v.a. Zagreb [1986-90] vol II: Art [ethnic forgeries, avant pop, free jazz, jazz pop, art rock, noise rock, pop rock]
*subject to change*
Brojani (1985 – 1987)
Srđan Sacher’s main band after he had left Haustor. The first version of Brojani were Haustor rhythm section (Sacher & Gulić) with Nebojša Stijačić (band leader of Cinkuši) as guitarist. The second version split up in two directions / groups: Waitapu and Vještice.
Cul-de-Sac I (1986 – 1991)
Free improvisation group founded by late Dragan Pajić (guitar) and Damir Prica (sax; ex Haustor, ex Tkp) with a revolving door of musicians from Zagreb. By the 1991 they recorded few cassettes and one of them was “The End Of The World And Other Songs (Including Hit Single)” issued by FV založba in 1989. The Zagreb-Amsterdam-Zagreb anthology (1987-2006) titled “L’Equipe Extraordinaire” (2xLP) has been issued through Dirty Old Label this year. Rhythm & sound (noise) for cleansing mind & soul.
Other Songs (Including Hit Single)
The End Of The World
Dee Dee Mellow (1987-1989)
Jazzy trip initiated by Jurij Novoselić (alt sax; ex Film) and then fully realized with Srđan Sacher (bass player; ex Haustor) and Srđan Gulić (drummer; ex Haustor). Their repertoire consisted of jazz standards covers, reinterpretation of world music songbook and few original songs. FV založba opened collaboration with new bands on Zagreb’s “scene” with Dee Dee Mellow “Live” (1988) tape. Working in parallel with other bands, sax player and drummer joined Disciplina kičme (Belgrade) while bassist left his band Brojani to dedicate more time in newly formed Vještice.
Dee Dee Mellow
Kruha i jogurta
Ozo spi (cover of Hungarian folk song)
Waldorf (mid 1980s – 1990)
Kindergarten funk mixed with white noise or something like that? Regression into unbridled childhood? Don’t know yet. Various Artists “Ča je život vengo fantažija” (Search & Enjoy, tape, 1994) would help but it’s not at my disposal. Waldorf participated at YURM ’85 festival.
Sin Albert (1985-1990)
Some sort of arty rock band with post-punk foundations fronted by guitarist Daniel Šuljić. Before breaking up they recorded few songs in the studio which were issued by “Search & Enjoy”, new independent publisher in town. Sin Albert are dry sounding and swift but somehow tired too on their eponymous debut. It does sound like they are singing themselves to sleep through Velvet Underground lazy vibes but one can discern kinetic potential locked in. I should hear samples from their earlier work to get a better picture.
Sin Albert – Sin Albert (1990) 7″ EP
Ja želim čuti
Tri mala dodira
Short-lived post-punk band comprised of two bass players and a drummer. They hardly left their rehearsal space in 1989. However, the members were present on the fluctuating “scene” before and after Boxer. Bassist Josip Suić joined Phantasmagoria and Svadbas, drummer/vocalist Robert Bušić (ex Sin Albert) later played with Brujači and Kojoti & bassist/vocalist Hrvoje Crnić collaborated with performance group Montažstroj and soon started to compose music for theater/film. Boxer managed to record few demo songs during their brief existence which I quite like so here they are – tracks from the attic:
The House Painters (mid 1980s – 1990)
Funkified art-rock or just modern pop band. Don’t judge them by cassette cover. The House Painters don’t sound like The Smiths. Talking Heads were one of the starting points regarding their possible influences. More I listen to The House Painters more I like ’em, especially guitar parts. The vocals are too high in the mix for my own aural pleasure but what the heck. “Music For Leopold IV” tape in format of an imaginary mini-LP:
A side: SIM Studio ’87
Paint The World
B side: TROOLY Studio ’89
I Woke Up In A World Of Light
Waitapu (1987 – 1990)
Waitapu, led by guitarist Hrvoje Danilović, continued creating and refining sophisticated pop music influenced by reggae & afro-pop from the point where his previous band Brojani arrived at. They did record studio material but being a perfectionist, the guitarist destroyed all the master tapes. So the story goes… I am intrigued.
SexA II (1988 – 1991)
Lustful noise-rock boars on the prowl – live in Galerija SC on a lovely late spring evening. Tender mating calls (with the occasional grunts) in the din of thick sounding electric guitar. “No Sleep ‘Till Pussy / Fuck Piction” vinyl debut was issued by Idle Valley / FV Založba at the same time as release of this tape.
Vještice (1987 – 1996)
Three-headed band comprised of members from Azra (drummer Leiner), Film (guitarist Juričić) and Haustor (bassist Sacher) moving up and towards the light, and out of the blind alley via recording deal with a “major” label. In 1989 Jugoton issued their debut album “Totalno drukčiji od drugih” – distillation of world music / folk / ethno influences into optimistic pop-rock which appealed to a larger audience. Small independent publisher from Osijek “Plavi pilot” somehow managed to release their second album “Bez tišine!”. Remain in light!
Here is an incomplete review of the second half of the “dark decade” in pop & rock music from Zagreb. Retrospectively exciting in its own ephemeral way.
*subject to change*
Open the box. Release the bats! Release the moths!
v.a. Zagreb [1986-90] vol I: Dark [dark wave, goth (rock), dark psychedelic rock, electronic music, EBM, cold wave, ethereal]
Phantasmagoria (1988 – )
Phantasmagoria, loved or hated Goth princes of Zagreb, are the sole survivalists despite the periods of inactivity and surprisingly little recorded material. Mastermind in the band, young punk rocker Tomi E. Šega (ex Eksodus), had chosen path of “positive punk” which led him to Leeds and right into the heart of everlasting phantasmagoria. These baby steps along the rhythm machine beats are not bad at all. Much better than I remembered. Phantasmagoria won YURM ’90 in category of best new “alternative rock” band.
Demonstration tapes (1988-89)
Grad tihog očaja
Ja gledam svojim očima
Poziv u raj 2
Lepra (mid 1980s – 1990)
Madness. I know almost nothing about Lepra. But I was pleasantly surprised when I heard them for the first time. They are represented with two wildest tracks on “041 Compilation” tape, the only officially issued document that gathered all these bands except Phantasmagoria. Rock critic and promoter Siniša Bizović (editor / compiler of the previously mentioned various artists tape in 1989 & rock festivals organizer nowadays) was a band member at some point.
Endymion (1988 – 90)
Scènes de la vie future (second demo tape, recorded in ’89)
Endymion were dark psychedelic rock band that connected rock foundations from ’69 with pop stylings of ’89. Songwriting (as well as unabashed love of Detroit rock city) was shared between two brothers: remarkable guitarist Igor Polak & bassist Goran “Stražarni lopov” Polak. The dark rock machine eventually accelerated and started to roll. After couple of demo tapes the new studio material was recorded, the interested publisher in Germany was found and then… something bad happened. The electric guitar was the lead instrument in Endymion.
The Man With The Golden Eyes
I Have Control
She’s Only Sleeping
Something’s Gonna Happen (live)
Short lived and forgotten band that cherished ethereal goth vibes channeled through female singer.
The Autumn Song
Nezaboravan san o… (mid 1980s – 1990)
Nezaboravan san o… (demo tape)
Electronic heart throbs and tears. Without glamorous black eyeliner and red lippy. Stripped bare. With tastefully applied wailing of electric guitar. Transcending the inner void. Cold and indifferent Zagreb of the very late 1980s didn’t give a damn. Aura of Nezaboravan san o… has left lasting impression on my fragile mind when I finally listened to complete demo tape few years ago. So they’ve become unforgettable.
Trajanja (grad obojen ledom)
Noći bez jutra
Lamenti blijedih zora
Jozo oko Gospe (mid 1980s – 1989)
Promising electronic duo / project Jozo oko Gospe left legacy of only two recorded and officially released demo tracks, one is terrible and the other is terrific. Breathe in. Breathe out and say Om! If you meet the Buddha on the path of least resistance, just knock him out. Say Ohm! Ω
Various Artists (from Zagreb) – 041 Compilation Tape – FV založba, Ljubljana (1989)
Ljubljana cared if totally disorganized Zagreb didn’t. Thank you FV Založba! Enthusiastic individuals like Dubravko Jagatić cared, of course. He put fair amount of his energy / love in what he did as radio host and booking agent in the second half of the 1980s. His radio-show “Sve prije vinila”, aired on Zagreb’s best radio station “Radio 101” was big support for local demo scene. Electronic duo Ivor The Lord were initially planned for inclusion but due to unfortunate circumstances they missed the chance. In an alternative universe this might have been a very nice vinyl document from 1989, with two tracks by each band.
Crisis! “Crna ruža” (“Black Rose” Sect) or the Socialist Youth in the Dark
Is Zagreb still a city of quiet desperation? (grad tihog očaja)
Spring. March Hare is out of his winter lair and on the streets again. Still aimlessly wandering all around Italia. Last month he was ruining his sensitive hearing in hard-core circles which resulted in today’s Declino / Peggio Punx split blogpost. It would be unfair to have a quick (super fast!) look back at Italia ’84 without mentioning phenomenon of local HC punk. I could have picked anarcho Milanesi Wretched and their seven inch EP “Finirá Mai?” that preceded excellent debut LP “Libero Di Vivere / Libero Di Morire”. Yeah, there were quite a lot of bands that managed to issue worthy plastic (in relative terms). Negazione were on the way to become the most popular name of them all, slowly building the European connections. While Raw Power were gigging across the pond in USA, etc. Ascoltate!
Peggio Punx – La città è quieta… ombre parlano (1984)
La mia vita
Declino – Declino (1984)
Rivolta e negazione
This blogpost would not be possible without the history lessons / source materials coming from metal-head Erich (defunct ‘Bad Good Music from Bad Bad Times’ blog) & rude boys of ‘Killed By Death’ old school punk site.
In our neck of the woods hard-core punk didn’t catch on so impressively. UK influenced Skölcould be worthy of passing mention when we speak about Zagreb. Not only early phase of the band but trajectory of the band leader Tomislav Peterlić Fix: Sköl – Blitzkrieg – Sköl II. Unfortunately Sköl didn’t leave behind qualitatively recorded material. HC punk was bigger deal in SR Slovenia & SR Serbia at the beginning of the decade.
From Italodisco to hard-core punk and back, I am off the middle path of purity and righteousness… The decline and fall.
Pop consumer confession again: I am not well versed in Diaframma’s work. It wasn’t destined for export, like Italian hard-core punk. Diaframma remained inside their homeland boundaries.
“Siberia” is recognized as capolavoro of Italian new wave / postpunk. Upon initial listening I wasn’t impressed but once I started to recognize signs of life underneath thin copertina of icy reverb the picture fell into place. Eight songs in half an hour, quite fitting for a Sunday afternoon indoors in allegedly depressive month of January. (Finally with some snow and chill in the air outside, as proper winter should bring. Where have all the seasons gone? You can have six months of fake summer. I want four seasons back!) But as I said, “Siberia” isn’t immediate listening experience and an impulsive savage/naturalist in me wished for the rough mixes or 8-track garage recording of instrumental tracks. The studio recording gives aura of the group scattered across a large freezing empty space with the strongest echoes emanating from the singer. Synthscapes are very tasty but barely audible on few tracks. Bass slaps I dig, as usually. The leader in the band, prolific songwriter / guitarist (in later line-ups on vocals as well), Federico Fiumani, decided to suppress the rock ego and toned down the role of guitar in this arty stage of Diaframma. And although the songs gathered for their debut LP have wintry pace, the group energy captured on other recordings generally reveals lively and forward oriented shape-shifting dynamic. I wouldn’t say that Diaframma were bunch of depressed Italian youth thou. First and foremost, their main muse seems to have been Venus. Followed over the span of the decade, they can be valued as Italian contemporaries of Echo and The Bunnymen, The Cure, Simple Minds and The Wedding Present. I suspect that they were cherished on a local level. Early Diaframma shares some common ground with Pingvinovo potpalublje too. In mid 1980s their vocalist was very distinctive Miro Sassolini who gave Diaframma touch of romantic glamour. But for the purpose of “Siberia” even he was a bit down. (on songs like “Elena” or radio friendly “Tre volte lacrime” which followed after “Siberia”, he flies despite the heartache, and pulls the band higher off the ground). I might check other albums by Diaframma one day. I hope I won’t be disappointed by overtly populist moves. Diaframma = drama.
Sunday morning in a commune house in the outskirts of Reggio Emilia with communist art-punks CCCP-Fedeli alla linea. Listening to their punk filosovietici. Slowly sipping prime quality espresso (instead of doing it properly in two fast gulps, like all true Italians do) & getting flashbacks (some of them mildly disturbing).
CCCP-Fedeli alla linea
CCCP-Fedeli Alla Linea – Ortodossia II° (12″) Attack Punk Records 1985
Live In Pankow
I like this red 12” and all CCCP-Fedeli alla linea records that I’ve heard so far. “Ortodossia II°” is thrilling art-punk achievement, recommended for all lost cases who dig rhythm machine postpunk in the frontlines, side by side with The Three Johns, Red Lorry Yellow Lorry and Italo-American band Grande Nero among the other comrades. I wasn’t aware of CCCP-Fedeli alla linea existence back in the 1980s. Their music wasn’t spread on tapes and listened in my hometown. Perhaps few copies of original LPs still could be found in record collections of older punks from Ljubljana, Pula or Rijeka. As a side note, in 1984 the same small label Attack Punk Records issued hard-core punk EP “Corpus Delicti” by U.B.R. from Ljubljana and made it part of international HC community even more.
Live in Mosca, live in Budapest
Live in Varsavia
Live in Praga, live in Sofia
Live in Pankow
Haupstadt der D.D.R
Haupstadt der D.D.R
Haupstadt der D.D.R
Uno sforzo ancora
Dalle sale da ballo
Un po’ più che di merda
Un poco meno stupida
Dalle sale da ballo
Un po’ più che di merda
Sotto il piano di Varsavia
Voglio un piano quinquennale
Live in Mosca, live in Budapest
Live in Varsavia
Live in Praga, live in Sofia
Live in Pankow
Ost Berlin, West Berlin
Ost Berlin, West Berlin
Ost Berlin, West Berlin
Ost Berlin, West Berlin
Trance Europa express
Trance Europa express
Trance Europa express
Trance Europa express
I am glad that there isn’t a line “live in Belgrado” in the song text. I did appreciate belonging to non-aligned Third World and having a passport. At the age of sixteen I could hop on a bus and go to Trieste (window) shopping for records without problems. In addition to that, I am thankful for all the modest products of Socialism available at home – licensed new wave and punk rock albums from US/UK major labels which were generally well pressed by Jugoton label. Those days I’d look in any direction but cold and frightening north-east where CCCP sprawled. Today: Voglio un piano quinquennale. La stabilità. New Europe without solid welfare state is utterly pointless. Trance Europa indeed. Tanz debil / ganz debil.
Saturday night in a discotheque in Bologna, Italia.
Italo Disco d/evolution of Gaznevada? Non mi frega niente. Mi piacciono i sintetizzatori italiani.
Psicopatico Party (1983) Italian Records
I.C. Love Affair
Sick Soundtrack (1980) Italian Records
An important New Wave recording for Bella Italia, I’d say (as a casual retro listener / onlooker). There is only one cardinal sin – Gaznevada gave up on the mother tongue entirely on their debut album which leaves me a bit heartbroken everytime I listen to “Sick Soundtrack”. During the time of finding their own voce dadaistico, the band were trying out new sounds arriving from USA so one can hear traces of Devo, Talking Heads, Ramones, James Chance & The Contortions, Blondie etc.
Pordenone UFO Attack
Now I Want To Kill You
Nevadagaz / Blue TV Set (1980)
A great single.
Blue TV Set
Gaznevada (1979) Harpo’s Music (tape)
The opening number “Everybody Enjoy The Reggae Music” could be an obstacle because they couldn’t pull off white reggae nor make fun of it properly. It’s simply a warming up track for wild Gaznevada ride. Dada punk-rock bolognese presented on this tape was already quite competent. Plus Gaznevada here sang in Italian, la lingua di popolo!
Vol VII: Rock and Pop Music in Skopje in the 1980s
*subject to change*
This far away ex Socialist Republic was/is situated deeper in the Balkans where Byzantine ways of singing and chanting have persevered in liturgy. Skopje, the capitol city, was hit by powerful earthquake in 1963 and rebuilt in steel and concrete. So, despite relatively sunny climate and warmhearted folk, one could find just enough Socialist gray areas even down there. Well, I can only guess. Macedonia as a land is usually (and superficially) associated with red vine, mutton, blood red poppies & jazz-rock virtuoso Vlatko Stefanovski’s band Leb i sol whose rise to fame progressed in parallel with the new wave happenings. Although Makedonija very often brings in mind sunshine too, where those rock generations really children of sun (Deca sunca) or darkness? It might seem like the majority of them were children (youth) of God: post-punk (or dark-wave or Gothic) bands that operated like mystic sects branched from Macedonian Orthodox Church – bringing religious Sunday school out of the half-secret parochial classes to the Electric Church and rock stages across the country to amplify their beliefs.
The earliest Macedonian punk and new wave bands didn’t leave official recordings behind. They probably lived fast and died too early or transformed into something else. In general, Macedonian artistic spirit of mid 1980s struck a chord with dark wave.
Since I am not that much familiar with the history of rock and pop music from Skopje and SR Macedonia, beside obvious punk rock or post-punk names (Badmingtons, Bastion, Padot na Vizantija, Mizar etc.), here’s the segment from Wikipedia as a brief overview:
The late 1970s saw the emergence of punk rock. The first punk rock band was Fol jazik, formed in Skopje in 1978. During the 1980s other notable punk groups were Saraceni and Badmingtons, both led by Vladimir Petrovski Karter. Later he switched to a more mainstream sound and formed the group Aleksandar Makedonski.
The new wave scene featured artists such as the ska group Cilindar, Usta na usta and Tokmu taka. Tokmu taka’s vocalist Ljupčo Bubo Karov from Kavadarci later became popular as an actor of the comedy TV show K-15, while Usta na usta’s member Aleksandar Prokopiev became a prominent writer. Another influential band was Bon Ton Bend with Dario Pankovski, who released many hits of new wave music.
The synthpop trio Bastion which featured Kiril Džajkovski was one of the most important 1980s acts. Another notable 1980’s act was Haos in Laos (allegedly in a sort of New Romantic style). The pop-rock group Memorija formed in 1984 was one of the most prosperous from this period. The most productive in the country was the post-punk, darkwave and gothic rock scene which included the cult bands Mizar, Arhangel and Padot na Vizantija, the latter led by Goran Trajkoski. Later he formed the neo-folk group Anastasia which became internationally acclaimed with its soundtrack for the Milčo Mančevski’s Academy Award nominated film Before the Rain.
Notable heavy metal artists were the groups Karamela and Concorde, the latter being remembered for their more radio-friendly hit “Visoki štikli i crni čorapi” (“High Heels and Black Stockings”). Its guitarist Venko Serafimov later started a successful solo career.
Noќ nad Makedonija (1981-90)
The very beginning (1980-83) of the dark decade in rock in Macedonia mainly remained undocumented and the scarce demo recordings are unavailable.
Početok i kraj 1983-86
Badmingtones (ex Fol jazik, ex Saraceni) (1983-86) fronted by ever-present punker V.P. Karter played slightly melodic punk-rock throughout the mid decade and even managed to leave a demo tape behind. Now very rare, it consists of earlier recordings done in their own studio and three tracks recorded in professional studio of RTV Skopje in 1985. Their basic punk-rock sound was enriched with electric organ on studio material.
Bastion was yet another smooth ex-YU synth pop combo: drum machine, fretless bass, synths and baby doll singing in Serbian (then known as Serbo-Croatian – the official language in Yugoslavia). The trio was formed in 1983 by Ana Kostovska (vocalist), Kiril Džajkovski (keyboards) and Ljubomir Stojsavljević (bass guitar). The author of their lyrics was the internationally acclaimed film director Milčo Mančevski, at that time a correspondent of the magazine Džuboks. He was also the film director of their music video “Hot day in Mexico”. It’s a shame that at least one single track on their only record was not sung in Macedonian. I remain emotionally reserved to some degree but can understand appeal, there is some beauty in delicate fragility of Bastion’s almost minimal approach. Synth-pop fans that dig albums by Talas (BG), Videosex (LJ) or Denis & Denis (RI) should check it out. The original copies of “Bastion” (1984) issued by PGP RTB are fetching silly prices nowadays.
Energetic post punk (via Echo and the Bunnymen, U2 or Comsat Angels) of short-lived Padot na Vizantija (ex Afektiven naboj) was documented only on a couple of studio/live demo tracks scattered as appearances on three cassette releases (various artists compilations). They split up too soon and freed space for powerful gothic rock delivered by post-JNA Mizar or Mizar II. Surprisingly, Padot na Vizantija toured a bit in their short lifetime and even participated at YURM ’85 festival in Zagreb where they got excellent reviews. If they had managed to record and issue debut album in ’85 it would fit nicely in dark-wave post-punk albums series championed by this blog/site. Padot na Vizantija anthology has been issued by NE! Records this year.
Gradot e nem (1986-90)
Mizar II put out two critically acclaimed gothic rock (or deathrock) albums before the official end of Yugoslavia. The self-titled debut “Mizar” (1988) would be the most important record from Macedonia from the 1980s (if we put Leb i sol albums in separate category). I used to think that the sophomore effort “Свјат Dreams 1762 – 1991” (1991) was significantly inferior but now I realize that I was wrong – it has its own strong points. I can be fussy only about the clean production on both, as usually.
Mizar – Mizar (1988, Helidon) – the most important rock album from Macedonia
Aporea (aka Apokrifna realnost) self-released religiously (spiritually) themed vintage industrial tape “Na rekah vavilonskih” in 1988. The material was recorded after Padot na Vizantija had disbanded, sometime in the between the fall of ’85 and winter of ’88.
Lola V. Stain recorded two albums of ambiental music before crucial member Zlatko Origjanski joined Anastasia. The debut “Ikona” (1990) issued for an independent label from Zagreb (Blind Dog Records) is comprised of two long multi-part atmospheric instrumentals: “Makova polja” & “Rani jadi”. These two complex songs are structured from the interchangeable variations based on either bagpipes, traditional ethnic drum (tapan) or a jazzy psychedelic theme.
Anastasia started as collaboration of musicians from Padot na Vizantija, Aporea and Mizar who composed atmospheric music influenced by Macedonian folk and Byzantine church music. This lineage also represents specific artistic vision of Goran Trajkoski that had started with punk band Afektiven naboj. The first EP “Na rjekah vavilonskih” was released as 12’’ record in 1990. It was introduction of sorts for the film soundtrack “Before the Rain” that would become international hit few years later.
Arhangel was Macedonian alternative rock band formed in 1989 by Risto Vrtev (the first vocalist in original Mizar). Their debut album was recorded during last days of Yugoslavia and even pressed in Zagreb by Jugoton in 1991. However, as an active rock band, Arhangel have been more significant for post YU Macedonia.
As an exception to the “rule” and due to the scarcity of recorded Macedonian bands I’ll add Telo-nauka sovršena who were actually living far away from Skopje – they came from a small town Struga (as local punk band Afektiven naboj). I quite like material from their only official release – tape “Kadis” (1988, SKC Niš) but not so much some sound production choices. Like Mizar, Telo-nauka sovršena often sound better to me live than in studio. One can here ghosts of Joy Division [unknown pleasures] or early New Order buried in the hiss and flutter of an old cassette tape. Never heard earliest recorded material (pre “Kadis”), if it really exists in any format.
I am going to end retrospective tripping on ex YU music with this post and take a small imaginary vacation at some fancy resort on the lake of Ohrid. Seeping cold juice under a huge parasol listening to Bastion would make me good now on the verge of winter. I am kidding comrades! I need to spend some quiet time as a recluse contemplating and meditating in a remote Macedonian monastery (without holy scriptures of any kind, of course). OK, I am leaving you with Mizar, not in misery. Godspeed!
The First Two Revelations of Mizar (from a great Wikipedia entry)
Mizar (Macedonian: Мизар [miˈzar]) is a Macedonian rock band from Skopje. They achieved a status of a cult band, especially in Macedonia and across the Western Balkans.
The group is notable for its first self-titled album, as it was the first popular music in Western Balkans record in Macedonian language. The album was a major success and it is listed among the top ten rock albums ever released in Western Balkans.
Mizar was formed in 1981 in the then Socialist Republic of Macedonia. Because of the band’s avant-garde sound and image, its Christian leanings and support for Macedonian self-determination, they were viewed with certain degree of suspicion by the former authorities. Still, the group received great media attention including numerous appearances on the national television.
The band got its name after Mizar which is a guiding star for orientation of travelers in the deserts. The name was given by Panta Džambazoski.
Mizar’s musical style is post-punk, darkwave and gothic rock. Beside influences such as Joy Division for instance, Mizar also uses elements of Traditional Macedonian folklore and Byzantine music. Another main part of their music is Goran’s (both Tanevski and Trajkoski) vocals which are based on Christian church chants.
In their long history, Mizar has had 5 Revelations, all of them with different singers.
The First Revelation (Risto Vrtev)
Mizar were formed in 1981 in Skopje as an instrumental trio of Gorazd Čapovski on guitar, Valentin Žabjakin on bass and Panta Džambazoski on drums. In late 1981, Žabjakin left the band and was replaced with Ilija Stojanovski. Risto Vrtev joined on vocals soon after. In 1982, the group recorded a demo tape for Radio Skopje. They then sent this tape to Jugoslovenski Rock Moment (also known as YURM), who wrote a short but glowing review of the tape. During 1983, the band then had to break up shortly after due to the members’ mandatory army commitments.
The Second Revelation (Goran Tanevski)
In 1985, when the members of Mizar returned from the army, Čapovski attempted to form a band called Inola-X with Vrtev, but it didn’t work out. Mizar then reformed with Goran Tanevski in place of Vrtev and a new keyboardist, Slobodan Stojkov. They started to use elements of the traditional Macedonian folklore and Byzantine music blended with post-punk, darkwave and gothic rock. This phase of Mizar is known as Мизар – Второ Откровение (Mizar – The Second Revelation). Vrtev later founded Arhangel (Archangel) which was awarded as the best rock act in Macedonia during the 1990s. Arhangel inherited certain features of Mizar but with a more conventional rock approach which is why Arhangel was sometimes referred as the Rock Mizar. In 1986, the band filmed a music video for the song “Stoj”.
In 1986, the band played the “Druga godba” festival in Zagreb, but altercations within the band caused Džambazoski and Stojkov to leave the group. They were replaced by Vencislav Smakjoski and Goran Trajkovski respectively. This lineup played at Festival Omladina, with Vladimir Kaevski on keyboards, and contributed two live tracks to the festival’s compilation. These tracks are the first appearance of Mizar on record. Trajkovski would later be replaced by Sašo Krstevski, while Stojkov was replaced by Katerina Veljanovska.
In 1986 they recorded a few demos and were a support act for Laibach and Disciplina kičme on their Yugoslav tour. In 1987 they were awarded for their unique sound at the most significant rock music festival which was held in Subotica.
They released their first, self-titled album, in 1988 with the following line-up:
The producer was Goran Lisica-Fox. Beside their own songs, the album also included a cover version of the notable Macedonian folk song Zajdi, Zajdi under the title “Златно сонце” (Golden Sun). One of the best known songs from the album is “Девојка од Бронза” (Girl made of bronze).
By 1989, the lineup had stabilised to the following:
This lineup’s first appearance on record was the Demoskop 1 compilation in late 1990, where they contributed two tracks, “Veligden” and “Glas”. Between October and December 1990, the band recorded their second album, Svjat Dreams, releasing it on 7 September 1991, the day before Macedonia split from Yugoslavia. The title of the record is inspired by the song Sweet Dreams by Eurythmics. On this album they covered the traditional song 1762 and a song written by Vrtev, the first singer of Mizar titled “Дом” (Home).
Don’t Look Back vol. VII: Skopje (1-2-ex-YU!!)
Noќ nad Makedonija (1981-90)
Početok i kraj (1983-86)
Badmingtons – Site obični luđe 
Badmingtons – Doađa sabota 
Badmingtons – Moram li jas? 
Bastion – Deca sunca 
Bastion – Mesec u šolji 
Bastion – Molitva 
Padot na Vizantija – Početok i kraj 
Padot na Vizantija – Istata sostojba 
Aporea – Dzvezdo javljajušta solnce [medieval]
Gradot e nem (1986-90)
Aporea – Na rjekah vavilonskih [ancient]
Mizar – Gradot e nem (live) 
Mizar – Stoj 
Mizar – Devojka od bronza 
Mizar – Hoden že 
Aporea – Kondak Sv. Prohoru Pčinjskomu [undated]
Telo-nauka sovršena – Grešnici 
Telo-nauka sovršena – Niz vekovi so grevovi 
Telo-nauka sovršena – Plastična zemlja 
Arhangel – Arhangel ’80 – ’89 (live) 
Telo-nauka sovršena – Son (live) 
Lola V. Stain – Makova polja 1 
Lola V. Stain – Makova polja 2 
Lola V. Stain – Rani jadi 1 
Lola V. Stain – Rani jadi 3 
Mizar – Abja mem 
Mizar – Veligden 
Telo-nauka sovršena – Nebo 
Mizar – Običen čovek 
Meanwhile, down on the ocean beach at SST premises…
Bye bye Ladbroke Grove & Rough Trade !!
In 1982 SST continued to broaden their Hermosa / Redondo Beach label beyond its original inner core circle (Black Flag – Minutemen – Saccharine Trust) sifting peculiar talent among punk-rockers, surfers and freaks in larger LA area and even outside California. Stains, Overkill and Meat Puppets (via Thermidor label) had already been recruited the year before in ’81. Dual guitar Black Flag (on obligatory hiatus due to lawsuit) recorded phenomenal Demo ’82 which would be the central event of the year. Würm regrouped because Dukowski wasn’t allowed to play bass under Black Flag anymore. About that time Saint Vitus, the Subhumans, Dicks and Hüsker Dü (via New Alliance label) joined the SST ranks. According to signor Carducci, Bad Brains had an open offer too.
So, let’s bring Blasting Concept back in slightly different way, following a linear timeline more precisely, beginning with late ’82 / early ’83 recording activities with legendary SST house engineer and producer Spot.
Various Artists: Blasting Concept ’83 Revisited
(1) Saint Vitus – The Psychopath (from “Saint Vitus” LP 1984) A
Saint Vitus – mammoth of a band (pulled out from La Brea tar pits!) – recorded seminal self-titled album in late ’82 with Spot. The tapes were sitting on SST shelves until early ’84 waiting for the cash inflow. The album sounds immense in its primordial slowness. Saint Vitus’ inclusion was indeed a tectonic move/ment for SST camp, not immediately recognized outside LA. It took many sloth years before humble Saint Vitus started to get reappraisal, mainly through fellow bands interested in heavy rock. Nowadays they are metal kings – highly appreciated grandfathers of (millennial) Doom or so called Stoner Rock.
(2) the Dicks – Pigs Run Wild (from “Kill from the Heart” LP 1983) B+
Heavy Texan punks Dicks didn’t shy away from blues-rock and soul while playing punk rock. Early songs from their first single and live split w / Big Boys are indeed classics but this debut LP brought something else to the table beside fearlessness. “Kill From the Heart” is (flawed) masterpiece that illustrates diversity of American punk-rock bands often superficially categorized same as juvenile and formulaic hard-core boybands. Although I appreciate communist slant and passionate rage of young singer Gary Floyd, sometimes I’d rather hear about “pigs” (cops), “nazis” or “klan” in a more focused way. Also, I don’t mind “Dicks Can’t Swim” funk jam but it does sound hamfisted a little. “Kill From the Heart” was recorded probably in late ’82 or early months of ’83. Political and social activist Gary Floyd would soon leave for San Francisco… the rest of the band decided to return to Austin after brief Frisco scene try-out. Dicks (mk I) split up.
Indicative cover version: Purple Haze by Jimi Hendrix Experience.
(3) Husker Du – Deadly Skies (from “Metal Circus” mini-LP 1983) A
“Metal Circus” was finished very early in ’83. Typical hard-core songs from yesteryear were dropped from the repertoire and the world of rock music got an almost perfect mini-LP in rushed mid-tempo, but heavy enough. Buzz bomb from Minneapolis invokes Cold War dread on “Metal Circus”, even more personal than collective this time around. American individualism, you know. Using Minutemen spiel it could be dubbed “Buzz and Howl Under the Influence of Cold“.
(4) the Subhumans – America Commits Suicide (from “No Wishes, No Prayers” LP 1983) B
The Subhumans, politically active band from Canada, drove south from Vancouver bringing along spirited and moderately melodic take on old school punk-rock. It was not that dissimilar to the sound of their fellow citizens D.O.A., maybe a bit lighter. Their second full length album “No Wishes, No Prayers” was recorded in late ’82 or early ’83 with partially changed line-up capturing original group’s last gasps. There was only one “No Wishes, No Prayers” pressing because the Subhumans had already split up before SST managed to put it out.
Indicative cover version: Screwed Up by Menace.
(5) Minutemen – Little Man with the Gun in His Hand (from “Buzz or Howl…” EP 1983) A
“Buzz or Howl…” was recorded in two sessions: 01/83 and 05/83. Beloved caffeinated Californian leftist punks of the first order were enamored with politically charged UK art punk. More so than any other band related to SST. On the other hand, Minutemen were not ashamed of US arena rock that dominated their formative years too. Hard-rock moves to come (past one-off novelty trick “Project Mersh” EP) didn’t suit them. Their final album “3-Way Tie For Last” is actually an average 12″ EP stretched to a stodgy hodge-podge LP.
(6) Meat Puppets – We’re Here (from “Meat Puppets II” LP 1984) A
It took only year and a half from art/redneck hard-core punk cacophony of “Meat Puppets” (ruined by drunken/affected vocals) to this evergreen masterpiece. “Meat Puppets II” was recorded in (eternal) spring of 1983. Cock your ears and hold the breath! They are here.
“Surviving You, Always” is Saccharine Trust’s first LP, recorded in October ’83. Saccharine Trust didn’t care for UK stuff (music) one bit, it seems to me. These insular jazz cats were influenced by James Blood Ulmer, Beat poetry & Old Testament in equal measure. Saccharine Trust never made it, God knows why. Were they ignored (by American college radio and common punk rock fans of the day) due to “non-communicative” material lacking obvious POP hooks. Or were they just lazing around in drunken stupor too much? A hidden SST jewel. Lovely black sheep.
Indicating cover version: Peace Frog by the Doors.
Somewhere over the rainbow? No such place on the horizon. Zen Arcade Tour de Force is still exciting conceptual double album done as a tribute to the Who (who are real rock archetypes for fucked-up childhood / upbringing). Hüsker Dü recorded “Zen Arcade” very quickly in October ’83 as well, desperately trying to reach see-through zen state of mind with high intake of amphetamines. I totally flipped out during crossover punk-rock / speed-metal side-B while revisiting whole album for the purpose of this blog post. Mind bending!
Indicative cover version (a howling scorcher): Eight Miles High by the Byrds.
(9) Würm – 98 DA (from “Feast” LP 1985) C
Würm tapes were recorded sometime during 1983 with Ethan James and then they were bunkered. Sound of “Feast” gives off great live feel from roomy acoustics of old Radio Tokyo studio. The evil content might be a required taste. The second coming of Würm could be regarded as warming up for SWA since they broke up right after completion of this mongrel album. Würm was fronted by theatrical singer (Simon Smallwood) looming above band’s uncertain future like bad omen. The pattern continued later in SWA (Merrill Ward). Simon’s approach had more in common with lysergic madness though. “Feast” LP (1985) offers grotesque psychedelic hard-rock worth hearing in its entirety at least few times. Perhaps Dukowski had to vent his pent-up anger somehow.
(10) Black Flag – Nothing Left Inside (from “My War” LP 1984) B+
Recorded in December ’83 under (outstanding guitarist & SST boss) Greg Ginn’s tight reins. “My War” is exceptionally important and influential work-out recorded during Black Flag’s transient line-up still without official replacement for original bass player Dukowski. Album grade was a bit lowered just because Dukowski’s propulsive aggro playing is somewhat missed on “My War”.
Vol III: Rock and Pop Music in Novi Sad in the 1980s (incomplete overview)
*subject to change*
Korekcije faktografije, dopune, HQ mp3 doprinos (bilo bi lijepo čuti Ove sezone vedri tonovi!) i slično… su dobrodošli.
Provodim dane u parku nekom, u drugi grad otplivam rekom tu spavam u potkrovlju slepom, rano uveče i posle još
“Došla su tako neka vremena” (La strada)
Novi Sad, the capital city of Vojvodina (at the time autonomous region in the north of Socialist Republic of Serbia) was a multi-cultural micro-center for new wave happenings. As with any other blog post about the ex-YU city “scenes”, this one starts with a domestic punk band too.
Pekinška patka (1978 – 81) was at the same time the first Serbian (or as their singer likes to point out as an illustration – the very first punk band from Christian Orthodox cultural setting). A lot of punk-rock scholars and fans around the world hold their debut album (at least one year late in production) “Plitka poezija” LP (1980) in high regard. It’s an example of entertaining punk with catchy hooks and exactly because of that melodic aspect Pekinška patka can be regarded as an authentic case globally. By the way, their singer Čonkić (Čonta) was a high-school professor at the time! Weirdos.
In Novi Sad there were quite a lot punk bands (Gomila G*, Crkveni pacovi*, Rafal*, Armija Spasa*, Van kontrole*, Dva minuta mržnje, Vrisak generacije, Fluorel Tačkaš*… ) of all varieties stretching the old school punk-rock tag over street-punk/Oi and later throughout whole decade over various versions* of hard-core punk. Looking back (from safe distance) it seems that Novi Sad was also capital city of street-punk/Oi in ex-YU. Obvious pick of the litter would be Dva minuta mržnje (studio demo ’84).
Pekinška patka II (1980 – 81) is yet another example of fairly successful transformation into post-punk band (quite tight instrumentally). However, Čonta’s changed persona hovering above in darker circumstances can grate my oversensitive ears on few songs. It took me years (even decades) to get accustomed. One can have impression that the second album came too soon (with obvious post-punk influences and ideas brought in with new guitarist Bulatović barely toned down) or that Pekinška patka were losing the steam towards the end. That said, I prefer “Strah od monotonije” LP (1981) nowadays.
Original guitarist/sax player of Pekinška patka left the band before completion of their second album to join newly formed young ska-punk band Kontraritam (1980-82). Thanks to exceptional rhythm section Kontraritam could easily bring it on in concert. Lucky kids with happy feet.
New wave / power-pop bands of note in Novi Sad were Pop art* (officially undocumented) and Fotomodel (with a single put out by Jugodisk).
New wave circus rock troupe Laboratorija zvuka hailed from Novi Sad too. They were often novelty guests on ex-YU TV channels playing upbeat songs specifically arranged for children or, at the other side of spectrum, they were offering lascivious tunes for adult public. “Laboratory of Sound” caravan traveled across the country quite a lot. They even had conceptual performance abroad in London at some point in mid-decade.
New wave art project La strada (1979 – 81) led by Slobodan Tišma ended prematurely with formation of Luna. From this early phase they left behind two studio songs recorded in 1980.
Luna (1981 – 84) put out only one post-punk / dark-wave album and then (acrimoniously) split up before LP even appeared in the stores. Group of distinct individuals – great drummer Fece aka Firči (would become part of EKV (Belgrade) gang soon), excellent guitarist Bulatović aka Bale (ex Pekinška patka II), cohesive organ/synth player Mitrušić aka Mina & peculiar poet Tišma (ex La strada; here as stressed-out vocalist on the verge of mental breakdown) – barely managed to keep Luna together to document their intense existence. Film noir scenario! Perhaps presence of bass player would have pushed “Nestvarne stvari” LP to an even higher level… Well, I am being fussy here because this album really is awesome as it turned out. I might be emotionally more involved with Obojeni program and Boye but regarding the post-punk time frame “Nestvarne stvari” (Helidon, 1984) is picked as the centerpiece album from Novi Sad. Recorded in autumn of 1983 it would fit perfectly in early 4AD portfolio of bands (Bauhaus, Birthday Party, Mass, Modern English, Xmal Deutschland, Wolfgang Press) closing the post-punk years of said esteemed label with a record license from Helidon label.
Luna – Nestvarne stvari (1984) – definitive post-punk album from Novi Sad
Luna sank in Danube to be washed ashore (think of some secluded river inlet overgrown with sedge rather than right between sun bathers on Štrand in summer time) as La strada II (1984 – 8?) again. Tišma kept on cooperation with Luna synth player Mina and invited Kontraritam dudes for reformed version of La strada. They recorded eponymous album in 1986 (or was it really Live Aid summer ’85?). It was pressed in even less copies than “Nestvarne stvari” by Luna. La strada were moving away from new-wave / post-punk templates towards literate guitar pop-rock (and 1960s influences). In my opinion Tišma’s vocal performance on La strada suits him better than his attempts at singing on “Nestvarne stvari”. On “La strada” (M produkcija RNS, 1987) album Tišma seemed to be more relaxed although he was unsatisfied with the end results. His brooding voice evokes (Slavonic) melancholia of river plains pretty well. In the flat field people do get bored.
Grad (1981-82) was short-lived post-punk band (DAF, Joy Divison / New Order) interested in synths and cold electronic sounds coming out of Germany.
Boye (1981 – 199?) Enough!!! Enough of street-punk boot-boy bravado! Make space for girls to rock out freely or just dance and play modern pop songs. Or whatever they like to call their style. The Raincoats and Kleenex/Lilliput … might have left an impression on girls from Novi Sad. Boye recorded two excellent albums “Dosta! Dosta! Dosta!” (PGP RTB, 1988) and “’78” (Search & Enjoy, 1990) in succession that were preceded with plenty of tentative synth-pop/post-punk demo steps around Jugoton contract. Allegedly they had enough recorded material for an album even as early as 1984.
Obojeni program (1980 – ) are indeed rock institution from Novi Sad today. Who would say. They formed in the early 1980s, finally recorded debut LP as late as 1990 for newly established indie label “Search & Enjoy” from Zagreb and… remained present. People often find Branislav Babić Kebra’s piercing vocal a required taste but to me he sounds just perfect. Band’s fascination with M.E. Smith & the fall might be constant although not directly evident in their music. I am not sure if Obojeni program were ever captured on tape before unavoidable mid-1980s hiatus (JNA). Allegedly their early years were characterized by punk-funk sound. They continued live activities in 1985/86 with revolving membership and for a couple of years band existed as drum/bass/vocal trio. At the tail end of the decade Obojeni program would find balance with new guitarist and record long-waited first album together with Dušan Kojić – Koja (Disciplina kičme, Beograd) as producer. “Najvažnije je biti zdrav” LP (1990) is legendary around these parts.
Cult postpunk band Ove sezone vedri tonovi (1981 – 83) even appeared at YURM ’82 festival in Zagreb. Velvet Underground, This Heat and RIO bands are usually mentioned as possible influences or just OSVT’s affiliation. It seems that they disappeared without the recorded evidence of existence. Few OSVT members continued with free form avant-garde group Cirko della primavera** in the second half of the decade. Low budget avant cassette label Nikad Robom originated from this group of forward (or outward) looking folk. As a side note, Đorđe Delibašić – Đoka, member of the collective, recorded SexA’s noise-rock album in Novi Sad in 1990.
According to the book “Novosadska punk verzija”Armija kontrasta ltd* were short-lived post-punk band with rhythm-machine.
Neon vojnik* (ex Crkveni pacovi), Krik maske* and Skice* (ex Linija otpora) shared common love of Killing Joke at the different time frames and probably in a slightly different way. Judging by track “Grobar” solely Neon vojnik really had something to offer. After all, Killing Joke used to be popular with UK ’82 street punks and anarcho crowds as well. Do you remember Blitz (UK) boys and their excursion into post-punk waters on their second full length album?
Mitar Subotić aka Rex Ilusivii was an experimental electronic musician and producer.
Art-rock white-funk synth-pop romantics of Novi Sad were called Heroina. Frontman Petar Janjetov is esteemed artist / comics author today. At the time of recording their only album “Heroina” (1985) they had to replace departed drummer with a drum machine. It is somewhat reminiscent of Roxy Music, Boa (Zagreb) or Gang of 4 (during “Hard”). One can easily find couple of attractive songs (nice guitar playing) while in the heart-broken mood.
Ponoćni kauboj* were rock band (with brass section) from the second half of the decade. Perhaps they realized that in “punk-rock” the part that really matters belongs to “-rock”. The only one track I’ve heard by them reminded me of Električni orgazam (Belgrade) and their own R’n’R transformation.
Hip-hop punk rockers Atheist Rap surfaced out of the hard-core punk scene in 1989 and reigned over Novi Sad (and beyond) in oncoming decades. Street-punk/Oi and hard-core in general gained momentum around that time and you get first studio recorded material by Vrisak generacije (Oi punk), Ritam nereda (Oi punk), Mr. Joint (Oi punk/HC), Kapetan Leshi (hard-core), Generacija bez budućnosti (hard-core), KNO / Invalidi uma (hard-core)…
* scarce info about these bands gathered from “Novosadska punk verzija” book