The 30th anniversary of Šumski deserves listening of their back catalog, some extra praise for mature and masterful album “Ostrvo ledenog kita” (2018) & introduction note of minor importance for those of you who are not familiar with their left-field existence and oeuvre.
Šumski were founded in January of ’91 in Zagreb and as a peculiar band of their generation represent the last youth of SR Croatia (posljednja mladost Socijalističke Republike Hrvatske!?). Šumski’s founding stone of inspiration was an album by original hippy psych collective Amon Düül I, whose playful jamming music had briefly opened Kornel Šeper’s psychedelic third eye. Brimming with amateurish enthusiasm and carelessness young group even found the way how to enter YURM ’91 festival (the last one). Modest and now legendary Kekere Aquarium cassette label followed soon with notorious first issue KA001. When they properly learnt their instruments of choice Šumski started to resemble a band that had some things in common with music issued under Rough Trade in early to mid ’80s – arty and quirky soft rock, combined with Zagreb’s new wave heritage. Even if in recent times melancholy can reign supreme in their repertoire, Šumski were and still are creatures of light.
Slušaj taj zvuk! (nekoć pun šumova i pomalo šumast, a danas…poslušajte ih uživo čim se pruži prva prilika)
bass, vocals: Kornel Šeper drums, percussion: Boris Begić, Berko Muratović, Ivo Urli, Petar Šakić guitar, vocals: Marin Juraga guitar: Javor Jeić (1991-92)
trumpet: Igor Pavlica
bass, vocals: Kornel Šeper drums: Viktor Krasnić guitar, vocals: Marin Juraga guitar: Franjo Glušac
Il Consorzio Suonatori Indipendenti (o C.S.I.) è stato un gruppo musicale italiano nato dalle ceneri dei CCCP-Fedeli alla linea.
Dopo la fine dei CCCP (1990), con la caduta del muro di Berlino, quel che rimaneva dei CCCP originali (Giovanni Lindo Ferretti e Massimo Zamboni, il “nucleo emiliano”) si incontra con il “nucleo toscano” in uscita dai Litfiba, composto da Gianni Maroccolo e Francesco Magnelli, che già avevano collaborato all’ultimo album dei CCCP-Fedeli alla linea, Epica Etica Etnica Pathos, insieme al loro tecnico del suono, Giorgio Canali.
Chi è che sa di che siamo capaci tutti Vanificato il limite oramai Vanificato il limite Si avvicina l’inverno Soffice crepitio sulla terra Pomeriggio dolce assolato terso Sotto un cielo slavo del Sud Slavo cielo del Sud non senza grazia
Winter in Italia, again. It’s raining outside. I’ve derailed my back-and-forth racing thoughts at one stop in Bologna for this occasion. As any decade, the ’90s got its pluses and minuses. But I am not that much connected or enchanted. I simply like the period, in a distanced way, and rarely revisit. Been there, heard some of that exciting music in real time. Not Massimo Volume though. Massimo Volume are perhaps one of those Italian bands that finally caught the vibe of the times and even set themselves ahead on global level, in a noise-rock/art rock/post-rock niche. If Italians were really lagging behind to certain extent in the late ’70s and early ’80s (excepting Italodisco and maybe hardcore punk), with Massimo Volume we find them in the lead. Giusto?