TEN SONGS: IV/AN
Photo by Valentin Salja
I present ten songs from the former/post-Yugoslavian music scene, that further shaped my musical taste as well as having influence on my own music.
A few of these songs, some might recognise from my sporadic cover versions.
Enjoy.
Iv/An
Photo: Darija Cikač & Neven Muretić
1
MONOFONIK
Neonske usne (2007)
While being inspired by some of the domestic (pop) music during my formative years, it took me a long time to accept and realise the potential of writing lyrics in my mother tongue, let alone singing them. Discovering Monofonik, his songs finally gave me some confidence to try out ideas I dared not do before.
So, years before Iv/An, there was "Umrijeti za strojem" - a manifesto of sorts, lasting between 2006-2015, where my domestic stop-start lyrics took shape - in great part thanks to Monofonik alone.
The futuristic gem "Neonske usne" ("Neon Lips") is one of his many inspiring songs. I love the honesty of his melodies and part-surreal / part-sociopolitical lyrics.
2
DORIAN GRAY
Kuća (1983)
Back in the day, they used to spook me out every time they'd appear on TV - adopting a creepy make-up look, Dorian Gray were downright unusual and intense, a superb art-rock entity. Their official debut album "Sjaj u tami" ("Shine In The Dark") came out in 1983, and was a deserved success, yet some were openly disappointed with it.
Part of the story goes, due to the interference of the producer who polished the group's original raw sound, adding to it the compromise foisted on them by their label (Jugoton) to include a cover version on the album (the song "Sjaj u tami" is a translated cover adaptation of The Walker Brothers' "Sun Ain't Gonna Shine Anymore"), some of the original founder members left the group in revolt and acrimony, not long after the album's release.
However, the album (the cover version included) doesn't disappoint and "Kuća" (meaning "The House") remains my all-time favourite song of theirs. A powerful gem is especially intriguing due to its fair share of fretless bass, adding an oriental touch to a song sharing a ghostly storyline of an abandoned house haunted by someone else's memories.
3
PARAF
Odlazak (1984)
If Yugoslavian punk were more properly documented internationally, I am sure Paraf's name would have appeared regularly in many worldwide known publications on the subject.
Spotting pictures of punk groups in magazines, Paraf claim they initially didn't know about the sound of punk, but intuitively responded to the look of it, starting a band in late 1976, which was originally a trio - the timeline places them as one of the mid-70s' first ever punk groups in the world... Their 3 studio albums, each radically different, between them, enjoy a cult status, showing a fascinatingly rapid artistic growth of the band.
Paraf's fans are somewhat divided though; some remain loyal to the group's early punk sound, whilst some claim that Paraf were at their best during their later, new wave / avant-garde phase. The original founder member and iconic frontman Valter Kocijančić, left the group shortly after the release of the debut album in 1980, and for their second and third albums, the group re-appeared in expanded line-up, fronted by the iconic frontwoman Vim Cola.
"Zastave" ("Banners"), from which "Odlazak" ("Departure") originates, shows Paraf's true creative strengths, leaving a daring experimental mark. Sadly, due to lack of media support and promotion after its original release, the album sank into obscurity pretty quickly, but remains ranked as one of the top best produced albums in Yugoslavian rock history (the album was produced by Aldo Ivančić of Borghesia, including co-writing contribution from Dejan Knez of Laibach).
4
VIDEOSEX
Sivi dan (1985)
Videosex belonged to the Slovenian underground music wing of the early 80s. Singer Anja Rupel, already recorded with early Laibach at the age of 16, while some of the songs Videosex reworked from the earlier, two related punk groups Kuzle and Otroci socijalizma (The Children of Socialism). Videosex's lyrics often chose a provocative storyline, openly singing about homoerotic love, serial killers, suicide, voyeurism, transsexuality, masturbation and death - wrapped up in irresistibly catchy, radio-friendly synth-noir melodies.
Not sure about the actual idea behind the song, but to me "Sivi dan" ("Gloomy Day") seems to bring out a disturbing subject of rape - told in the first person, a victim who takes revenge, killing the perpetrator. The lyrics are at times ambiguously erotic and sensual but there is a line saying - "come lay with me, you're reaching all the way to my dreams, penetrating through... now that all is dying within me - you die, too..."
5
BORGHESIA
Noćne šetnje (1985)
Originally starting out as an art performance collective (Theatre FV-115/12), members of Borghesia were also active in the local Slovenian alternative club network, organising concerts in support of the underground music scene.
Borghesia's very own bits of music first appeared officially around 1983. Not that I can remember any of it at the time. Their intensely dark, subversive and daring video work was probably sold from under the counter more often than not. Borghesia's songs and videos were downright disturbing socio-political vignettes, showcasing the regime brutality and oppression, bringing sexual taboos to the fore. Interesting to note that unlike Laibach, Borghesia managed to avoid censorship on their records - according to the band, it was partially due to their clever use of anarchist codes.
Originally appearing on their 1985 vinyl album "Ljubav je hladnija od smrti" ("Love Is Colder Than Death"), the song "Noćne šetnje" ("Night Walks") could be described as their very own version of "Los Niños Del Parque". A melancholically underlined, grim tale of prostitution and sexual abuse.
6
DENIS & DENIS
Dio refrena (1984)
Denis & Denis were essentially a male-female duo who released a stunning debut album in 1984 "Čuvaj se!" ("Take Care!"). The entire album is adorable, and is often viewed as a downright "greatest hits" collection of theirs. They became an instant sensation, but sadly this came at a price, pushing the duo further into the banal commercial pop territory, killing off their initially delicious balance between synth-pop's experimentation and its commercial appeal. Whilst many lazily compared them to Eurythmics or Yazoo, I always perceived Denis & Denis as an intelligent domestic adaptation of the Dare-era Human League. Even image wise, they echoed some of The League's look rather than anyone else's.
"Dio refrena" ("Part Of The Refrain") is the debut album's undisputable jewel, dark and closely rumoured of being a story of personal trauma, paranoia and fear.
7
BEOGRAD
Sanjaš li u boji? (1982)
For many years, Beograd were left in vinyl obscurity. I first heard about them in the 90s, through a friend familiar with their highly collectable 7" single (the song featured here) and an album, the 1983 masterpiece "Remek-Depo" (the title is a wordplay between "remek-djelo" (meaning "masterpiece" and "depository"). "Sanjaš li u boji?" ("Do You Dream In Colour?") borrows its title idea from Bill Nelson, but otherwise the song is all Beograd's creation. According to frontman Dejan Stanisavljević, to dream in colour means to be carefree, wishing for happiness we all crave for in life, achieving the right to freedom.
8
ALONE
Tehnologija (2007)
Thanks to Monofonik, I've been introduced to the genius of Nikola Vitković aka Nitkov. Among his many amazing group and solo projects (Ilegalne emocije, Magma Trakt, Nightmare Carpet, Konvoj bonton bajkera), Alone stands as a central meeting point figure.
Exposure to Nitkov's music additionally served as a catalyst, helping me discover the absolute elsewhere of the new Serbian underground music scene (the likes of Margita je mrtva, Kinovia, Apparatchik, Videododir, Klopka za pionira, Lenhart Tapes).
Listening to "Tehnologija" ("Technology"), the bizarre feeling of wanting to run happy in the streets and almost (not) get hit by a car, was just immense. Ballard would love it, I'm sure. Its merciless cocktail of brutal, spindizzy electronics at times appears as if turning Jarre's "Zoolook" into a "Looney Tunes" chainsaw massacre.
9
MICROSLAV
Sam sa tobom (2010)
A genius and a synth geek, Microslav creates amazing electronic tunes, many of which sadly stay on his hard drive when these should be mercilessly beaming across the planet. He is never in a hurry, and never takes himself too seriously, but each sketch, let alone final tunes, are downright masterpieces.
The affecting "Sam sa tobom" ("Alone With You") is no exception, a vocoderised gem about longing for one's companion.
Play this and feel warmly hugged to bits. That's what it does. Should have been a classic by now. Because it is.
10
POPSIMONOVA
Budi kakav si noću (2013)
Popsimonova is the heroine mistress of repetitive, escapist storytelling. Her amazing work is rarely graced with native lyrics, but once she decides to do so, the outcome is truly rewarding. Initially starting out in Dekolaž (the female duo she formed and kept active between 2006-2008), Popsimonova kept the duo's initial sound and transformed it further into her own unique creation. "Budi kakav si noću" ("Come As You Are At Night") is one of her many signature pieces, partially dating back to her earlier material from around 2008 - mechanical rhythms and the sensually indifferent narrative.
