Flat on my back
They say our world is built endeavor
That every man is for himself
Wealth is for the one that wants it
Paradise, if you can earn it
History is the reason
I’m washed up
Flat on my back
My ambitions come to nothing
What I wanted now just seems a waste of time
I can’t make out what has gone wrong
I was good at what I did
The crows come home to roost
And I’m the dupe
v.a. Zagreb 1986-90 vol III: Punk (punk rock, hardcore, pop punk, post-hardcore)
More songs about love & hate.
*subject to change*
Mid-decade (1983-85) intro:
In the 1983-84 period the third generation of punk rock bands became visible, slowly coming out of local community centers to play concerts before already established groups in the bigger clubs or on small festivals. In spite of very viral surge of UK82 hardcore which was echoing in the punk circles all around the globe at the time, only Sköl caught the hardcore bug early on. With a female singer in front line they superficially resembled Vice Squad. Actually, the band leader was guitarist Tomislav Petrlić Fix who steered group across the decade according to his urges and ideas. On the contrary Z.R.M. (Zona rane masturbacije) turned back to ’77 style (Ramones, The Adverts, The Clash) and other tuneful punk bands. Z.R.M. had feeble rhythm but their simple songs were good enough and quite catchy. Due to imminent hiatus (service in the army) Z.R.M. went into SIM studio by the end of 1984 and recorded Demo 1984.
Z.R.M. – Demo 1984
[bio bih zahvalan za kompletan Z.M.R. Demo ’84 bolje mp3 kvalitete… ]
Young punk trio Excess recorded few demo tracks in their rehearsal space in 1983. These songs have survived in a member’s archives and they reveal young band on a beaten path set by Paraf and Pankrti. Excess were not followers of hardcore UK tribes yet. Sköl and Excess broke up and with the members from both bands punk super group Blitzkrieg [bassist ex Sköl, drummer ex Excess, guitarist ex Solidarnost (from Knin)] was formed at the end of 1984. Blitzkrieg were maybe only truly active punk band that played in concert more often during 1985. Surprisingly they had very little hard core elements. Blitzkrieg sound was based on classic punk rock template with traces of street / terrace punk; closer to UK Subs than G.B.H. In a primitive 4-track studio they managed to record “weedy” sounding Demo 1985 which has been recently released by NE! Records for the first time ever.
Blitzkrieg – Demo 1985
Kipovi u sjenci
Tko je kriv?
After they had played before Angelic Upstarts & The Exploited, Blitzkrieg felt their mission was accomplished and fell apart.
Few journalistic notes from student newspapers “Polet” about inglorious atmosphere (drunk & disorderly punks gobbing on Mensi) during Angelic Upstarts concert in the spring ’85:
Monkey see, monkey do.
At the same time, during 1985 Patareni were d/evolving further their chaotic style which would eventually made them one of the grind-core trailblazers on the global cassette underground hardcore scene.
Among other lesser known punk groups in town which didn’t rise above local community center matinee were also Linija. They are important to mention because of the future roles of the band members in the second half of the 1980s. Linija were springboard for post-punk bands that would follow in their wake (Sin Albert etc.). Their singer Aleksandar Dragaš became music journalist and had a crucial role in promoting American hardcore and even more interesting post-hardcore music through fanzines and student newspapers. He also significantly contributed in building independent network at the end of the decade – “Search & Enjoy” label was founded by Dragaš and Čikara in 1990.
Sköl (1982 – 1984; 1986-1991)
Sköl reformed in 1986. New line-up recorded Demo 1986 which I’ve never heard. Debut album “Čista perverzija” on Zdenko Franjić’s pioneering independent label “Slušaj najglasnije!” was finally issued in 1990. It portrays changed band. Seven inch EP “Uzmi i reži” followed in 1991.
Ravno se drži
Z.R.M. (1982 – 1987)
After a year long pause, Z.R.M. restarted in 1986 but soon broke up for good and shape shifted into The Cretins (post-punk) and then Modesty (pop-rock), straying away from their punk rock beginnings.
Patareni (1984 – 199?)
Patareni are probably the most famous hardcore punk name from Zagreb to this day because of their super short, vulgar and utterly absurd grind-core bursts which were novelty at the time. They bonded with Ljubljana and Beograd hardcore punks at the very beginning and started tape trading communication with the global scene. Patareni didn’t leave their cellar or atomic shelter often to play in public. Buka were a better known Patareni offshoot.
Tamnichars (1984 – 199?)
Tamnichars were melodic punk rock band under the spell of ice queens and other types of elusive Eastern European girls. Their punk oeuvre was all about being tortured (and jailed) by (unrequited) love. They were nicking from The Stranglers here and there in the process of learning how to play their instruments. I don’t mind it. Tamnichars kept few decent cover versions in their repertoire and some of them ended on the records years later. The debut album “’Till the Next Goodbye” (produced in a slightly polished new wave manner) came late as an independent issue in 1990 and went away below radar. I don’t remember seeing it for sale or even marketed in the music press.
Dvorac od leda
Marliese (Fischer Z)
Girl Who Lives On Heaven Hill (Hüsker Dü)
Tamnichars – Till The Next Goodbye LP (1990)
Ples i smrt i šok (The Saints)
Story Of My Life
Studeni studeni (1986 – 1991)
Initially known as The Monsters, Studeni studeni were garage punk rock band with pop leanings that worked their way to independently released debut seven inch EP in 1990. This little record with cool cover art is all about love too, not hate. One love song too many, though.
Studeni Studeni – Čisto kao suza 7″ EP (1990) Search & Enjoy 004
A ja sam je volio
Tvoje oči govore
Čisto kao suza
Generali (198? – 1990)
Hardcore band from Novi Zagreb, a new part of town situated across the river. Generali combined elements of metallic hardcore & melodic post-hardcore (under American influence) in their final years.
Demo Tape 1987-90
Koji zajeban dan
U glavi joj se sprema
Kill The Kill
Motus (Vita Est) (1988 – )
Hardcore punk group fronted by stalwart punk Rade Preradović Hogar. They were clearly influenced by UK82 bands. Fortunately, Motus kept violent impulses at bay and might have some things in common with UK anarcho punks as well. I like better samizdat debut cassette compiled from various ’88 demo sessions than vinyl debut “Cogito Aude” LP (1990) released on Austrian independent label Sacro Egoismo which suffered a bit from production. For their first concert outside the country Motus opened for Soulside (DC, USA) in Vienna in 1989.
Demo Tape 1988
Motus vita est
Šuti trpi radi
Živjela sloboda stvaranja
Hladno pivo (1988 – )
Für immer punks from the western city suburbs have become most popular rock band with punk rock roots, along their older colleagues Psihomodo pop. Verbose and energetic frontman Mile Kekin was born in Germany and spent part of his childhood in Bosnia before coming to Zagreb as a teenager which altogether reflected in his authorship. His story telling could be seen as continuation of Sarajevo’s New Primitives tradition (Zabranjeno pušenje, Elvis J. Kurtović & His Meteors) carried on the riffs of melodic punk rock so common in Zagreb. Demo Tape 1991collected first batch of songs from 1989-90 which were later rerecorded for the debut album, the first milestone in the longest running punk rock career in Zagreb.
Brijačnica ’19 (Tvornica kulture, 15.03.2019.) or Sexagenarian (Punk) Rock
Valter svira Paraf (Rijeka)
A večer je tako lijepo počela. It started with brief and energetic warming up under command of 60 year old punk rocker Valter Kocijančić shouting the repertoire of the earliest Croatian punk-rock songbook (Živjela Jugoslavija, Goli otok, Visoki propisi, etc.) written by his 20 year old self. Original Paraf rhythm section could not join him for this senior gathering so he reassembled backing band of younger friends / colleagues from “the biggest hole in Juga” or the most beautiful (post-industrial) port town in Croatia: Rijeka. Something better change. For the better, please. Forza Fiume!
The classic line-up (early 1980s) of sexagenarian punk-rockers Pankrti dressed in black followed. They were recalling tempi passati with a grin. Good bad old times when they were often playing rock ‘n’ roll concerts, chasing girls and drinking beer all over Yugoslavia. Pankrti were great and delivered the goods (Lepi in prazni, Sedamnajst, Anarhist, Metka, etc.). Songs from overproduced albums “Državni ljubimci” (slightly) and “Sexpok” (overtly) sound so much better live, even today. Povera “Bandiera rossa” was echoing throughout Veliki pogon Tvornice kulture too. “Vogliamo fabbriche, vogliamo terra!! Ma senza guerra, ma senza guerra…”
Then followed injection of timeless rhythm & blues hits honed in Belgrade garages over the decades and spiced with Cane’s gospel. Partibrejkers have always been dear friends of Zagreb, so I suspect that most of the people in public last night came to see primarily them. Partibrejkers were excellent as well, no doubt about that. Anton is a beast of guitar player. Great performance and loyal response.
Trobecove krušne peći (Zagreb)
Trobecove krušne peći climbed the stage after midnight, post r’n’r climax. They were sax less, but not headless at all. Actually, last night they were surprisingly well-balanced and focused. TKP shepherd priests on fire! Purifying fire. Maybe their best show I ever saw. As impressive as KSET ’17, a gig in smaller jazz club space. Once again TKP demolished trad rock in front of the congregation of fans (aka “pastva”) & curious spectators that remained in half-emptied hall. Then they invited all present for the closing number of the long evening of entertainment: Badel Badel Tanz. A cool ending for a great night out. Đavo je bio vruć.
Nostalgia? No, no way. An occasion for (alive & kicking) celebration? Yes, for sure.
Long time ago, in the year 1985, all four of these groups (in one form or another) were playing concerts across the country and promoting recently issued albums or recorded material: Pankrti (“Pesmi sprave”), Partibrejkers (“Partibrejkers”), Trobecove krušne peći (“85” aka “S mukom žvaču trubadurov vrat”) & Paraf II (“Zastave”). 1985. Not a bad year at all. Cheers.
Maybe it’s worth mentioning that I got acquainted with the art work of Dino Buzzati in 2018. That was a very nice discovery.
Although I rarely read non-fiction I can easily recommend three books which are not products of imagination entirely. All of them are about the future, more or less.
I’ll derail my thoughts once again and leave (bombastic) introduction to Nomeansno. (hopefully happily pensioned somewhere in Canada)
Nomeansno were premier foreign band on Zagreb’s punk-rock club circuit for more than 20 years, beloved by younger and respected by older generations interested in heritage (or evolution) of punk-rock music. I may be wrong but the first time the band ventured in this inflamed appendix of Europe was in 1988. They played at student campus of University of Ljubljana (Slovenia). Then the next year it was again concert in Ljubljana, followed by their first concert in Zagreb in 1990. Nomeansno returned very soon after the war and started long-lasting friendly relationship with the most important independent music promoters in Zagreb: “Žedno uho”. Without “Žedno uho” enthusiasts the 1990s and the 2000s night-life and rock entertainment in Zagreb would have been less exciting.
Fatalism in modern / postmodern rock music is also present in work of two other great bands from West Coast of North America: Wipers & Unwound; both of them more inward-oriented and less resilient to outside world than very robust Nomeansno. (Who were the premiere fatalists then? Joy Division?)
“New Dark Age” by James Bridle
The subjects that James Bridle covered in his scary collection of essays are familiar. However, since the great acceleration there isn’t enough time left to think about, deal with, and adapt to… the consequences of technological development on present times and the future. Recommended.
“Mars by 1980” by David Stubbs
I love story telling and this is a story of electronic music. I enjoyed “Mars by 1980” very much. As much as Simon Reynolds’ “Rip It Up and Start Again: Postpunk 1978–1984”. Recommended.
All the way up to year 1980 (Part II and Part III) I can agree with Mr. Stubbs on the subject matter easily, but from the year 1980 onward we definitely hear things differently. After all, electronic music is field of his love and expertise. He was already on the electronic highway, full speed into digital domain when I barely started listening to pop and rock music. As a young listener I was quickly lured on the narrow path of seemingly dying rock music pushed back in the small clubs and garage spaces.
( The Membranes, unsung protagonists of the 1980s, hated trad rock so much they called their music noise pop)
Therefore, contemporary rock music was revealed to me with its ugliest apparition, during the final phase (raging dying animal) of the cycle, which was also its re-birth: noise rock of the 1980s.
A white glitch there
A sonorous flare
A black shape
There are undeveloped holes
In returned glare
Thought we were looking at stars
When in fact we’re seeing noise
The sky scanner’s coffee marked panel
Gets the brunt of it again
Mistook that song
Gathered my facts
And read happily wrong
Reversing ejaculation like
Thought we were looking at noise
When in fact we’re seeing the stars
Atop the coffee marked panel
(Thought we were looking at noise, when in fact…)
I’ll show you my endzone dance
(Thought we were looking at noise, when in fact…)
Turn up that stare I’ll take off my shoes & shake it
(Thought we were looking at noise, when in fact…)
Noise/Star (Sing the Troubled Beast, 1990) by Bastro
Then happened Nirvana. The mid-1990s were already beginning of the post-rock age.
It’s obvious that I like or even love various types of pop music from the 1980s but I could never enjoy sound aesthetic of all those bombastic Frankie Goes to Hollywood steroid hits from Trevor Horn / Paul Morley POP manufacture or grasp importance of Scritti Politti II meta synth-pop (if I could not fancy repulsive sound gloss in the first place). There’s nothing there but the context, the essence fully subordinated to form. All the blood and phlegm from Suicide’s second studio album were washed down the drain by the middle of decade and pure synthetic universe opened up.
In the chapters over the closing part (Part IV) of the book I was reading about music I’ve had limited exposure to or never listened to consciously / intently (house, techno and other more recent club music variations which usually don’t move me one inch). I know very little about vanguard electronic music described in the opening chapters (Part I) as well.
Actually, I would like to hear all these pioneering works of electronic music that were recorded up to mid-1960s. I believe I could find moving music inside various strains of digital electronic music too but due to overflow there’s no space left for it.
“Future Days” by David Stubbs
(Future in the Past)
The third book is an overview of “Krautrock” which I enjoyed great deal in the fall of this year. It’s a perfect companion for superb rock and pop music from Germany. The themes from great European cities: München – Köln – Düsseldorf – Hamburg – Berlin. Recommended.
In parallel with reading I was revisiting stuff accumulated over the years, following the chapters in the book. In the end the whole month of October ’18 was dedicated to German music.
While Krautrock bands were sound-tracking Modern Germany in the very late 1960s and 1970s, many a gastarbeiter parent from Yugoslavia, amongst other work seeking immigrants, were taking part in the building of Modern Germany. Indirectly they were modernizing Yugoslavia with shiny elaborate products of capitalism too. Kebabträume! The new wave of economical emigration is here again.
THIS YEAR, the group that sneers at laughing fate, broke down in a quaint place three kilometres outside Dachau for five days skint and starved escaping only through the use of a bogus credit card to get to Yugoslavia, not worth it at all despite what these leftist musicians say. (Of course gigs are packed!) Returned home to bankrupt record co. then slipped again into a more sinister one. Went abroad and developed xenophobia. Marriage saved vocalist’s neck. Attacked for tax. Spurned retrospect. future very bright, hiding retirement. Now number 6, age average 22.5.
OTHERWISE, it’s the cyclical tone of 1983 that strikes me the most. Viewed through miserable eyes, much familiarity here: Music Vaudeville still. Manned as ever by cockney musicians in disguise, supplemented by Lancashire-Scotch deserters. But there’s more to it. Loads of crafted ‘good pop’ lyrics, Serious, Pal, in their statement of non-conviction in this living desert etc. but subtly appealing to humanity in the same way as a hospital does. Nothing new, except this is of groups’ own accord! So, I have to proclaim 1983-THE YEAR OF THE TOADIES. A good laugh though was seeing all the serious/literal musicians go ‘Lite’ (in wake of lager and cigarettes) as the scrambling for market position heated up. A musical version of the GOD-JOB Interviewer hoax practiced on schools TV – i.e. declining market etc. look at so & so, he did it – this paid off to ‘those concerned.’ Competition fierce, and groups as clean and accommodating as never before! Independent labels feel secure enough to pick, choose and shove around even. Early senile fantasies of groups sure to be quenched for their staff, who’re comfy in the knowledge that the Y.T.S. of rock is the Soviet conscription-well of GB.
More disturbing was this panic hitting journalist too – semi established hacks and even their betters fighting for and adopting name scattering with redick prose, bruise purple and its insecurity. Smash Hits realise this I think.
Also funny is the proliferation of faggots in the top pop lot. I have a theory that this is due to AIDS scare, resulting in said groups having more energy derived from celibacy.
Izađem na ulicu i kažem
Gle, opet jesen!
Sjene su duže baš ko lani i lani i lani
Ali za mene sad to sve više nije važno
O ne, za mene sad to sve više nije važno.
Gdje nestade YU arhivist P. D. Basstapex? Bilo bi lijepo da složi “Don’t Look Back” blogpost na temu Beograd. Izgubio sam polet.
Jesen u koži, dolazi mi jesen
Jesen u krznu, dolazi mi jesen
Mislim na voće i mislim na nju
Mislim na žuto, na hranu i buđ
Vidi da nije možda stigla jesen
Traži i naći ćeš u sebi truo hrast
Gore u nama je bujica reči
Dole u nama je jesenji strah.
Vol V: Rock and Pop Music in Sarajevo in the 1980s (incomplete overview)
*subject to change*
Sarajevo was multicultural capitol city of SR Bosnia and Herzegovina and legendary host of Winter Olympics 1984. It was well known for upbeat humor, ćevapi u somunu (regional fast food (Socialist variety) which beats (at least it used to) hamburger or hot dog any day), TV series “Top lista nadrealista” & for sure many other things I am not familiar with. Citizens of Sarajevo are direct and friendly folks who like to chat over (super sweet) Turkish coffee and cakes that are so full of sugar your teeth hurt.
Firmly settled in folk, hard rock/heavy metal (Bijelo dugme, Teška industrija, Vatreni poljubac, translocated Divlje jagode) & pop-rock district, Sarajevo was not a typical contender for a YU punk-rock city at all. Let’s see…
Opera Lu – “Televizori” SP (1980) – would be the very first new-wave/punk-rock related single from Bosnia. Pretty irrelevant. A-side “Televizori” sounds like power trio hard rock song more than an usual approximation of ’77 UK punk rock. B-side is a reggae tinged blues rock number.
Bonton Baya were the first group of the Sarajevo New Wave generation that got contract with local Diskoton record label. Their only album “Elpi” LP (1983) reminds me of pop-rock or power pop pulled through various new wave filters. Bonton Baya for sure could play their instruments well and I like the sound of the recording but genre hopping across the album is often sign of questionable taste and in this particular case problematic (for example songs “Kraj radne nedjelje” and “Sarajevo Texas Nashville Tennessee“). In addition to that vocal can be quite distracting and lyrics occasionally terrible (including specific sense of humor or rather the absence of it). Well, words give an extra dimension to a pop/rock song but sometimes it’s better to keep them at the functional minimum. I can easily like “Nipon elektronik” for its unexpected strangeness (I was a little taken aback by this fancy video too) and new wave synth sounds.
The closest group to punk spirit to be found in Sarajevo were collective or an art movement known as New Primitives (facetiously opposed to New Romantics). The creative seeds go back to late ‘70s / early ‘80s friendships from the same part of town and Sarajevo’s II. Gymnasium (ha!). Out of the New Primitives proto rock group “Pseudobluz band Zabranjeno pušenje” and associated new-wave/punk “scenesters” emerged band Zabranjeno pušenje as well as rock entertainer Elvis J. Kurtović & His Meteors and Bombaj štampa. In essence Zabranjeno pušenje were more a new wave garage rock than basic punk-rock band, but awesome one at that, with nice hooks and kitchen sink lyrics Bosnian style. The first demo tape which collects material from their earliest days (1982-83) is upbeat mixture of new wave, punk rock and pub rock. It brings Ian Dury’s new wave album “New Boots and Panties!!” to my mind. The songs from this demo tape ended in new versions on debut album “Das ist Walter” LP (1984) and second double album “Dok čekaš sabah sa šejtanom” (1985). Zabranjeno pušenje became more typical YU pop rock band by the end of the decade.
Central (punk) rock album from SA: Zabranjeno pušenje “Das ist Walter” LP (1984)
Elvis J. Kurtović was loyal to rock mythology of the late 1960s and early 1970s and with His Meteors issued two entertaining albums: the conceptual debut “Mitovi i legende o kralju Elvisu” LP (1984) and “Da bog da crk’o RnR” LP (1985).
Sarajevo’s candidate for an arty new wave band would be Kongres. They appeared on the scene together with the New Primitives. At the beginning they brushed with politicized post-punk experimentalism but changed stance under sudden sway of optimism. In other words they opted for few New Romantic or New Pop tricks which showed on their only art rock / new wave album titled in Slovenian language “Zarjavele Trobente” LP (1984). A special guest appearance by Zoran Predin from Lačni Franz (Maribor, Slovenia) didn’t help much. Allegedly, at the time of preparation for sophomore album Kongres singer lost optimistic look on life, which could have brought back some rock filth in the mix… but it was too late. Kongres was kaput.
Eventually in 1984, year of Sarajevo Winter Olympics, Zabranjeno pušenje (Jugoton, ZG), Elvis J. Kurtović & His Meteors (ZKP RTVL, LJ) & Kongres (Diskoton, SA) got wanted record contracts and one by one recorded their debut albums.
But there was also another new band in town graced with sound name SCH. Looking back, it was more like an art project of Senad Hadžimusić (Teno), with revolving line-up comprised of friendly collaborators, than a stable rock unit. Through SCH vehicle restless guitarist and vocalist Teno projected his amplified bad vibes and distorted nightmare trips. He acquired status of a local scene (court) jester bringing bad news with every opportunity. There were many faces of SCH and it clearly shows in their neurotic output documented one way (demo cassette) or another (video tape).
Surprisingly, SCH got studio recorded material for a potential album as early as ’84 (as their comrades from New Primitives movement) but there wasn’t a record label in Yugoslavia willing to have business with them.
SCH: The Beautiful and Damned – live at YURM ’85 (Zagreb)
Strangely enough, they were included on Diskoton cassette sampler “Nove snage” (1984). (w / Bombaj štampa, Kongres, Mali princ etc.) Years later SCH participated at Novi rock ’87 festival in Ljubljana and perhaps as a result they manged to secure a tape issue for legendary small label FV založba that had been successfully gathering ex-YU misfits and malcontents.
SCH: Brutti, sporchi e cattivi – live at Novi rock ’87 (Ljubljana)
“SCH” tape (1988) is comprised of selected demo songs recorded in 1985-87. It can be regarded as updated third version of demo tape (after two samizdat demo cassettes in row) picked by FV založba for the official SCH release. Teno’s predominant mood was noise / industrial at that moment so all the fuzzed punk rock numbers were left out. In 1989 they went in studio and finally recorded material for debut vinyl album that was later in the year self-released. Prophetically titled “During Wartime” LP (1989), it has become cult.
“Unlike Slovenia and Croatia, where the critical public, humanistic intelligence, independent media and institutions through their hard categorical apparatus, often from the point of Marxism, defended subculture and everything else that exposed false slogans and misery of the system, SCH has always faced a silent wall in Bosnia. The battle between subculture and the ruling ideology, whose consequence would be the making, the survival and the development of positive (political – cultural) values, came down to illusions and suicidal attempts of SCH… On the other hand stands the fact that it never mattered what SCH would do next. It is only important that they do something (and survive). Their significance has gone beyond the meaning and quality of their music. They move beyond limits where everything is allowed (even the potential failures and mistakes). They are their own measure. There is no one else. Their death will put an end to an epoch and the far-sighted graphite will be proven “Teno – Tito”. It was written some time ago on a fence in a neighborhood where they used to rehearse.”
The most important recording from SA: SCH – “During Wartime” LP (1989)
Of course there was so called “school of Sarajevo pop-rock” around but I am not well versed in that. Crvena jabuka (ex Meteors, Kongres, Bonton Baya) were saccharine and very popular with girls. Another unbelievable pop phenomenon was boy band Plavi orkestar specifically tailored for regional taste and YU mass market of mid 1980s.
Bolero were strange pop rock band active in the second half of the 1980s. They recorded two arty and heartfelt pop-rock albums: “Na kraju slavlja” (1986) & “O Jesenjinu” (1988).
Late ‘80s Bombarder would be speed metal continuation of city’s hard rock tradition.
Don’t Look Back vol. V: Sarajevo (1-2-ex-YU!!)
VA New Primitives Sarajevo (1982 – 85)
Zabranjeno pušenje – Penzioneri na more idu zimi (demo) (1983)
Kongres – Djevojka na snijegu (early version) (1984)
Zabranjeno pušenje – Sanjao sam noćas da te imam (demo) (1983)
Kongres – Zabava (early version) (1984)
SCH – Prazan hod (1984)
Bombaj štampa – Jogging (1984)
Zabranjeno pušenje – Put u središte rudnika (demo) (1983)
Elvis J. Kurtović & His Meteors – Magi’s Farm (1984)
Zabranjeno pušenje – Anarhija All Over Baščaršija (1984)
intermezzo: Tema iz filma “Valter brani Sarajevo” (1984)
Zabranjeno pušenje – Neću da budem Švabo u dotiranom filmu (1984)
Elvis J. Kurtović & His Meteors – Supermen (1984)
Kongres – Sumrak (1984)
Elvis J. Kurtović & His Meteors – Mala glupača (1984)
Kongres – Optimist (1984)
Elvis J. Kurtović & His Meteors – Rekla ti je mama (1985)
Zabranjeno pušenje – Lutka sa naslovne strane (1985)
Elvis J. Kurtović & His Meteors – Sva su raja (1985)
Zabranjeno pušenje – Kažu mi da novog frajera imaš (1985)
Elvis J. Kurtović & His Meteors – Krivo usmeren (1985)
A casual glance at dry-cleaned and ironed business suit, that covers (flabby) muscles and shamanic tattoos, could remind an old Oxbow fan of studio recording polish which has graced (or disgraced?) song material on last two Oxbow albums. Just a little bit too orderly sound-wise for my taste! Surprisingly enough it suits them well – meticulously arranged songs by guitarist Niko Wenner are presented on “Thin Black Duke” in full fleurs de mal beauty. Oxbow are less hysterical than ever as Mr. Robinson himself has already pointed out. This arresting album is brief (for Oxbow standards) and hits directly. As a proper long play record should do anyway. I’ve been swept off my feet.
Premda sam čitave prošle godine bio okupiran (i opčinjen!) pričom iz daleke zagrebačke prošlosti našao sam nešto slobodnog vremena i za bivanje u sadašnjem trenutku. Međutim, samo jedan letimičan pogled na listu probranih naslova iz ’16 potvrđuje da sam prije svega lojalan slušatelj te da vjerno pratim „znance“ iz svijeta muzike. Što da se radi, još uvijek polažem nade u nezavisne rock institucije koje idu više manje uhodanim stazama. Ono željno iščekivano “groundbreaking new” prepuštam mlađim generacijama i teoretičarima pop-art kulture. Nemam cajta i nije mi žao. Album ili dva mjesečno je više nego dovoljno noviteta.
#01 siječanj: David Bowie – Blackstar
David Bowie je na ovim web stranicama prikazan kao dvojak lik, pomalo negativac pomalo heroj, odbojan i fascinantan. Thin White Duke nikada nije bio baš u potpunosti moj tip popularnog pjevača. Usprkos tome me je njegova intrigantna persona dobro zabavljala. Lukavo, gotovo filmski, se provlačio kroz čitavu dekadu sedamdesetih ostavljajući iza sebe do dva svevremenska pop hita po albumu ili pak cjelovite proizvode impresivnih kolaboracija da bi već na samom početku osamdesetih gubio autoritet itd. ali da ne duljim klišejiziranim prikazom – dogodio se neočekivani obrat. Ponukan preporukama s raznih strana dao sam šansu Blackstaru i doživio ga kao dojmljiv novomilenijski art-rock album s lijepo aranžiranim saksofonskim dionicama koji s blagom sjetom priziva Bowieve najbolje autorske godine. Konac (životno) djelo krasi. Blackstar se fino uklopio i u reminiscencije o zagrebačkoj art-rock spiki ondašnjeg vremena pod evidentnim utjecajem Herr Bowiea. Tako se sad Blackstar naslanja na niz (od nekoliko Bowiejevih albuma na mojim policama) koji je sve do samog kraja prošle godine zatvarao Lodger. Ko bi reko.
#02 veljača: Waco Brothers – Going Down In History
Bilo da se radi o the Mekons, Waco Brothers ili solo ispadima uvijek mi je milo čuti glas Jona Langforda pod gasom. S Waco Brothers doduše ne jaše Mrs. Timms, no ovo je ionako pripita kaubojska rockerijada podalje od prijateljica ili skvo.
#03 ožujak: Black Mountain – IV
Nisu mi poznati raniji Black Mountain albumi. Poslužit ću se njihovim riječima: I don’t believe in suicide… / Let those believe in flowered dreams / Bust your scene back on its knees / And I wanna be a defector / ‘Cause I want no part of their plan / Yeah, I wanna be a defector. Melodije i vibre su preuzete iz sedamdesetih. Drop out sentiment je uvijek blizu površine.
#04 travanj: PJ Harvey – The Hope Six Demolition Project
Pokleknuo sam tek na Let England Shake. Ovo je dostojan nasljednik. Reci im gospođice Harvey.
#05 svibanj: Beastwars – The Death Of All Things
Doom s druge strane globusa, zla kob što nadolazi s južnih mora. Žanrovske granice metala se danas puno labavije shvaćaju nego ikad prije pa tako i Beastwars, Neurosis, the Body, i recimo Russian Circles znaju imati prikrpan metal tag. Novozelandski Beastwars i na trećem albumu dosljedno prate Black Sabbath / sludge metal razvojnu liniju heavy rock glazbe. Bonus bodovi za LPs: artwork.
#06 lipanj: Swans – The Glowing Man
The Glowing Ego.
#07 srpanj: Fire! Orchestra – Ritual
Novi “band entry” za mene. Ne poznajem dosadašnje djelovanje. File under: sax (koji svira Mats Gustafsson). Paralelni album od Fire! (bez orkestra) me se nije toliko dojmio.
#08 kolovoz: Wrekmeister Harmonies – Light Falls
JR Robinsonove turobne vizije podignute na profinjeniju spiritualnu razinu uz pomoć glazbenika iz Godspeed You! Black Emperor.
#09 rujan: Neurosis – Fires Within Fires
Stagnacija? Ustaljeni i predvidljivi glazbeni obrasci i vizije usuda? Neuvjerljivost (isforsiranost) emocija vatre (ljutnje) u vokalima? Možda. Trenutno nisam ziher. Barem su epsku dimenziju sveli na primjerenu minutažu. Metalni rifovi su i dalje monumentalno moćni. Nasrću kao elementarna nepogoda i za sobom ostavljaju palež i pustoš u kojoj se otvara prostor za novu (životnu) transformaciju.
#10 listopad: Bob Mould – Patch the Sky
Bob Mould Trio napokon u izdanju kakvo sam (podsvjesno?) priželjkivao. Zapravo, dobitnu kombinaciju je postigao već na prethodnom Beauty and Ruin albumu. Eto, upravo ovako sam želio da zvuče šepavi Hüsker Dü (Candy Apple Gray, Warehouse: Songs and Stories) ili Sugar. Trebam li sad poslušati i zadnji Superchunk?
#11 studeni: Russian Circles – Guidance
Nisam poklonik instrumentalne glazbe na rubu takozvane post- estetike, ali “Guidance” krase i suveren ritam i povremeno dobar gitaristički rif. Dovoljno je spomenuti dvije pjesme: Mota i Afrika. Free your mind and your ass will follow! Iako sam i prije čuo slične izričaje (npr. High Dependency Unit), bespogovorno prihvaćam ovu inačicu. Inicijalno sam nešto kenjkao. Potvrdiše svoje adute i uživo.
#12 prosinac: E – E
Upoznavanje s grupom E se dogodilo tek ove godine. Osvojili su me na prvo slušanje. Tri jednakovrijedna glazbenika stopljena u modernom rock triju. (bez bas gitare, a valja!?) Tri vokala različitih senzibiliteta od kojih mi je onaj Thalie Zedek jedini blizak odnosno poznat otprije, a bogami i najdublje bode (Silo, Fissure). Međuigra dvoje gitarista povrh zbilja iznimnog bubnjara plijeni. Fenomenalan koncert u Močvari je samo potvrdio njihovu dinamičku kvalitetu.
*subject to change*
Izbor za siječanj ’17 je također jasan: Trobecove krušne peći – Ether.
Pingvinovo potpalublje s/t je specijalna kategorija, da ne bi bilo zabune.