i was exposed to complex ragtime inspired guitar arrangements and begun taking guitar playing far more seriously as a result...becoming proficient in finger-style...  i continued to add new and more complex right hand techniques to my repetoire and this began to add a different flavour and dimension to the tunes i already had in my repetoire and this has continued right up to the present day...the next big change in my playing came about in early 2011 when i was passed information that pertained to the 'goebels' imposed standard diapason of A4=440Hz and suggested i try tuning to 432Hz... as a result of this fella's reputation i gave it a try...i became certain of the veracity of this choice after finding out a considerable amount of info from the 'schiller institute' which backed up what i was told... after virtually re-learning my instrument for most of 2011 and part of 2012 i began soloing anew... so basically i am a bluesman akin to those back in the 1920/30's america, who called 'unfit for purpose' on the system that had subjugated them and caused their poverty, the only difference is i'm not brownskinned, i'm the new 'black'...hope you like the music you listen to whilst here, it is played with love and is me stomping away the blue feelings my life has left me with and hopefully changing the outcome of the suffering and abuse i was affected by, into aural pleasure in the ears listener hopefully, thereby turning around a disaffected life... 
	now for a little on the history of the musical style i play and a brief overview of the origin of the music follows... 
    The “Blues” as a musical form, is probably the best method of soulful expression, musically or verbally, to release the effects of traumas suffered by people enduring terrible or hopeless situations.  With the Pre-war styles being an almost perfect vehicle for those needing an outlet for the frustration, anger or rage that a troublesome and difficult life had built up inside them.  The thud, thud, thud, pounding approach to the finger-picking, allowing the musician to beat out their dis-satisfaction, thereby “stomping away the Blues”.  
    Song has been the chosen method used, throughout the ages, to pass down knowledge or stories from one generation to another or from one geographical area to another.  The “Blues” consist of a simple repetitive rhyming form that was simple to adapt or to verbally improvise with.  Originating on simple one stringed instruments reminiscent of the early banjo and transported to the Americas by traders from Guinea in West Africa, whom were able, because of their physical prowess and experience in navigating some of the worlds fiercest rivers on the African continent, to row across the ocean from West Africa to the coast of South America utilizing the ocean currents.  This hidden history is re-surfacing thanks to the diligent research into early population migrations into the Americas, made possible through archaeology, artefact discovery and DNA. 
    The commonly held belief is that this cross cultural musical pollination occurred solely as a result of the slave trade. Whilst this may be true in part, there were most definitely coloured peoples in the Americas long before Columbus or “slave ships”.  Writings and Artwork prior to the slave era exist depicting both the African facial characteristics and these trader Kings of old, believed to be the origin of the peoples known as the Olmec the precursor to the Mayan culture.  Giant stone heads found in the Americas depict African facial characteristics without a shadow of doubt, these stone carvings even pre-date our present day calendar let alone the “slave ships”.  These elaborately adorned ocean bound traders were known for their gold tipped spears, probably the origin of the name given to the old unit of British currency, the Guinea, as this was the name the traders themselves gave to their gold tipped spears.  It seems that the African forebears of the coloured race were much like their Afro-American cousins of today with their “bling” ;) .  The currency/gold connection is also likely to be one of the reasons why that part of Africa is still known as New Guinea today.  The “Blues”, or more correctly “the Blews”, as a generalized term for describing sadness or low spirits originates from the old Maritime term “the doldrums,” this was the name given to areas of the oceans and the times when there were no prevailing winds to carry the ships so ships would just sit motionless almost, sometimes for days on end, leaving those on board feeling helpless and hopeless, hence the old English Maritime phrase “in the doldrums,” or as it was more commonly known in those days by the Sea Captains of the British Fleet, as “the Blews”.  
    This hidden history aside, the widely recognized present day musical form of “the Blues” is radically different even from the early pre-war Blues, let alone the very earliest blues which sprang from the very primitive single stringed instruments and playing styles which have been traced back to Africa by the study of banjo playing and building techniques.  It's a very detailed and drawn out study and one we haven't the space or time to delve into now, so we'll concentrate on the more advanced blues styles of play from the late 1800's through the turn of the century until the Great Depression of the 1930's, as it's melodies and styling can be shown to have inspired and contributed considerably to most of today's musical offshoots from the Beatles to The Rolling Stones and from Rock to Pop music, or from Jazz to Rap.  All now owe they're present popular status to the roots from which they sprang, “the Blues”.  There are several geographical based differences to the ”Blues” that developed as distinctive styles in their own right.  Chief amongst these and the starkest and most haunting of all are the “Delta Blues” which emerged from the Mississippi delta, though there are some similarities with aggressive “Texas Blues”.  I believe that these stark, aggressive sounds are a reflection of the deeper hardships and suffering experienced by the coloured race in these areas, a result of the extremely hard work and the absolute poverty conditions that were experienced as the daily norm in these industrial and farming areas.  Poor water quality led to blindness being more common in the delta areas and this was why there were so many blind Blues artists, unable to work, they spent most of their time playing guitar on the streets, hence the level of technical skill achieved by some of them.  Rural musicians of the day would try and emulate the syncopations and feel, created in the recorded marching band music or early Jazz that was popular at that time.  “Ragtime” or “early Jazz” was created in part bizarrely, out of fear and racism.  Ragtime was so feared in it's heyday that the press carried insane comments such as - “the only cure for this modern menace to society is a bullet to the head”.   Remember this ridiculous level of hostility is about nothing more than musical syncopation!  Patterns within the melodies that simply caused people to get up and dance!  It sounds eerily reminiscent of the modern day hysteria and outcry over Acid House music in the late 1980's which was supposed to have ruined Society.  Nowadays nearly every single track you hear on the radio has a House/Dance music backing.  It just goes to show the retarded and over-reactionary thinking of the established order in their belief that we need protecting from ourselves or indeed shielding from fun and frivolity.
     Ragtime was sweeping america by the end of the 1890's, making so called “decent folk” actually tap their feet in public!!  The greatest concern was “white folk” being swept into “delirium and frenzy” by the marching bands of the day because of their catchy syncopated rythms.  This was deemed so unacceptable because cultural norms were so very strict back then.   It would have brought disgrace upon any “decent” white woman and her family for her to simply be seen in public tapping her feet!!  Let alone dancing along with coloured folk or to coloured folks music!!  How ridiculous you are probably thinking and rightly so, sadly this was how the situation was viewed by the ruling classes and just as sadly it is little different today, merely tolerated as opposed to being considered inappropriate though now.  You have common sense to thank for that.  
     “Ragtime” or early Jazz was first recorded in 1926, the name of the actual recording escapes me now, but it was recorded by a recording engineer with racist views, who warned the black musicians they would “only be getting one chance at recording and when the wax was cut, it was over”.   The musicians, knowing this might be their only chance to make a record, had a discussion and decided to play their piece of music at twice the normal speed, the decision to play it this fast was due to their awareness that in rural areas of America (most were without an electricity supply), most folks had wind-up gramophones (early record players with 78rpm and 33rpm) so they could slow down their “fast” piece of recorded music to almost the right speed.  Quite a clever idea really.  When this fast recording was released, it swept the nation selling 3 million copies in one week and “Ragtime” or “early Jazz” was born.  
     Jazz is not really a musical style as it is often thought to be, it is simply a method of approaching the playing OF the music.  Recognized by scholars as “musical freedom,” it relates to the bending of, or non-adhesion to, the strict musical rules that had been set in stone for years.  Very fitting really that this form of “musical freedom” which has brought so much joy to the world through all of it's offshoots, has it's origin in such a dark mentality as racism. Therefore the “musical freedoms” we all share and which we mostly take for granted now, is owed to the quick thinking of a group of racially abused, hard-up coloured musicians.  Shameful, but nice to know, is how best to describe it.  We people are truly all the same, there are no differences between blacks and whites except that is, for skin colour.  We all cry when we are sad and we all bleed when we are cut.  It should give us all real cause for hope, that just maybe, all of the worlds woe's may just remedy themselves in the very same silver lining/dark cloud manner, now that would be “nice” and worth waiting for.
     The means by which the Blues influenced musical history is certainly a strange one and no mistake. The early Blues players who'd made the switch from “hard labour” as tenant farmers with little or no reward, to working for a few coin in their “life on the road”, playing instruments in marching bands or with medicine shows as early busker's, were eventually forced to migrate to the Cities or cultural centres through economic hardship.  The imposition of Jim Crowe laws made it illegal for coloured people to vote or own property and virtually overnight this added an unusual level of musical proficiency to the mix of itinerant self taught Bluesmen and Blueswomen.  This occurred because a great many “Creoles of colour” were directly affected by this harsh racist legislation and they were a part of the aristocracy,  claiming descent from French royalty.  Having had wealth and a full education in the Arts, some even having coloured slaves and/or servants themselves prior to the Jim Crowe laws being enacted.  A great many of these very well educated coloured people were made homeless overnight.  These educated types were now in the same sorry situation as the rest of coloured America.  These “Creoles of colour” with their opulent lives now over, relied upon their Classical training and technical proficiency on multiple instruments and they advanced the quality of street music almost overnight, blending vastly different musical styles into the melting pot of the streets.  Before this great leveller, the only serious technical advancements that took place happened mainly as a result of the coloured servants taking Note of any snippets of musicality seen or heard whilst going about their chores, allowing them to gradually become more technically proficient through practising the remembered melodies later on home made stringed instruments or old brass instruments left over from the civil war, (some Blues recordings have a direct relation to this parlour music, solely because of this cultural overlapping).  These technique advancements were facilitated so rapidly, purely as a result of these racist Jim Crowe laws, yet again another silver lining scenario from the dark cloud of racism.  Street musicians then took their new found technical proficiency back to their local rural areas, enabling the “Blues” to develop further and to then begin influencing the recorded music of the day all over again, exactly as it had done before.  This continual back and forth development and influence, from Blues to Jazz and back again, is the main reason for the depth, complexity and variation of the styles inherent within the Blues genre.  
       The “ragging” comes from the capture and full command of the melody and the tampering with the timing or musical feel of the melodic line using syncopation and swing rhythms.  It has its origin in the Jass Houses of Storyville (houses of ill repute in an area of St.Louis), so named because of the Jasmine perfume the prostitutes used to wear.  These places had live music (the house piano player had spy holes and played along to what the prostitutes were getting up to with their clients), this quickly made the piano players highly proficient and they'd gather after work in the local gin joints to “Cut Heads” or “play off” against each other.  Stomp Time piano as a style was considered by the upper classes to be tarnished, not only by this sexual connection to the underbelly of Society but also because of the “insolent behaviour” was believed shown by the coloured folk playing it or those smoking cannabis and gathering where it was played.   Remember, these were very prudish times and sex was not even talked about in public, so it being on public show was bound to offend the more prim and proper elements of Society who just so happened to be the ruling class.     
      “Insolent Noise” or “Jazz” got some pretty bad press and the hysteria it created caused an immense fear of black people by running stories which created those very same racial divisions within Society.  “Insolent noise” and all connected to it, namely the usage of cannabis, the insolent behaviour and the prostitution etc. were first to be blamed when white women fell pregnant after affairs with the free and easy going, liberated, coloured musicians who were obviously being found attractive by white women leading to many false claims of rape etc. to excuse their infidelity.  Further sensationalist reporting of these situations by the press fuelled this and other ignorant fears of the coloured race, the remnants of which are still with us today.         “Insolent behaviour” amounted, at the time, to the following -  Standing on a white man's shadow!! Looking directly at a white man whilst being spoken to!  Looking a white woman in the eye!  Speaking to a white man without first being spoken to!  These “insolent behaviours” may be known as “normal life interaction” now, but if you were brown-skinned back then it would likely buy you a hanging.  
	Hence “the Blues” being a daily occurrence...
long live the life altering original blues...  ;)

Bookings: santiandtugce@gmail.com

Dates 2020:
01.02 Jai Thep Festival (TH)
02.02 Jai Thep Festival (TH)
15.02 Slow Club, Freiburg (DE)
22.02 Beate Uwe, Berlin (DE)
21.03 Partymag Live Stream, Istanbul (TR)
08.04 Let's Support Artists, Bonjuk Bay (TR)
27.04 United We Stream, Bulbul Berlin (DE)
25.07 Katzensprung Open Air, Cologne (DE)
01.08 Knust Geburstag, Hamburg (DE)
08.09 Resonanz Traum, Berlin (DE)
12.09 Casa Lavanda, Istanbul (TR)

Dates 2019:
20.01 Beate Uwe, Berlin (DE)
03.02 Lucid Dawning Theater im Delphi, Berlin (DE)
22.02 Centro Cultural Juan Salazar, Asuncion (PY)
28.02 Santuario Showcase, Santiago (CL)
01.03 Kompaz Party, Valparaiso (CL)
02.03 Peña Nomade, Santiago (CL)
03.03 Temple Bar, Buenos Aires (AR)
06.03 Selina Palermo Soho, Buenos Aires (AR)
07.03 Avant Garden, Buenos Aires (AR)
16.03 Eats & Beats Izmir Arena, Izmir (TR)
28.03 Zorlu PSM Studio, Istanbul (TR)
12.04 Radialsystem, Berlin (DE)
10.05 Schlachthof, Kassel (DE)
16.05 Bonjuk Burn, Marmaris (TR)
23.05 Feriye Palace, Istanbul (TR)
02.06 Beate Uwe, Berlin (DE)
06.06 Astir Beach, Athens (GR)
08.06 Astir Beach, Athens (GR)
22.06 Cosmo Radio Interview + Live Set, Berlin (DE)
22.06 Kaosberlin, Berlin (DE)
06.07 Club Marvy, Izmir (TR)
07.07 The Beach of Momo, Cesme (TR)
14.07 The Beach of Momo, Cesme (TR)
20.07 Kultursommer, Hannover (DE)
27.07 Kometa Festival, Riga (LV)
02.08 Kempinski Barbaros Bay, Bodrum (TR)
04.08 The Bodrum Edition, Bodrum (TR)
08.08 Parla Parla Bodrum (TR)
10.08 Barbelo, Bodrum (TR)
11.08 The Bodrum Edition, Bodrum (TR)
24.08 Elio Sedef, Istanbul (TR)
31.08 Iris Beirut, Beirut (LB)
08.09 Mentha Nova, Istanbul (TR)
05.10 Bulbul Berlin (DE)
10.10 Sakıp Sabancı Museum, Istanbul (TR)
11.10 Mandarin Oriental, Bodrum (TR)
18.10 House of Fuzuli, Istanbul (TR)
29.11 Mensch Meier, Berlin (DE)
07.12 Loco de Pera, Istanbul (TR)
14.12 Loco de Pera, Istanbul (TR)

Originally from Asunción and currently based in Berlin, Santi (Santiago Ferreira) is a composer, producer, and part of the live act Santi & Tuğçe.  Santi’s music draws upon elements of Afro-Latin and Middle Eastern Percussion, Western Classical Composition, Jazz Harmonization, and digital sound design. Rooted in the richness of diverse musical traditions that inform his sonic palette, Santi’s productions weave together soulful melodies, captivating harmonies, colorful orchestration, polyrhythmic percussion, and deep bass lines with a keen sensibility for the dance floor. Santi’s musical journey began with song writing at age 12. In Paraguay, he studied jazz guitar, music theory and sound technology. He continued his studies in music composition and computer science at the University of Kansas. During his time in music school, Santi composed Spider Dances (clarinet, cello, flute, double bass), Sonetos (piano and tenor), and The Wild Flower Project (jazz combo and voice). Since 2014, Santi has produced eight albums, independently and in collaboration with Tuğçe Kurtiş and has performed live in twenty countries around the world.

‘The Pretty Fingers’ are an Australian alternative-rock outfit, originating from Redcliffe Peninsula in Brisbane.  Their sound is versatile insofar as its sense of innovation; the grit, passion, and rhythm of Australian classic and modern rock is prominent, echoing the spirit contained in the great Australian pub rock bands such as Midnight Oil, Powderfinger, and Spy vs. Spy.  This is complimented by undertones of iconic British alt-rock - from the dirty licks inspired by Kasabian, to the rawness found in Radiohead’s, ‘Pablo Honey’ - which, together form the canvas upon which frontman, and guitarist, Mick Bristow brings an Iron Maiden-meets-Kaiser Chiefs lead vocal that is naturally punctuated by his native accent.

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Harold Nono - "Faro" (BS067 - 2025)
https://bearsuitrecords.bandcamp.com/album/faro

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Harold Nono - "Sketch For Strings" (BS059 - 2023)
https://bearsuitrecords.bandcamp.com/track/sketch-for-strings

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Harold Nono - "We're Almost Home" (BS046 - 2020)
https://bearsuitrecords.bandcamp.com/album/were-almost-home

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Haq (N-qia & Harold Nono) - "Evaporator" (BS044 - 2019)
https://bearsuitrecords.bandcamp.com/album/evaporator

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"Ideeit" (BS032) by Harold Nono (BS032 - 2016)
https://bearsuitrecords.bandcamp.com/album/ideeit

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Jikan Ga Nai (Harold Nono and Eric Cosentino) - "Plenty Time" (BS022 - 2013)
https://bearsuitrecords.bandcamp.com/album/plenty-time

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Haq (N-qia & Harold Nono)  - "Nocturnals" (BS020 - 2013)
https://bearsuitrecords.bandcamp.com/album/nocturnals

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Taub (Harold Nono & Me Raabenstein) - "The Wrong Path" (BS010 - 2010) 
https://bearsuitrecords.bandcamp.com/album/the-wrong-path

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Harold Nono/Hidekazu Wakabayashi - s/t (BS009 - 2009)
https://bearsuitrecords.bandcamp.com/album/harold-nono-hidekazu-wakabayashi

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Harold Nono - "To The River Lounge" (BS003 - 2007)
https://bearsuitrecords.bandcamp.com/album/to-the-river-lounge

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https://www.facebook.com/pages/harold-nono/129808567077779?ref=hl

https://haroldnono.bandcamp.com/

https://soundcloud.com/bearsuitrecords

https://soundcloud.com/haqpeople

email : nono.harold@gmail.com

*
Harold Nono - "We're Almost Home" (BS048)

It's a collision of Neu!, John Barry, John Coltrane and My Bloody Valentine, which Joe Meek has collected up and put into one great melting pot.
[Monolith Cocktail]

The tracks swerve into curious realms, carrying static, opera and theremin in their wake. As a result, “We're Almost Home” seems intensely cinematic, with a sense of humour
[A Closer Listen]

What Nono delivers is a brain-bending sonic tempest, with ideas lifted from all corners of the planet.  If you’re curious to take a walk on the weird side, then this comes recommended.
[Aural Aggravation]

Brilliant stuff – off of the irrepressible Bearsuit Records. An excellent LP. Ever evolving is Harold Nono. Wonderful stuff!
[In-Tune]

A kooky, experimental music mix of electronica, synthwave, pop, jazz & rock with cinematic touches. An album that's genuinely different. Really fresh & unusual...
[D. Soulscorch - I Heart Noise]

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Haq - “Evaporator” (BS044)

60s spy theme sexiness merges with the avant-garde dreampop of a bewitched Stereolab playing hopscotch with Delia Derbyshire whilst sucking on the feedback of a JAMC lollipop. This album really is a beautiful work of aural magic and makes for quite a moving experience: maybe there is a God after all.
[Monolith Cocktail] 

It's the weird and wonderful world of Haq... Ballistic beats and floaty mellowness collide, and often, as they explore the space between The Cocteau Twins and the Prodigy and somehow, in their state of dementure, attempt to bridge it by fusion
[Aural Aggravation]

Of course, being Haq there’s always that possibility that things will go south and rattle your expectations and morph into something resembling Captain Beefheart or the Residents crossed with Faust and Einstürzende Neubauten on summer holiday at the beach! [A] challenging listen that encourages to drop the distractions and listen to what music can sound like when it doesn’t follow traditional linear song patterns
[It's Psychedelic Baby Magazine]

It’s a fascinating listen and it comes with the bonus of hope –  that sometimes connections which lead to fresh crops of creativity can still be found...
[Popoptica]

*

Harold Nono - "Ideeit" (BS032) 

Absolutely gorgeous stuff! An excellent LP!
[Phil Vickery, In-Tune, BCFM]

Bearsuit mainstay Harold Nono returns – and once again, he’s come up trumps. Nono’s latest effort is as inventive as ever. An intriguing album that is – as you’d reasonably expect from Harold Nono – difficult to place, but a lot easier to dig
[Aural Aggravation]

[‘Tahiik’] a bit of a gem ghosted in shadowy noir trimmings and spy themed mosaics all presided over by brief moments of the kind of sinister edgy chill that recalls Budd and Barry
[The Sunday Experience]

All of these twelve tracks together make up a highly varied album, but it works very well. Nono has crafted an excellent album of moody, orchestral tunes
[Vital Weekly]

The tracks on this album are complex thematically, but yet melodic and accessible. Evoking different moods and textures Nono brings together a master work, worthy of any concert hall 
[Floorshime Zipper Boots]

An absolutely beautiful album, wonderfully orchestrated electronica punctuated by euphoric instrumentals and gorgeously downbeat string passages. An awesomely nuanced Nono masterpiece. 
[Gnomefoam]

Main Profile
http://soundcloud.com/djego

Out on: 
- UNDERGROUND AREA REC 
- NO SENSE OF PLACE RECORDS
- JET SET TRASH
- PITCH-IN 
- COWSHED REC 
- THAF RECORDS 

DJ Producer & Turntablist, active since 2003, he has shared the stage with artists like Far Too Loud, Blockhead, Andy C, Black Sun Empire, , Dub Phizix, Camo & Crooked, Zomboy, Hallucinator, Dillinja, SPY, Jenna G, Jack Sparrow, Prolix, DJ Arp, Vegamoore, DJ Panik, Mat Weasel Busters, Black is Not a Colour, Busy Bitch djs, Aphrodite & Junior Red, Method Man, Chocolate Thai, Freestyle (Arsonist).

SOM (Russia/Moscow)
(Cyberdelica rec./PRRCompany)
Real name: Andrey Samoilov
Musical styles: Psychedelic trance

BOOKING CONTACTS:
Facebook: andreysommusic
Skype: andreysommusic
Vk: andreysom

Releases
2006 - SOM - Contact your mind (Positive Reaction rec./PsR)
2007 - VA - Power Up! Vol.1 (PsR)
2007 - VA - Positive Reaction Vol.1 (Positive Reaction rec.)
2007 - Cosmonaut and Satellites - Sweet music (SOM RMX) (Flash Records)
2007 - VA - Sixty full moons (Cosmogenesis rec.)
2008 - SOM - Psychedelic dream’s (Cosmogenesis rec.)
2008 - VA - Positive Reaction Vol.2 (Positive reaction rec.)
2008 - VA - Super nova Vol.1 (Positive Reaction rec.)
2008 - VA - Psytrance Open air Vol.1 (Psy Spy rec.)
2009 - VA - Bioimpulses (Positive Reaction rec.)
2009 - VA - Psytrance Open air Vol.2 (Psy Spy rec.)
2010 - Biokinetix - Black sheep technology (SOM RMX) (Morphonic rec.)
2010 - OlegOff & DJ JIM - Play hormone (SOM RMX) (Royal Tracks)
2010 - VA - Super Nova Vol.3 (Super Nova rec.)
2010 - VA - Full on Psytrance festeval Vol.3 (GOA rec.)
2011 - VA - Power up (Compiled by PsytoniK) (Spliff Music rec.)
2011 - SOM - Smack my rockafeller skank (EP) (Positive Reaction rec.)
2011 - SOM - Morning trip (Positive Reaction rec.)
2012 - VA - On start! (Cyberdelica rec.)
2012 - VA - Expansion (Compiled by Midnight Storm) (Cyberdelica rec.)
2012 - Alfida - Mustafa (SOM RMX) (AlmeZZo rec. and Psy Spy rec.)
2012 - VA - Psytrance Open air Vol.4 (Psy Spy rec.)
2013 - SOM - Open your sense (EP) (Cyberdelica rec.)
2013 - Gotye feat Kimbra – Somebody that i used to know (SOM RMX) (GOA Records)
2013 - PSY-TRANCE ESSENTIALS VOL. 01 (LW Recordings)
2013 - PSY-TRANCE ESSENTIALS VOL. 02 (LW Recordings)
2013 - PSY-TRANCE ESSENTIALS VOL. 03 (LW Recordings)
2014 - Prodigy - Voodoo people (SOM Remix) (Cyberdelica rec.)
2014 - SOM - Hypnotic Orange (EP) (Cyberdelica rec.)
2015 - PSY-TRANCE ESSENTIALS VOL. 10 (LW Recordings)
2015 - SOM - Clear mind (EP) (Cyberdelica rec.)
2016 - Biokinetix And Friends 2 (GOA Records)
2016 - PSYCHEDELIC GOA TRANCE 2016, VOL. 2 - 40 BEST OF TOP HITS (EDM Records)
2017 - SOM - Sound is everything (EP) (Cyberdelica rec.)

2017 (c)

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