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)
Well, obviously Unsane cannot be killed easily. They are like the city pest they summoned for the previous album “Wreck” (2012). Impossible to shake them off and get rid of them. And there’s no reason for that because Unsane excelled on “Sterilize”. Alongside self-titled debut (1991) and “Scattered, Smothered & Covered” (1995) this would be my favorite Unsane album.
Electric Wizard surprised me as well. I was bored with sprawling tedium of “Time to Die” (2014) and almost wrote them off. I was wrong. “Wizard Bloody Wizard” is brief and lean appearance for Electric Wizard standards, and indifferently evil as always. In the meantime I’ve also realized that I like Electric Wizard more than Sleep. I am especially fond of the second line-up with Lady Buckingham as additional guitarist.
(lately I’ve been reading the Red Riding 1974-1977-1980-1983 Quartet by David Peace, and although the background soundtrack for “1980” is comprised of Throbbing Gristle, Joy Division, A Certain Ratio, The Pop Group, Cabaret Voltaire, Whitehouse etc., these two recent bloody albums have similar impact on my twitching nerves)
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 
Brand new studio recording from hard working and playfully extravagant Nordic collective. Sometimes they do miss but “Terminal” is for sure one more kosmische hit in frighteningly huge Circle discography. It is heavier affair compared to tranquil and soothing beauty of previous studio album “Pharaoh Overlord”. Lately I’ve been hearing subtle Lungfish echos in Circle music, although it is more probable that they’ve gained similarities and harmonized some frequencies following their own winding course. Heavy & uplifting stuff. Fascinating Finns!