tag:blogger.com,1999:blog-6100040269226353022024-03-06T12:53:08.415-08:00a hogon's industrial guideThe cacophony of information availability and information hyperproduction depends only on where you're standinghogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-610004026922635302.post-42469160570947191832021-03-21T13:38:00.882-07:002021-07-26T02:56:14.510-07:00Weapon God – presents stepping out of the safe zone into the realm of ecstatic contemporary archaic music<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial;"><i>This album was recorded monophonically and stereophonically directly to two-track and full-track master tapes on Ampex 300’s using the following microphones: Neumann U–47; EV 667; RCA 44BX. The Master Lacquers were cut directly from the original master tapes on a Neumann lathe using a Westrex 2B cutter for mono and a Westrex 3C for stereo. The frequency response of both systems is flat plus or minus 1/2 dB from 30 cycles to 15000 cycles. This recording is patterned to the RIAA curve and will give true frequency response if playback equipment is set for the RIAA playback characteristic</i> – Original release sleeve notes of the album Straight Ahead by Abbey Lincoln (Candid Productions Ltd-New York, 1961)</span></div>
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<span style="font-family: Arial;"><i>When you've got a Miles Davis fan who starts programming lo-fi trance loops, you know shit’s gonna get real weird real quick</i> – Ignace De Bruyn</span></div>
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<span style="font-family: Arial;"><i>Listen</i> – Miles Davis</span></div><div class="MsoNormal"><span style="font-family: Arial;"> </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: Arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfY3IgQm1gvKyA2nravQBjcTxAHh36RJ6YAZz_qo-SKaMDRtOqaNxxjSf7Anjn5GaG8iFR2i6UwdFsvz9imX_wrPHnJkMFkJebzwlycqiC3SL-MzuYXpnDMPe94U_mJJIFbha8xmMB2O0/s412/WG-3.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="412" data-original-width="412" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfY3IgQm1gvKyA2nravQBjcTxAHh36RJ6YAZz_qo-SKaMDRtOqaNxxjSf7Anjn5GaG8iFR2i6UwdFsvz9imX_wrPHnJkMFkJebzwlycqiC3SL-MzuYXpnDMPe94U_mJJIFbha8xmMB2O0/w366-h366/WG-3.gif" width="366" /></a></div> </span><br /><div class="MsoNormal"><span style="font-family: Arial;">As the renewal of interest in 1980s cassette culture slowly but surely enters into its second decade<span style="font-family: Arial;"><span id="[note_1]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_1]">[note 1]</a></sup></span></span> and the map closes in on actual territory, there are fewer and fewer patches of unexplored space in the archipelago of the 1980s cassette experimentalism – pockets that have evaded representation. Naturally, since this is an endeavour that can be never quite finished, small-time productions, various one-off releases as well as projects where music production is a secondary or lateral activity will pop up into view every now and then. It is increasingly difficult to imagine uncovering a production that is a potential centrepiece of a particular scene (Yugoslavian 1980s cassette experimentalist scene in this case) and even more so to discover an entire DIY micro-history that stretches to this very day.</span></div>
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<span style="font-family: Arial;">One such example of an acutely under-historized musician is Giorgio Dmtri<span style="font-family: Arial;"><span id="[note_2]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_2]">[note 2]</a></sup></span></span>, the hometaping wizz from Požarevac, a town in East-Central Serbia. With thirty-eight years of relentless, almost uninterrupted musical engagement and over one hundred-twenty albums made under numerous guises, Giorgio Dmtri is a stalwart presence in the landscape of contemporary Serbian independent music as well as one of one of the oldest and continuously active musicians that originated in the Yugoslavian 1980s cassette experimentalist scene, yet somehow amazingly unknown outside of the narrow circles of local underground enthusiasts. To put things into perspective – Giorgio Dmtri started out in 1983, just a year or two after Laibach and Autopsia, the Yugo old school industrial heavyweights, and one year before the late Mario Marzidovšek, the great infrastructuralist of the Yugoslavian cassette experimentalism, and – unlike Mario, who burnt out in mere four, but tumultuous, years – embarked on a long, versatile and prolific anti-career. Today, in 2021, Giorgio Dmtri is, besides Ferenc Teglaš (of Pagan Gadget, Vivisect and Skattor Minox fame) and Goran Lišnjić (Metropolie Trans / Nowy Lef), one of the very few surviving dinosaurs of Yugoslavian 1980s cassette experimentalism that are still fully active within the paradigm of DIY experimental music.</span></div>
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<span style="font-family: Arial;">This essay hopes to provide a first structured attempt of contextualizing Giorgio Dmtri’s immense body of work and it focuses on his main music outlet in the new millennia – Weapon God (2007-2017), which at the time the preliminary research for this essay was conducted in November 2017 was not yet terminated<span style="font-family: Arial;"><span id="[note_3]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_3]">[note 3]</a></sup></span></span>. In contrast to A hogon’s industrial guide’s established practice of focusing on the 1980s DIY experimental music practices, the introduction to Giorgio Dmtri’s vast body of work starts with Weapon God, his contemporary project spanning a considerable chunk of the 2000s and 2010s and probably the least known of his productions. The choice of a contemporary project as the point of introduction to Dmtri’s oeuvre was not a conscious editorial decision of the A hogon’s industrial guide as it wasn’t a planned text for the blog but rather a haphazard result of the guide’s abject failure to comport itself in accordance with the editorial guidelines and practices of the <i>Easterndaze</i> magazine and write a cursory introduction article on the subject matter; instead the essay presented here has grown out of its originally intended size severalfold and eventually metastasized into its current shape and form in March 2021. As Giorgio Dmtri’s work is still ongoing and his style is developing further in new and unexpected directions – nowadays with a brand new project, Alhad Lamad (2017-) – it is precisely his 2010s production that can open up the perspective for his ongoing projects.</span></div>
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<span style="font-family: Arial;">Dmtri’s work with Weapon God shows what different lines of evolution can 1980s hometapers embark upon in the new millennia as well as the other way around: it offers a unique take on what means to be DIY in 2010s. Weapon God represents a distilled essence of the 1980s cassette experimentalist ethos transposed onto a contemporary digital audio workstation project in a sense that it manages to retain all of the key hallmarks of the 1980s hometaping ventures that made them such an alluring artistic practice to engage with – radical autodidacticism in its approach to technology as well as total autonomy of artistic-conceptual vision – without regressing into senseless nostalgia or fetishization. Furthermore, there is a sense of mysticism to Giorgio Dmtri’s musical path of the last thirty years that stretches considerably and interrogates even the most wildly imaginative notions of music underground, a sense of almost hermitic devotion by which he carried out whole decades’ worth of work in complete isolation, with no distribution and no presence on the internet whatsoever (no website, no social network profiles and not even a single Discogs entry until 2017). It was in 1993 when Dmtri last released an album on a label other than his own Key–A–No Records label and at least good twenty years since his label stopped making automatic copies of new releases. Since then, Dmtri has been pretty much out there in the wilderness.</span></div>
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<span style="font-family: Arial;">The nature of Giorgio Dmtri’s clandestine opus raises some interesting issues about the social dimension of music (and art in general) such as the following: where does one draw the line between private and marginally social (underground) music making ? Can one temporarily withhold or permanently suspend the acquisition of social meaning of his or her work by denying it social context of exhibition and distribution or does the work nonetheless has an inherent social value by the virtue of the artist’s previous portfolio ? If the global information superhighway obliterates meaning and is especially destructive to the social meaning of culture, is this social meaning of culture in fact preserved as a potentiality by this act of social context denial ?</span></div>
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<span style="font-family: Arial;">As usual with A hogon’s industrial guide texts, the units of the essay are further subdivided into smaller units for purposes of clarity and cross-linked through a table of contents to ease navigation. Enormous gratitude for making this essay possible is due to Giorgio Dmtri for his patience, Aleksandra Sekulić for the emotional support and suggestions, Nikola Vitković for the analytical insights as well as Stevan Lenhart for his archival work and the documentation provided.</span></div>
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<span style="font-family: Arial;">The only significant point of departure from the established A hogon’s industrial guide practice is that, unfortunately, there will be no downloadable music content accompanying this essay.</span></div>
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<span style="font-family: Arial;">Table of contents:</span></div>
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<span style="font-family: Arial;"><span id="i"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#i–some_contextual_obligations_and_occasional_praise_of_chronic_laryngitis">I – Some contextual obligations and occasional praise of chronic laryngitis</a></span></span></div>
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<span style="font-family: Arial;"><span id="1.1."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#1.1.socio-cultural,_local_and_micro-local_context">1.1. Socio-cultural, local and micro-local context</a></span></span></div>
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<span style="font-family: Arial;"><span id="1.2."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#1.2._1980s_lx_music_ltd_–_it_goes_something">1.2. 1980s: LX Music LTD – it goes something</a></span></span></div>
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<span style="font-family: Arial;"><span id="1.3."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#1.3._1990s_demencija_prekoks_–_smelting_the_abbadon">1.3. 1990s: Demencija Prekoks – smelting the abbadon</a></span></span></div>
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<span style="font-family: Arial;"><span id="1.4."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#1.4._2000s_king_nothing_v.2_–_cellular_trance">1.4. 2000s: King Nothing v.2 – cellular trance</a></span></span></div>
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<span style="font-family: Arial;"><span id="ii"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#ii_–_weapon_god">II – Weapon God</a></span></span></div>
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<span style="font-family: Arial;"><span id="2.1."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#2.1.weapon_god_–_introduction">2.1. Weapon God – introduction</a></span></span></div>
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<span style="font-family: Arial;"><span id="2.2."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#2.2._weapon_god_–_some_general_observations_on_wg_music,_what_it_is_and_what_it_is_not">2.2. Weapon God – some general observations on WG music, what it is and what it is not</a></span></span></div>
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<span style="font-family: Arial;"><span id="2.3."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#2.3._weapon_god_–_technology">2.3. Weapon God – technology</a></span></span></div>
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<span style="font-family: Arial;"><span id="iii"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#iii_–_a_run_through_weapon_god_discography">III – A run through Weapon God discography</a></span></span></div>
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<span style="font-family: Arial;"><span id="3.1."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#3.1._formative_period">3.1. Formative period</a></span></span></div>
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<span style="font-family: Arial;"><span id="3.2."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#3.2._classical_period">3.2. Classical period</a></span></span></div>
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<span style="font-family: Arial;"><span id="3.2.1."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#3.2.1._late_classical_microphase">3.2.1. Late classical microphase</a></span></span></div>
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<span style="font-family: Arial;"><span id="3.3."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#3.3._meta_period">3.3. Meta period</a></span></span></div>
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<span style="font-family: Arial;"><span id="iv"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#iv_–_key–a–no_records_–_the_label_and_its_practices">IV – Key–A–No Records – the label and its practices</a></span></span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="v"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#v_-_on_names,_non–entities,_entities,_etc._–_giorgi_dmtri‘s_autobiography">V – On Names, Non–Entities, Entities, etc. – Giorgi Dmtri‘s autobiography</a></span></span></span></div>
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<span style="font-family: Arial;"><span id="vi"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#vi_–_notes_and_references">VI – Notes and references</a></span></span></div>
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<span style="font-family: Arial;"><span id="6.1."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#6.1._notes">6.1. Notes</a></span></span></div>
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<span style="font-family: Arial;"><span id="6.2."><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#6.2._references">6.2. References</a></span></span></div>
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<span style="font-family: Arial;"><span id="i–some_contextual_obligations_and_occasional_praise_of_chronic_laryngitis"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#i">I – Some contextual obligations and occasional praise of chronic laryngitis</a></span></span></span>
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<span style="font-family: Arial; font-size: large;"><span id="1.1.socio-cultural,_local_and_micro-local_context"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#1.1.">1.1. Socio-cultural, local and micro-local context</a></span></span></div>
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<span style="font-family: Arial;">For anyone vaguely acquainted with the political, economic and cultural situation in Serbia since the dissolution of Yugoslavia, the magical word is continuity since this is precisely what the country lacks the most. Whether we consider individual initiatives, collective endeavours or institutional durability, from the macro to the micro level – all things seem to exist in a permanent state of flux.</span></div>
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<span style="font-family: Arial;">Giorgio Dmtri is one of the rare good things that last in a country that underwent three different wars, a bombardment, a hyperinflation, four years of UN embargo that pauperized the populace and then a transition to democracy which did away with whatever was left from a shattered economy. What makes his perseverance even more fascinating is the context in which he managed to accomplish this run – his marginal structural position within the Serbian socio-economic demographic (Dmtri was born into a lower middle class family in a provincial town and received secondary education as an electrician), the political circumstances in the country at the time he came of age (Dmtri’s generation bore the brunt of the 1990s wars and UN sanctions – although Serbia was officially not in the war, men of his age were regularly forcibly drafted into the military, emigrated in order to avoid the service or simply lived in fear of being drafted) as well as the precariousness of the micro local context (Dmtri endured the 1990s in Požarevac, the hometown of then-president Slobodan Milošević and his stronghold during his reign, a tightly controlled city where he exerted tremendous power and used a testing ground for power moves planned across the country).</span></div>
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<span style="font-family: Arial;">However, this amazing self-preservation of Dmtri’s came with a specific price: Dmtri lived in a self-imposed isolation most of his anti-career, an interior exile of sorts, aided with a lot of drug use<span style="font-family: Arial;"><span id="[note_4]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_4]">[note 4]</a></sup></span></span>. Apart from a brief period in the mid-1980s, Dmtri was never an organizer, a rallying factor around which the scene gathered and evolved, but always occupied an outsider position as a one-man scene of sorts from his </span><span style="font-family: Arial;"><span style="font-family: Arial;">unlikely base in Požarevac</span>.</span></div>
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<span style="font-family: Arial;">More than any other city in SR Serbia, Požarevac itself and its wider region became a migration hub in the 1960s with a percentage of the population significantly larger than the Serbian average earning their living as <i>Gastarbeiters</i> (German for “Guest workers”) primarily in Austria and, to a lesser extent, Germany. Over time, the financial power and the sheer number of <i>Gasterbaiters</i> – largely alienated individuals that work on low-paying jobs abroad and return to their hometowns yearning to pick up where they left off – in many ways doomed the city to the status of a cultural preserve. Fast forward to the early 1980s and the situation in terms of cultural content is same, Požarevac is a non-place. Unlike neighbouring cities in East Serbia of comparable size, like Smederevo or Jagodina, there wasn’t even a punk scene in Požarevac – as a basic prerequisite of the modern urban culture. But Dmtri’s appearance in such a surrounding isn’t surprising in the context of the 1980s cassette experimentalist scene as the most of important networkers originated from such or at least comparable non-places: Mario Marzidovšek was from a sleepy town of Slovenska Bistrica in Styria (north-eastern SR Slovenia), Autopsia came from Ruma, a predominantly agricultural community in the Syrmia region (SAP Vojvodina<span style="font-family: Arial;"><span id="[note_5]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_5]">[note 5]</a></sup></span></span>), while Laibach famously hailed from a small mining town of Trbovlje (central SR Slovenia). The relative dispersal of cassette networkers across the geographic range was more a rule than an exception because the access to music information in 1980s ushered a new era of decentralization.</span></div>
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<span style="font-family: Arial; font-size: large;"><span id="1.2._1980s_lx_music_ltd_–_it_goes_something"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#1.2.">1.2. 1980s: LX Music LTD – it goes something</a></span></span></div>
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<span style="font-family: Arial;">Around mid-1983, the fifteen-year old Dmtri made his first forays into the realm of DIY experimentalism by cajoling a bunch of neighbourhood kids into making pots and pans type of racket under his tutelage. These recordings, released under the Novi Hanc moniker, proved, however, to be an unsatisfactory for Dmtri and later that year he started Larynx (or LX), a more structured effort of doing improvised lo-fi noise. By the mid-1980s, his makeshift home music studio-turned-provisional record label (LX Music LTD) became a hyperproductive hometaping hub that consisted of him, his sister Jmaa, Aleksandar ‘Alex’ Andrejić and a few other like-minded individuals. Besides Larynx, which functioned as the glue that held the hub together, a host of other acts started sprouting up: Lovci Na Tune, Hell Hell Hell and Other Love Songs, HM Žene, Avyakta Sabd and others. The hub wasn’t only relevant in the context of Požarevac, but also on a regional level through its cooperation with other hometapers in Central Serbia such as Fast Deadboy from Kragujevac (whose 1980s work was briefly mentioned on A hogon’s industrial guide here) and Pandora’s Shitbox from Smederevo, as well as on a wider, federal level through its networking connections to Mario Marzidovšek<span style="font-family: Arial;"><span id="[note_6]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_6]">[note 6]</a></sup></span></span> from Slovenska Bistrica (SR Slovenia), Čovek Zec from Novi Sad (SAP Vojvodina), Sumanuti Jebači from Petrinja (SR Croatia), Step Dancer from Banja Luka (SR Bosnia and Herzegowina) and others<span style="font-family: Arial;"><span id="[note_7]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_7]">[note 7]</a></sup></span></span>. Significant cooperation was also established with all the relevant DIY cassette labels of the time such as MML (Slovenska Bistrica), Nikad Robom (Belgrade) and Red Phoenix/Crvene Kasete (Belgrade).</span></div>
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<span style="font-family: Arial;">In the context of the Yugoslavian 1980s tape experimentalist network, LX Music LTD’s sheer volume of sixty-something cassettes produced between 1983 and 1991 is rivalled only by Marzidovšek’s Marzidovšekminimallaboratorium output of eighty-something releases<span style="font-family: Arial;"><span id="[note_8]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_8]">[note 8]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;">Larynx had a more or less typical 1980s tape experimentalist modus operandi – he’d record his sessions to his dad’s reel-to-reel tape recorder<span style="font-family: Arial;"><span id="[note_9]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_9]">[note 9]</a></sup></span></span>, pick through the recording to locate the most usable material which he would then proceed to record onto a cassette, usually overdubbing it with additional live noise and the end result would be the first and final mix. Larynx was all about the first take and if the recordings would be deemed unsatisfactory, they’d be overwritten as tapes were a precious commodity, but if not then they’d be published with practically no further editing and production. One of the people who helped Dmtri hone his production skills and the presentability of his works as well as one of his earliest collaborators was Božidar ‘Boža’ Kecman, a hometaper from Novi Sad that went by the name Čovek-zec (or Man-rabbit)<span style="font-family: Arial;"><span id="[note_10]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_10]">[note 10]</a></sup></span></span>. Larynx’s early exposure to Čovek-zec’s irony-tinged pop sensibility helped him define himself in opposition to Čovek-zec as someone who primarily didn’t want to make music. In this sense, Larynx was much closer to Predrag 'Phantom' Petrović (Fast Deadboy), although the former came from a jazz/RIO background whereas the latter came from a punk paradigm and made music that was indebted to Fluxus and sound poetry. The two ran a fanzine called Larynx of the Fast Deadboy and, in general, comprised the main creative axis of the outsider hometaping scene of Central Serbia in the 1980s.</span></div>
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<span style="font-family: Arial;">In the late 1980s Dmtri also developed an interest in different strands of hermeticism, in particular Thelema, Alchemy and Kabbalah, however these wouldn’t be explicitly present in his music until the 1990s. </span><span style="font-family: Arial;"><span style="font-family: Arial;">This was also a period in which Dmtri started spening a considerable amount of time in Belgrade, although he never fully moved there.</span></span></div>
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<span style="font-family: Arial; font-size: large;"><span id="1.3._1990s_demencija_prekoks_–_smelting_the_abbadon"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#1.3.">1.3. 1990s: Demencija Prekoks – smelting the abbadon</a></span></span></div>
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<span style="font-family: Arial;">In March 1991, Dmtri – who was twenty-three at the time and working under the King Nothing moniker (previously featured on A hogon’s industrial guide <a href="https://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html">here</a>) – founded Demencija Prekoks in Požarevac together with his friend Zoran K. (alias Negativ Nein). Dmtri settled on a drums-guitar-voice formula following a turbulent 1989-1991 period during which he had created and broken up some seven or eight different bands (four or five of which were, in fact, early Demencija Prekoks prototypes) with at least ten different musicians. The rock band format was a completely different avenue for the enfant-terrible of YU tape experimentalism who up to that point rarely performed live but nonetheless a logical next step as it enabled him to seize a wider audience. In Demencija Prekoks’s autopoetic manifesto reprinted in Uroš Smiljanić’s <i>War Pigs</i> fanzine, Dmtri associated the looming 1990s in war-torn Yugoslavia – in all of its ethical dimensions – with the Alchemical <i>Nigredo</i> or putrefaction, the first step on path towards the Philosopher Stone<span style="font-family: Arial;"><span id="[1]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#1">[1]</a></sup></span></span>; and against this backdrop, Dmtri suggested that the supposed magickal role of Demencija Prekoks and other like-minded forces would be to respond to the surrounding chaos with even more chaos, to be this accelerationist factor that drives the progress to the next phase of the Alchemic cycle – the <i>Albedo</i> (or <i>Whiteness</i>), a clear essence washed of all impurities<span style="font-family: Arial;"><span id="[note_11]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_11]">[note 11]</a></sup></span></span>. In this sense, Dmtri often called the music he made with early Demencija Prekoks and King Nothing <i>white music</i>.</span></div>
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<span style="font-family: Arial;">Thriving on anti-entropic devices and with a reputation for putting on shambolic performances under the credo of “Thelema, drugs and rock’n’roll”, Demencija Prekoks was in many ways the soundtrack of the societal collapse brought about by Yugoslav wars, international sanctions and hyperinflation that ravaged the country’s economy. With its decrepit garden shed production that was worthy of any Norwegian old school black metal band and penchant for strange harmonies, Demencija Prekoks was the ultimate “other” band of the Yugoslavian 1990s and enjoyed a cult following among alternative music aficionados in Belgrade. In its most turbulent 1991-1995 phase, Demencija Prekoks released two albums for Take It Or Leave It Records – a professional indie label with excellent distribution and connections in the media – played several live shows in Belgrade and Požarevac, made two music videos<span style="font-family: Arial;"><span id="[2]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#2">[2]</a></sup></span></span> and had a couple of live television appearances on 3K (or Treći kanal RTS-a; Serbian for “Third channel of Radio Television of Serbia”, the Serbian national broadcast network) and TV Politika. In the following 1995-1998 period, as the political situation normalized in the country, the band also toned down its activities a notch, playing no more live gigs but nonetheless self-releasing three more albums. After 1998, Demencija Prekoks had a prolonged half-life of five more years during which it existed only nominally until 2003, when the last performance was made at the <i>KOMAR</i> festival in Kovačica.</span></div>
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<span style="font-family: Arial; font-size: large;"><span id="1.4._2000s_king_nothing_v.2_–_cellular_trance"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#1.4.">1.4. 2000s: King Nothing v.2 – cellular trance</a></span></span></div>
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<span style="font-family: Arial;">In the 2000s, King Nothing succeeded Demencija Prekoks as Dmtri’s primary creative outlet but, as mentioned earlier, King Nothing wasn’t a new project of his but rather a secondary one. King Nothing had an unnaturally protracted lifetime of seventeen years in two distinct phases. In its first phase – marked by Dmtri’s occasional bouts in Belgrade from 1990 to 2001 – King Nothing was essentially a Demencija Prekoks side-gig, an extemporaneous and highly irregular enterprise that straddled sonic grounds between noise rock and a more broader conception of noise music, much like Dmtri’s primary group at the time<span style="font-family: Arial;"><span id="[note_12]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_12]">[note 12]</a></sup></span></span>. However, in its second phase – which started in 2002 (one year after Dmtri’s definite return to Požarevac) and ended in 2007 – King Nothing became Dmtri’s main project and took a conceptual turn towards composition. Since up to that point in his “career” Dmtri was a performer rather than a composer, the second phase of King Nothing was characterized by his coming to grips with the basic ABCs of studio musicianship (sound processing, production, post-production, etc). In the beginning of the King Nothing’s second phase, the music consisted of basically anything possible to produce in a DI box (with an electric guitar being the only device connected to it), while towards the mid-2000s the music gradually dissolved into skeletal structures, into cascades of minimal, repetitive, yet eerily hypnotic digital glitch; the late King Nothing sound is best described as a “zoom” to microscopic levels, as an amplifier of odd cellular activities<span style="font-family: Arial;"><span id="[note_13]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_13]">[note 13]</a></sup></span></span>. In total Dmtri produced nineteen full length albums in the second phase of King Nothing.</span></div>
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<span style="font-family: Arial;">The second phase King Nothing was a notoriously hermetic affair but it was an important watershed for Dmtri – it meant starting off from scratch with completely new technology; ever since Dmtri started doing music in the early 1980s, he was using the guitar as his main instrument and this changed sometime in the early 2000s with King Nothing as Dmtri became more and more a PC studio musician and his guitar became just another source for extracting sounds. This performer-to-composer paradigm shift and the learning process it presupposed eventually laid the necessary groundwork for Weapon God to become possible as a project where Dmtri features as a full-time digital audio workstation composer.</span></div>
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<span style="font-family: Arial;">Weapon God eventually emerged as a separate sonic entity from King Nothing in July 2007 and, in a way, signalled an end of his experimental period in favour of a more approachable and, later, even upbeat sound. <br /></span></div>
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<span style="font-family: Arial; font-size: x-large;"><span id="ii_–_weapon_god"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#ii">II – Weapon God</a></span></span></div>
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<span style="font-family: Arial; font-size: large;"><span id="2.1.weapon_god_–_introduction"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#2.1.">2.1. Weapon God – introduction</a></span></span></div>
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<span style="font-family: Arial;">Weapon God is a sonic vehicle for exploring the tri-area of altered states of consciousness, somatics and the numinous. Its creator and custodian is Giorgio Dmtri aka 161. With influences like Terence McKenna, Robert Anton Wilson and William Burroughs, Weapon God is a late offspring of the 1990s cyberculture and like most of the luminaries of the period, Dmtri also maintained some interest in the so-called postmodern magick traditions while remaining what he had been since the mid-1980s – a steadfast Thelemite. In the same time, Weapon God is also a product of concrete circumstances of post-socialist Yugoslavia where the fragile social networks that sustained these communities of enthusiasm were first ravaged by wars and later by atomisation and desertification of the social sphere that occurred in the period of the so called transition. It was in these conditions of early-to-mid 2000s that Dmtri developed a disposition of radical self-sufficiency that subjectivized his own music making practice as a distinctly personal, almost private sort of activity, thereby negating </span><span style="font-family: Arial;"><span style="font-family: Arial;">– at least seemingly </span></span><span style="font-family: Arial;"><span style="font-family: Arial;"><span style="font-family: Arial;">–</span></span> any of the social functions his music might have had. As a result, Weapon God was established in total isolation and was at its inception point alienated from its native community – now either dispersed variously across the globe or under the ground – and for the entirety of its existence functioned as a one-man-capsule for a one-man-trip<span style="font-family: Arial;"><span id="[note_14]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_14]">[note 14]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;">Dmtri – who by the time went under the alias of 161 – acquired the name for the new project by applying <i>do easy</i> (or DE)<span style="font-family: Arial;"><span id="[3]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#3">[3]</a></sup></span></span>, the magickal technique developed by William S. Burroughs for enhancing mindfulness and mental-spatial organization, and soon produced the Weapon God lamen. The figure of central significance for Weapon God as a creative entity is Terence McKenna as well as the phenomena and figures and he’s popularly associated with such as the exploration of DMT and other psychedelics, the prehistoric civilizations of Fertile Crescent, the densely labyrinthine psychedelic visions of Pablo Amaringo and others<span style="font-family: Arial;"><span id="[note_15]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_15]">[note 15]</a></sup></span></span>. Although Weapon God’s music has a certain investigative-psychonautical creed to it, its relationship to the psychedelic trip as such and its representation in its releases is much more ambiguous as it tends to be everywhere on the scale from generative and interpretative to purely mimetic and synesthetic. If psychedelics are not a metaphor for transdimensional travel but the thing itself as per Terence McKenna, in that case Weapon God’s music constitutes of actual gateways and wormholes as much as travelogues and trip reports. In keeping with the overall <i>mckennan</i> spirit of Weapon God, 161 referred to the music he produced with the project as <i>contemporary archaic music</i><span style="font-family: Arial;"><span id="[note_16]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_16]">[note 16]</a></sup></span></span> on his defunct website.</span></div>
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<span style="font-family: Arial;">The presence of an overarching magickal-symbolical framework (that draws from different systems such as Thelema, Kabbalah, numerology, etc) in regard to how Weapon God is set up as a conceptual entity is fairly apparent as its numerous refractions are present throughout the WG media spectrum – from incantations that crop up in WG’s music and the way all Key–A–No releases follow the same strict numerical syntax (in terms of track number and track duration on Weapon God’s albums but also other elements) to WG’s visual identity that includes a heptagram-based lamen as well as a specially constructed pseudo-Semitic idioglossia most prominently used for compounding album titles (from the <i>Atod</i> release onwards). However, this is a delicate matter to address since this symbolical framework permeates Weapon God in two distinct ways – both as a particual feature of Weapon God (that is as a conscious, artistic super-imposition of 161) as well as an extension of 161‘s personal belief system<span style="font-family: Arial;"><span id="[note_17]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_17]">[note 17]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;">Like the second phase King Nothing – Weapon God was a studio affair, meaning not that it was initiated with a pre-determined idea to not perform live but rather that in practice it never did so<span style="font-family: Arial;"><span id="[note_18]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_18]">[note 18]</a></sup></span></span>. Thus, throughout its active life of almost nine years (between July 2007, when the first Weapon God album was produced, and April 2016, when the last album was made), Weapon God remained restricted to the confines of 161’s Key–A–No III studio in Požarevac. Along the same lines, all Weapon God albums were self-released on 161’s own Key–A–No Records, a provisional record label with an increasingly virtualizing scope of label functions.
With Key–A–No Records, 161 strived to do a bare minimum of label matters – and through time he kept discovering what that minimum could constitute of – so that he could let himself be entirely consumed with music-making. Although 161 did think about the presentability of Weapon God releases and did envision them ideally as a complete media product (a physical release with artwork) in practice these simply never materialized as such.</span></div>
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<span style="font-family: Arial;">Weapon God established a highly idiosyncratic music style from the get go which then further evolved through the years in evermore meandering and convoluted directions. The foremost agent driving these changes was the acquisition of new studio technologies at disposal of 161’s fingertips but there were also factors that were intrinsic to his creative process as well as the life cycle of Weapon God as a living and pulsating entity – its development from the idea stage, through its maturescence and senescence, to its eventual apoplectic climax: while the works of the early (or formative period 2007-2009) and middle periods (or the classic period 2009-2012) of Weapon God’s opus tend to be relatively straightforward musically and to retain their structural stability – the works of the later period (or the meta-period 2012-2017) are more densely convoluted, more harmonically complex and progressively get ever more deconstructive the further down the line they happen to be.</span></div>
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<span style="font-family: Arial;">Weapon God seemingly ended as a project sometime in 2017. After the series of new albums in Spring of 2016, there was long break until June 2017 when KAN 139 release – <i>Hllw Gyt</i> – came out. Although it was clear from the start that <i>Hllw Gyt</i> was not going to be a Weapon God release, what wasn’t immediately clear was that it was a beginning of a whole new musical direction for 161. <i>Hllw Gyt</i> signalled Dmtri’s return to guitar-work and improvisation after a fifteen year long hiatus, now aided with the help of studio technology he in the meantime mastered, but officially, Weapon God’s status was (and has until today remained) “indefinite hiatus” rather than “mission terminated”<span style="font-family: Arial;"><span id="[note_19]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_19]">[note 19]</a></sup></span></span>. Alhad Lamad, the new project that was brought to the fore with the <i>Hllw Gyt</i> album was a result of 161’s fascination with fusion jazz and post-bop in particular and was his way of squaring the circle and producing a synthesis of the two paradigms of musicianship he had been operating from up to that point in his creative life: that of a performer (Larynx, Demencija Prekoks and the first phase King Nothing) and of a composer (second phase King Nothing and Weapon God).</span></div>
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<span style="font-family: Arial; font-size: large;"><span id="2.2._weapon_god_–_some_general_observations_on_wg_music,_what_it_is_and_what_it_is_not"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#2.2.">2.2. Weapon God – some general observations on WG music, what it is and what it is not</a></span></span></div>
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<span style="font-family: Arial;">Upon immersing oneself in Weapon God sound universe it becomes immediately apparent the extent to which it is a self-contained, closed reference system in a sense that apart from the very wide of umbrella DIY electronic music it is almost impossible to contextualize it within any existing electronic music canon. In terms of Weapon God’s aesthetics, this is due to the fact that 161 is an electronic music producer who himself isn’t invested with electronic music in any way be it retro or contemporary and even more so – he doesn’t listen to it and doesn’t possess any vantage point in relation to it<span style="font-family: Arial;"><span id="[note_20]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_20]">[note 20]</a></sup></span></span>. In terms of the creative logic that undergirds Weapon God, this impossibility is accounted by the techno-ethical paradigm that 161 operates from, in regard to which the electronic music culture still has not fully stratified as a socio-cultural praxis that is separate from the common horizon of creative DIY practices that Craig Baldwin calls <i>electronic folk culture</i><span style="font-family: Arial;"><span id="[note_21]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_21]">[note 21]</a></sup></span></span>. Furthermore, since this trait arises from a particular spatiotemporal context of popular culture the late 1970s it is also a reliable marker of 161’s age – his radiocarbon dating as an experimental musician.</span></div>
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<span style="font-family: Arial;">This is only to emphasize that, although 161 in essence produces a type of music that can be accurately classified as “bassline driven electronic music”, that such description in the same time can be highly misleading; it is the same technology but it is operated through a different cultural software. By the same token, trance – as the notion of trance does seem to be fairly important if not a central concept for Weapon God – is also an equally misleading term because it bears proximity to the 1990s electronic genre of trance music (an associative string that is further reinforced with its own, parallel Terence McKenna link through rave culture) and Weapon God can’t be realistically considered trance in this narrow EDM sense. So it’s probably the safest to describe Weapon God’s as an isolated cluster of exotic inter-converging genres which sometimes appears to coalesce with fringes of the known electronic music horizon (in nexuses like trance, dub or techno) but most of the time veers off the charted space completely. However, whatever particular micro-genre is taken into consideration there are some common underlying characteristics that come into focus. </span><span style="font-family: Arial;"><span style="font-family: Arial;">On
the official Weapon God <a href="https://weapongod.bandcamp.com">bandcamp</a> page, 161 tagged his releases with the
following keywords: experimental / fourth world music / gnostic / soul /
trance.</span></span></div>
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<span style="font-family: Arial;">By and large, Weapon God makes an oddly corporeal yet seemingly nonphysical form of bass-driven music which – to repurpose an old Rephlex Records signifier from the 1990s in the absence of a more adequate terminology – could be best defined as braindance<span style="font-family: Arial;"><span id="[note_22]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_22]">[note 22]</a></sup></span></span> in regard to its corporeal affect. Abstracted from its original context and reused as an interpretative tool rather than a stylistic designation, the term braindance helps illuminate two important mechanisms at play in Weapon God’s music. First and foremost, since Weapon God’s song architecture usually relies on an array of intricate percussive sounds – such as miniscule rattling and chattering noises whose punctuations are rather soft and clockworklike – its music doesn’t possess the physicality as well as the sensual grip that is commonly associated with dance music (its basslines are out of focus or just not shrill enough to move bodies). The second mechanism is made visible by a semantic ambiguity inherent to the very term braindance and its idiomatic proximity to the psychedelic experience by which the hitherto described regime of Weapon God’s reduced physicality occasionally recalibrates into this creeping pulsating psychedelia – as braindance slowly assumes a meaning of brainwave entertainment<span style="font-family: Arial;"><span id="[note_23]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_23]">[note 23]</a></sup></span></span> and by this inwards retraction becomes a “dance” for the cerebral cortex – only to eventually roll back into the mode of reduced physicality. For most of its timeline, Weapon God is a sort of music that teeters on the verge of danceability and it’s only in the classic phase as well as towards the very end of the meta-period that it manages to fully cross that threshold.</span></div>
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<span style="font-family: Arial;">In terms of their production, Weapon God’s meditational exercises often have a distinctively no age feel to them because the border between artificial (i.e. digital electronic sound) and natural sound (i.e. percussions, voice) is deliberately blurred. The fluidity with which 161 manages to move from one sound register to the other is something that he attributes to the influence of Jon Hassell<span style="font-family: Arial;"><span id="[note_24]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_24]">[note 24]</a></sup></span></span>.<br /></span></div>
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<span style="font-family: Arial; font-size: large;"><span id="2.3._weapon_god_–_technology"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#2.3.">2.3. Weapon God – technology</a></span></span></div>
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<span style="font-family: Arial;">Although Dmtri’s structural role in the music-making process changed from being a performer to a (digital audio workstation) composer his approach nonetheless remained steadily do-it-yourself – that is autodidactic and idiosyncratic in use of technology – albeit with a little twist: from 2001 to the present date his DIY-ism operated principally within the software paradigm. Since his compositional turn in the late 1990s, Dmtri was largely “behind-the-curve” technologically and this is clearly reflected in the austere lo-fi works of the Weapon God early period (July 2007-January 2009), however the acquisition of the Soundcraft Compact 4 four-channel audio mixer turned things around significantly for Dmtri in terms of modernizing his setup. Although a closer examination of music technology Dmtri had at his disposal can approximate the conditions in which Weapon God works were made and highlight some of the innovative solutions applied on individual recordings, it won’t get us far in understanding his relation towards technology.</span></div>
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<span style="font-family: Arial;">The same way the early Weapon God “behind-the-curve” setup didn’t stem from Dmtri’s fetishizing retro-mania nor a DIY-diehardist urge to create a sonic galaxy by solely utilizing a hammer and a chisel – the slow but steady studio revamp that began in the middle WG period and continued over the next few years didn’t emerge from Dmtri’s desire to modernize his tech setup but rather from the blunt ready-availability – and moreover affordability – of the newly incorporated technology. For Dmtri, the production circumstances are ultimately of secondary significance to the creative process, the process is by all means the product and, consequently, no piece of music technology is vested with a special status in regard to the creative process or given extra deliberation. Thus, in regard to music technology, Weapon God is unapologetically digital because this reflects Dmtri’s spontaneous relationship with his immediate technological environment, that is, a relationship with technology deprived of any excessive scrutiny. If there is a single term that accurately summarizes 161’s relationship to technology that would most likely be availabilism.</span></div>
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<span style="font-family: Arial;">Relying entirely on a 16-bit Creative SB Live sound card (with a KX Asio driver), a Direct Input box and an Elite hollow body electric guitar (used for sound extraction) in terms of hardware as well as Making Waves<span style="font-family: Arial;"><span id="[note_25]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_25]">[note 25]</a></sup></span></span>, 5.5.1 version of Logic Platinum and a little while later, Reason 1.0 version (introduced on <i>Pang Out</i> release in September 2008) running on then-old, now legacy Windows XP in terms of software, the early Weapon God is an epitome of turn-of-the-millennium digital culture in the sense that it was made with the most widely accessible means in circulation at the time and with the most proletarian of setup’s. Over the years, Dmtri has introduced some more hardware into his Key–A–No III studio setup (as it’s called)<span style="font-family: Arial;"><span id="[note_26]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_26]">[note 26]</a></sup></span></span> such as a M-Audio Audiophile 192 – a 24-bit audio card, Soundcraft Compact 4 four-channel audio mixer (introduced on <i>Elusive Entries</i> release in January 2009), an SM58 microphone – used primarily for voice extraction (introduced on <i>Ewige Blumenkraft</i> in December 2009), but these pretty much exhaust the list. Towards the end of 2010, Dmtri introduced a broadband internet connection to his flat so he was able to upgrade to Reason 5.0 (which he utilized for composing basslines). Upon introducing high speed internet connection Dmtri also made a good use of online sample libraries like Logic Pro 9’s own EXS24 Instruments and Kontakt for harvesting sounds<span style="font-family: Arial;"><span id="[note_27]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_27]">[note 27]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;">As of March 2021, the Key–A–No III studio PC is still running on the same legacy OS (XP Pro) which this year marked its eighth anniversary of ceased extended customer support by Microsoft and its ninth anniversary of ceased mainstream support.</span></div>
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<span style="font-family: Arial; font-size: x-large;"><span id="iii_–_a_run_through_weapon_god_discography"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#iii">III – A run through Weapon God discography</a></span></span></div>
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<span style="font-family: Arial;">The total Weapon God discography features thirty-five releases across the span of almost nine years of its active lifetime. Albums of 40-minutes runtime were the overwhelmingly dominant format 161 utilized for Weapon God releases. In terms of the overall style and substance, there are three more or less clear-cut periods that can be observed within Weapon God’s body of work: the formative period (July 2007-September 2008, from KAN 083-<i>Weapon God</i> to KAN 098-<i>Pang Out</i>), the classical period (September 2008-November 2011, from KAN 099-<i>Elusive Entries</i> to KAN-108 <i>With</i>) and the meta-period (November 2011-April 2016, from KAN 112-<i>Night Fiend</i> to KAN 138 <i>Abah</i>).</span></div>
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<span style="font-family: Arial;">In the Key–A–No Records catalogue, all releases were featured as a part of a single series and, thus, had the same catalogue matrix (e.g. KAN 00x) in which each new release was attributed with an ascending catalogue number indicating its place in the chronological order. Although this numerical value is always linear (it ascends with new additions) it’s not continuous since many catalogue numbers are omitted because of their inappropriate numerological connotations (or have been simply left on stand-by according to 161).</span></div>
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<span style="font-family: Arial;">KAN 083 – Weapon God (July 2007)</span></div>
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<span style="font-family: Arial;">KAN 084 – Qatal Huyuk (September 2007)</span></div>
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<span style="font-family: Arial;">KAN 085 – Hyperspace Mist (November 2007)</span></div>
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<span style="font-family: Arial;">KAN 086 – Hymist Remix (November 2007)</span></div>
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<span style="font-family: Arial;">KAN 087 – High Time (December 2007)</span></div>
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<span style="font-family: Arial;">KAN 088 – Heedey Obectdee (March 2008)</span></div>
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<span style="font-family: Arial;">KAN 090 – Hey Terence... (April 2008)</span></div>
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<span style="font-family: Arial;">KAN 096 – The Pentultimate Synchrosubstance (May 2008)</span></div>
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<span style="font-family: Arial;">KAN 097 – Immerse in Immense Trance (July 2008)</span></div>
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<span style="font-family: Arial;">KAN 098 – Pang Out (September 2008)</span></div>
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<span style="font-family: Arial;">KAN 099 – Elusive Entries (January 2009)</span></div>
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<span style="font-family: Arial;">KAN 100 – Three Eyes (March 2009)</span></div>
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<span style="font-family: Arial;">KAN 101 – Entrance (May 2009)</span></div>
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<span style="font-family: Arial;">KAN 102 – Ewige Blumenkraft (December 2009)</span></div>
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<span style="font-family: Arial;">KAN 103 – Spaced Out (May 2010)</span></div>
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<span style="font-family: Arial;">KAN 104 – Contact High (August 2010)</span></div>
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<span style="font-family: Arial;">KAN 105 – Trov (December 2010)</span></div>
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<span style="font-family: Arial;">KAN 106 – Atod (March 2011)</span></div>
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<span style="font-family: Arial;">KAN 107 – Ka Ann (April 2011)</span></div>
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<span style="font-family: Arial;">KAN 108 – With (June 2011)</span></div>
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<span style="font-family: Arial;">KAN 112 – Night Fiend (April 2012)</span></div>
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<span style="font-family: Arial;">KAN 120 – Hdamtoowotahh (August 2012)</span></div>
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<span style="font-family: Arial;">KAN 121 – Ahgdtowth (December 2012)</span></div>
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<span style="font-family: Arial;">KAN 122 – Ahgdtowth (January 2013)</span></div>
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<span style="font-family: Arial;">KAN 123 – Agdw Hmlkh (March 2013)</span></div>
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<span style="font-family: Arial;">KAN 124 – Hwlyytoowkaawlhh (July 2013)</span></div>
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<span style="font-family: Arial;">KAN 125 – Hwllhwothh (January 2014)</span></div>
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<span style="font-family: Arial;">KAN 128 – Hwlhh Athad (March 2014)</span></div>
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<span style="font-family: Arial;">KAN 130 – Ahgd Ka Hwllh (August 2014)</span></div>
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<span style="font-family: Arial;">KAN 131 – Hadvth Ymh Khaib (January 2015)</span></div>
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<span style="font-family: Arial;">KAN 132 – Hll Rha (March 2015)</span></div>
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<span style="font-family: Arial;">KAN 134 – Hllt Shhws (July 2015)</span></div>
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<span style="font-family: Arial;">KAN 136 – Araaht Hllst (October 2015)</span></div>
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<span style="font-family: Arial;">KAN 137 – Ahhapwn Ahgd (January 2016)</span></div>
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<span style="font-family: Arial;">KAN 138 – Abah (April 2016)</span></div>
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<span style="font-family: Arial; font-size: large;"><span id="3.1._formative_period"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#3.1.">3.1. Formative period</a></span></span></div>
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<span style="font-family: Arial;">The formative period is probably the most conceptually heterogeneous and aesthetically varied period as a particular style employed on any given release wouldn’t be pursued on more than two releases. The music is repetitive and low on details, the overall structure is austere while the sounds are distinctively inorganic. It is also 161’s most productive period with as much as ten published releases in a timespan of mere fourteen months (from July 2007 to September 2008) as well as a time when he defined the key structural hallmark for nearly all future Weapon God releases – namely that each album consists of exactly forty minutes of music playing time divided into four tracks of ten minutes duration<span style="font-family: Arial;"><span id="[note_28]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_28]">[note 28]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;">Within his formative period, the two introductory releases – namely, <i>Weapon God</i> and <i>Qatal Huyuk</i> – represent a stylistic adjunct to the cellular hypno-minimalism of King Nothing’s second phase. The following two albums, <i>Hyperspace Mist</i> and its remix album <i>Hymist Remix</i>, are low-fi techno works where WG conjures primitive hauntological spectrograms that vaguely resemble Clock DVA’s <i>Digital Soundtracks</i> era technoccult primers. However, in the context of WG chronology, these two releases are, in a way, an evolutionary dead-end since this style has no further elaboration except for odd bits and pieces here and there. Next in the timeline, <i>High Time</i> takes the low-fi techno ambiance of the previous works and sets it against a highly formal superstructure – a trait that will prominently feature in the classic WG period – and yet it is the subsequent album, <i>Hedeey Obectdee</i> which actually represents a classic WG era production in embryonic form with its aforementioned rigid superstructure, strong emphasis on bass, signature breaks as well as the emblematic voice of Terence McKenna. The following release <i>Hey Terence...</i> is partly just another one-off experiment – a spoken word album based on an old deoxy.org fan compiled audio interview with Terence McKenna<span style="font-family: Arial;"><span id="[4]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#4">[4]</a></sup></span></span> – and partly it serves as a dress rehearsal for the pivotal work of WG’s formative period – <i>The Pentultimate Synchrosubstance</i><span style="font-family: Arial;"><span id="[note_29]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_29]">[note 29]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;"><i>The Pentultimate Synchrosubstance</i> is a DMT-themed album – the first of three in Weapon God’s oeuvre – that is organized around a particular trope<span style="font-family: Arial;"><span id="[note_30]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_30]">[note 30]</a></sup></span></span> for the aforementioned psychedelic compound whose utterance echoes throughout the work akin to an incantation driving the bassline into a sparse cellular trance that is, once again, juxtaposed against a highly formal superstructure. <i>The Pentultimate Synchrosubstance</i> release is an important benchmark in the WG’s creative development as it formulates its braindance mechanism that alternates between the minimally physical to wholly cerebral modes of danceability; this is Weapon God in its pure form and it serves as a blueprint for subsequent releases in the classic period. Finally, the last two releases within the formative period – <i>Immerse in Immense Trance</i> and <i>Pang Out</i> – represent formal exercises more than coherent album wholes. <i>Immerse in Immense Trance</i> continues, in a way, where <i>The Pentultimate Synchrosubstance</i> has left off while <i>Pang Out</i>, the first release where 161 used Reason software, is a one-off probe into high BPM acid techno territories.</span></div>
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<span style="font-family: Arial; font-size: large;"><span id="3.2._classical_period"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#3.2.">3.2. Classical period</a></span></span></div>
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<span style="font-family: Arial;">The classical Weapon God period is where 161’s creative vision is the clearest, any formal experimentation reduced to a minimum and the style is most genric – an organic continuum of maiming, torporous dub and ecstatic, bass driven trance moulded into highly formal, almost gridlike sonic structures. With a modest injection of additional hardware into his setup occurring on the very beginning of the period, Weapon God’s psychonautic voyages take a technological leap from zoetrope to full Technicolor. This is Weapon God at its harmonic zenith, where the <i>mckennan</i> machine elves under the aegis of Ra-Hoor-Khuit joyfully drum the fourth world conga along the walls of the starlit hive. The classical Weapon God period spans ten releases in 2,7 years time (from late September 2008 to June 2011), with the last three releases comprising a somewhat distinct microphase within the period.</span></div>
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<span style="font-family: Arial;">The first release in the WG classic timeline – <i>Elusive Entries</i> – sets the scene for what this period will be all about: sequenced programming and the omnipresent grey electronic bass vibrating throughout. Nonetheless, the album retains some of the creative features characteristic of the formative phase such as the austere composition structure, sparse detailing as well as the music’s overall oblique, yet meditative feel. The subsequent WG releases – starting with <i>Three Eyes</i>, the first which truly breaks the mould and instils a slight sense of creative discontinuity and production innovation – are much more physical in nature, even on the very edge of danceability. In contrast to <i>Elusive Entries</i>, <i>Three Eyes</i> is a splendour of rich sonic miniatures, layered textures and uplifting melodies, an eclectic work which glimpses at the horizon of possibilities arising with the utilization of newly incorporated technology. <i>Entrance</i> is 161’s second homage to DMT, an album entirely consisting of assorted Terence McKenna samples about his experiences with the spirit molecule<span style="font-family: Arial;"><span id="[note_31]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_31]">[note 31]</a></sup></span></span>. As its name suggests, Entrance is an entrancing, stylistically reduced recording that draws heavily upon the specific properties of McKenna’s voice, particularly his drawl-laden pronunciation, and the psychedelic imagery he invokes in his talks to develop its atmosphere.</span></div>
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<span style="font-family: Arial;">After <i>Entrance</i> comes the tour de force of WG’s classic period and probably one of standout releases of his entire catalogue – <i>Ewige Blumenkraft</i>. In terms of its influences and overall style, <i>Ewige Blumenkraft</i> is WG in a nutshell – a miniature replica of everything that constitutes WG as a musical entity: spaced out bass driven beats, electronic music that makes resourceful use of voice modulation interspersed with an array of quotes, audio interview fragments and references to Robert Anton Wilson, Timothy Leary and Terence McKenna<span style="font-family: Arial;"><span id="[note_32]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_32]">[note 32]</a></sup></span></span>. Next, <i>Spaced Out</i> is somewhat of a peculiarity in the WG chronology both in its format – as it is the only release that features a five track format – and its content – as the music presented within comprises a collection of diverse formal exercises rather than an album with its own internal consistency. What follows <i>Spaced Out</i> is a yet another highly emblematic WG release – <i>Contact High</i><span style="font-family: Arial;"><span id="[note_33]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_33]">[note 33]</a></sup></span></span>. <i>Contact High</i> isn’t as solar and stylistically exuberant as some other works of the classic period are, on the contrary – it is wholly cerebral in terms of its corporeality and oblique in its sensibility: distal synthetic voices and dim rhythms echo through the cavernous interior providing a torpor-inducing inner cinema of flickering spectres. <i>Contact High’s</i> antithesis and perhaps the most electrifying album of the classic period is <i>Trov</i>. With its assortment of sublime basses, vibrating synthetic organs, gleaming crystalline resonances and simple yet euphoric harmonies <i>Trov</i> sounds very elemental – like a water park ride or at times as a movement through air. It is one of the most jubilant recordings of the WG discography and probably the closest 161 comes not to a proper commercial release, but the more general commercial ballpark.</span></div>
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<span style="font-family: Arial; font-size: large;"><span id="3.2.1._late_classical_microphase"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#3.2.1.">3.2.1. Late classical microphase</a></span></span></div>
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<span style="font-family: Arial;">From the standpoint of <i>Trov</i>, the simple and uplifting harmonies start to wane, the music gets increasingly darker and more complex, odd time signatures begin to crop up and album titles are presented in pseudo-Semitic lexemes. The vocals appear shattered and reduced to unintelligible gasps, hums and whispers as well as occasional elegaic glossolalia. The sounds are more opulent and elaborate than ever, but the song structure gets too stretched or too compressed, creating a sense of anxiety and restlessness about the music. These are all hallmarks of the meta-period, Weapon God’s last and most decadent stage of development, wherein the tryptamine dome begins to crumble under Apep’s thunderous howls and the machine elves start to jolt and bump along as clumps of TAAR1 agonist gas begin to accumulate through the dome’s cracks. Rather than just descending into a state of increased entropy head on, Weapon God’s transformation from classic period’s simple time signatures to meta-period’s harmonic curvatures occurs over a period of time, through several cycles of different intermediary styles. The meta-period consists of fifteen releases recorded within a time span of four and a half years from (November 2011 to April 2016) and it is the longest and least productive period in Weapon God’s chronology.</span></div>
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<span style="font-family: Arial;">However, before the meta-period is officially inaugurated, a small microphase ensues as exemplified by the three gateway albums that bridge the WG classic period proper with the meta-period. The first of these is <i>Atod</i>, a recording that pioneers a new type of sound aesthetic that will prominently feature in the last phase: contorted beats, slithery glossolalia instead of proper vocals and a set of haunted house bleeps that sound as if they were processed through a Super Nintendo soundboard. The latter two elements are, furthermore, employed – in combination or individually – throughout the meta-period to create surrealistic, eerie motifs that appear as sonic gargoyles – or at times, hologrammatic spectral entities of sorts – silently lurking in tracks’ break or bridge sequences. On <i>Atod</i>, 161 samples the voice of the Celtic traditional music vocalist Barbary Grant and treats it assiduously into sounding like a more or less usual part of the WG sound set. Next in line comes <i>Kaa Ann</i>, an album that structurally deviates from the standard WG format of four tracks of ten minutes duration each and features two tracks of twenty minutes duration each, one winding dub juxtaposed over a latin rhythm and the other an urgent, dense patchwork of rhythms. The third gateway album of the series, the final album of the classic period and the third hommage to DMT is <i>With</i>, a work that embodies the bipolarity of a threshold release in the literal sense – the four of its tracks being divided into groups of two between classic period’s and meta-period’s divergent creative vectors.</span></div>
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<span style="font-family: Arial; font-size: large;"><span id="3.3._meta_period"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#3.3.">3.3. Meta period</a></span></span></div>
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<span style="font-family: Arial;">After a ten month pause, <i>Night Fiend</i> finally comes out and it’s immediately clear that the solar ardour of classic period is gone for good. <i>Night Fiend</i> channels very different energies and, as its title suggests, it is a dark, creepy-crawly and slightly off kilter sort of an album in which fusion basslines wander aimlessly through a landscape of haunting spectral harmonies. The next release – <i>Hdamtoowotahh</i> – is a landmark album of the meta-period as well as the album where WG acquires a stable music identity. With its lush arrangements combining sultry, r’n’b-like vocal modulations, sacral organ-like synths as well as traditional chordophone instrumentation with a tinge of Middle Eastern feel to them, <i>Hdamtoowotahh</i> is an opulent cinematic release that could be well described as high fantasy Esoterica, a series of evocative tableaus depicting contact of advanced extra-terrestrials civilizations with the ancient populations of the Fertile Crescent. Forming part of an aesthetic and conceptual micro-continuum with <i>Hdamtoowotahh</i>, <i>Ahgdtowth</i> retains its sacral atmosphere and the general theme of Arabian hyperspace<span style="font-family: Arial;"><span id="[note_34]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_34]">[note 34]</a></sup></span></span> but <i>Ahgdtowth</i> itself is of a more restricted and lamentative character. <i>Ahgdtowth</i> is the only release in WG catalogue with the distinction that it appears in two versions – as KAN 121 and KAN 122 – with the former being the original version and the latter being a slightly reworked mix.</span></div>
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<span style="font-family: Arial;"><i>Agdw Hmlkh</i> is a meta-period classic and one of WG’s most iconic works. If the concept of a trip is central to WG, then perhaps there’s no album where the trip veers more into transdimensional space than <i>Agdw Hmlkh</i>: a sound collage of murmurs and alien lexemes set in crystalline hallway in outer Time, <i>Agdw Hmlkh</i> is a darkly yet playful take on the transcendental gnosis of the psychedelic trip. In WG’s meta-period the compositions are often saturated of their own aesthetic to the point of paroxysm and this is especially reflected in the song structure. The tendency to contort and de-structure the song structure begins with <i>Night Fiend</i>, continues with <i>Agdw Hmlkh</i> and reaches a climax with the subsequent release – Hwlyytoowkaawlhh. The harmonies in <i>Hwlyytoowkaawlhh</i> are considerably stretched in comparison to the previous WG releases and don’t resolve nearly as easily. An intensely chaotic and anxious enterprise, <i>Hwlyytoowkaawlhh</i> at times sounds as if desperately trying to wiggle out of its own skin with its long, devious passages of seamlessly meandering chorales of haunting voices and composite rhythm patterns. The following release, <i>Hwllhwothh</i>, provides a counterpoint to <i>Hwlyytoowkaawlhh</i> as it uses some of the same stylemes as its precedent but rather than to exacerbate their disorderly potential <i>Hwllhwothh</i> instead sublimates them and the end-result is a sparse, meditative and even devotional work.</span></div>
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<span style="font-family: Arial;">Although WG’s meta-period is a continuous (d)evolution towards more and more abstract musical conceptions, for the most part it has a stable music identity of its own and represents an aesthetic-conceptual continuum that begins in 2012 with <i>Night Fiend</i> album and ends in 2015 with the last in the trio of albums <i>Hwlhh Athad</i>, <i>Ahgd Ka Hwllh</i> and <i>Hadvth Ymh Khaib</i>. <i>Hwlhh Athad</i> presents a return to the Weapon God basics – maiming bass-lines at the crux of composition structure (made of the most dense matte grey bass 161 has ever employed); druggy, organ-like synths that coalesce and converge with an array of modulated disembodied voices in a way that its impossible to discern where does the former end and the latter begin as well as a bonanza of tiny chattering rhythms. <i>Ahgd Ka Hwllh</i> is a unique album within the meta-period despite featuring the standard set of WG procedures and stylistic devices, the end result is a strangely melancholic work mainly due to the dreary nature of voice-spectres appearing on it. Finally, <i>Hadvth Ymh Khaib</i> presents us with a slow, turgid dark ride through the surreal ecosystem of effervescent swamps and crepuscular biota. As it is the case with amusement rides, the tense, intermittent flow of <i>Hadvth Ymh Khaib</i> is employed to amplify the user experience.</span></div>
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<span style="font-family: Arial;">Further descent into organizational chaos of WG’s late meta-period brings us to a type of sound that can’t fit the description of continuum of bass-driven dub and trance – the basic criterion set up to describe Weapon God’s musical identity. Although the bassline-centred sound organization in distinguishable stanzas that prevailed in 161’s music ever since early 2008’s <i>Hedeey Obectdee</i> album is still in place, <i>Hll Rha</i> and <i>Hllt Shhws</i> are the last works that could be labelled as dub or trance by any stretch of the imagination and serve as gateway albums for a small micro-phase that evolves in July 2015-April 2016 period. However, <i>Hll Rha</i> and <i>Hllt Shhws</i> nonetheless offer some discontinuity themselves. Compared to the prevailing organic tones of the meta-period <i>Hll Rha</i> brings a new sound set with its planar sonics and ethereal ambiances (perhaps the only time anything similar was attested by 161 was on <i>Trov</i> release). Furthermore, the thoroughly angular rhythm configurations that <i>Hll Rha</i> features seemingly lean towards a kind of a breakbeat aesthetic and in this way offer a glimpse into undiscovered, possible music worlds that lay ahead. On the other hand, <i>Hllt Shhws</i> brought some unheralded physicality into WG’s music that did away with its’ provisionally understood braindance frame and edged it closer to more dance oriented forms of electronic music. Whereas <i>Hll Rha</i> mostly has a chill ambient or downtempo vibe to it, <i>Hllt Shhws</i> is an immensely chaotic and heterogeneous work for which any semblance of stylistic or conceptual unity is reduced to pure intuition.</span></div>
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<span style="font-family: Arial;">Finally, in the very last stage of meta-period’s devolution, the “Triple A” trilogy of <i>Araaht Hllst</i>, <i>Ahhapwn Ahgd</i> and <i>Abah</i>, stands apart as a lone sonic constellation in WG chronology in several different aspects. The most glaring of these aspects is production – which is unusually robust and muscular compared to the rest of the catalogue – as well as the varied sound inventory that‘s probably the closest 161 has crept to contemporary electronic dance music standards: this is WG firing on all cylinders in all directions. Another significant aspect of distinction are the tremendous stylistic incongruities in <i>Araaht Hllst</i>, <i>Ahhapwn Ahgd</i> and <i>Abah</i> which they exhibit not only in relation to prior WG albums but among themselves as well. The first of the three – <i>Araaht Hllst</i> – combines the planar, metaphysical quality of spectral synths and knotty, melismatic ululations that echo throughout the recording with the organic quality of percussive rhythms in a way that beckons the term “space folk”. The second album in the trilogy – <i>Ahhapwn Ahgd</i> – essentially condenses the meta-period experience into a single hypertrophied release by taking all of its recognizable individual tropes like driving basslines, grainy percussion, vaguely Middle-Eastern chordophones and druggie r’n’b vocal modulations, and splashing them all together in a spectacular vein. The end result is not a representative cross section of the WG meta-period sound but more of a carnivalesque defile. The third and last WG album – <i>Abah</i> – is a retro 1990s acid techno transposed onto 161’s typical percussive set-up<span style="font-family: Arial;"><span id="[note_35]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_35]">[note 35]</a></sup></span></span>. <br /></span></div>
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<span style="font-family: Arial; font-size: x-large;"><span id="iv_–_key–a–no_records_–_the_label_and_its_practices"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#iv">IV – Key–A–No Records – the label and its practices</a></span></span></div>
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<span style="font-family: Arial;">All Weapon God releases – as well as King Nothing and Alhad Lamad releases and various one-off projects (such as The Holy Dreams) that precede it – are issued on Key–A–No Records<span style="font-family: Arial;"><span id="[note_36]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_36]">[note 36]</a></sup></span></span>, a provisional label operated by Dmtri from his home. The label was formally established in 1994 as a self-releasing vehicle, after its predecessor – LX Music LTD gradually lost its relevance in the early 1990s<span style="font-family: Arial;"><span id="[note_37]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_37]">[note 37]</a></sup></span></span>. In the beginning Key–A–No Records was considerably less prolific than its precursor – issuing only a handful of releases until a 2002/03 wave of LX Music LTD back catalogue reissues<span style="font-family: Arial;"><span id="[note_38]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_38]">[note 38]</a></sup></span></span> and new King Nothing works roused it from dormancy – it was Dmtri’s first successful effort of systematizing his ongoing music activities as well as organizing a catalogue of his previous work. However, apart from these very few initial releases, Key–A–No Records still lacked a key characteristic of DIY record labels (or even some private labels for that matter) – an automatic print run. Instead, upon finishing an album only a handful of copies – if any at all – are produced (mainly for friends and colleagues) and occasionally some on-demand copies would be made for other interested parties. By the time Weapon God came into existence, Dmtri had begun to focus solely on perfecting his music making and production skills, and had largely given up on promotion. As a consequence, Key–A–No Records’ importance idly waned and the label embarked upon a process of gradual virtualization through the loss of label functions that continued throughout the 2010s into the present day.</span></div>
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<span style="font-family: Arial;">Key–A–No Records adopted a temporary but indefinite practice of prefabricating all of its new releases. This meant that a Key–A–No album would be considered published even without a prototype release produced on any media but simply by assigning the finished recording a pertaining label catalogue number and saving the master recordings, as well as all other audio and non-audio data related to a specific album, onto an external HDD and DVDr. Although the psychical aspects of Key–A–No releases like artwork and liner notes were still being envisaged to some extent, the releases nevertheless continued to exist within a media limbo of sorts, as temporary digital prefabrications, since they never acquired their final and intended form. The divorce of the sound carrier from the media information meant that in practice a Key–A–No Records release would be accompanied by two Word documents, one a digital sleeve note – containing all the necessary album information a regular sleeve note has – and the other being an autopoetic work diary with occasional annotations of esoteric significance relevant to the working process written in a fairly cryptic style. While the work diary was just an auxiliary document that was preserved for keepsake purposes (so Dmtri could backtrack on what he was doing), it did feature an image – usually a 200px x 300px JPEG picture – in the upper left corner of the document that was eventually supposed to take up the function of cover art in the final media product.</span></div>
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<br />
<span style="font-family: Arial;">Rather than producing his own graphic solutions, Dmtri usually utilized found visual material for the purposes of Key–A–No Records album art. He pursued a distinctively anti-visual approach in doing so: analogue to its music functioning as sort of a microscopic zoom to the cellular level, the Weapon God artworks would consist of “found zooms”, new and rediscovered values of zoomed digital images (scooped from equalizer graphs of sound programs, software utility interfaces or simply images found online, etc). The end result would normally be a sort of a hauntological digital trace in the form of a hyper-pixelized detail or just a generic blurry ambiance, not unlike <i>Unfavourable Semicircle</i> sort of aesthetics<span style="font-family: Arial;"><span id="[note_39]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_39]">[note 39]</a></sup></span></span>. A casual glance at the collection of Weapon God’s album art on his artist page on <a href="https://www.discogs.com/artist/6127837-Weapon-God">Discogs</a> betrays a sense of incommunicativeness and tautological redundancy of these images; any thought of representationalism, the idea that Weapon God’s album art somehow forms a part of an artistic whole with the music, is out of the window here; even more so – the artworks themselves do not seem to have an inner logic as a collection of visuals as there are several sets of them that seem to be derived from the same image cropped slightly differently each time. In contrast with the Weapon God lamens, the artworks are an interpretative dead end: the same way <i>Unfavourable Semicircle</i> seems to be about just about anything except what we can see, this inward retraction in Weapon God album art is itself a signpost that points to nowhere – effectively taking us back to the music.</span></div>
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<span style="font-family: Arial;">For Dmtri, any work undertaken in the Key–A–No Records release process apart from music making itself – be it producing album art, promotion, networking, distribution or other label work – is snidely referred to by him as ”marketing”. This kind of attitude not only emphasizes the centrality of music making in relation to other extra-musical activities, but gives a valuable hint at the mechanism at play that rendered him invisible over the years and enabled him to essentially “hide” his immense work: the same traits that provided Dmtri with immunization against the different fetishizing vectors (of technology, media, etc) and designer culture that permeates much of today’s experimental music scene are the same vectors that keep him from cutting through the noise of the supposedly democratic access to digital self-promotion. At the same time, the conspicuous absence of a marketing strategy is not a strategy unto itself for Dmtri as he had several efforts to make his works more visible: he made a Key–A–No Records official web-page in the late 2000s – which never got launched in the end because he couldn’t manage to find a free hosting provider – and more recently two other pages in the late 2010s: a <a href="https://www.youtube.com/user/WG161/">Youtube</a> page in November 2016 as well as an official Weapon God <a href="https://weapongod.bandcamp.com/">bandcamp</a> page in February 2017. He even produced a Wikipedia entry on Demencija Prekoks around the same period which has got deleted since<span style="font-family: Arial;"><span id="[note_40]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[n_40]">[note 40]</a></sup></span></span>. In Giorgio Dmtri’s own words:</span></div>
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<i><span style="font-family: Arial;">I have no energy (and I’ve never had) for dealing with the label stuff, although I’d wish to have had; maybe now when/if I retire completely from music making, I will try to make something out of it, and by "making" I’m thinking about spending money on a few releases which, in all likelihood, two persons would be actually willing to pay for...</span></i></div>
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<span style="font-family: Arial;">Key–A–No Records started as a clean slate for Dmtri’s self-releasing enterprises in the mid-1990s and even though it suffered much of the same fate of its predecessor LX Music LTD by the late 2010s, it did achieve a systematization of his ongoing and 1980s archival releases and provided a solid basis for future prospective efforts to fully materialize these works in the originally intended form of regular physical releases.</span></div>
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<span style="font-family: Arial; font-size: x-large;"><span id="v_-_on_names,_non–entities,_entities,_etc._–_giorgi_dmtri‘s_autobiography"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#v">V – On Names, Non–Entities, Entities, etc. – Giorgio Dmtri‘s autobiography</a></span></span></div>
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<span style="font-family: Arial;">Publisher’s note: Since Dmtri is an individual who has been very particular with almost everything he is engaged with creatively, he has circulated a word document to A hogon’s industrial guide editorial board concerning the proper usage of his various names, monikers and music projects. The word document is here reproduced inline in its entirety:</span></div>
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<i><span style="font-family: Arial;">On Names, Non–Entities, Entities, etc.</span></i></div><i>
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<i><br /></i>
<i><span style="font-family: Arial;">It seems that a non–entity in a human nama–rupa (name–and–shape) was born on 31 January Anno LXIII (id est, 1968 era vulgaris.). Its sociobiological name was Giorgio Dmtri, or something similar. Eventually, it has started the beginning of an entity of some sort or another from the age of 27.</span></i></div><i>
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<i><span style="font-family: Arial;">Names and Years</span></i></div><i>
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<i><span style="font-family: Arial;">(Note: the names in the square brackets had been “transitional names” & no music works had been published under these names.)</span></i></div><i>
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<i><span style="font-family: Arial;">LX –– September 1983 – Summer 1988</span></i></div><i>
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<i><span style="font-family: Arial;">Whore –– Late 1988 – March 1990</span></i></div><i>
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<i><span style="font-family: Arial;">King Nothing –– April 1990 – April 2005/July 2007</span></i></div><i>
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<i><span style="font-family: Arial;">[King Alone (a brief period of the absence of King Nothing) December 1997 – January 1998]</span></i></div><i>
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<i><span style="font-family: Arial;">[John Doe – Summer 2005 – January 2006; John Doe 156 – February–November 2006; John Doe 161 – November 2006 – July 2007]</span></i></div><i>
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<i><span style="font-family: Arial;">161 –– July 16, 2007</span></i></div><i>
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<i><br /></i>
<i><span style="font-family: Arial;">Key–A–No</span></i></div><i>
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<i><span style="font-family: Arial;">(founded 1994 by KN, on /T\ mark, etc.)</span></i></div>
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<span style="font-family: Arial; font-size: x-large;"><span id="vi_–_notes_and_references"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#vi">VI – Notes and references</a></span></span></div>
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<span style="font-family: Arial; font-size: large;"><span id="6.1._notes"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#6.1.">6.1. Notes</a></span></span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_1]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_1]">[note 1]</a></sup></span></span> - ^ We can say that the eruption of the blogosphere in mid-to-late 2000s was the exact moment it really kickstarted globally, but the early-to-mid 2000s Soulseek scene would be a more precise answer.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_2]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_2]">[note 2]</a></sup></span></span> - ^ This is a pseudonym Dmtri used for most of the 2010s and at the time this article was written. Another pseudonym used in the essay to refer to Dmtri particularly in the Weapon God era is 161 (it was used somewhat concomitantly with Giorgio Dmtri). Towards the end of 2019 Dmtri began using Gewrgios Zabgiakas, a pseudonym based on his paternal grandfather’s name (an Epirote Greek from the village of Aristi in Zagorochoria who settled in Požarevac in 1916). There is a complete index of project names, pseudonyms and numbers Dmtri utilized over the years provided in the Appendixes section of the essay.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_3]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_3]">[note 3]</a></sup></span></span> - ^ In this intermediary period, Giorgio Dmtri’s Key–A–No Records released <i>Hllw Gyt</i> (catalogue number KAN 139) – the first release of the nascent Alhad Lamad project – in June 2017 and although it was clear that <i>Hllw Gyt</i> isn’t going to form a part of Weapon God discography, the status of Weapon God as an active project wasn’t yet immediately clear.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_4]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_4]">[note 4]</a></sup></span></span> - ^ The term Giorgio Dmtri prefers is libation because of its ritualistic and religious connotations; unlike doing drugs, libation is goal-oriented and includes a statement of will, for instance.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_5]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_5]">[note 5]</a></sup></span></span> - ^ Technically the <i>Socijalistička Autonomna Pokrajina Vojvodina</i> or <i>SAP Vojvodina</i> (Serbo-Croatian for “Socialist Autonomous Province of Vojvodina”).</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_6]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_6]">[note 6]</a></sup></span></span> - ^ Mario Marzidovšek was first and foremost a promoter of his local punk scene in Styria (Northeastern Slovenia), a popularizer and interlacer of various intra-Yugoslav scenes (punk, industrial, electronic music, sound poetry, etc), a trafficker of different trends in contemporary music (krautrock, industrial, noise, concrete music, etc) for the Yugoslav public, an interlocutor of the Yugoslavian scene for his contacts abroad but the regional scene with whom Mario was most in cooperation apart from his own Styria scene was the outsider hometaping scene of Central Serbia – out of the 70 MML releases in his catalogue that can be reconstructed from the remaining fragmentary sources available we can see that as much as eight solo releases are their contributions. Dmtri’s LX Music LTD hometaping hub is featured with as much as four releases on the MML roster:</span></div>
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<span style="font-family: Arial;">MML 34 Larynx - (1986) Sound Ambients-High Fast Dance</span></div>
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<span style="font-family: Arial;">MML 51 Avyakta Sabd - (1987) Divyam Janma</span></div>
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<span style="font-family: Arial;">MML 64 Various Artists - (1987) Last and First Music</span></div>
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<span style="font-family: Arial;">MML 66 Larynx - (1987) The Golden Age of Meaning</span></div>
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<span style="font-family: Arial;">Fast Deadboy (Kragujevac) and Pandora’s Shit Box et al. (Smederevo), the two other pillars of the outsider hometaping scene in Central Serbia have two tapes each:</span></div>
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<span style="font-family: Arial;">MML 44 Fast Deadboy - (1987) The Same Old Idea</span></div>
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<span style="font-family: Arial;">MML 67 Fast Deadboy & Larynx - (1987) Session-The Moon Songs</span></div>
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<span style="font-family: Arial;">MML 74 Pandoras Shit Box - (1987) Pandoras Shit Box</span></div>
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<span style="font-family: Arial;">MML 75 Various Artists - (1987) Smederevo Alternative Art</span></div>
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<span style="font-family: Arial;">The affiliation between the two scenes most likely arises from the fact that both Styrian and Central Serbian scenes were comprised of people of predominantly provincial working class background (it's interesting to note in this context that there are no Belgradian or Novosadian projects or bands with solo releases in the MML catalogue, although some appear as contributing bands on Various Artists compilations).</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_7]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_7]">[note 7]</a></sup></span></span> - ^ Giorgio Dmtri, together with Fast Deadboy, Čovek-zec, Walter Westinghouse from Sumanuti Jebači (Petrinja) and Bahadur Mušanović (Kakanj) – who ran a fanzine called <i>Glez</i> and later organized a Laibach fan club – was one of the instigators of <i>NAPIEG</i>, a shortlived informal hometaping organization, active from the end of 1983 until the first half of 1985<span style="font-family: Arial;"><span id="[5]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#5">[5]</a></sup></span></span>. The unlikely group found each other through contact advertsments they published in the fanzine-catalogue of the Zagreb journalist Damir Tiljak, who ran one of the first music piracy hubs for alternative music in the former Yugoslavia, as well as through music exchange ads <i>in Džuboks</i> magazine. The outline of this early 1980s pre-MML hometaping scene is documented on the cassette compilation <i>Tvoja moć</i> (LX Music LTD-Požarevac, 1984; Serbo-Croatian for “Your power“). <i>Tvoja moć</i> was one of Dmtri’s most important networking ventures from the period and also one of the earliest – if not the very first – Yugoslavian 1980s tape experimentalist mail collaborations.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_8]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_8]">[note 8]</a></sup></span></span> - ^ However, it should be noted that while all of the LX Music LTD releases were produced by Dmtri’s hometaping hub – MML’s releases were not; the LX Music LTD’s and MML’s individual scopes and purposes differed substantially in this respect: the overwhelming majority of LX Music LTD releases were private in nature and the ones that got the greatest exposure were either releases licensed for other labels (like the licenced LX Music LTD releases that were published on MML, mentioned in the previous note) or releases specially made for other labels like Larynx’s <i>The best of Larynx</i> (Red Phoenix/Crvene Kasete-Belgrade, 1990). MML on the other hand, released pretty much anything.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_9]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_9]">[note 9]</a></sup></span></span> - ^ The reel-to-reel tape recorder in question was a Tesla Sonet B3 - ANP 212 produced by the Czechoslovakian manufacturer Supraphon; it was bought by Dmtri’s dad on a business trip in Czechoslovakia.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_10]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_10]">[note 10]</a></sup></span></span> - ^ Čovek-zec (Serbo-Croatian for “Man-rabbit”) was an infectious, charismatic figure who began dabbling with tape recorders in 1982 after hearing <i>Renaldo & the Loaf’s Songs for Swinging Larvae</i> (Ralph Records-San Francisco, 1981) and set about making music in desperate efforts to emulate their style. In the process he initiated a miniscule tape experimentalist ring in Novi Sad centred around himself and a couple of his friends and engaged in regional cooperation with other hometapers. Čovek-zec was the main creative engine behind many projects in Novi Sad such as Čovek-pauk i Čovek-zec and Agonija Proleća with Božidar Mićić (alias Čovek-pauk; Serbian for “Man-spider”), Čovek-zec i RoG with Vladimir Beljanski (alias Rose & Glycerine), Das Kapital with Boris Jočić as well as ETVIFP – which was a sort of a supergroup of this hometaping ring with aforementioned Beljanski, Jočić, Aleksandar Ristić and Branislav Bukurov. Here included is a translated quote from A hogon’s industrial guide’s correspondence with Čovek-zec about his music-making process that encapsulates the spirit of these projects:</span></div><div class="MsoNormal"><span style="font-family: Arial;"><i>It was almost like a sort of folk action art with Grundig mono tape recorders from Poland – you’d count ‘one, two, three’, press ‘record’ on the tape recorder and start to play ... The result would sometimes be such that you would cringe at how bad it was but in some 5% of the times you would be like “How the fuck did we manage to pull that off?”</i><span style="font-family: Arial;"><span id="[6]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#6">[6]</a></sup></span></span></span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_11]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_11]">[note 11]</a></sup></span></span> - ^ This accelerationist discourse was rather popular in Yugoslav art of the time; for instance Laibach’s version of this trope was <i>… da dovedmo zlo do ludila</i> (Serbian for “… to push the evil over the brink of insanity”)<span style="font-family: Arial;"><span id="[7]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#7">[7]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_12]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_12]">[note 12]</a></sup></span></span> - ^ Although King Nothing predated Demencija Prekoks as a project by a whole year it was in practice its side project for the larger chunk of the 1990s in the sense that Demencija Prekoks had a primacy for Dmtri at the time whereas King Nothing was simply a personal moniker of his – a generic name attributed to everything he did on his own.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_13]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_13]">[note 13]</a></sup></span></span> - ^ Although this description coupled with the year of production might give an impression to the casual reader that King Nothing was a glitch or clicks’n’cuts-like venture that were popular at the time, nothing could be further from the truth since Dmtri didn’t knew about any of these genres then or now. Moreover, King Nothing sound of the early 2000s was distinctively low-fi and resembled these genres technologically to the extent to which a DI box resembled an iMAC.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_14]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_14]">[note 14]</a></sup></span></span> - ^ I cannot emphasize this enough – at the moment I first got in touch with Dmtri in 2009, he was doing music that he didn’t bother presenting to anyone.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_15]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_15]">[note 15]</a></sup></span></span> - ^ With Terence McKenna in mind, one can easily visualize a part of the associative process that navigated 161 with the help of Burroughs’ mindfulness method towards Weapon God as the name for the project. In his 1992 book of speculative palaeoanthropology <i>Food of the Gods</i><span style="font-family: Arial;"><span id="[8]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#8">[8]</a></sup></span></span>, Terence McKenna posits the “stoned ape” theory of human evolution according to which the three-fold increase in brain size from early hominds to modern homo sapiens in mere three million years is accounted by the early humans exposure to hallucinogenic plants in their surroundings. According to the “stoned ape” theory, the inclusion of these hallucinogens in the early humans’ diet enhanced our ancestors’ information processing capabilities because of the chemical factors present in thereof and they became the users of tools, fire and language. In this way, Weapon God can be interpreted as this numinous promethean force – immanentized automatically by the brains’ neurochemical response to the psychoactive stimuli – that made it possible for the early humans to use tools.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_16]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_16]">[note 16]</a></sup></span></span> - ^ Terence McKenna famously referred to the millennial phenomenon of renewed interest in shamanism and psychedelic drugs as the archaic revival and even published a book of the same title – <i>The Archaic Revival: Speculations on Psychedelic Mushrooms, the Amazon, Virtual Reality, UFOs, Evolution, Shamanism, the Rebirth of the Goddess, and the End of History</i> (Harper-San Francisco, 1992).</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_17]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_17]">[note 17]</a></sup></span></span> - ^ For instance, Dmtri’s has a complicated relationship with numbers and has associated himself with certain numbers (like 161 or 156) at various points in his life. A less personal example of this interconnection that is only tangentially related to Dmtri’s artistic practices is the date organization Dmtri employs in all official Key–A–No documents (the Key–A–No catalogue and Key–A–No release data) as well as all his private correspondences. Dmtri subscribes to an adjusted version of the Thelemic calendar which measures time from on 20.03.1904 when Aleister Crowley inaugurated the New <i>Aeon of Horus</i> after receiving the <i>Liber Al Vel Legis</i> (or The Book of The Law). So if a Key–A–No release is from, say, 2017 and the Thelemic year is written in Roman numerals as “Anno CXIII”, the formula for calculating the current year is the given Thelemic year + 1904 = current year; (for example: Anno CXIII = 113; 113 + 1904 = 2017), unless a release is made before March 20th of the ongoing year in which case then it belongs to the following year of the Gregorian calendar (to take the same example, a release Anno CXIII from January, February or March – anytime before as well as on March 19th – is not a 2017 release but a 2018 one).</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_18]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_18]">[note 18]</a></sup></span></span> - ^ Also the way Weapon God songs are structured meant that there was a little space for live improvisation and 161 was never fully at ease with playback.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_19]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_19]">[note 19]</a></sup></span></span> - ^ In 2017 or 2018, Dmtri told me over a phone conversation that he had simply lost Weapon God as one loses a pair of keys. To paraphrase Dmtri from my memory:</span></div><div class="MsoNormal"><span style="font-family: Arial;"><i>I just lost it. It simply wasn’t there anymore, somehow I couldn’t go back into it, into this mindset I had when I made it</i>.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_20]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_20]">[note 20]</a></sup></span></span> - ^ The closest thing to such a vantage point would most probably be Jon Hassell. However, 161 is first and foremost a post-bop, fusion and avant-garde jazz aficionado and if there is any extant music that he would claim to have been an influence on Weapon God that would most probably be Miles Davis and the Talking Heads.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_21]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_21]">[note 21]</a></sup></span></span> - ^ American filmmaker Craig Baldwin uses this term to subsume all these DIY artistic practices (like zine culture, cassette experimentalism, pluderphonics, Scratch video, demoscene, etc) that were spurred by the wave of newly available technologies in the late 1970s; the democratization of access to different existing but up to that point non-commercial technologies like Xerox machines, samplers, synths, tape recorders, super 8 camera (and later VCR) and personal computers facilitated an unprecedented explosion of creativity among the middle classes and encouraged the appearance of numerous garage zine editors, home music producers and DIY labels, bedroom coding collectives, etc.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_22]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_22]">[note 22]</a></sup></span></span> - ^ The term braindance was first introduced by Rephlex Records in 1991 as a promotional gimmick to market their own brand of idiosyncratic high-end electronic music.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_23]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_23]">[note 23]</a></sup></span></span> - ^ Brainwave entertainment as well as brainwave entrainment; some form of brainwave entrainment is probably the intended effect of most trance-inducing types of music.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_24]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_24]">[note 24]</a></sup></span></span> - ^ It is interesting to note here that Jon Hassell’s himself followed in the footsteps of Miles Davis’ <i>Bitches Brew</i> as he himself pointed out<span style="font-family: Arial;"><span id="[9]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#9">[9]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_25]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_25]">[note 25]</a></sup></span></span> - ^ Making Waves is a freeware program given on the companion CD of the May 2002 edition of <i>Computer Music</i> No.46.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_26]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_26]">[note 26]</a></sup></span></span> - ^ The differentiation between the various extant KAN (Key–A–No) studios was constructed retroactively by Dmtri in the early 2000s upon embarking on a process of back catalogue digitalization and organizing his archives. As a result of this reorganization, the first two studios Dmtri operated were retroactively named Key–A–No and appear to predate the Key–A–No label although this isn’t chronologically correct since the designation Key–A–No was first used in 1994 to denote the LX Music LTD’s successor label. The basic criteria of delineation was the location of each studio, but the studios also exhibit differences in production and recording technology, especially considering the enormous time span they cover (1983-2021). The first of the three – KAN studio I – was operating from 1983 to 1986 and it refers to the studio used for LX Music LTD projects in Dmtri’s previous flat in Industrijska ulica (Serbo-Croatian for “Industrial street”) in Požarevac. This is where the very first Larynx recordings were produced as well as other LX Music LTD projects like Lovci Na Tune, Psycho Dance and the <i>Tvoja Moć</i> cassette compilation. The second studio – KAN studio II – was operating from 1986 to 2001 and it refers to the bedroom studio in Dmtri’s new flat in Čede Vasovića street in Požarevac. With some adaptations and extra furniture thrown in to absorb the sound better, the studio was home to Larynx, King Nothing and most notably – Demencija Prekoks. The ideal position of the room within the flat meant that a lot of draught could be easily generated – and, by consequence, draught-induced noise – a recording trick that Dmtri eagerly exploited on Avyakta Sabd releases. The third studio – KAN studio III – refers to the studio in the same flat Čede Vasovića street that was moved to the former dining room, a small space adjacent to the kitchen in 2001. Since in the second phase of King Nothing the production process became entirely digital and moved to the PC, the physical space that the KAN studio II occupied all of a sudden became less of a recording currency and more of a organizational luxury, prompting Dmtri to move the studio to this small space. KAN studio III is Dmtri’s current recording studio and the place where all the second phase King Nothing, Weapon God and Alhad Lamad works were recorded<span style="font-family: Arial;"><span id="[10]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#10">[10]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_27]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_27]">[note 27]</a></sup></span></span> - ^ The samples from these sample libraries are then sculpted meticulously often to the point where the source sample is rendered non-identifiable – much like the guitar sounds and vocals 161 records on his own.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_28]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_28]">[note 28]</a></sup></span></span> - ^ The very idea to organize his albums in these prefabricate musical cinder blocks of 10:00, should be reliable tell-tale sign as to how much 161 is removed from any contemporary production standards.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_29]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_29]">[note 29]</a></sup></span></span> - ^ The exact chronology is, in fact, a bit more complicated than indicated in the abovementioned version: the work had initially begun on <i>The Pentultimate Synchrosubstance</i> album and was then halted midway through in favour of <i>Hey Terence…</i> album; it was only resumed once <i>Hey Terence…</i> had been finished.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_30]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_30]">[note 30]</a></sup></span></span> - ^ <i>The Pentultimate Synchrosubstance</i> is a DMT byname that Robert Hunter of The Grateful Dead casually mentions in a publicized email exchange with Terence McKenna. The misspelling of “penultimate” as “pentultimate” originated either as Hunter’s poetic licence or as deoxy.org’s webmaster’s typographical error while transcribing the exchange and has such entered into WG mythology<span style="font-family: Arial;"><span id="[11]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#11">[11]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_31]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_31]">[note 31]</a></sup></span></span> - ^ It seems fair to note that in regard to WG’s concept on <i>Entrance</i>, that it‘s rather concerned with the DMT in McKennaverse, rather than DMT as such.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_32]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_32]">[note 32]</a></sup></span></span> - ^ <i>Ewige Blumenkraft</i> (German for “Eternal Flowerpower”) is a phrase borrowed from Robert Shea’s and Robert Anton Wilson’s <i>Illuminatus! Trilogy</i> as a purported slogan of the Bavarian Illuminati.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_33]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_33]">[note 33]</a></sup></span></span> - ^ <i>Contact High</i> was named after the popular 1960s counterculture trope that refers to the supposed transference of psychoactive effects in chemically-unexposed individuals within a psychotropic using environment.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_34]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_34]">[note 34]</a></sup></span></span> - ^ In one of his lectures, Terence McKenna uses the metaphor of Arabian hyperspace to describe the knotty-geometric splendor of DMT hallucinations<span style="font-family: Arial;"><span id="[12]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#12">[12]</a></sup></span></span> and while this term is generally more or less applicable for most albums of the meta-period it is especially applicable for <i>Hdamtoowotahh</i>, <i>Ahgdtowth</i> and Agdw Hmlkh.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_35]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_35]">[note 35]</a></sup></span></span> - ^ <i>Abah</i> is the only album in the WG discography where 161 takes cues from popular music. The last track on the album – <i>Abah (Part 3)</i> – even features a fully digital simulation of a gated reverb.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_36]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_36]">[note 36]</a></sup></span></span> - ^ The desired spelling for both Key–A–No Records and the Key–A–No studio is with an en dash, rather than a hyphen.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_37]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_37]">[note 37]</a></sup></span></span> - ^ Between 1988 and 1994, LX Music LTD enjoyed a prolonged half-life after it failed to achieve a proper systematization of Dmtri’s projects. Although some releases here and there did feature hints of systematization these are few and far between and thus best to be left disregarded due to the lack of an overall scheme. In its active period (1984-1988), LX Music LTD produced artworks for all releases and in the first couple of releases even featured a very limited print run. It even enjoyed some distribution in the cassette network through Bojan Đorđević and Aleksandar Konjikušić’s Nikad Robom as well as Mario Marzidovšek’s MML.
However, over time it became an established practice for Larynx not to produce automatic copies at all. Rather, personalized copies of new releases would be just handed to friends and other interested parties while the LX Music LTD back catalogue would be usually duplicated on request. Around 1987-1988, LX Music LTD dropped many of its functions and became a provisionally understood label – a generic name ascribed to all Larynx's in house experimental music activities in the 1980s. Furthermore, LX Music LTD never achieved a coherent identity. At various points in time in its active period, the label was referred to differently on its releases' covers as 'LX Music LTD', 'Larynx Music' and 'Larynx Order Productions' with the first variant being the overwhelmingly attested variant present.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_38]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_38]">[note 38]</a></sup></span></span> - ^ A gigantic asterisk is required here because these LX Music LTD back catalogue reissues on Key–A–No Records are reissues in name only due to the specific conditions of the way Dmtri runs his labels; so when we mentioned the wave of back catalogue reissues in 2002/03 this effectively meant that during this period Dmtri picked a number of 1980s LX Music LTD tapes as representative of the period and the proceeded to digitalize, remaster and indexed them in the new Key–A–No Records catalogue as CDR releases. Furthermore, from that point on he retroactively designated LX Music LTD as a private label and Key–A–No Records as the official label in this way rendering all the remaining LX Music LTD cassettes as apocryphal, noncanonical youth works.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_39]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_39]">[note 39]</a></sup></span></span> - ^ <i>Unfavorable Semicircle</i> is an internet mystery that refers to a series of Youtube accounts posting algorithmically generated videos of abstract, pixelated images; theories abound as to what is the purpose of <i>Unfavorable Semicircle</i> – whether it constitutes a test channel, a numbers station, an alternative reality game or something else – with no single theory conclusively gaining the upper hand as of 2021<span style="font-family: Arial;"><span id="[13]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#13">[13]</a></sup></span></span>.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="[n_40]"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[note_40]">[note 40]</a></sup></span></span> - ^ Among other promotional efforts of Dmtri from the 2010s there is an attempt of his to make a Wikipedia entry for his 1990s band Demencija Prekoks. However, it was soon deleted by the editors because of the band’s perceived lack of notability. Dmtri would later remark ironically in private conversations that it was a fair cop as the INCMD had indeed caught him red-handed (International Notability Control Music Department).</span></div>
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<br />
<span style="font-family: Arial; font-size: large;"><span id="6.2._references"><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#6.2.">6.2. References</a></span></span></div>
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<br />
<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="1"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[1]">[1]</a></sup></span></span> - ^ <i>Demencija Prekoks – godine koje su pojeli dinosaurusi iz parka Jure</i> (in Serbian), a Giorgio Dmtri introduction text into the phenomenology of Demencija Prekoks with a reproduction of DP manifesto provided; in the beginning of the manifest the there is a line that translates like this: <i>We will swallow whatever Nothingness has remained from the 20th century</i>. Published in Uroš Smiljanić’s <i>War Pigs</i> nr.4 fanzine (self-released-Belgrade, January 1994).</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="2"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[2]">[2]</a></sup></span></span> - ^ Giorgio Dmtri, personal e-mail communication, 18.11.2009.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="3"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[3]">[3]</a></sup></span></span> - ^ Giorgio Dmtri, personal e-mail communication, 29.12.2017.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="4"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[4]">[4]</a></sup></span></span> - ^ <a href="https://web.archive.org/web/19970706111848/deoxy.org/t_heyman.htm">Virtual interview</a> with Terence McKenna by deoxy.org founder dimitri novus, the interview web page was crawled on 06.07.1997 but the entry is possibly older than the internet archive.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="5"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[5]">[5]</a></sup></span></span> - ^ Predrag Petrović, personal e-mail communication, 08.05.2009.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="6"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[6]">[6]</a></sup></span></span> - ^ Božidar Kecman, personal Facebook communication, 14.02.2011.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="7"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[7]">[7]</a></sup></span></span> - ^ <i>Beograd bez pravog totalitarizma</i> (in Serbian), Laibach interview with Svetlana Vasović in <i>Vreme</i> magazine (year 8, nr. 370), pages 40-42, 22.11.1997.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="8"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[8]">[8]</a></sup></span></span> - ^ <i>Food of the Gods: The Search for the Original Tree of Knowledge – A Radical History of Plants, Drugs, and Human Evolution</i> by Terence McKenna, Paradise I, page 16 (Bantam-New York, 1992).</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="9"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[9]">[9]</a></sup></span></span> - ^ <i>Miles and me</i>, Jon Hassell article in <i>The Wire</i>, issue 130, December 1994.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="10"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[10]">[10]</a></sup></span></span> - ^ Giorgio Dmtri, personal e-mail communication, 02.12.2018.</span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="11"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[11]">[11]</a></sup></span></span> - ^ <a href="http://www.levity.com/orfeo/index.part1.html">Levity.com correspondence</a> of Robert Hunter </span><span style="font-family: Arial;"><span style="font-family: Arial;">of The Greateful Dead and</span> Terence McKenna </span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="12"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[12]">[12]</a></sup></span></span> - ^ <a href="http://www.mysterium.com/tmalchemy.html">Mysterium</a> website’s index of Terence McKenna lectures on alchemy. </span></div>
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<span style="font-family: Arial;"><span style="font-family: Arial;"><span id="13"><sup><a href="https://ahogonsindustrialguide.blogspot.com/2021/03/weapon-god-presents-stepping-out-of.html#[13]">[13]</a></sup></span></span> - ^ <a href="https://www.unfavorablesemicircle.com/"><i>Unfavourable Semicircle</i></a> wiki resource which aggregates data on the phenomenon with an index of possible theories.</span></div>
</div></div></div>hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com0tag:blogger.com,1999:blog-610004026922635302.post-63913883994299031762016-10-23T15:27:00.000-07:002016-10-23T15:57:07.141-07:00Operating with Yugoslav 1980s cassette experimentalism memory<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlO2-d7XcjAtwQi_nZ3i42c8VbmU2V3OhmbN8qbDpC9WULLVswgM9IzvikdQrCTYv8pD4MUC5p25pwYRqglK_L8wur10W7NY2OaVRbzCTk__WcBuGcvMpHZ0VpwhNU5VX5LgAkAV5k4cs/s1600/festival+in+opposition.JPG" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlO2-d7XcjAtwQi_nZ3i42c8VbmU2V3OhmbN8qbDpC9WULLVswgM9IzvikdQrCTYv8pD4MUC5p25pwYRqglK_L8wur10W7NY2OaVRbzCTk__WcBuGcvMpHZ0VpwhNU5VX5LgAkAV5k4cs/s1600/festival+in+opposition.JPG" /></a> </b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Operating with Yugoslav 1980s cassette experimentalism memory </b><span style="font-family: "arial"; font-size: 12.0pt;">–</span> presentation and listening session with Nenad Vujić @ </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">OUR Accompanyings f</span>estival</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Nenad Vujić is an experimental music aficionado from Belgrade who
delves into the niches of the 1980s Yugoslav DIY cassette underground
and strives to provide a map of its many miniscule subscenes (includes
experimental, electronic, industrial, improvisation music from the 1980s). The
web site A hogon’s industrial guide strives to provide a map
for art historians, pop culture archaeologists and musicologists that
lays out the main features and the topology of the cassette
experimentalist terrain in 1980s Yugoslavia. More recently, the platform
have expanded its scope to other Eastern European regional productions,
with a forthcoming release of Hungarian 1980s cassette experimentalist
retrospective LP compilation and accompanying research text.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This presentation will strive to provide a short introduction into the activities of </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">A hogon’s industrial guide</span> and give </span><span style="font-family: "arial" , "helvetica" , sans-serif;">an overview of all the technological circumstances of Nenad's research through a sort of a bildungsroman which affected the epistemology as well as the choice of the research interface. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The presentation will be held on English.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thursday, 27th October 2016 at 21:45</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Venue: Youth Center CK13, Vojvode Bojovića 13, Novi Sad</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><span style="font-family: "arial" , "helvetica" , sans-serif;">Organization of the event: kuda.org</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Festival in Opposition – Art and Politics of Improvisation</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><span style="font-family: "arial" , "helvetica" , sans-serif;">OUR 'Accompanyings' 26 - 29<sup>th</sup> October 2016</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">See the full festival schedule at <a href="http://kuda.org/en/festival-opposition-art-and-politics-improvisation-26-29th-october-novi-sad-organization-kudaorg">kuda.org</a> and as a <a href="http://kuda.org/sites/default/files/docs/%2B%20Festival%20-%20e-program%20-%20%282016%29.pdf">PDF</a>.</span></div>
hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com2tag:blogger.com,1999:blog-610004026922635302.post-56908347054751692112014-11-07T20:59:00.000-08:002014-11-07T21:05:05.725-08:00Geeking for a medal – a conversation with Bojan Đorđević and Aleksandar Konjikušić about the Nikad Robom collective<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial;">On Monday 10th of November 2014, we're discussing the contexts and practices of the Nikad Robom collective – an independent cassette label, concert promoting agency and a hometaping organization from Belgrade active on the Yugoslav alternative music scene during the latter half of the 1980s – with its founders Bojan Đorđević and Aleksandar Konjikušić.</span></div>
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Nikad Robom collective was active from 1984 to 1996 in various shapes and forms and was covering a spectrum of post-Rock in Opposition music – from art rock and alternative jazz to contemporary classical and the so called New Music. The duo behind the Nikad Robom collective was in the same time an instigator of the eponymous cassette edition which was one of the first independent cassette labels in former Yugoslavia, an eponymous concert promoting agency which organized concerts of numerous post-RIO and New Music bands in Belgrade as well as a eponymous hometaping operation which dealt with copying, cataloguing and distributing releases which were unavailable on the Yugoslav market, making it a kind of living open archive of Western alternative music of the time. For more information about the Nikad Robom collective read <a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#i_-_nikad_robom">here</a>.</span></div>
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speakers: Bojan Đorđević and Aleksandar Konjikušić<br />
talk moderation: hogon<br />
language: Serbian<br />
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date & time: 10.11.2014 / 19:30 pm<br />
place: Centar za kulturnu dekontaminaciju, Birčaninova 21, Belgrade<br />
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The event will be recorded and subtitled for the A hogon's industrial guide archive.
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hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com0tag:blogger.com,1999:blog-610004026922635302.post-47377927949042052702014-09-14T06:41:00.001-07:002021-08-05T00:19:26.137-07:00Anonymously, collectively and with no material evidence – a conversation with Iztok Osojnik about an informal counterculture movement in 1970s Ljubljana<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial;">On Wednesday 17th of September 2014, we are discussing the origins, social context and practices of an anonymous collectivist movement which he initiated and was an active participant of. From 1975 to 1982, the movement carried out a string of intermedial actions, happenings and installations in which the line between a rock concert, performance art and a theatre show was often blurred. Firmly grounded on the principles of deconstruction and disidentification, the movement had a strong anti-institutional drive from the start; stubbornly rejecting any kind of formalization (systematical archiving, preserving records of activities, etc) and institutionalization (exhibitions, exposing in the space and context of art) of their work in an attempt to preclude their own historization.</span></div>
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<span style="font-family: Arial;">Of special interest to us is the movement’s rock section whose representatives – Papa Kinjal Band and D’Pravda – are associated with the Ljubljana Rock in Opposition scene and in the same time represent a nucleus of post-hippy Ljubljana underground that survived the advent of punk and managed to retain its presence in the Slovenian capital well into the second half of the 1980s. For more information about Ljubljana RIO scene and the movement itself read <a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#ii_-_rio_in_ljubljana_at_the_turn_of_the_1980s">here</a> and <a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.9._d%27pravda_-_the_tip_of_a_sub-underground_iceberg">here</a>.</span></div><br />
speaker: Iztok Osojnik<br />
talk moderation: hogon<br />
language: Serbian<br />
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date & time: 17.09.2014 / 7pm<br />
place: <a href="http://www.czkd.org/">Centar za kulturnu dekontaminaciju</a>, Birčaninova 21, Belgrade<br />
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The event will be recorded and subtitled for the A hogon's industrial guide archive.
</div>
hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com2tag:blogger.com,1999:blog-610004026922635302.post-89349367069000556672014-06-28T09:50:00.003-07:002021-03-23T09:16:32.778-07:00Gavrilov princip - (1998) Poseta [mc,not on label]<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial;">(A sneak preview of an article originally scheduled to be published on 28.06.2014 for the Czech online magazine Easterndaze)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidUmYNE5HJoKOPDnxCQHQ2EKzn6raiHUwNRNpjqS_boatPnGrJFxCsyuqQMojd9IvqwLQkiRwoK2S5YMjGVZObADcjSSJJfP9N7FRKci15h8OuLPltxXAx8dham1EOb7JwnpqA6ThBhDE/s1600/Gavrilo-Princip-1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidUmYNE5HJoKOPDnxCQHQ2EKzn6raiHUwNRNpjqS_boatPnGrJFxCsyuqQMojd9IvqwLQkiRwoK2S5YMjGVZObADcjSSJJfP9N7FRKci15h8OuLPltxXAx8dham1EOb7JwnpqA6ThBhDE/s400/Gavrilo-Princip-1.jpg" width="400" /></a></div>
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<i><span style="font-family: Arial;">Our shadows will be roaming through Vienna,</span></i></div>
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<i><span style="font-family: Arial;">wandering through the courts, frightening the lords.</span></i></div>
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<span style="font-family: Arial;">(Princip’s prison cell inscription immortalized in a Belgrade graffiti)</span></div>
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<span style="font-family: Arial;">Today, on the 100th anniversary of the Sarajevo assassination, an event which ignited a sequence of international reactions which will lead to First World War and ultimately mark the downfall of the Habsburg dynasty, Easterndaze in cooperation with A hogon’s industrial guide is proud to present you a release which commemorates the man who pulled the trigger on the tottering dinosaur of imperialism in Central Europe.</span></div>
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<span style="font-family: Arial;">Claimed by leftists and nationalists alike, Gavrilo Princip is hard to classify by today’s criteria. He was Yugoslav nationalist who believed in national unity, the organic bond of language and blood and their progressive role which drives the world forwards<sup><a href="https://www.blogger.com/null" name="1"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[1]">[1]</a></sup>, but in the same time he was also a liberationist, an anti-authoritarian figure who drew heavily from the anarchist tradition. From his standpoint, nationalist and liberationist ideas were not in necessary collision and, like many of his comrades from Mlada Bosna, he often oscillated between right-wing and left-wing politics in a way which may appear strange today.</span></div>
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<span style="font-family: Arial;">But rather then to further dwell upon matters resolved by serious historians 40 years ago (blissfully unaware of the forthcoming revisionist frenzies within the various micro-contexts of post-communist Eastern Europe), we propose a much more interesting alternative – a <i>détournement</i>.</span></div>
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<span style="font-family: Arial;"><i>Poseta</i> (Serbian for "Visitation") is a 1998 self-released cassette of a short-lived hometaping group Gavrilov princip active in Kragujevac (Serbia, then part of rump FR Yugoslavia, successor state of SFRY) from 1993 to 1999.</span></div>
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<span style="font-family: Arial;">Gavrilov princip (Serbian for “Gavrilo’s principle”, a pun on the name of Gavrilo Princip) was a joint collaborative effort of Miodrag Saramandić from Aranđelovac (Serbia), a local demo veteran and instigator of a few DIY bands which remained unbeknown to majority of alternative music publics in Serbia, and Predrag Petrović alias Phantom, a legend of the Yugoslav hometaping network from Kragujevac (Serbia) responsible for a host of DIY experimental music projects like Fast Deadboy<sup><a href="https://www.blogger.com/null" name="2"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[2]">[2]</a></sup>
(1983-1993, 1995-), Rubbishmen alternative jazz (1984-1986) and Phantom (circa 1995), DIY punk/experimental labels such as Dead Tapes and Phantom Tapes as well as fanzines like <i>Instant gladna igra</i> (Serbian for “Quick hungry game”), <i>Phantom</i> and <i>Larynx of the Fast Deadboy</i>, etc.</span></div>
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<span style="font-family: Arial;">Phantom has been active in the Yugoslav underground since early 1980s as a versatile multimedia artist – poet, performer, painter<sup><a href="https://www.blogger.com/null" name="3"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[3]">[3]</a></sup>, mail artist and a musician. In 1983 he started Fast Deadboy, quixotic brew of no-fi industrial music, punk-infused sound poetry and one-man dada theatre, arguably one of the most radical experimental music outfits within the Yugoslav cassette scene. Through his earliest works as Fast Deadboy, Phantom, a voracious autodidact and an electronics hobbyist, made a trademark of using modified, customized and entirely self-built music gear in addition to more or less standard set hometaping practices such as tape manipulation, using found instruments, etc<sup><a href="https://www.blogger.com/null" name="4"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[4]">[4]</a></sup>. However, later on – towards the end of the 1980s, Fast Deadboy entered in its ‘primitivist’ phase where he tried to limit the technological impact upon the creative process as much as possible in order to focus on basic acoustic experimenting in the best tradition of 1960s sound poetry. Although he was conceptually and ideologically close to the Fluxus movement, Phantom was a punk, who always self-described his
music as punk, associated exclusively within the punk scene<sup><a href="https://www.blogger.com/null" name="5"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[5]">[5]</a></sup> and along with fellow hometapers from central Serbia like Larynx (Požarevac) and Pandora’s Shit Box (Smederevo), was long considered a sub-phenomenon of the thriving punk scene in Serbia.</span></div>
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<span style="font-family: Arial;">On the other hand, Saramandić was multi-instrumentalist musician, supporting the most diverse groups in Aranđelovac and Kragujevac in various capacities (as a guitarist, keyboardist, flutist, etc). While his own groups like Dijagnoza 33 and its successor Mačak Fric (Serbian for “Fritz the Cat”) were more or less attempts down the rock alley, Saramandić also did a lot of solo experimentation, producing music which ranged everywhere from ambient to psychedelic. However, unlike Petrović, Saramandić was somewhat of a recluse who neither cared about promoting his music in any way nor was even intent on presenting it as a coherent production (by formally naming his hometaping projects, for instance).</span></div>
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<span style="font-family: Arial;">The two met sometime around 1992 when Saramandić had only recently moved to Kragujevac and was frequenting the local <i>Studentski Kulturni Centar</i> (or SKC; Serbian for Student’s Cultural Centre) venue where Petrović had worked at the time<sup><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[6]">[6]</a></sup>. About the same time, in 1993, Petrović had just came out through a creative (and not only creative) crisis during which he temporarily aborted all of his activities as Fast Deadboy and destroyed a sizeable part of his archive in the process. The friendship and collaboration with Saramandić came in a period when Phantom was radically rethinking his strategies, which resulted in some of the most diverse recordings he has ever made like <i>Ti si gad (američkim pilotima u leto 1995)</i><sup><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[7]">[7]</a></sup> (not on label-Kragujevac, 1995) – the only album recorded under the Phantom epithet – and <i>Najezda skakavaca / Heuschreckenplage</i><sup><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[8]">[8]</a></sup> (Nacionalna Asocijacija za Umetnost i Kulturu-Belgrade, 2013), which was a 1995 recording laying unreleased until 2013 and only then retroactively attributed to the Fast Deadboy chronology. Both of these albums – one of vague industrial rock orientation and the other of dozy, surreal ambiances – present a significant break with the characteristic Phantom sound.</span></div>
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<span style="font-family: Arial;">Through Saramandić’s and Petrović’s friendship, Gavrilov princip was eventually born in January of 1993. The group was organized as a session based endeavor, predicated by irregular meetings at Saramandić’s place, where he had an improvised recording studio<sup><a href="https://www.blogger.com/null" name="9"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[9]">[9]</a></sup>. Musically, Gavrilov princip’s was structured around a particular machine – the 1970 Farfisa Professional Duo organ – which provided the conceptual backbone to the project. The lineup solidified with the addition of Nenad ‘Jakob’ Jakovljević from Zvoncekova Bilježnica and Slovenska Nekropola on bass, but the group remained open for occasional input of other session musicians like Nenad ‘Gliša’ Glišić from Mini Dada Teatar – an another cassette experimentalist project from Kragujevac<sup><a href="https://www.blogger.com/null" name="10"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[10]">[10]</a></sup>. One of the routine practices of Gavrilov princip was setting the verses of Jovan Jovanović Zmaj, Jovan Dučić and other poets to their outlandish soundscapes. Apart from several tapes of disorganized and largely unpolished demo recordings, the <i>Poseta</i> (not on label-Kragujevac, 1998) cassette represents Gavrilov princip’s sole statement as a group.</span></div>
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<span style="font-family: Arial;">Within his 1990s oeuvre which mostly comprised cut’n’paste works of heavily processed glitch loops, <i>Poseta</i> with its organic feel stands out as one of the most musical and approachable things Phantom did. The <i>Poseta</i> recording sessions took place on 30.11. and 01.01.1998 and afterwards Saramandić did the final mix. The tape was released in December 1998 in an unspecified number of copies, between 50 and 100. As with all Phantom-related material, it wasn’t officially distributed anywhere but rather sold, given away or exchanged for other items privately<sup><a href="https://www.blogger.com/null" name="11"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#[11]">[11]</a></sup>. Featured on the front-cover is a duck-like creature often seen in Phantom’s visual mythology which, perhaps, corresponds with him (Phantom). The creature visits the historical Gavrilo Princip. Since the <i>Poseta</i> tracklist is in Serbian Cyrillic we transcribed it into Serbian Latin and additionally translated it into English for comprehension reasons. The tape was ripped in 320kbs by hogon in April 2011.</span></div>
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A1 - Посета / Poseta / Visitation</span></div>
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A2 - Разговор (1. део) / Razgovor (1. deo) / Conversation (part 1)</span></div>
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A3 - Разговор (2. део) / Razgovor (2. deo) / Conversation (part 2)</span></div>
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A4 - Дух шета Бечом / Duh šeta Bečom / A spirit roams Vienna</span></div>
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B1 - Рече ми Гаврило / Reče mi Gavrilo / Gavrilo told me</span></div>
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B2 - 28.06.1914</span></div>
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B3 - Сећања велика као океан / Sećanja velika kao okean / Memories as vast as the ocean</span></div>
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<span style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download/q6q5rsjibpkekvl/Gavrilov+Princip+-+%281998%29+Poseta+%5Bmc%2Cnot+on+label%5D.rar">HERE</a>.</span></div>
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<span style="font-family: Arial;">Notes and references:</span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[1]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#1">[1]</a></sup> - ^ <a href="http://www.parapsihopatologija.com/forums/index.php?showtopic=18688&page=9#entry2362452"><i>Plamen, žrtva, revolucija</i></a> (in Serbian), a post by user kim_philby in <i>Gavrilo Princip, lik i delo, kontekst, politicka upotreba</i> (post nr. 135, posted on 19.11.2013) on Parapsihopatologija internet forum.</span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[2]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#2">[2]</a></sup> - ^ Careful Easterndaze readers might remember Fast Deadboy from the <a href="http://www.nauk.rs/crnipek.php"><i>Crni Pek</i></a> internet compilation (Nacionalna Asocijacija za Umetnost i Kulturu-Belgrade, 2012), which had a follow up in the form of live concert appearances of some of the compilations’ protagonists during the 2012 <i>Novo Doba</i> comic festival, where Fast Deadboy performed live for the first time in more than 20 years.</span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[3]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#3">[3]</a></sup> - ^ In 2013, the Serbo-Belgian collective Nema tog podruma, which previously re-released a double-cassette of Fast Deadboy’s archival material <i>Predragons your beauty / Nek ad proždre</i> (No Basement is Deep Enough-Belgrade, 2012), organized a ‘play and remix’ retrospective exhibition of Phantom’s visual work titled <a href="https://www.facebook.com/ignace.debruyn/media_set?set=a.10202428833897721.1073741830.1099965872&type=1&l=fce4f131b4"><i>Nema Tog Podruma III: Најезда Скакаваца</i></a> where his original visual works were juxtaposed
with 31 remixes of his work by contemporary Belgian artists. The event was held at the F44 venue in Antwerp (Belgium). </span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[4]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#4">[4]</a></sup> - ^ One of Phantom’s famous home-made constructions was a primitive rhythm machine assembled from parts of a Sloboda Čačak model vacuum cleaner which he used a lot on early Fast Deadboy recordings. Phantom’s mom later disposed of this novel contraption because she didn’t knew what it was, reckoning that it was a safe move on her part since the family had acquired a new vacuum cleaner anyway. </span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[5]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#5">[5]</a></sup> - ^ <i>Larynx of the Fast Deadboy</i> (in Serbian), Srećko V. Đorđević and Vasa Radovanović article in <i>Liber</i>
(nr.4): <i>Total Underground</i> (Liber-Beograd, 2007).</span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[6]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#6">[6]</a></sup> - ^ Predrag Petrović, personal e-mail communication, 19.06.2014.</span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[7]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#7">[7]</a></sup> - ^ Serbian for “You’re a bastard (to American pilots in summer of 1995)”. </span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[8]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#8">[8]</a></sup> - ^ Serbian for “Plague of locusts”.</span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[9]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#9">[9]</a></sup> - ^ Predrag Petrović, personal e-mail communication, 18.06.2014.</span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[10]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#10">[10]</a></sup> - ^ Predrag Petrović, personal e-mail communication, 26.06.2014.</span></div>
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<span style="font-family: Arial;"><sup><a href="https://www.blogger.com/null" name="[11]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/06/gavrilov-princip-1998-poseta-mcnot-on.html#11">[11]</a></sup> - ^ Predrag Petrović, personal e-mail communication, 26.06.2014.</span></div>
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hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com0tag:blogger.com,1999:blog-610004026922635302.post-52774713073388457872014-06-11T04:03:00.000-07:002014-06-11T04:03:10.975-07:00 An introduction into the phenomenology of the Other Novi Sad scene of the 1980s – a talk with Zoran Pantelić<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOprnVjppoK29UOLJY5e69eobjtEpUBG_l8qS0Bhg3gKB2nDEHHjDjP_KBgGLGPJONpA6LzeOR6bz-VHylj08GeCNRvHuLw5Jx7m9o23LdOWukpaj-Dyw2wv3BoIusoMA3jjeABHOREbI/s1600/p&pt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOprnVjppoK29UOLJY5e69eobjtEpUBG_l8qS0Bhg3gKB2nDEHHjDjP_KBgGLGPJONpA6LzeOR6bz-VHylj08GeCNRvHuLw5Jx7m9o23LdOWukpaj-Dyw2wv3BoIusoMA3jjeABHOREbI/s1600/p&pt.jpg" height="280" width="400" /></a></div>
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On Friday 13th of June 2014, we are discussing the origins, social context and alternative music practices of the Other Novi Sad scene of the 1980s with Zoran Pantelić. The Other Novi Sad scene of the 1980s was a unique front of self-organized artists in Novi Sad which operated entirely within the private sphere – usually houses and apartments of its protagonists. Having witnessed firsthand the Other Novi Sad scene from its onset and participated in its numerous formations (Naučnici, Dr. Zsivago Dark Stars, Pre i posle tišine, Abacus, Testa di Shakespeare, etc), Zoran Pantelić is a key informant on this niche of Novosadian sub-underground. For more information about the Other Novi Sad scene read <a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#iii_-_other_novi_sad_scene_of_the_1980s">here</a>.<br />
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speaker: Zoran Pantelić<br />
talk moderation: hogon<br />
language: Serbian<br />
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date & time: 13.06.2014 / 7pm<br />
place: <a href="http://www.czkd.org/">Centar za kulturnu dekontaminaciju</a>, Birčaninova 21, Belgrade<br />
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The event will be recorded and subtitled for the A hogon's industrial guide archive.
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hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com0tag:blogger.com,1999:blog-610004026922635302.post-90258467587157918272014-03-06T08:20:00.003-08:002021-04-01T12:18:11.623-07:00The diversity of diversity – the traditions of non-punk infused experimentalism in former Yugoslavia<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-GB" style="font-family: Arial;">For a variety of reasons, rock music in former Yugoslavia never achieved the status of a subversive underground movement it had in other communist states like 1970s Czechoslovakia. Instead, this status became the almost exclusive property of punk and its derivatives, since only with the arrival of punk did Yugoslavian pop culture managed to fully catch up with the West and jump onto the train of modernity. This added another dimension to the already messianic advent of punk in Yugoslavia and had a practical effect of defining all true diversity of the alternative music exclusively through punk. Such status of punk music is an obvious truism in the case of 1980s cassette experimentalism in Yugoslavia, where punk’s monolithicness was virtually unprecedented compared to its equivalent scenes in the West.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">This essay deals with the marginal phenomena of non-punk infused cassette experimentalism in Yugoslavia through the activities of Nikad Robom cassette edition and two sub-scenes it was affiliated with – the Rock in Opposition scene in Ljubljana and the Other Novi Sad scene in Novi Sad.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The essay isn’t intended as a scholarly analysis of its subject matter and requires some basic knowledge on popular music (Rock in Opposition, cassette culture, etc) in order to cope with some portions of the text. It doesn’t employs any research methods nor it provides theoretical background of its subject matter, but rather aims to supply all the necessary contexts for its understanding. The text is primarily envisaged as a map for art historians, pop culture archaeologists and musicologists that lays out the main features as well as the topology of the alternative music terrain in 1980s Yugoslavia which isn’t indebted to punk in any way.</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: ES-TRAD;">The five large units are segmented into smaller reasonable units due to the incredibly dense look of the text in Blogger’s layout. The units are, together with notes and references, cross-linked through a table of contents to ease navigation. A great big thanks is due to my sources – Bojan Đorđević, Veljko ‘Papa Nik’ Nikolić, Zoran Pantelić, Siniša Nenadić, Milko Poštrak, Aleks Lenard, Bratko Bibič, Iztok Osojnik, Svi Marš na Ples crew (pop3 et al) and Alter Malter – without whose help this text wouldn’t be possible.
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<span lang="EN-GB" style="font-family: Arial;">Table of contents:</span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="i"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#i_-_nikad_robom">I – Nikad Robom</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="1.1."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.1._introduction_and_general_information">1.1. Introduction
and general information</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="1.2."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.2._promoters_of_post-rio_content_within_a_local_context">1.2. Promoters of
post-RIO content within a local context</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="1.3."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.3._label_within_a_global_post-rio_network">1.3. Label within
a global post-RIO network</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="1.4."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.4._function,_label_policy_and_general_characteristics">1.4. Function, label
policy and general characteristics</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="1.5."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.5._complete_cassettography_and_analysis">1.5. Complete
cassettography and analysis</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="ii"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#ii_-_rio_in_ljubljana_at_the_turn_of_the_1980s">II – RIO in Ljubljana at the turn of
the 1980s</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.1."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.1._the_historical_contexts_and_cultural_climate_in_ljubljana">2.1. The
historical contexts and cultural climate in Ljubljana</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.2."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.2._the_ljubljana_counterculture_of_the_1970s">2.2. The
Ljubljana counterculture
of the 1970s</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.3."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.3._radio_student_-_the_institutional_underpinning_of_the_1970s_youth_culture">2.3.
Radio Študent – the institutional underpinning of the 1970s youth culture</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.4."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.4._ljubljana_rio_festivals">2.4. Ljubljana RIO Festivals</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.5."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.5._ljubljana_rio_three_within_international_rio_context">2.5. Ljubljana RIO three within international RIO context</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.6."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.6._ljubljana_rio_momentum_within_a_local_counterculture_context">2.6. Ljubljana
RIO momentum within a local counterculture context</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.7."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.7._begnagrad_-_theoldwones">2.7. Begnagrad –
theoldwones</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.8."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.8._srp_-_oppositional_rock_theatre">2.8. Srp –
oppositional rock theatre</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.9."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.9._d%27pravda_-_the_tip_of_a_sub-underground_iceberg">2.9. D’Pravda – the
tip of a sub-underground iceberg</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="2.10."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.10._d%27pravda_-_socialist_realist_punks">2.10. D’Pravda – socialist
realist punks</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="iii"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#iii_-_other_novi_sad_scene_of_the_1980s">III – Other Novi Sad scene of the
1980s</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.1."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.1._introduction">3.1.
Introduction</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.2."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.2._novi_sad_and_nikad_robom">3.2. Novi Sad and Nikad Robom</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.3."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.3._general_characteristics_of_the_other_novi_sad_scene">3.3. General
characteristics of the Other Novi Sad scene</a></span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.4."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.4._the_historical_contexts_and_cultural_climate_in_novi_sad">3.4. The
historical contexts and cultural climate in Novi Sad</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.5."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.5._this_is_the_house_-_the_emergence_of_the_other_novi_sad_scene">3.5. This is the
house – the emergence of the Other Novi Sad scene</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.6."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.6._local_influences,_creative_impulses_and_formative_experiences">3.6. Local influences, creative impulses and formative experiences</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.7."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.7._tickmayer_and_the_new_arts_festival">3.7. Tickmayer and the New Arts Festival</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.8."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.8._other_novi_sad_band_grouping">3.8. Other Novi Sad band grouping</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="3.9."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.9._tibor_bada">3.9. Tibor
Bada</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="3.10."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.10._ove_sezone_vedri_tonovi">3.10. Ove Sezone Vedri
Tonovi</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.11."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.11._cirko_della_primavera">3.11. CirKo Della
Primavera</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="3.12."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.12._legacy_of_the_other_novi_sad_scene">3.12. Legacy of
the Other Novi Sad scene</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="iv"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#iv_-_nikad_robom_tapes">IV – Nikad Robom tapes</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="4.1."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.1._nr_002_skeleton_crew_-_(1985)_esta_es_la_victoria">4.1. NR 002 Skeleton Crew - (1985) Esta es la victoria</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="4.2."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.2._nr_003_joelle_leandre_-_david_thomas_and_the_wooden_birds_-_(1986)_april_u_beogradu">4.2. NR 003
Joëlle Léandre / David Thomas and The Wooden Birds - (1986) April u Beogradu</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="4.3."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.3._nr_004_the_camberwell_now_-_(1986)_dejavnost_v_studentskem">4.3. NR 004 The
Camberwell Now - (1987) Dejavnost v Študentskem</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="4.4."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.4._nr_005_this_heat_-_elliott_sharp_duo_-_(1987)_izgon_bojazni_iz_komune">4.4. NR 005 This
Heat / Elliott Sharp Duo - (1987) Izgon bojazni iz komune</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="4.5."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.5._nr_006_wondeur_brass_-_(1987)_t%27as_vu_mon_coing">4.5. NR 006
Wondeur Brass - (1987) T'as vu mon coing</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="4.6."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.6._nr_007_black_sheep_-_(1987)_alive_in_beograd">4.6. NR 007 Black
Sheep - (1987) Alive in Beograd</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="4.7."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.7._nr_008_tickmayer_formatio_-_(1987)_monumentomanija_maleroznog_prvoborca">4.7. NR 008 Tickmayer Formatio - (1987) Monumentomanija maleroznog prvoborca</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="4.8."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.8._nr_009_buga_up_-_(1988)_presage_de_lapin_de_la_maison">4.8. NR 009 Buga Up - (1988) Présage de lapin de la maison</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="4.9."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.9._nr_010_begnagrad_-_(1990)_jodlovska_urska">4.9. NR 010 Begnagrad - (1990) Jodlovska Urška</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="4.10."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.10._nr_011_cirko_della_primavera_-_(1990)_faima_vinovo">4.10. NR 011 CirKo Della Primavera - (1990) Faima vinovo</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="4.11."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.11._nr_012_institut_-_(1992)_minijature">4.11. NR 012
Institut - (1992) Minijature</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="v"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#v_-_appendixes">V – Appendixes</a></span></div>
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<br /></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="5.1."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#5.1._appendix_nr.1_bada_dada_-_(1998)_csak_a_osbadadadaarchiv">5.1. Appendix nr.1: Bada Dada - (1998) Csak a Ősbadadadaarchiv vol.1 84-90</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="5.2."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#5.2._appendix_nr.2_igrokaz_u_zmijarniku_-_(1989)_drvored_sumraka">5.2. Appendix nr.2: Igrokaz u Zmijarniku - (1989) Drvored sumraka</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="5.3."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#5.3._appendix_nr.3_d%27pravda_-_(1982)_demo">5.3. Appendix nr.3: D’Pravda - (1982) Demo</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="5.4."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#5.4._appendix_nr.4_srp_-_(2002)_zadnja_vecerja">5.4. Appendix nr.4: Srp - (2002) Zadnja večerja</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="vi"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#vi_-_notes_and_references">VI – Notes and
references</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="6.1."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#6.1._notes">6.1. Notes</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="6.2."></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#6.2._references">6.2. References</a></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 20pt;"><a href="https://www.blogger.com/null" name="i_-_nikad_robom"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#i">I – Nikad Robom</a></span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="1.1._introduction_and_general_information"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.1.">1.1. Introduction and general information</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Primarily, <i style="mso-bidi-font-style: normal;">Nikad robom!</i> (Serbo-Croatian for “Never a slave!”) was an often heard war slogan during the <i style="mso-bidi-font-style: normal;">Narodnooslobodilačka borba naroda Jugoslavije</i> (or NOB; Serbo-Croatian for “Yugoslav People's Liberation War”) of the 1940es. Then, in 1963, this battle-cry borrowed its name to a comic book edition that published the <i style="mso-bidi-font-style: normal;">Mirko & Slavko</i> series about the heroic adventures of two Partisan lads. Although the Nikad Robom edition was launched as one of numerous propaganda vehicles for youth education on NOB, things started to get out of hand when the demand for its most popular comic – caused by a largely unexpected surge of mainstream interest – plunged its creatively bankrupt writers into hyperproduction, resulting in ridiculous super-human exploits of the main protagonists and dismally oversimplified plot lines. Over a period of time, <i style="mso-bidi-font-style: normal;">Mirko & Slavko</i> had become a laughing stock of the regime’s distasteful attempts of self-mythologization<sup><a href="https://www.blogger.com/null" name="1"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[1]">[1]</a></sup> and consequently, in 1982, got cancelled for vulgarizing NOB<sup><a href="https://www.blogger.com/null" name="2"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[2]">[2]</a></sup> in the sensitive and increasingly bizarre atmosphere of the early 1980s post-Tito vacuum. Finally, in 1984, <i style="mso-bidi-font-style: normal;">Nikad Robom!</i> gave name to one of the few Yugoslav experimental music labels that tried to navigate through the maelstrom of internal and external impulses within the vast deregulated space that opened up with the cassette culture revolution of the 1980s. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">Nikad Robom ran from 1984 to 1992 and primarily focused on the broad area of music of the post-Rock in Opposition era – be it art-rock, experimental jazz or serious music, mainly along the lines of Recommended Records roster (which used to function as an official arm of the RIO exploit during its heyday and which had largely continued its tradition after its demise), but also including various forms of improvised music and contemporary avant-garde which, at the time, went under the term New Music</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_1]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_1]">[note 1]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. The dual significance of Nikad Robom as an independent music label is mirrored in its function both as a valuable information resource on abovementioned types of music in former Yugoslavia as well as mapping some of Yugoslavia’s most marginal cassette culture enthusiasts. Along the lines of these two functions, one can also divide Nikad Robom’s publishing activity into two distinctive phases: the mimetic phase – lasting from 1984 to 1987 – and the didactic phase – which extended from 1987 to 1992.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In its mimetic phase (1984-1987), Nikad Robom’s editorial focus </span><span lang="EN-GB" style="font-family: Arial;">was roughly outlined by that of its criterion – Recommended Records, while its publishing agenda was largely determined by the current state of affairs in the post-RIO and
New Music worlds. In practice this came down to day-to-day, chance issues such as which post-RIO or New Music project was on tour in Yugoslavia or nearby countries since bootlegs recorded on these concert tours actually made up the
bulk of released material in that period. In this phase Nikad Robom was also relevant as an archival record of foreign artists’ performances – which, at the time, still weren’t considered as something entirely commonplace in Yugoslavia. However, in its didactic phase (1987-1992), the focus shifted towards local music practices that fall within the scope of the post-RIO and New Music influences. The label’s latter function as a showcase for domestic artists did came about only in the wake of the late 1980s boom of Yugoslavian cassette culture, that is, only when such a need generated.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Nikad Robom team basically was Bojan Đorđević and Aleksandar Konjikušić, two music enthusiasts from Belgrade (SR Serbia). In addition to their work as a record label, the duo wrote reviews in the Student magazine, ran a radio show on radio B92 titled <i style="mso-bidi-font-style: normal;">Pomen crvenom patuljku</i> (Serbo-Croatian for “Memorial to the red dwarf”) and occasionally organized concerts. However, among a more narrow music public in former Yugoslavia, they were mostly recognizable as a hometaping operation</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_2]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_2]">[note 2]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">, their records and tapes catalogue counting around a thousand titles at one point. In the 1980s, Nikad Robom have – due to their hyperactivity and relatively high level of visibility within an underground context – generally functioned as a glue that connected different, seemingly incoherent corners of Yugoslav alternative music (Ljubljana RIO underground, Other Novi Sad scene, etc) into a network of people that is still referred to as the Nikad Robom circle. By the beginning of the 1990s, as the rump Yugoslavia slowly descended into a permanent state of emergency, Nikad Robom’s publishing activities slowly withered as well, finally grinding to halt in the winter of 1992.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">From 1992, Bojan Đorđević sporadically organized a series of mini-festivals in Belgrade which culminated in 1996 with the first edition of <i style="mso-bidi-font-style: normal;">Ring</i></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">
Ring</span></i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">New Music festival</span><span lang="EN-GB" style="font-family: Arial;">,
an event dedicated to contemporary music trends that has drawn an extensive array of performers from AMM, Iancu Dumitrescu and Pierre Bastien to Otomo Yoshihide, Sainkho Namtchylak and No-Neck Blues Band. Parallel to his engagement with <i style="mso-bidi-font-style: normal;">Ring Ring</i> festival, Bojan Đorđević pursues an active interest in promoting Serbian brand of world music – a phenomenon covering everything from local Roma brass bands to Serbian traditional music and Orthodox liturgical music – and has released four <i style="mso-bidi-font-style: normal;">Srbija: Sounds Global</i> CD compilations as well as two <i style="mso-bidi-font-style: normal;">Rromano Suno</i> CD compilations for B92 Music to that end; he had also took up managing several acts connected with this scene and has held numerous lectures about music of the Balkans, with a special emphasize on Roma music as well as its long-standing trumpet music tradition.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="1.2._promoters_of_post-rio_content_within_a_local_context"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.2.">1.2. Promoters of post-RIO content within a local
context</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">As a cassette
edition primarily oriented towards promoting post-RIO contents in former Yugoslavia,
Nikad Robom found themselves occupying a unique position, not only in relation to
the cassette culture spectrum, but the total of alternative music production.
Considering that the development of the post-RIO movement in countries of the
West was largely determined by the presence of pre-existing experimental rock
traditions in the 1970s that would facilitate its growth (and especially those
traditions that trace its origins from the progressive rock camp like RIO,
Zeuhl and Krautrock), the absence of such traditions on a country-wide level in
the case of former Yugoslavia, meant that Nikad Robom were facing an uphill
battle in promoting this music. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">Since
both the historical RIO (1978-1980) and, to an extent, its offspring – the post-RIO movement (1980-199?)could be understood as a reaction on the part of the 1970s experimental rock underground that stood as a twofold opposition both to the ongoing commercialization of rock in countries of the West as well as punk, a reductionist music trend which the RIO ideologues had undoubtedly seen as a crisis of artisanship, one can say that a certain degree of <i style="mso-bidi-font-style: normal;">third positionism</i>– or disposition towards the <i style="mso-bidi-font-style: normal;">tertium quid</i> characteristic of the Cold War era politics – is embedded in the very idea of RIO and its
successor. However, in the context of the efforts Nikad Robom made to popularize RIO their country, the situation in Yugoslavia was somewhat different than elsewhere in the West: since there were no genuine 1970s experimental rock traditions in former SFRY to ’lean’ the post-RIO movement against – apart from a vibrant micro-scene in Ljubljana (a city which was always a case by and for itself) – the <i style="mso-bidi-font-style: normal;">third positionist</i> logic immanent to RIO movements in the West couldn’t be symmetrically applied in the Balkan country.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Partially
because of this and partially due to the renewed interest in folk music
practices spurred with the explosion of the world music genre in the late
1980s, Nikad Robom at one point shifted their focus towards Balkan’s living
folk music tradition alongside their regular post-RIO agenda. The shift towards
folk music contents reflected especially in the programme of Nikad Robom’s radio
show – <i style="mso-bidi-font-style: normal;">Pomen Crvenom Patuljku</i>. The
show started airing in late 1989 and covered a broad spectre of alternative
music like post-RIO, jazz, world music and alike, but was increasingly inclined
towards local folk music practices culminating in 1991 with a first-ever live
report from <i style="mso-bidi-font-style: normal;">Dragačevski sabor</i> in Guča
(SR Serbia). Since there were no pre-existing cultural modes for consumption of
such contents for alternative music audiences, Nikad Robom’s rapprochement with
the folk music culture was somewhat controversial at the time as it basically
amounted to a violation of the habitual segregation of the two cultures.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">However,
even more importantly – the shift provided a forum for Nikad Robom to speak to
a much larger audience since – outside of a relatively small segment of
Yugoslav society delved into microcosm of Western pop culture – it was
precisely the legacy of folk music and the legitimacy of various competing
modes of its cultural appropriation – from the <i style="mso-bidi-font-style: normal;">novokomponovana narodna muzika</i> (Serbo-Croatian for “newly-composed
folk music”) genre to the Sarajevo school of rock – that were the main cause of
much heated debates in the Yugoslav public and certainly not any legacy of
rock, punk or any sort of alternative music.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="1.3._label_within_a_global_post-rio_network"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.3.">1.3. Label within a global post-RIO network</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Nikad Robom started out in 1984 as an unofficial outpost-label of sorts for Chris Cutler’s Recommended Records, as one of the numerous local correspondents of the flourishing world-wide post-RIO phenom. Recommended Records were established in 1978 as Rē Records – a vehicle created for Chris Cutler’s own projects at the time; in the same year when the initial <i style="mso-bidi-font-style: normal;">Rock in Opposition</i> festival took place in London under the slogan “five rock groups the record companies don’t want you to hear” in an event which Patrick Wright described as a modern day <i style="mso-bidi-font-style: normal;">Salon Des Refusés</i></span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[3]">[3]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. As the original RIO movement slowly waned towards the beginning of the 1980s, Recommended Records gradually took over its legacy as well as reputation ultimately becoming a sort of a virtual RIO, a natural extension of the movement. The ingenuity of the Recommended Records as a publishing endeavour and its unique position in the music world lays in the fact that it belongs to a handful of labels which successfully managed to seize upon a unique event in music history which
occurred sometime in mid-1970s – the rapid convergence of the worlds of rock, improvised and serious music (1960s North American avant-garde for the most part) into a single seamless horizon of looming music perspectives called New Music – and place itself as one of its main interpreters.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In the course of the following decade, Recommended Records evolved from a regular DIY garage exploit of the 1980s into an independent music colossus with a wholesale distribution of its own and an elaborate network of affiliate labels and international distributors, eventually renaming itself to RēR Megacorp in 1989 upon reporting heftier profits. The labels within this network of affiliates can be best grouped into three distinct echelons taking into account the level of cooperation these had with the Recommended Records headquarters.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The
first echelon is made of labels like Recommended Music (in West Germany), RecRec Music (in Switzerland), Recommended Records Japan (in Japan), which posed as sort of official subsidiaries to Recommended Records although they were essentially independent enterprises. These labels were generally conceived with encouragement and backing of Chris Cutler. The second echelon is made of satellite labels set up and operated as wholly independent labels which, however, were rather blunt about their allegiance to Recommended Records agenda and were practically cornerstones of the post-RIO phenomenon in their home countries. Notable examples include Bad Alchemy – run by Rigo Dittmann from
Würzburg (West Germany) and Ayaa label from Reims (France) – ran by Denis Tagu and Etienne Himalaya, respectively. Finally, the third echelon is made of DIY tribute labels ran by devoted music fans whose connections with the Recommended Records base were either cordial or entirely nonexistent. Since these editions can’t claim any direct lineage to the Recommended Records, they represent, in a way, pure strength of the post-RIO movement; the two most important names in this tier are Nikad Robom from Belgrade (Yugoslavia) and A.R.S. of Henryk Palczewski from Pila (Poland)– another cassette-only label from Eastern Europe.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="1.4._function,_label_policy_and_general_characteristics"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.4.">1.4. Function, label policy and general characteristics</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">In both of its
capacities as a cassette label – disseminator of information, and an active
organization – a loose network of co-conspirers, Nikad Robom was largely a
Yugoslav phenomenon, in a sense that its emergence and functioning was
essentially predicated by the integral cultural space of the former Yugoslavia.
This distinctive aspect of Nikad Robom is clearly observable in the basic-most
geography of their interests: Nikad Robom were a label based in Belgrade (SR Serbia)
interested in developments in the loosely understood post-RIO scene; in terms
of its impact, the initial Rock in Opposition was a fairly marginal event in
socialist Yugoslavia, with the important exception of Ljubljana (SR Slovenia) –
where the movement flourished around the annual Ljubljana RIO Festival and a
small local RIO scene, thus making the Slovenian capital a place of exceptional
importance for the Nikad Robom duo. However, as the body of post-RIO artists
gradually expanded and diversified during the latter half of the 1980s, the
focus of Nikad Robom’s interest shifted towards the underground music scene of Novi Sad (SAP Vojvodina, SR Serbia) which harboured one of the
most interesting articulations of these new post-RIO tendencies. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">Although
attaining a cult status in Yugoslav cassette underground, Nikad Robom edition
was virtually unheard of outside Yugoslavia due to its poor or
better yet non-existent distribution; in</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> the international tape exchange, their
releases were limited to</span><span lang="EN-GB" style="font-family: Arial;"> a few occasional appearances in Recommended Records and MML
mail-order catalogues. Partly to blame for this were general East-West issues
such as the prevalent Cold War perception of Eastern Europe as a sort of a
cultural exterior</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="4"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[4]">[4]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> and the consequent lack of previously established
mechanisms of interaction; and partly it this was Nikad Robom’s principal
orientation towards the Yugoslav market – being an Eastern European label
concentrating on presenting Western alternative music to local audiences – it
made little sense for them at the time to pursue a more active agenda in promoting
their releases in the West. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">Throughout
its existence Nikad Robom maintained a listener-friendly label policy aiming to
produce only a reasonable number of copies in fear of oversupplying the market</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="5"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[5]">[5]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. The same reasoning also
applied when deciding of putting a new tape out as the number of official Nikad
Robom releases is minute compared to the number of tapes (concerts, demos, etc)
stored in its archives and distributed through internal channels</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="6"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[6]">[6]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. This type of “socially
responsible” behaviour in self-releasing hometapers as well as labels is an
often-seen trait of Yugoslavian DIY cassette underground: akin to biologists
introducing foreign species into new environments, the care that these
individuals exhibited in utilizing possibilities of the new media speaks
volumes of the extraordinary meaning these had at the time as well as the delicate
sense of shared cultural space. ‘Production’ wasn’t a word that was particularly
frowned upon, but rather out of touch with the overall private and personal character
of the hometaping scene in Yugoslavia.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Some of the characteristics of Nikad Robom releases included innovations such as employing artists to record Nikad Robom-themed music jingles which were intended as a primitive promotional tactic for the label and the distribution. These were usually short radiophonic miniatures not longer than a minute or two, which would usually be inserted at the end of B sides regular run of play to fill up the remaining space (if there was any). Many musicians tried their luck in crafting these from the likes of Fred Frith and Black Sheep to local artists like Larynx and Spontani Telepski Duo; however, none of them was as successful so as Das Kapital with their hit</span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Nikad Robom (verzija)</span></i><span lang="EN-GB" style="font-family: Arial;">.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="1.5._complete_cassettography_and_analysis"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1.5.">1.5. Complete cassettography and analysis</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Nikad
Robom released eleven tapes in its eight year long history, some of which are highly
sought items nowadays. All Nikad Robom cassettes were featured within a single series
and, thus, had the same catalogue matrix (e.g. NR 00x) in which each new
release was attributed with an ascending catalogue number indicating its place
in the chronological order. The catalogue begins with </span><span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">NR 002, since NR 001
is nonexistent:</span></div>
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<span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">NR 002 Skeleton Crew - (1985) </span><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;">Esta es la victoria</span><span lang="FR" style="font-family: Arial; mso-ansi-language: FR;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">NR
003 Joëlle Léandre / David Thomas and The Wooden Birds - (1986) April u
Beogradu</span></div>
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<span lang="EN-GB" style="font-family: Arial;">NR
004 The Camberwell Now - (1987) Dejavnost V Študentskem</span></div>
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<span lang="EN-GB" style="font-family: Arial;">NR
005 This Heat / Elliott Sharp Duo - (1987) </span><span lang="EN-GB" style="font-family: Arial;">Izgon bojazni iz komune</span></div>
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<span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">NR 006 Wondeur Brass - (1987) </span><span lang="EN-GB" style="font-family: Arial;">T'as vu mon coing</span></div>
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<span lang="EN-GB" style="font-family: Arial;">NR
007 Black Sheep - (1987) Alive in Beograd</span></div>
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<span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;">NR 008 Tickmayer Formatio - (1987) Monumentomanija
maleroznog prvoborca</span></div>
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<span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">NR 009 Buga Up - (1988) </span><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;">Présage de lapin de la maison</span><span lang="FR" style="font-family: Arial; mso-ansi-language: FR;"></span></div>
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<span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">NR 010 Begnagrad - (1990) Jodlovska Urška</span></div>
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<span lang="SV" style="font-family: Arial; mso-ansi-language: SV;">NR 011 CirKo Della Primavera - (1990) Faima vinovo</span></div>
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<span lang="EN-GB" style="font-family: Arial;">NR </span><span style="font-family: Arial; mso-ansi-language: EN-US;">012</span><span lang="EN-GB" style="font-family: Arial;"> Institut</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">- (1992)
Minijature</span></div>
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<span lang="EN-GB" style="font-family: Arial;">From
this eleven tapes total, there were seven full-length tapes of foreign artists
concert recordings</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_3]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_3]">[note 3]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span lang="EN-GB" style="font-family: Arial;">(from NR
002 to NR 007 and NR 009) and in most cases these were audience recordings. Nikad
Robom started off as a series of bootleg releases, but have acquired approval
for some of its releases like <i style="mso-bidi-font-style: normal;">Esta es la
victoria</i> and the Elliott Sharp Duo side of </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Izgon bojazni iz komune</span></i><span lang="EN-GB" style="font-family: Arial;"> over a period of time</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="7"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[7]">[7]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. The only foreign artist’s
release which had an approval before the gig was </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">T'as vu mon coing</span></i><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="8"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[8]">[8]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. A half of these concert
recordings – Joëlle Léandre, David Thomas and The Wooden Birds, Wondeur Brass
and Black Sheep – were recorded in Belgrade and the other half – Skeleton Crew,
The Camberwell Now, Elliott Sharp Duo and Buga Up – were taped in Ljubljana. With
the sole exception of Wondeur Brass – which was the only concert in the edition
organized by Nikad Robom – the rest of the gigs in Belgrade
and Ljubljana were
only attended by </span><span lang="EN-GB" style="font-family: Arial;">Đorđević and
Konjikušić.</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></sup></div>
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<span lang="EN-GB" style="font-family: Arial;">On
the other hand, of the four Yugoslavian artists cassettes’ (from NR 010 to NR
012 and NR 008) featured on the Nikad Robom roster had artists’ approvals for
all of the releases</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_4]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_4]">[note 4]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> except the </span><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;">Monumentomanija
maleroznog prvoborca</span></i><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="9"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[9]">[9]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.
Of the four Yugoslavian projects released on the remainder tapes, all were in a
way related to Novi Sad, whether the connections were intrinsic – as with
Tickmayer Formatio and CirKo Della Primavera, who were Novi Sad-based</span><span style="font-family: Arial; mso-ansi-language: EN-US;">;</span><span lang="EN-GB" style="font-family: Arial;"> contextual – as with Papa</span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;"> Nik of the
Belgrade-based </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Institute, who worked in Novi Sad with Boris Kovač’s Ritual Nova when
Nikad Robom made his acquaintance; or plainly symbolical </span><span lang="EN-GB" style="font-family: Arial;">– as it was the case with
Ljubljana-based Begnagrad, who recorded their <i style="mso-bidi-font-style: normal;">Tastare</i> material in Novi Sad. This contextual examination already
gives us a clear insight into importance Ljubljana
and Novi Sad
had for Nikad Robom’s activities. </span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 20pt;"><a href="https://www.blogger.com/null" name="ii_-_rio_in_ljubljana_at_the_turn_of_the_1980s"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#ii">II – RIO in Ljubljana at the turn of the 1980s</a></span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.1._the_historical_contexts_and_cultural_climate_in_ljubljana"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.1.">2.1. The historical contexts and cultural climate in Ljubljana</a></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Thus,
the capital of Socialist Republic of Slovenia is indeed the first city crucial
in the story of Nikad Robom. Although </span><span lang="EN-GB" style="font-family: Arial;">Đorđević and Konjikušić</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> of Nikad Robom were youngsters when the Ljubljana’s
late 1970s RIO scene
was in its full bloom, </span><span lang="EN-GB" style="font-family: Arial;">this scene still </span><span style="font-family: Arial; mso-ansi-language: EN-US;">had an enormous influence upon the two as</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> they did manage to glimpse
some of its vestiges in the 1980s. The pre-punk era Ljubljana is, thus, an inevitable topic in any account of
Nikad Robom’s activities as well as attempts of charting the very few non-punk infused
music scenes in Yugoslavia.
A closer look at the Ljubljana RIO scene of the time also provides a valuable
insight into the origins of alternative music in Yugoslavia and the history of its
exposure to Western pop culture.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Regardless of the
specificities of certain music trends or very narrow context in which they
formed – that is, whether it was punk, industrial music or Rock in Opposition –
Ljubljana was the most logical place where this sort of events happened in
Yugoslavia as it was, as an enclave of Western underground culture like Prague
or – in a more literal meaning of the term – West Berlin, somewhat of parallel
universe compared to the rest of country. Especially with advent of punk in the
1980s, Ljubljana
had become <i style="mso-bidi-font-style: normal;">the place to go</i> and a
common practice was established among Yugoslav alternative-heads to go there as
if on a pilgrimage. Towards the late 1980s, the Ljubljana underground played a major role in great social
and political transformations in the country by becoming the backbone of the
civil rights movement in Slovenia</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="10"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[10]">[10]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> that eventually led to <i style="mso-bidi-font-style: normal;">Slovenska
pomlad</i> (Slovenian for “Slovenian spring”), a milestone event en route to
Slovenian 1991 independence. The circumstances which account for the evolution
of city’s counterculture into an engine of these changes and especially those
that account for the conversion of its cultural influence into political power
are much studied phenomenon in social anthropology and post-socialist studies.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">As
the most westwards-looking capital, Ljubljana
was a stepping stone for the cultural modernization of Yugoslavia.
With its levels of civil liberties and political freedom considerably higher
compared to the federal average, Ljubljana was
the place where all sorts of artistic, cultural and political excesses,
unimaginable elsewhere in Yugoslavia,
were possible. Whereas in other places in Yugoslavia,
a new era of social liberalization was heralded only with the adoption of the
1974 constitution which saw substantial shift of jurisdictions to the
individual republics, in the capital of Slovenia, however, the
constitutional changes had a practical effect of cementing a status it had already
acquired. This special status Ljubljana had
within Yugoslavia
was visible even in the 1960s, at the height of Tito’s rule, in the golden era
of Yugoslav socialism. For instance, in the 1950s and early 1960s, several
semi-independent news media outlets (centred around student, political and
theoretical magazines <i style="mso-bidi-font-style: normal;">Beseda, Revija 57</i>
and <i style="mso-bidi-font-style: normal;">Perspektive</i>) became well known
for their brazen political posturing and openly critical stances towards the
communist authorities</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="11"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[11]">[11]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. As the decade progressed, the presence of numerous
subjects from the countercultural fringe became endemic to the city; among them
are OHO conceptual art group (1966), experimental theatre Pupilija Ferkeverk
(1967) or G7 hippie commune in the northwestern suburb of Tacen (1970), etc.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.2._the_ljubljana_counterculture_of_the_1970s"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.2.">2.2. The Ljubljana
counterculture of the 1970s</a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">In the early 1970s two important processes happened within the
counterculture-sphere of the Slovenian capital: ‘low’ (or pop-) culture
tendencies gradually took hold in the Ljubljana art underground, </span><span lang="EN-GB" style="font-family: Arial;">which was </span><span style="font-family: Arial; mso-ansi-language: EN-US;">dominated by</span><span style="font-family: Arial;"> <span lang="EN-GB">the transcendental</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> conceptualism of
the analytical wing of OHO Group</span><span lang="EN-GB" style="font-family: Arial;"> throughout </span><span style="font-family: Arial; mso-ansi-language: EN-US;">the late 1960, while in the same time rock
music became the most important cultural driving force of youth culture. The
combined effect of two processes inevitably led to narrowing of the gap between
of contemporary art practices (or ‘high’ culture) and youth (or ‘low’) culture.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The so-called ‘low’ culture current in the Ljubljana art underground was
mainly demonstrated through appropriation of the Western discourse of 1960s
protest culture and urban revolt aided by the advent of new media such as film,
comics,</span><span style="font-family: Arial;"> <span lang="EN-GB">graffiti</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;">, etc; it was
primarily embodied in </span><span lang="EN-GB" style="font-family: Arial;">poets, performers and </span><span style="font-family: Arial; mso-ansi-language: EN-US;">scene luminaries like Vojin ‘Chubby’ Kovač
and Ivan ‘Feo’ Volarič, who brought the anarchistic and above all anti-institutional
impetus of the contemporary movements like Fluxus, Neo Dada and Situationism<sup><a href="https://www.blogger.com/null" name="[n_5]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_5]">[note 5]</a></sup>. On the other hand, the prevalent forms of music expression within
Ljubljana youth culture moved away from the singer-songwriter paradigm of early
rock, psychedelic folk and urban troubadours of the early 1960s towards a more
physical and disorderly rock music forms of the late 1960s and early 1970s. The
Ljubljana-based avant-rock band Buldožer, which begins operating in early 1975,
is crucial not only for this process, but also because its appearance on the
mid-1970s Yugoslav rock music scene signaled an end of its mimetic phase of
development. Parallel to its colossal emancipatory potential for the Yugoslav
rock scene, Buldožer played an equally important role in the local Ljubljana rock scene as a predecessor and a </span><span lang="EN-GB" style="font-family: Arial;">c</span><span style="font-family: Arial; mso-ansi-language: EN-US;">lose collaborator
of the Ljubljana’s</span><span style="font-family: Arial;"> <span lang="EN-GB">tentative</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> RIO clique around </span><span lang="EN-GB" style="font-family: Arial;">Begnagrad, Srp and D’Pravda. </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Over a relatively
short time-period, the synergetic effect of the two processes produced a
fertile creative climate from which a body of prolific authors emerged that
defined the Ljubljana
counterculture-sphere of the mid-1970s. </span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The outline of the new scene was probably most adequately presented in
1977 on the <i style="mso-bidi-font-style: normal;">Dani mlade slovenačke kulture</i>
(Serbo-Croatian for “Days of Slovenian youth culture”) event in Belgrade, a typical sort
of socialist manifestation that played an important role in the mechanism of
cultural cross-pollination between individual republics. The event showcasing
modern Slovenian youth culture took place in <i style="mso-bidi-font-style: normal;">Studentski Kulturni Centar</i> (or SKC; Serbo-Croatian for “Student Culture
Centre”) venue from 15.11.-19.11.1977; it was</span><span lang="EN-GB" style="font-family: Arial;"> curated</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> by Peter Mlakar, who coordinated it
for <i style="mso-bidi-font-style: normal;">Zveza Socialistične Mladine Slovenije</i>
(or ZSMS; Slovenian for “League of Socialist Youth of Slovenia“<sup><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_6]">[note 6]</a></sup>).
The Belgrade expedition numbered around fifty
creative individuals, philosophers and literati, the majority of which hailed
from Ljubljana.
Among these were writers (Andrej Medved, Milan Kleč, Vladimir Memon, Jaša
Zlobec, Uroš Kalčič, Drago Jančar, Ivo Svetina, Zlatko Zajec), poets (Milan
Jesih, Miha Avanzo, Ifigenija Zagoričnik, Marko Švabič, Emil Filipčič, Iztok
Osojnik, Jože Rozman), the so-called rock poets (Ivan 'Feo' Volarič, Blaž Ogorevc,
Petar Mlakar, Vojin 'Chubby' Kovač and Marko Brecelj), bands (Pankrti,
Buldožer, Begnagrad), filmmakers (Naško Križnar of OHO Group, Slobodan
Valentinčič of OM produkcija, Tomaž Kralj, Silvan Furlan of Solkanska filmska
šola, comic artists (Kostja Gatnik), photographers (Milan Pajk), painters (Savo
Valentinčič), etc.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Throughout the event the audience</span><span style="font-family: Arial;"> <span lang="EN-GB">reception</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> in Belgrade was fairly good, yet
the <i style="mso-bidi-font-style: normal;">Dani mlade slovenačke kulture</i> had
even a more significant impact upon its participants as a crucial meeting point
for themselves; never before has the Slovenian counterculture of the 1970s
gathered in such vast numbers and in such a representative selection. Its
importance was probably best</span><span style="font-family: Arial;">
<span lang="EN-GB">elucidated</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> by writer Vladimir Memon in his poetic
account in <i style="mso-bidi-font-style: normal;">Tribuna</i> titled <i style="mso-bidi-font-style: normal;">Kaj so mi prinseli Dnevi mlade slovenske
kulture v Beogradu</i> (Slovenian for “What have the Days of Slovenian youth culture
in Belgrade
brought me”)</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="12"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[12]">[12]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;">. In Serbian rock
press, the <i style="mso-bidi-font-style: normal;">Dani mlade slovenačke kulture</i>
event is often noted because of its significance in the context of punk historiography
as the Pankrti concert was probably the first ever punk gig in Serbia.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.3._radio_student_-_the_institutional_underpinning_of_the_1970s_youth_culture"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.3.">2.3. Radio Študent – the institutional underpinning of the 1970s youth culture</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">In
the sweltering atmosphere of the late 1960s Ljubljana Radio Študent – the first
independent radio station in Yugoslavia
– was established in 1969 by <i style="mso-bidi-font-style: normal;">Študentska
organizacija Univerze v Ljubljani</i> (Slovenian for “Student Organisation of
the University of
Ljubljana”). The act of
its founding was as a part of concession measures on the part of the
authorities to appease students’ anger over partial media blackout in Slovenia
during 1968 protests. In the following decades, Radio Študent will become an
important factor in the Slovenian media landscape, voicing political and social
marginals, facilitating public dialogue and playing a crucial role in
establishment of the civil rights movement in Slovenia. However, an equally
important aspect of its activities presents its engagement within youth culture
through evolving subculture identities and promoting underground music.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">One of the individuals responsible for</span><span style="mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">developing and fostering such a reputation for </span><span lang="EN-GB" style="font-family: Arial;">Radio Študent was Stane
Sušnik, one of its veteran music editors (from 1971 to 1976). In 1972, Stane
Sušnik paid a visit to London
in order to arrange deals with various record labels to promote their releases
on Radio Študent. Among others, he met up with Richard Branson – the owner of
the, at the time, newly formed Virgin label and a future business magnate – and
agreed for Virgin to send a free copy of each release they put out to Radio
Študent</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="13"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[13]">[13]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.
Thus, with the constant influx of new releases from Western Europe, the
programme of Radio Študent got significantly ahead of its peers in Yugoslavia and labels like Virgin had, in
return, got its releases popularized in Yugoslavia, an Eastern European
country starving for Western pop-culture.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In
1974, Stane Sušnik met </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Aleks Lenard</span><span lang="EN-GB" style="font-family: Arial;">, a young journalist and a creative rock devotee, and
offered him to do a show to present records that none of other editor-DJ’s
wanted to play.</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> That’s how <i style="mso-bidi-font-style: normal;">Untergrunt Molekula</i>,
the first radio show in Yugoslavia
dedicated to non-academic experimentalism, came into being<sup><a href="https://www.blogger.com/null" name="14"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[14]">[14]</a></sup>.
Aleks Lenard’s <i style="mso-bidi-font-style: normal;">Untergrunt Molekula</i>
focused on the very broad</span><span lang="EN-GB" style="font-family: Arial;"> spectre</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> of non-commercial music associated with the
progressive rock etiquette with a special emphasize on Krautrock and German
electronic music, but also the Canterbury scene, Zeuhl, s</span><span style="font-family: Arial; mso-ansi-language: EN-US;">pace rock, American outsider rock, with even a hint of Musique Concrete
here and there. Parallel to his engagement as a DJ on </span><span lang="EN-GB" style="font-family: Arial;">Radio Študent,</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> Aleks Lenard wrote
extensively on the subject of creative rock music for various Slovenian
magazines (<i style="mso-bidi-font-style: normal;">Stop</i>, <i style="mso-bidi-font-style: normal;">Tribuna</i>, <i style="mso-bidi-font-style: normal;">Mladina</i>, <i style="mso-bidi-font-style: normal;">Delo</i> and</span><span style="font-family: Arial;"> <i style="mso-bidi-font-style: normal;"><span lang="EN-GB">Dnevnik</span></i></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> among others). <i style="mso-bidi-font-style: normal;">Untergrunt Molekula</i> lasted in its
nascent form until around 1978, when the newly formed Rock in Opposition
movement took momentum in the experimental rock underground (as it also did in
the focus of the show), thus prompting Lenard to drop the show’s German-bent
name and change it to, simply </span><span lang="EN-GB" style="font-family: Arial;">– </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Rock V Opoziciji</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> (Slovenian for “Rock in Opposition”)<sup><a href="https://www.blogger.com/null" name="15"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[15]">[15]</a></sup>.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.4._ljubljana_rio_festivals"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.4.">2.4. Ljubljana RIO Festivals (1980-1982)</a></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">During
his tenure at </span><span lang="EN-GB" style="font-family: Arial;">Radio
Študent,</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> Aleks
Lenard became increasingly fascinated with the RIO movement and after attending
the second RIO main event in Milan, he decided
to bring the RIO festival to Yugoslavia<sup><a href="https://www.blogger.com/null" name="16"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[16]">[16]</a></sup>. </span><span lang="EN-GB" style="font-family: Arial;">The general rehearsal took place in 1979 when Lenard,
together with Bratko B</span><span style="font-family: Arial; mso-ansi-language: #241A;">ibič of Begnagrad,</span><span lang="EN-GB" style="font-family: Arial;">
organized an Etron Fou Leloublan gig in Ljubljana</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="17"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[17]">[17]</a></span></sup><span style="font-family: Arial; mso-ansi-language: #241A;">. A</span><span style="font-family: Arial; mso-ansi-language: EN-US;">fter shrewdly acquiring the financial
backing of <i style="mso-bidi-font-style: normal;">Kulturna
Skupnost SR Slovenije</i> (Slovenian for “Culture Community of SR Slovenia”) </span><span lang="EN-GB" style="font-family: Arial;">–</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">the Party’s official culture
funding institution of the time </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> on the basis of RIO artists’ self-proclaimed
leftist sentiments and alleged anti-capitalist agenda, the plan was set in
motion with the organizational help of <i style="mso-bidi-font-style: normal;">Študentski
kulturno-umetniški center</i> (or ŠKUC; Slovenian for “Student Cultural
Centre”)<sup><a href="https://www.blogger.com/null" name="18"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[18]">[18]</a></sup>. From 1980 until 1982,
Aleks Lenard organized three RIO Festivals in Ljubljana and numerous
other RIO-related solo concerts in cooperation with ŠKUC<sup><a href="https://www.blogger.com/null" name="[n_7]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_7]">[note 7]</a></sup>.
Although RIO had disintegrated as a movement
by the beginning of 1980, there were still a lot of events bearing its name
well into the second half of the 1980s. </span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The first edition of these Ljubljana RIO festivals was held from 20.06.-21.06.1980 in the garden of the Rio inn<sup><a href="https://www.blogger.com/null" name="[n_8]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_8]">[note 8]</a></sup> in downtown Ljubljana, a well known gathering spot of poets, artists, but also members of the Slovenian political elite throughout the 1960s and 1970s. The guests at the inaugurate two-day edition of the festival were Art Zoyd (Maubeuge, France), Univers Zero (Brussels, Belgium), Mamma Non Piangere (Milan, Italy) and Srp (Ljubljana, SR Slovenia). Although it wasn’t the first time RIO-related artists performed in countries behind the Iron Curtain<sup><a href="https://www.blogger.com/null" name="[n_9]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_9]">[note 9]</a></sup>, the importance of the Ljubljana RIO festival lies principally in the fact that it was the first RIO manifestation in Eastern Europe. On the second day of the festival some six hundred people attended the shows of Art Zoyd and Univers Zero<sup><a href="https://www.blogger.com/null" name="19"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[19]">[19]</a></sup>. Among the originally invited bands were also Etron Fou Leloublan and This Heat, but both were unable to attend the festival<sup><a href="https://www.blogger.com/null" name="20"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[20]">[20]</a></sup>.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The
second edition of the RIO festival didn’t bore
the name of its autonym as it was conceived and promoted as <i style="mso-bidi-font-style: normal;">ŠKUC-eva Novoletna razprodaja</i> (Slovenian
for “ŠKUC’s New Years’</span><span lang="EN-GB" style="font-family: Arial;">s
closeout”) instead</span><span style="font-family: Arial; mso-ansi-language: EN-US;">.
This</span><span style="font-family: Arial;"> <span lang="EN-GB">unofficial</span></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">edition of the Ljubljana RIO
Festival took place on 17.12.1981 at Ljubljana’s
Gospodarsko razstavišče exhibition centre presenting a line-up of only Slovenian
RIO bands due to a lack of finances<sup><a href="https://www.blogger.com/null" name="21"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[21]">[21]</a></sup>.
The headliners were Begnagrad, D’Pravda, Srp (Ljubljana, SR Slovenia) and
Istranova (Izola, SR Slovenia), while the audience
saw four more performances, namely by an <i style="mso-bidi-font-style: normal;">Oberkrainer</i>
tin orchestra Pleh Banda, poet and performer Andrej Rozman Roza, singer-songwriter
Marko Brecelj of Buldožer (Ljubljana, SR Slovenia) and multi-instrumentalist Alfredo Lacosegliaz of Gruppo
Folk Internazionale (Milan, Italy).</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The third and last Ljubljana RIO festival was held from
02.06.-03.06.1982 at Križanke hall and it was actually conceived as a
dual-event by ŠKUC, fusing RIO festivals’ concert</span><span lang="EN-GB" style="font-family: Arial;"> programme</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> with the artistic</span><span lang="EN-GB" style="font-family: Arial;"> programme</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> of the third
edition of</span><span style="font-family: Arial;"> <i style="mso-bidi-font-style: normal;"><span lang="EN-GB">Spomladanski</span></i></span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;"> festival</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> (Slovenian for “Spring festival”)<sup><a href="https://www.blogger.com/null" name="22"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[22]">[22]</a></sup>,
an annual festival dedicated to street theatre and the performing arts. In this
way, the joint festival saw music concerts by Art Zoyd (</span><span style="font-family: Arial; mso-ansi-language: EN-US;">Maubeuge, France), Black Sheep (Maassluis, Netherlands), Andrea</span><span lang="EN-GB" style="font-family: Arial;"> Centazzo</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> (Udine, Italy),
Peter Frohmader’s Nekropolis (Munich, West Germany), Christopher Wangro’s
Circus Janus (New York, US), Begnagrad, D’Pravda and, oddly enough, Laibach</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> (Ljubljana, SR Slovenia) being sporadically intermingled with theatre performances
by Gledališče Ane Monró, F.V. 112/15 (Ljubljana, SR Slovenia), Kugla Glumište (Zagreb, SR Croatia) and Claudio Misculin (Trieste, Italy). From 1983 onward, a
similarly formulated, but much more conceptually loose <i style="mso-bidi-font-style: normal;">Druga godba</i> (Slovenian for “Other band”) festival followed in RIO
Festival’s place. </span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">In
retrospect, it seems that the second edition of Ljubljana RIO festivals stands
out probably as the most intriguing, not only in terms of its programme, but
also conceptually. Unlike the first and last edition
of the festival, its programme wasn’t curated by Aleks Lenard but instead by
Emil ‘Fanči’ Filipčič, later a well-known writer and playwright. Due to
a lack of funds, the whole festival was put together
in a rather improvised, ad hoc fashion; since it was organized </span><span lang="EN-GB" style="font-family: Arial;">half a year</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> behind its original
schedule, only local (Slovenian) performers were available for booking and
henceforth the media interest was much lower </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> thus making it a susceptible ground for different
sorts of conceptual experimentation. </span><span style="mso-spacerun: yes;"> </span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">In this sense, it is interesting to mention that the 1981 edition of the
Ljubljana RIO festival </span><span style="font-family: Arial; mso-ansi-language: EN-US;">is, in Yugoslav alternative rock concert organizing practice, the
earliest recorded instance of billing grass-roots folk musicians </span><span lang="EN-GB" style="font-family: Arial;">–</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">the aforementioned <i style="mso-bidi-font-style: normal;">Oberkrainer</i></span></div>
tin orchestra Pleh Banda <span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> along with musicians with background in rock music.
This practice, which was popularized by <i style="mso-bidi-font-style: normal;">WOMAD</i>
festivals from 1982 onwards, was later co-opted and practically turned into a
winning formula by <i style="mso-bidi-font-style: normal;">Druga Godba</i></span><span lang="EN-GB" style="font-family: Arial;"> – </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Ljubljana RIO festivals’
successor </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> from the first year of its
functioning. Although this was the first time something like this happened
within the context of Yugoslav concert practice, it would be erroneous to
attribute the whole paradigm shift solely to Emil
Filipčič as Begnagrad were in fact the first to consciously engage in
blurring these differences by performing on various folk music festivities
throughout Slovenia.</span>
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<span lang="EN-GB" style="font-family: Arial;">In
terms of its programme, the second Ljubljana RIO festival nowadays seems even
more valuable. Far from being another stop for the global RIO caravan alongside
Milan, Reims, Paris, Brussels, or Stockholm where the audience would get a
glimpse into the current state of affairs in the world of RIO, the Ljubljana
RIO festival headlined all three bands that were relevant for the relatively
short-lived RIO-momentum in Ljubljana – Begnagrad, Srp and D’Pravda – thus
turning it effectively into a feast of Yugoslavian (or better yet, Slovenian
RIO)</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_10]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_10]">[note 10]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. The idea to present such a line-up was virtually impossible in
the preceding year since Begnagrad were on hiatus at the time, while D’Pravda’s
forerunner – Papa Kinjal Band were disbanded. The only time the three bands
ever appeared again on stage was during the 1982 edition of <i style="mso-bidi-font-style: normal;">Desant na Beograd</i> (Serbo-Croatian for
“Raid on Belgrade”) mini-fest, an overview of
Slovenian alternative bands in Belgrade.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.5._ljubljana_rio_three_within_international_rio_context"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.5.">2.5. Ljubljana RIO three within international RIO context</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Since
the Ljubljana three never identified as a RIO bands on the level of
self-subjectivization (albeit Begnagrad often recognized its influence) and Srp
were even staunchly opposed to the RIO label in context of their music</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="23"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[23]">[23]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">, for proper contextualizing
it’s important to clarify the relationship of the Ljubljana RIO three with both
the historical RIO movement (1978-1980) and its unofficial continuation in the
1980s – the post-RIO movement.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In Yugoslavia, Begnagrad, Srp and D’Pravda were
first brought into connection with the RIO
movement around 1980 or 1981 by the Ljubljana RIO Festival mastermind Aleks
Lenard writing for <i style="mso-bidi-font-style: normal;">Stop</i> and <i style="mso-bidi-font-style: normal;">Mladina</i>. This was quickly picked up by
rock press in their native Ljubljana – in particular journalists like Drago
Vovk (<i style="mso-bidi-font-style: normal;">Džuboks</i>, <i style="mso-bidi-font-style: normal;">Stop</i>) and Marko Uršič (<i style="mso-bidi-font-style: normal;">Tribuna</i>)
– and, soon, this perception was cemented with the three’s participation on </span><span style="font-family: Arial; mso-ansi-language: EN-US;">ŠKUC’s</span><span lang="EN-GB" style="font-family: Arial;"> Ljubljana RIO festivals. In
three separate editions of the Ljubljana RIO festival, the three bands
performed on two editions each, in this way becoming somewhat of a staple
ingredient of the festival. However, in international RIO circles, the Ljubljana three usually
weren’t considered part of the corpus of post-RIO artists during their
respective lifetimes, with the sole exception of Begnagrad (in their second
phase, 1981-1984). There are a couple of reasons for this, the most important being
– the absence of RIO self-identification on the part of the bands</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_11]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_11]">[note 11]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">, relatively late (Srp) or
entirely nonexistent (D’Pravda) physical releases which rendered them invisible
to prospective RIO audiences in the West as well as detachment from the
cultural mainframe which shaped the official narrative of the movement.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">However,
in the same time, the Ljubljana RIO three still shared some significant traits
with the RIO movements such as functioning as a two-fold opposition to rock’s commodification and punk’s musical
reductionism as well as working actively outside of the music industry. On an
individual band level, there are more vital characteristics that point to creative
and ideological synchronicity with the RIO
movement such as D’Pravda’s social commitment to rock. Likewise, the influence
of the performing arts isn’t as negligible correlation</span><span lang="EN-GB" style="color: red; font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">since these were, in many ways, close to the RIO movement</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_12]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_12]">[note 12]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. This influence is articulated in different
ways with the Ljubljana three – with Srp through
cabaret tradition, with D’Pravda through some sort of a guerrilla agitprop
theatre and with Begnagrad via a proto-culture jamming intervention with the
context of performing; and this is where the influence of Ljubljana’s
1970s non-institutional theatre scene upon the RIO
three becomes apparent. </span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.6._ljubljana_rio_momentum_within_a_local_counterculture_context"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.6.">2.6. Ljubljana RIO within a local counterculture context</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Due
to the shared rehearsal room in the basement of the fourth block of </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Rožna Dolina student
village</span><span lang="EN-GB" style="font-family: Arial;">, Srp
found themselves increasingly enmeshed with the nucleus of the Ljubljana
non-institutional theatre scene which occupied it and, as a consequence,
eventually started incorporating theatrical elements in their live shows. Although
the basement rehearsal spot – </span><span style="font-family: Arial; mso-ansi-language: EN-US;">commonly known as Vetrnica (Slovenian for “Windmill”) </span><span lang="EN-GB" style="font-family: Arial;">after the theatre group of Vlado
Šav</span><sup><span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="24"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[24]">[24]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> which anchored itself there
in 1973 – was originally utilized by alternative theatre groups, by the end of
1970s, music acts, an overwhelming majority of which were punk-infused, began
rehearsing there. Srp started practicing at Vetrnica around mid-1980 when the
space was still occupied by the original Vetrnica troupe as well as three other
theatre groups: Performance</span><span style="font-family: Arial; mso-ansi-language: EN-US;">, Pocestno gledališče Predrazpadom (Slovenian for “Street
theatre Abouttobreak”)</span><span lang="EN-GB" style="font-family: Arial;"> and Dolina ti</span><span style="font-family: Arial; mso-ansi-language: EN-US;">šine (Slovenian for “Valley of silence”).</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">The
Performance group comprised of Neven Korda, Zemira Alajbegović, Samo Ljubešič,
Marina Gržinić and Dušan Mandič. Already in the autumn of 1980, the group morphed</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_13]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_13]">[note 13]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> into </span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">FV
112/15 with the addition of Aldo Ivančić and Dario Sereval. The FV 112/15 crew were
strongly defined by the punk movement. In late 1981, a</span><span lang="EN-GB" style="font-family: Arial;">fter c</span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">laiming
the premises of D</span><span style="font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-family: "Times New Roman";">isko Študent club (which
were right across Vetrnica), they turned it in one of the first regular punk
venues in Ljubljana and Yugoslavia </span><span lang="EN-GB" style="font-family: Arial;">– the famous Disko FV</span><span style="font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-family: "Times New Roman";">. On the other hand, </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Pocestno gledališče Predrazpadom
troupe </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">essentially an
enterprise of Andrej ‘Roza’ Rozman and Marko Kovačič </span><span lang="EN-GB" style="font-family: Arial;">– was rooted deeply within the
Ljubljana’s hippie contraculture of the 1970s. </span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">While
both Vetrnica and FV 112/15 pursued a style of physical theatre in tradition of
Grotowski and Barba, </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Pocestno gledališče Predrazpadom </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">were inclined
towards less hermetic traditions like </span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">street theatre,
circus and variety</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="25"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[25]">[25]</a></span></sup><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">. </span><span lang="EN-GB" style="font-family: Arial;">In March of 1981, Roza initiated
a series of weekly cabaret instalments </span><span style="font-family: Arial; mso-ansi-language: EN-US;">in </span><span lang="EN-GB" style="font-family: Arial;">Disko Študent for which Srp co-realized
with his troupe and other Vetrnica musicians a performance titled <i style="mso-bidi-font-style: normal;">Cabaret</i>. Not long after this, S</span><span style="font-family: Arial; mso-ansi-language: EN-US;">rp devised and produced
their own cabaret performance titled </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Črna Mačka</span></i><span lang="EN-GB" style="font-family: Arial;"> (Slovenian for “Black Cat”),
which proved to be an </span><span style="font-family: Arial; mso-ansi-language: EN-US;">important formative experience for the group. In the
end, it was Roza’s influence which eventually skewed Srp’s creative sensibility
towards their unique brew of variety and musical theatre.</span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Besides </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Pocestno gledališče Predrazpadom, Roza was
the driving force behind a number of Ljubljana’s
non-institutional theatre efforts of the era such as Cirkus sedma bodočnost
(Slovenian for “Circus seventh future”), pagadajpagapustime as well as the <i style="mso-bidi-font-style: normal;">Spomladanski festival</i> street theatre
festival. Among other things he was </span><span lang="EN-GB" style="font-family: Arial;">– together with Samo Ljubešič from theatre groups
Performance and </span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">FV 112/15 and Iztok Saksida </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">the founding
member of</span><span lang="EN-GB" style="font-family: Arial;">
D’Pravda, another scion of the Ljubljana
hippie contraculture of the 1970s. D’Pravda was a formation that flourished on
the intersection of fringe theatre, para-artistic practices and political pamphleteering.
However, what set D’Pravda apart from Srp and the rest of the non-institutional
theatre scene in the basement of </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Rožna Dolina facilities was its
logocentrism. Since D’Pravda was, first and foremost, </span><span lang="EN-GB" style="font-family: Arial;">a vehicle for political, poetic and
philosophical musings of </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Iztok Saksida Jakac, the whole concept was structured
around the texts Saksida wrote.</span><span style="color: red; font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="color: red; font-family: Arial;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Begnagrad,
on the other hand, famously harboured affiliation with the Ljubljana ciné-club
culture producing soundtracks for a number of experimental shorts and feature
films (Franci Slak among others) as well as through Bratko Bibi</span><span style="font-family: Arial; mso-ansi-language: EN-US;">č’s own
involvement in that field</span><span lang="EN-GB" style="font-family: Arial;">.</span></div>
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<span lang="EN-GB" style="font-family: Arial;"><span style="mso-tab-count: 1;"> </span></span></div>
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<span lang="EN-GB" style="font-family: Arial;">In
this sense, also characteristic of the Ljubljana RIO three was negotiation with
different contexts in which the bands were performing: Begnagrad, for instance,
were famously attempting to present themselves as authentic folk musicians and
in this way smuggle their highly-idiosyncratic style into <i style="mso-bidi-font-style: normal;">narodno-zabavna</i> glasba (Slovenian for “folk entertainment music”) milieu;
D’Pravda</span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> played the </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman";">most of its gigs as split bills with punk bands since they </span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">felt a necessity</span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman";"> to juxtapose their work
in relation to punk movement; Srp, on the other hand, were close to the
performing arts scene and oscillated between several different music contexts
like RIO, jazz, punk and acoustic music while in the same time considering
themselves a part of the </span><span lang="EN-GB" style="font-family: Arial;">New Simplicity</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="26"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[26]">[26]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> tradition</span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman";">. </span><span lang="EN-GB" style="font-family: Arial;">Whereas
members of Begnagrad and D’Pravda were a few years older than their Srp
compatriots – and similarly to their RIO counterparts – basically hippie prog
rockers trying to retain relevance in an era increasingly defined by punk, Srp,
as music academy kids, had a somewhat of a different perspective and would
often describe their experience with the Ljubljana music scene as ‘unadjusted’</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="27"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[27]">[27]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. </span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.7._begnagrad_-_theoldwones"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.7.">2.7. Begnagrad – theoldwones</a></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Among the bands belonging to the evanescent late 1970s RIO-momentum in Ljubljana, Begnagrad are
by far the most relevant by the scope of their influence in both local and
international terms. Begnagrad were essentially an avant-prog band with
deviations ranging from folk to jazz, which was in a way fellow</span><span lang="EN-GB" style="font-family: Arial;"> traveller</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> of the RIO
movement </span><span lang="EN-GB" style="font-family: Arial;">– even
though they were entirely unaware of its existence. Originating in an Eastern
European country where the flow of cultural information was significantly
slower compared to the West, Begnagrad </span><span style="font-family: Arial; mso-ansi-language: EN-US;">developed a unique prog aesthetic that was
in a way</span><span style="font-family: Arial;"> <span lang="EN-GB">reminiscent</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> of Western RIO bands </span><span lang="EN-GB" style="font-family: Arial;">in a case of pure zeitgeist at work.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The
history of Begnagrad covers two active phases of six years – the first,
1975-1979 phase, and </span><span style="font-family: Arial; mso-ansi-language: EN-US;">the second, </span><span lang="EN-GB" style="font-family: Arial;">1981-1983 phase – which are complemented with a two year
intermission period from 1979 to 1981. </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Begnagrad formed in 1975 </span><span lang="EN-GB" style="font-family: Arial;">in Ljubljana’s Bežigrad district</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> around the
creative axis of </span><span lang="EN-GB" style="font-family: Arial;">Bratko
Bibič (accordion) and Bogo Pečnikar (clarinet). Although various members came
and gone over the years and even whole the line-up changed at one point,
however the Bibič-Pečnikar duo remained the nucleus of the band. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">In
the first phase, Begnagrad’s style is characterized by </span><span style="font-family: Arial; mso-ansi-language: EN-US;">creative
interplay and </span><span lang="EN-GB" style="font-family: Arial;">amalgamation
of seemingly irreconcilable forms: swing jazz and progressive </span><span style="font-family: Arial; mso-ansi-language: EN-US;">rock influences
on the one side and Alpine folk traditions on the other. The group plays along
with their <i style="mso-bidi-font-style: normal;">narodno-zabavna</i> image and
regularly plays in throughout Slovenia
around folk music festivals. The recordings from this period can be seen on
cassette </span><span lang="EN-GB" style="font-family: Arial;">release </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Jodlovska Urška</span></i><span lang="EN-GB" style="font-family: Arial;">
(Nikad Robom-Belgrade, 1990) as well as the CD version of the same recordings
published as <i style="mso-bidi-font-style: normal;">Tastare</i> (Bess Pro
Market-Ljubljana, 1993). </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Later, in the </span><span lang="EN-GB" style="font-family: Arial;">second </span><span style="font-family: Arial; mso-ansi-language: EN-US;">phase, New Music and RIO movement became a significant influence upon
Begnagrad and the bands avant-prog style gets much more intentionally hermetic.
They continue touring mainly in Slovenia,
but also undertake two major European tours. The recordings from this period
are documented on the self-titled </span><span lang="EN-GB" style="font-family: Arial;">LP <i style="mso-bidi-font-style: normal;">Begnagrad</i> (ZKP
RTVL-Ljubljana, 1982) as well as on the CD version of the same material <i style="mso-bidi-font-style: normal;">Konzert For A
Broken Dance</i> (AYAA-Reims, 1990)</span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">A more detailed account of Begnagrad and their activities is to be found <a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.9._nr_010_begnagrad_-_(1990)_jodlovska_urska">here</a>.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.8._srp_-_oppositional_rock_theatre"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.8.">2.8. Srp – oppositional rock theatre</a></span><span lang="EN-GB" style="font-family: Arial; font-size: 16pt;"></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Srp (Slovenian for “Sickle”) was a fairly unique endeavor in terms of
the post-RIO standards of the time, since its origins are delicately interwoven
with the origins of non-institutionalized theatre in Ljubljana, while its
practice occupied a vast median ground between the performing arts </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> especially
traditions such as cabaret, variety show or circus </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">and music </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> usually various forms of jazz and
improvised music. The influence of the performing arts is particularly visible
upon the very way Srp conceptualized their shows with the introduction of </span><span lang="EN-GB" style="font-family: Arial;">loose scripts and performance segmentation
and even moreso in</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> visual structuring of their shows </span><span lang="EN-GB" style="font-family: Arial;">– employing stage and costume designers, featuring
props, lighting, etc.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Srp
officially began in 1979 with a concert in Galerija ŠKUC on 06.06.1979 which
marked an end of a nearly two-year experimenting period with a number of trial
musicians and exploring diverse music directions under different monikers; the
line up finally stabilized around a core of </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Matjaž Sekne (viola), Primož
Simončič (saxophone), Gojmir Lešnjak (bassoon, vocals) and Tadej Pogačar
(double bass), the creative direction became less opaque </span><span lang="EN-GB" style="font-family: Arial;">and Srp presented themselves
with a free improv set-up involving a boys choir, a range of modified
instruments alongside classical ones, scrap metal as sound source and collages
of shortwave radio emissions. </span><span style="font-family: Arial; mso-ansi-language: EN-US;">In the beginning, Srp’s live performances were rather
sporadic; apart from the inaugurate concert </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> there were only two more concerts
realized by the end of 1980, the first on the occasion of the premier edition
of RIO festival in Ljubljana on 20.06.1980 and the other on a event with Papa
Kinjal Band in Disko Študent at the Rožna Dolina student village on 05.10.1980.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The ensuing period from mid-1981 until late 1983 marked the most
fruitful stage in Srp’s development with a surge of activities regarding more
conventional types of music performances </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> including festival appearances on </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">ŠKUC-eva Novoletna razprodaja</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> (the follow-up edition of RIO festival in
Ljubljana) on 17.12.1981, 22<sup>nd</sup> edition of <i style="mso-bidi-font-style: normal;">Omladinski Festival</i> in Subotica (SAP Vojvodina, SR Serbia) on 20.05.1982,
<i style="mso-bidi-font-style: normal;">Desant na Beograd</i> on 06.06.1982, <i style="mso-bidi-font-style: normal;">Rock Otočec</i> in Otočec ob Krki (SR Slovenia)
on 03.08.1983 and regular concerts in Ljubljana, Zagreb (SR Croatia), Kranj and
Novo Mesto (SR Slovenia); as well as the intermedial types of performances </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> including the </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Črna Mačka</span></i><span lang="EN-GB" style="font-family: Arial;"> (Slovenian for “Black Cat”) variety show, conceived, written and
performed for the weekly rendition of </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Kabaret
v </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Disku Študent</span></i><span lang="EN-GB" style="font-family: Arial;"> in </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Disko Študent </span><span lang="EN-GB" style="font-family: Arial;">on 07.04.1981</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">and</span><span lang="EN-GB" style="font-family: Arial;"> the self-descriptive “musical
scenic onomatopoeic number“ of <i style="mso-bidi-font-style: normal;">Desant na
Rt Dobre Nade</i> (Slovenian for “Raid on the Cape of Good Hope”) performed on
07.04.1982 in Delavski Dom in Kranj.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In
July of 1983 Srp</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> appeared on the television show <i style="mso-bidi-font-style: normal;">Pop
Godba</i> (Slovenian for “Pop Bands”), which was their most publicized public
performance yet. By the beginning of 1984, there was a steady decline in Srp’s
activities and a general feeling within the group that it surpassed its zenith.
After a sold-out concert in Ljubljana’s
Slovensko Mladinsko Gledališče</span><span style="font-family: Arial;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">on 09.11.1983,
Srp go on a five months long hiatus only to return in the spring of 1984 to record
and release their eponymous LP <i style="mso-bidi-font-style: normal;">Srp</i> </span><span lang="EN-GB" style="font-family: Arial;">(ZKP RTVL-Ljubljana, 1984). The release of
the debut album was followed by a string of promotional activities in the form
of an another concert in </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Slovensko Mladinsko Gledališče</span><span lang="EN-GB" style="font-family: Arial;">, a second appearance on the <i style="mso-bidi-font-style: normal;">Pop Godba</i> television show as well as production of a short
documentary film about the group titled <i style="mso-bidi-font-style: normal;">Srp</i>, which was directed and scripted by </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Jan Zakonjšek. </span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Although Srp haven’t left much material evidence of their six year long
existence, apart from its first and only LP album</span><span style="font-family: Arial;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">and a small posthumous CD retrospective titled <i style="mso-bidi-font-style: normal;">Zadnja Večerja</i> (Arhefon-Ljubljana,
2002), they were an indispensable part of the vivid landscape of the
heterogeneous post-hippy underground of the late 1970s Ljubljana that survived
the advent of punk and managed to retain its presence in the Slovenian capital
well into the second half of the 1980s.</span><span style="color: red; font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.9._d'pravda_-_the_tip_of_a_sub-underground_iceberg"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.9.">2.9. D’Pravda – the tip of a sub-underground iceberg</a></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">D’Pravda was the last offspring of a long and often chaotic
anti-tradition of bands which stemmed from a conceptually broad and
organizationally loose collectivist movement that flourished in Ljubljana from mid-1970s until
early 1980s. The said movement included,</span><span lang="EN-GB" style="font-family: Arial;"> among other things, </span><span style="font-family: Arial; mso-ansi-language: EN-US;">a string of rock
bands </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> D’Pravda’s
predecessors </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">such as Ljubljanska
železniška postaja (Slovenian for “Ljubljana
railway station”), Dr. Jelka Tottenbrenner, Papa Kinjal Band and many others<sup><a href="https://www.blogger.com/null" name="28"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[28]">[28]</a></sup>.
Covering a time span of almost one full year </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> from late 1981 until late 1982 </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> D‘Pravda was
certainly the longest running project in this lineage and, along with Papa
Kinjal Band, probably the most widely-recognizable of its kin. Although
D‘Pravda boasted an entourage of ever-shifting members like its
predecessor-bands, the creative and ideological <i style="mso-bidi-font-style: normal;">spiritus movens</i> was embodied in one man </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">sociologist and comparativist Iztok
Saksida Jakac.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Similiarly to their RIO counterparts, D‘Pravda’s
1970s predecessor projects like Papa Kinjal Band took a stance against the
processes through which rock music was commodified, integrated into the corpus
of mainstream culture and, finally, transposed into representation. They
maintained almost a Situationist critique of rock music’s role in contemporary
society: not only that it lost its delegation and became a capitalist
enterprise, but also that it turned from a subversive movement of youth
population into an instrument of control and surveilance of the said population<sup><a href="https://www.blogger.com/null" name="29"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[29]">[29]</a></sup>.
Hence these bands often played with the conventions that surrounded rock music of
their time </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">like
self-mythologization, personality cult and even band names </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">and used an
assortment of art theory informed tactics in order to prevent their potential
instrumentalization such as anti-historization and deconstruction. For
instance, the bands had a habit of disbanding and reforming under a new name
every now and then, often utilizing a new band name on a show-to-show basis<sup><a href="https://www.blogger.com/null" name="30"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[30]">[30]</a></sup>.
In 1979, Papa Kinjal Band announced an all day festival with an impressive list
of performing bands </span><span lang="EN-GB" style="font-family: Arial;">– only to carry out every single of the concerts themselves under
a </span><span style="font-family: Arial; mso-ansi-language: EN-US;">different
guise<sup><a href="https://www.blogger.com/null" name="31"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[31]">[31]</a></sup>. In doing so, the bands within this tradition, together
with the movement which spurred it, are one of the most intriguing examples of
the 1960s counterculture utopianism still lingering in the artistic practices of
1970s Yugoslavia.</span><span style="color: red; font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The movement was a collective endeavor of</span><span style="font-family: Arial;"> <span lang="EN-GB">fledgling</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> counterculture
radicals, artistic proletariat and hippie intelligentsia </span><span lang="EN-GB" style="font-family: Arial;">– an eclectic mix of </span><span style="font-family: Arial; mso-ansi-language: EN-US;">conceptual
artists, visual artists, poets, literates, philosophers, musicians, filmmakers</span><span lang="EN-GB" style="font-family: Arial;">, </span><span style="font-family: Arial; mso-ansi-language: EN-US;">dramatists and
theatre theorists of differing creative approaches and levels of formal
training in the arts </span><span lang="EN-GB" style="font-family: Arial;">– which successfully implemented a series of events in the
Slovenian capital from </span><span style="font-family: Arial; mso-ansi-language: EN-US;">1975 to 1980</span><span lang="EN-GB" style="font-family: Arial;">. The movement thrived in its self-imposed anonymity</span><span style="font-family: Arial; mso-ansi-language: EN-US;">; it had no name
nor any formal membership due to the disidentification policy which</span><span style="font-family: Arial;"> <span lang="EN-GB">prevented any names
being associated with it. The movement fiercely</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> rejected every
attempt of formalization (systematical archiving, preserving records of
activities, etc), institutionalization (exhibitions, exposing in the context of
art) and mediatization of their work in general<sup><a href="https://www.blogger.com/null" name="32"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[32]">[32]</a></sup>. Although the
movement acted as an impersonal collective that numbered up to thirty-something
people at some time periods, several prominent individuals </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> or non-members </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> were its basic
driving force; in the beginning, these were, first and foremost, Iztok Osojnik,
Jani Osojnik, Dušan ‘Hup’ Pirih and Iztok Saksida Jakac, while towards the end
of the 1970s, people like Andrej ‘Roza’ Rozman, Marko Kovačič and Gorazd
Osojnik also played important roles.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The unified front of the movement was comprised of several distinct
sections that roughly correspond to the variety of artistic media practiced
therein as well as the mélange of individual activities linked with the
movement’s functioning </span><span lang="EN-GB" style="font-family: Arial;">– ranging from publishing (IUPNA) and establishing of communal
spaces (Gradaška, Lahov graben, Žibrše, Kambreško I and II) to leisure
activities such as mountaineering.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The individual sections sometimes operated synchronously with one
another and other occasions completely independently, mostly depending on the
nature of the concrete action or event taking place; the events which were
usually the most collectivist in nature were happenings and</span><span style="font-family: Arial;"> <span lang="EN-GB">installations</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> like <i style="mso-bidi-font-style: normal;">Barvanje Čopove ulice</i> (Slovenian for “Painting
the Čop street”), <i style="mso-bidi-font-style: normal;">Predsedniški tekač</i>
(Slovenian for “Presidental Runner”), <i style="mso-bidi-font-style: normal;">Kuhanje
ujetega Bledoličneža</i> (Slovenian for “Cooking of the captured Paleface”),</span><span style="color: red; font-family: Arial; mso-ansi-language: EN-US;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Šetanje po predsjedničkom sagu</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> (Serbo-Croatian for
“A walk on the presidential carpet”), <i style="mso-bidi-font-style: normal;">Avion</i>
(Slovenian for “Airplane”) and so on<sup><a href="https://www.blogger.com/null" name="33"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[33]">[33]</a></sup>. An important characteristic
of these events was that</span><span style="font-family: Arial;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">due to the
volatile structure of the movement and its highly-permeable nature one often
couldn’t differentiate between a member of the audience and a participant in
the action.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Writing in an essay titled <i style="mso-bidi-font-style: normal;">Biti Hup</i>,
an introductory essay to the artistic opus of his long-time friend and
collaborator Dušan ‘Hup’ Pirih<sup><a href="https://www.blogger.com/null" name="[n_14]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_14]">[note 14]</a></sup>, Iztok Osojnik notes that
there are three sections which we can recognize as the three major currents
within the movement: the visual arts section (Hup, Iztok Šmajs, Vesna Črnivec,
Miran Mohar, Nagy Mirt, Iztok Osojnik, Jani Osojnik, Gregor Zaplotnik), which
formed initially around the group exhibition <i style="mso-bidi-font-style: normal;">Mož</i> (Slovenian for “Man”) in Mala Dvorana ŠN Ljubljana in 1975; the
theatre section (Andrej ‘Roza’ Rozman, Aina Šmid, Jani Osojnik et al.),</span><span lang="EN-GB" style="font-family: Arial;"> which in itself presents a
sort of a nucleus of non-institutional theatre practices in Ljubljana through
the activities of </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Pocestno gledališče Predrazpadom </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> a precursor of Gledališče Ane Monró </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> operating from
1978 to 1981 and its own precursor in the form of the rather short-lived
theatre pagadajpagapustime (197?-1978); rock group section (Iztok Saksida
Jakac, Žiga Saksida, Roza, Zoran Pistotnik, Bratko Bibič, Veronique [surname
unknown], etc), a tradition of makeshift rock/performance groups heralded by
Ljubljanska železniška postaja, a band featured in the 1975 performance titled <i style="mso-bidi-font-style: normal;">Predstavi v ljubljanski operi</i> (Slovenian
for “Present at the Ljubljana opera”) and later continued by one-off bands such
as Carmina Burana, Dr. Jelka Tottenbrenner, Ful ZWare Kavalar, Sedem sester iz
Brna (Slovenian for “Seven sisters from Brno”), Papa Kinjal Band and D’Pravda<sup><a href="https://www.blogger.com/null" name="34"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[34]">[34]</a></sup>.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Apart from the three main currents there were also a very active
literary section (Jure Detela, Iztok Osojnik, Iztok Saksida) </span><span lang="EN-GB" style="font-family: Arial;">– with the </span><span style="font-family: Arial; mso-ansi-language: EN-US;">podrealizem
(subrealism) movement; theoretical section </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> with Alef and queraxtizmetika groups);
drama section </span><span lang="EN-GB" style="font-family: Arial;">–
which produced several live performances such as</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Nezgoda na otoku Treh Milj</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> (Slovenian for “The
Three Mille Island accident”) and <i style="mso-bidi-font-style: normal;">Maska
rdeče smrti</i> (Slovenian for “The mask of the red death”); photo section
(Hup, Vesna Črnivec, Bojan Brecelj, Smiljan Šiška, Borut Šraj) and many other.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">However, one of the movement’s most acclaimed and best-documented
exploits was a project-installation named <i style="mso-bidi-font-style: normal;">Hidrogizma</i>,
devised and developed by a nucleus of Vesna Črnivec, Iztok Osojnik, Jani
Osojnik, Iztok ‘Muni’ Šmajs, Jani </span><span lang="EN-GB" style="font-family: Arial;">‘</span><span style="font-family: Arial; mso-ansi-language: EN-US;">Flavta’ Batista, with the help of Hup, Gregor
Razpotnik, Miran Mohar and Andrej Plahuta among others. </span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">In categorical terms, <i style="mso-bidi-font-style: normal;">Hidrogizma</i> is a peculiar mix between a spatial installation, sound
sculpture and a musical instrument in the best tradition of Fluxus-type of intermedialism<sup><a href="https://www.blogger.com/null" name="35"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[35]">[35]</a></sup>.
Topologically, it is a gargantuan indoor construction, consisting of a basic
frame scaffolding mounted on top of which is a web of pipes, vessels, gutters
and funnels </span><span lang="EN-GB" style="font-family: Arial;">– an
intricate s</span><span style="font-family: Arial; mso-ansi-language: EN-US;">ystem of elevated water passageways</span><span lang="EN-GB" style="font-family: Arial;">; the plumbing has</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> drippers, shower
heads and purposefully drilled perforations on places so that water could drip
onto an assortment of resonant surfaces placed throughout the room (usually tin
materials like cans, buckets and</span><span style="font-family: Arial;"> <span lang="EN-GB">barrels</span></span><span style="font-family: Arial; mso-ansi-language: EN-US;"> but occasionally also scrap metal,
tall springs, etc) as well as in large water collecting containers<sup><a href="https://www.blogger.com/null" name="36"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[36]">[36]</a></sup>,
thus producing a sonic environment in the form of a chance-orchestrated
polyphonic dripping concerto. In later installments of <i style="mso-bidi-font-style: normal;">Hidrogizma</i> </span><span lang="EN-GB" style="font-family: Arial;">– innovations in the form of localized water organs (‘played’ by
flowing water) were incorporated into the structure as well as various
experiments with the acoustics of the water collecting containers with the
addition of amplified </span><span style="font-family: Arial; mso-ansi-language: EN-US;">aquarium pumps, etc. Since <i style="mso-bidi-font-style: normal;">Hidrogizma</i> was a site-specific installation, it was different every
time it was (re-)constructed </span><span lang="EN-GB" style="font-family: Arial;">– as</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> many construction factors depended on where it was actually installed<sup><a href="https://www.blogger.com/null" name="[n_15]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_15]">[note 15]</a></sup>.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">From 1975 to 1980 the movement persevered as a unified corpus, while
from 1980 onwards </span><span lang="EN-GB" style="font-family: Arial;">–
coinciding with Iztok and Jani Osojnik's exile into Far
East over a two months prison sentence they received for their
1979 publication titled <i style="mso-bidi-font-style: normal;">Vandali</i>
(Slovenian for “Vandals”) – </span><span style="font-family: Arial; mso-ansi-language: EN-US;">it fragmented into several smaller units that
continued its tradition for awhile into the 1980s. Most notably, these were
Gledališče Ane Monró, painting duo Osojnik-Hup, photography workshops at KUD
France Prešern and last but not least </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> D'Pravda. In the August of 1980, the bulk of the
movement’s participants had partaken in the <i style="mso-bidi-font-style: normal;">Dubrovački
dani mladog teatra</i> (Serbo-Croatian for “Dubrovnik youth theatre days”). The string of
different actions, performances and happenings carried out at the festival such
as </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">M</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">aska
rde</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">če smrti</span></i><span lang="EN-GB" style="font-family: Arial;">, <i style="mso-bidi-font-style: normal;">Zvukovno
kazalište Hidrogizma</i> (Serbo-Croatian for “Sound theatre Hidrogizma<i style="mso-bidi-font-style: normal;">”)</i> and </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Šetanje
po predsjedničkom sagu</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> among others</span><span lang="EN-GB" style="font-family: Arial;"> – </span><span style="font-family: Arial; mso-ansi-language: EN-US;">present a culmination of the movement’s artistic
practice as a unified corpus. The proceedings also saw a performance of Papa
Kinjal Band at the Lazaretti art space with almost 60 people present on stage
at one point, a show which turned out to be a its final grand gesture.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="2.10._d'pravda_-_socialist_realist_punks"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2.10.">2.10. D’Pravda – socialist realist punks</a></span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Somewhere in late 1981, D’Pravda </span><span lang="EN-GB" style="font-family: Arial;">– the last in the line of the movement’s
rock groups’ lineage – </span><span style="font-family: Arial; mso-ansi-language: EN-US;">came into being. Its founders were two of the
movements’ most enthusiastic participants </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Iztok Saksida Jakac and Andrej ‘Roza’
Rozman, the former a sociologist and comparativist and the latter a self-styled
playwright, poet and performer. The idea was to form a project with whom they
would improvise around the texts Saksida wrote. The name of the band was
derived through word play </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> by juxtaposing ‘D’, the transcribed variant of the English definite
article <i style="mso-bidi-font-style: normal;">the</i> </span><span lang="EN-GB" style="font-family: Arial;">–</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">in front of ‘Pravda’,
the name of the Soviet daily which functioned as an official organ of the
Communist Party of the Soviet Union. The name D’Pravda also partly alluded to the XV and XVI century Slovene peasant revolts called <i style="mso-bidi-font-style: normal;">Boj za staro pravdo</i> (Slovenian for: "The fight for old rights"). With Roza
as the lead singer and Saksida as the lead guitarist, the two </span><span lang="EN-GB" style="font-family: Arial;">additionally </span><span style="font-family: Arial; mso-ansi-language: EN-US;">recruited </span><span lang="EN-GB" style="font-family: Arial;">Samo Ljubešić (double bass),
Mitja Veronek (trombone), Matija Pribošič (clarinet) and Zorko Škvor (drums) to
get the band started. </span><span style="font-family: Arial; mso-ansi-language: EN-US;">However, since Roza left D’Pravda soon in order to
pursue his newly founded theatre troupe Gledališče Ane Monró, the band added </span><span lang="EN-GB" style="font-family: Arial;">Jaša Kramaršič on vocals.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">What
was a conceptual cornerstone for the movement’s rock section from Papa Kinjal
Band to D’Pravda, was that none of the musicians involved actually knew to play
any instruments – they were all entirely self-taught, on the very beginning of
the learning process. Their flimsy musicking abilities allowed them to play
only the most rudimentary mixture of jazz-rock</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> with carnival overtones which,
coupled with their</span><span style="font-family: Arial;"> <span lang="EN-GB">knack for improvisation, often made D’Pravda music </span></span><span style="font-family: Arial; mso-ansi-language: EN-US;">tanta</span><span lang="EN-GB" style="font-family: Arial;">mount to disorderly racket</span><span style="font-family: Arial; mso-ansi-language: EN-US;">. </span><span lang="EN-GB" style="font-family: Arial;">W</span><span style="font-family: Arial; mso-ansi-language: EN-US;">ith their
theatrical presentation and politically charged texts – usually paroles about
the working class and socialst self-management laden with profanities or just
plain nonsense in verse – </span><span lang="EN-GB" style="font-family: Arial;">D’Pravda were known for their confrontational live performances, resulting
in </span><span style="font-family: Arial; mso-ansi-language: EN-US;">a
large number of interrupted gigs</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> </span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;">(especially while Roza was their singer</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="37"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[37]">[37]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;">). </span><span lang="EN-GB" style="font-family: Arial;">In this way D’Pravda were
essentially </span><span style="font-family: Arial; mso-ansi-language: EN-US;">doing punk with non-punk means and would often jokingly market their
music as “socialist realist punk”.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The first live outing of Saksida’s squad took place on 17.12.1981 on the
occasion of the second Ljubljana RIO festival </span><span lang="EN-GB" style="font-family: Arial;">– alternatively billed as </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">ŠKUC-eva Novoletna razprodaja</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">together with
Begnagrad, Srp and Istranova at the Gospodarsko razstavišče exhibition centre
in Ljubljana.
The next performance of D’Pravda was on a fundraising event dedicated to the
plight of the Polish workers brought about by an aggressive government
crack-down on the Solidarity movement. The event titled <i style="mso-bidi-font-style: normal;">Koncert solidarnosti z bojem poljskih delavcev </i>(Slovenian for ”A
concert in solidarity with the struggle of Polish workers”) was organized by ZMSS
and the Yugoslav Red Cross and held in Hala Tivoli in front of four thousand
spectators on 04.02.1982<sup><a href="https://www.blogger.com/null" name="38"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[38]">[38]</a></sup>. D’Pravda presented themselves together
with punk bands like Paraf, Pankrti, Buldogi, Šund and Martin Krpan, but also a singer-songwriter Jani Kovačič.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Almost
two months after, on </span><span style="font-family: Arial; mso-ansi-language: EN-US;">30.03.1982 D’Pravda play a gig at Disko Študent in
Rožna Dolina student village; this performance was the first show organized by
FV 112/15 to be recorded on video. Then came <i style="mso-bidi-font-style: normal;">Desant na Beograd</i> mini-festival </span><span lang="EN-GB" style="font-family: Arial;">–</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">a rock-congregation
of Slovenia’s most prominent alternative groups; D’Pravda performed there along
with Begnagrad, Srp, Marko Brecelj, Jani Kovačič and the Netherlands-based
Black Sheep (who stepped in at the last minute instead of the Slovenian punk
prime-movers Pankrti) in a dismally empty hall of Dom Omladine Beograda on
06.06.1982. However, this didn’t stop D’Pravda from delivering one of their
most conceptual performances to date and thus antagonizing little of the
audience members present at the event; one journalist for <i style="mso-bidi-font-style: normal;">D</i></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">ž</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">uboks</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> wrote: <i style="mso-bidi-font-style: normal;">five blokes in black suits, with black
sunglasses </i></span><span lang="EN-GB" style="font-family: Arial;">– </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">just singing</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">;</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;"> or talking while clapping with their hands</span></i><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="39"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[39]">[39]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;">.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">On 14.07.1982, D'Pravda enters into a recording studio most likely for
the first and only time in their short lifespan to record a ten-track demo.
Apart from the usual suspects </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> Iztok Saksida, Jaša Kramaršič, Mitja Veronek, Samo Ljubešić, Matija
Pribošič and Zorko Škvor </span><span lang="EN-GB" style="font-family: Arial;">–</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> the D’Pravda crew at Radio Študent is aided by Žiga Saksida (saxophone
nr.1) and Matjaž Rožič (saxophone nr.2) for the occasion. </span><span lang="EN-GB" style="font-family: Arial;">For the remainder of the
summer, D'Pravda extensively tours Slovenia with their theatre friends
– Gledališče Ane Monró and a punk band – Orkester Titanik, playing joint gigs
in Idrija, Kranj and Jesenice among others. By the end of 1982, D’Pravda
disbands. In 1983 and 1984 </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Iztok Saksida</span><span lang="EN-GB" style="font-family: Arial;"> becomes a chief editor at Radio Študent and from 1985 he’s
made an assistant at the sociology department of the Faculty of Philosophy in Ljubljana.</span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 20pt;"><a href="https://www.blogger.com/null" name="iii_-_other_novi_sad_scene_of_the_1980s"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#iii">III – Other Novi Sad scene of the 1980s</a></span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.1._introduction"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.1.">3.1. Introduction </a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Sometimes the RIO
bands that Aleks Lenard invited to Ljubljana
would perform in Zagreb and Belgrade in cooperation with the respective
student organizations in each city. However, these performances were more of an
exception than a rule despite the encouragement from ŠKUC as Lenard complained
in <i style="mso-bidi-font-style: normal;">D</i></span><i style="mso-bidi-font-style: normal;"><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">ž</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">uboks</span></i><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="40"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[40]">[40]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">; the only two bands that managed to play
in Belgrade were Etron Fou Leloublan</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="41"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[41]">[41]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> and Black Sheep, while the only band that
played in Zagreb
was The Work</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="42"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[42]">[42]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. ŠKUC’s isolation in this respect was
largely due to the exceptionally high level of their organizational autonomy
compared to its counterpart-organizations in the rest of Yugoslavia where the Party
maintained a shadow presence either through a occasional purges or through
bureaucracy-veiled vertical decision-making. Nonetheless, where institutions
fail – friendship and personal contact make up for the loss and that’s how one
of the bands that Lenard hosted in Ljubljana, found his way via Belgrade to
Novi Sad, the capital of SR Serbia’s northern province of Vojvodina – in a
visit that proved to be of historic importance for the development of the local
music scene</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="43"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[43]">[43]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">How did the Black Sheep arrive to Novi Sad is somewhat of a mystery. According to one version – Srđan ‘Džica’ Ðorđević, the Ove Sezone Vedri Tonovi frontman and a Marxism student, brought them over through his connections with the Dutch communes, and according to the other – Ðorđe Delibašić, the drummer of Ove Sezone Vedri Tonovi, saw Black Sheep performing in Belgrade on <i style="mso-bidi-font-style: normal;">Desant na Beograd</i> mini-festival and invited them to extend their Yugoslavian tour to his hometown of Novi
Sad</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_16]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_16]">[note 16]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. In any case, in the summer of 1982, The Black Sheep – who were joined by Chris Cutler and Chris Wangro of Circus Janus for their ongoing European road tour – held a memorable concert in the Studio M of Radio Novi Sad together with Ove Sezone Vedri Tonovi and after the show had an impromptu all-night long improv-concert with the locals in the back of Stole Janković’s garden. Black Sheep came back with Cutler a few years later (in 1987, this time around without Geoff Leigh) and held another concert, while Chris Cutler did a separate gig with Stevan Kovacs Tickmayer, yet it was this 1982 event which became a legendary happening in Novi Sad’s alternative folklore.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.2._novi_sad_and_nikad_robom"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.2.">3.2. Other Novi
Sad scene and Nikad Robom</a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Although a
Belgrade-based label, much of Nikad Robom's history is inextricably intertwined
with Novi Sad, the capital of <i style="mso-bidi-font-style: normal;">Socijalistička
Autonomna Pokrajina Vojvodina</i> (or SAP Vojvodina; Serbo-Croatian for “Socialist
Autonomous Province of Vojvodina”), and its peculiar alternative music circles.
More precisely, Nikad Robom were involved in dynamic cooperation with a
thriving sub-scene of local alternative musicians which evolved in between
popular and avant-garde music tendencies of the time, but also as a vital part
of a much wider front of emerging underground artists in 1980s Novi Sad. This unique
current within Novosadian alternativism, together with the endemic music scene
it helped nourish, is here provisionally referred to as the Other Novi Sad
scene of the 1980s due to a lack of any consensual or pre-established designations.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">For the
activities of the Other Novi Sad scene Nikad Robom played a twofold role: at
first, while the scene was in its full bloom, Nikad Robom functioned as its
catalyst – whether by promoting it's main protagonists through publishing
activity or aiding distribution of the scene’s own cassette editions (like CirKo
Distribucija) and samizdats, occasional organization of concerts in Belgrade;
eventually, with the scene’s inevitable decline at the beginning of the 1990s
and its subsequent retreat into obscurity in the following decades, Nikad Robom
is retroactively put in a position of the sole chroniclers of the elusive
happenings in the capital of SAP Vojvodina as their releases and archival
records remain a rare source on the Other Novi Sad scene.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.3._general_characteristics_of_the_other_novi_sad_scene"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.3.">3.3. General characteristics of the Other Novi Sad
scene</a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">In terms of their
overall character as well as status within local context, there are two basic
traits that distinguish projects coming from the milieu of artists billed under
the provisional umbrella term of Other Novi Sad scene of the 1980s, be it music
or otherwise.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The
first trait concerns the format and the nature of experimental music produced
in Other Novi Sad scene and how these two aspects relate. Since</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span lang="EN-GB" style="font-family: Arial;">a considerable number of these
projects were multi-faceted or multi-disciplinary in approach and a result of wider
theoretic-conceptual reflections, in addition to ‘bands’ – a variety of other
formats are also present such as theatre companies, art collectives, DIY
multimedia projects, etc. In the same time, the aforementioned breadth of scope
that characterized the conceptual basis of Other Novi Sad projects is
responsible for determining music-making process as decidedly synthetic and –
due to the fact that music experimentation wasn’t pursued as a ‘separate’ activity
– lacking a narrow music focus. This strikes a further parallel in the fact
that the Other Novi Sad scene was, first and foremost a collection of marginals
of all sorts, rather than a collection of musicians, painters or any kind of professionals
with a fixed, pre-determined goal. The basic cohesive fabric of the Other Novi
Sad was friendship and the main purpose or </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">raison d'etre</span></i><span lang="EN-GB" style="font-family: Arial;"> – a fertile
exchange of ideas.</span><span style="color: red;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">The second trait
characteristic for the Other Novi Sad scene of the 1980s is its unofficial
status within its own home town and the conditions of relative obscurity in
which its protagonists worked and created. This kind of low key presence –
which they fought off more or less successfully in the latter half of the 1980s
– wasn’t a matter of conscious choice of any kind, but was instead related to
the current stalemate in cultural policy of the SAP Vojvodina capital and even
more to the general infrastructural issues such as the lack of concert venues,
exhibition spaces, etc. The heavily bureaucratized <i style="mso-bidi-font-style: normal;">Savez Socijalističke Omladine Vojvodine</i> (or SSOV; Serbo-Croatian
for “</span><span style="font-family: Arial; mso-ansi-language: EN-US;">League
of Socialist Youth of Vojvodina”</span><span lang="EN-GB" style="font-family: Arial;">)</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_17]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_17]">[note 17]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">expressed almost categorical disinterest in promoting and accommodating any other artists except those belonging to the current Yu rock consensus, while other institutions of culture in SAP Vojvodina were often headed by former state security cadres</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="44"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[44]">[44]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. Hence, as the institutional facilitation
of any kind of alternative culture was practically inexistent in Novi Sad,
marginal spaces (such as houses, apartments, etc) became a natural and the only
possible habitat for the Other Novi Sad scene, while the influx of cultural
information from the West as well as the exchange of ideas, skills and
knowledge remained an individualist activity, entirely predicated by
friendships and personal contact</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="45"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[45]">[45]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. Needless to say, the situation in Novi Sad
at the time stood in sharp contrast to actual state of affairs in Ljubljana in that respect.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Yet, an
underlying reason subsuming all the relevant factors of this imposed
isolationism is to be found in the troublesome history of Novi Sad’s bureaucratic nomenklatura dealing
with proponents of alternative culture.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.4._the_historical_contexts_and_cultural_climate_in_novi_sad"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.4.">3.4. Novi Sad
historical contexts</a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Throughout
history, Novi Sad’s
unique position, often seen as a middle-ground between large religious,
linguistic and ethnic communities, encouraged its reputation as a vibrant
culture hub. However, as a consequence of the expulsion of the German
population and the severe dwindling of the Hungarian population from Vojvodina
in the immediate aftermath of World War II, Novi Sad together with Vojvodina saw a
strange period of political deprioritization. In practice, this meant that, in
the context of redefined power structures of post-war Yugoslavia its position grew increasingly
detached from the political, economic and cultural centres of the new state.
This condition profoundly shaped the minds of the new generations and will
prove to be fundamental in formulating the basic underlying dynamics in
formation of its alternative culture. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">As a direct consequence
of the 1960s liberalization period in Yugoslav politics, in the short period
between 1968 and 1971, Novi Sad
underwent a counterculture renaissance that challenged the main course of
Yugoslav moderate modernism. A number of institutional subjects in the SAP Vojvodina
capital grew increasingly susceptible towards the ideas and beliefs of the
1960s protest movement and eventually became instrumental in their
dissemination: the main engine of these changes in Novi Sad was <i style="mso-bidi-font-style: normal;">Tribina mladih</i> (Serbo-Croatian for “Youth
tribune”), a youth platform for social dialogue that facilitated public
discussion on a range of looming political, cultural and social issues; the
activities of literary magazines such as <i style="mso-bidi-font-style: normal;">Index</i>,
<i style="mso-bidi-font-style: normal;">Polja</i> (Serbo-Croatian for “Fields”), <i style="mso-bidi-font-style: normal;">Új Symposion</i> (Hungarian for “New Symposium”) were essential in
introducing and articulating burgeoning tendencies in contemporary literature,
philosophy and art; production house Neoplanta Film, an official Vojvodinian
film company of the time, probably made the most significant impact among wider
public, its controversial catalogue including films that were frequently
criticized in Yugoslav public or often even banned. However, some of the most
radical attempts to mark out a utopian space were, naturally, to be found outside
of the system’s auspices – in the conceptual
art practices of groups (E and Kôd</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="46"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[46]">[46]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Although the
spirit of international events of the time shaped this new climate in terms of
growing demands for liberalization, democratization and alike, the said sense
of aloofness, pre-existing in Vojvodina since the early days of Yugoslavia,
skewed the momentum significantly towards ideas of anarchist and horizontalist
provenance. Organizational autonomy became the underlying frame of every
creative endeavour and micro-social functioning – somewhat of a collective
fantasy of everybody involved regardless of their background</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="47"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[47]">[47]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. This type of discourse ultimately
resulted in an outsider critique of the system and soon the youthful idealism
found itself on a collision course with the provincial authorities. Through a
series of trials and imprisonments, editorial purges and orchestrated public
persecutions aimed at the most prominent individuals, the movement was
effectively suffocated in 1971 in an institutional showdown with alternative
culture unprecedented in the cultural practice of the former Yugoslavia</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="48"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[48]">[48]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">The new
circumstances caused artists and liberal-minded individuals to develop an
ambivalent relationship towards public space and public manifesting to say the
least. Eventually, it led to creating a radically different cultural climate
where alternative practices will become a clandestine activity, something that
is to be concealed from the eyes of the general public. From 1972 onwards, conceptual
artists Slobodan Tišma and Čedomir Drča – one of the few remnants of the Novi
Sad’s 1960s counterculture active after the crush – realize projects like <i style="mso-bidi-font-style: normal;">Nevidljiva umetnost</i> (</span><span style="font-family: Arial; mso-ansi-language: #241A;">Serbo-Croatian for </span><span lang="EN-GB" style="font-family: Arial;">“Invisible art”), <i style="mso-bidi-font-style: normal;">Nevidljivi Umetnik</i> (</span><span style="font-family: Arial; mso-ansi-language: #241A;">Serbo-Croatian for </span><span lang="EN-GB" style="font-family: Arial;">“Invisible artist“) and </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: #241A;">Nepostojeći
bend za nečujnu muziku</span></i><span style="font-family: Arial; mso-ansi-language: #241A;"> (Serbo-Croatian for </span><span lang="EN-GB" style="font-family: Arial;">“Inexistent
band for inaudible music”) that reflect the spirit of the times in the capital
of SAP Vojvodina</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="49"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[49]">[49]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">However, as the
1970s drew to a close, this shadow grip had loosened and atmosphere in the city
had somewhat altered. Punk happened and changed Novi Sad forever. An important tell-tale sign
that times were changing was that the formation of the city’s late 1970 punk
and new wave scene was largely fronted by the same people involved with the
Novosadian conceptual art practices that were so brutally persecuted nearly a
decade before – Branko ‘Andrla’ Andrić from Imperium of Jazz (formed in 1979),
Predrag Vranešević from Laboratorija Zvuka (formed in 1977) and Slobodan Tišma from
La Strada (formed in 1979).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">With the onset of
the 1980s, a plethora of new bands began popping up around the city, soon stratifying
themselves around several major sub-scenes – </span><span style="font-family: Arial; mso-ansi-language: EN-US;">post-punk scene around Pekinška Patka, Luna,
Obojeni Program, electro pop scene around Boye, Grad, Heroina and hardcore punk
scene around Vrisak Generacije, Dva Minuta Mržnje, Neon Vojnik, etc. There were also some minor subscenes
around individuals like Mitar Subotić alias Rex Illusivi and his programme at
Radio Novi Sad, </span><span lang="EN-GB" style="font-family: Arial;">Boris Kovač </span><span lang="EN-GB" style="font-family: Arial;">– the founder of Ritual Nova ensemble and his compatriots who
rallied under the leitmotif of <i style="mso-bidi-font-style: normal;">Nova Panonska
Umetnost</i> (Serbo-Croatian for “New Pannonian Art”) movement he spearheaded,
and a small hometaping clique mainly centred around
Božidar Kecman alias </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">Čovek-zec (Serbo-Croatian for </span><span lang="EN-GB" style="font-family: Arial;">”Man-rabbit”) </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">and the
conglomeration of individuals he collaborated with on various projects (Čovek
pauk i Čovek zec, Zugbari, Agonija Proleća, etc).</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;">
<a href="https://www.blogger.com/null" name="3.5._this_is_the_house_-_the_emergence_of_the_other_novi_sad_scene"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.5.">3.5. This is the house – the emergence of the Other Novi Sad scene</a></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">A</span><span lang="EN-GB" style="font-family: Arial;">mid this ongoing surge of underground activity
in Novi Sad, on
the margins, a loose group of individuals (artists, poets, painters and
musicians) form a nucleus of what will later grow to become the Other Novi Sad
scene of the 1980s. This vastly heterogeneous and free-flowing group was mostly
focused around the home and estate of Stojan ‘Stole’ Janković – a local
sculptor and painter – at Jovana Subotića 15, where they organized gatherings which included not only
music sessions, but also collective paintings, poetry readings, various types
of happenings, theoretical discussions and alike</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="50"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[50]">[50]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. The group tentatively originated
sometime around 1979-1980, reached its peak activity period by mid-1980s, only
to slide into a gradual decline in the latter part of the decade.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Although the
preferential mode of collaborating was working in collective units of varying
sizes, the group inhabiting Stole Janković’s home couldn’t be considered per se
a collective akin to the ones that were permeating Yugoslavian pop culture of
the time as the participants of the Other Novi Sad scene shared, by and large, only
cordial artistic goals and ideological agenda. Instead, the group’s nature was
much more informal and functioned more as a circle of friends or a tight
alliance of disgruntled individuals that shared a common frustration with the
cultural and artistic status quo in Novi
Sad of the time. The emphasize on the heterogeneity
and overall chance character of the Other Novi Sad scene is further underlined
by looking at of some of the individual members’ occupations and professions: </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Stojan Janković </span><span lang="EN-GB" style="font-family: Arial;">– painter and sculptor, Tibor Bada –
graphic artist and poet, Zoran Pantelić – art historian and judoist, Béla
Máriás – ethnomusicologist, </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Aleksandar Carić – writer and multi-instrumentalist, </span><span lang="EN-GB" style="font-family: Arial;">Miroslav Šilić – dentist and painter, László
Rátgéber – basketball coach and</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span lang="EN-GB" style="font-family: Arial;">musician</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="51"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[51]">[51]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In the context of the Other Novi Sad scene, Stole Janković’s house functioned as a sort of a community hub where a considerable part of social interaction and vital exchange of ideas took place; and from these sessions at Stole's house that a number of important artistic and/or musical formations emerged, the latter of which more or less gravitated towards improvisational music. Although the homestead of Stole Janković was the main focal point of the Other Novi Sad scene in a sense that it was the place where bulk of the scene’s activities were going on at one point, the total of creative activities in the Other Novi Sad scene of the 1980s can’t be narrowed to this space, nor strictly associated with the circle of people that were notably affiliated with it. From circa 1982-onwards, the activities of the Other Novi Sad scene begin to disperse across other private spaces throughout Novi Sad and thus gradually reduce the critical importance of Stole’s house. Among these spaces is the house of Srđan ‘Džica’ Ðorđević at Kraljevića Marka 17 – a major socializing locus active from about 1982, the Petrovaradin fortress atelier of the painting collective Emisao which – starting from 1983 – grew to became an important concert venue for the Other Novi Sad scene and the cellar-gallery of Tibor Bada at Tolstojeva 5 which was a regular rehearsal and concert spot for bands as well as an occasional exhibition venue from 1984 onwards. </span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.6._local_influences,_creative_impulses_and_formative_experiences"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.6.">3.6. Local influences, creative impulses and formative experiences</a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">On a local level,
the individuals involved with the Other Novi Sad
scene were predominantly influenced by a section of the programme of <i style="mso-bidi-font-style: normal;">Dani džeza u Novom Sadu</i> (Serbo-Croatian
for “Days of jazz in Novi Sad”) – the annual jazz festival held in the
province capital since 1979</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="52"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[52]">[52]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. Namely, alongside the main festival programme which harboured a more
traditional approach to jazz, <i style="mso-bidi-font-style: normal;">Dani džeza</i>
also featured <i style="mso-bidi-font-style: normal;">Slobodni program</i> (Serbo-Croatian
for “Free programme”) section curated by Z</span><span lang="HU" style="font-family: Arial; mso-ansi-language: HU;">olt</span><span lang="EN-GB" style="font-family: Arial;">á</span><span lang="HU" style="font-family: Arial; mso-ansi-language: HU;">n </span><span lang="EN-GB" style="font-family: Arial;">Bicskei
– back then an editor at the <i style="mso-bidi-font-style: normal;">Új Symposion</i> magazine and
later a keen chronicler of jazz in Vojvodina – where a number of
trendsetting acts from the experimental jazz underground made their appearance.
These were, among others – Art Ensemble of Chicago, Workshop de Lyon, Phil
Minton, Peter Kowald and Anthony Braxton, etc.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Another
important, lopsided influence for the creative activities of the future Other
Novi Sad scene was the emergence of Boris Kovač</span><span style="font-family: Arial; mso-ansi-language: EN-US;">’s<span style="color: #339966;"> </span><span lang="EN-GB" style="font-family: Arial;">Ritual Nova</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="53"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[53]">[53]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">, a group which significantly expanded the
mental seams of Novosadian alternativism with its bold introduction of
metaphysical concepts in an alternative art context, its use of
universal-archaic imagery and its fervent interest in local folk music
practices. Boris Kovač started Ritual Nova in 1982, a year after Begnagrad had
their first reunion concert in Novi
Sad which influenced Kovač greatly</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="54"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[54]">[54]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. Through his work with Ritual Nova
ensemble as well as the <i style="mso-bidi-font-style: normal;">Nova Panonska
Umetnost</i> movement he founded, Boris Kovač sought a way to breathe new life
into the rich folkloric heritage of Vojvodina by emulating some of the
mechanisms that were intrinsic to the ritual music of the so called ‘primitive’
societies and appropriating them in a contemporary music context</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_18]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_18]">[note 18]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. Although somewhat of an outsider figure
in Novi Sad due
to his self-taught education, his jazz-fusion roots and his Bukovac home, Boris
Kovač soon established himself as a towering presence in the capital of SAP Vojvodina.</span></span></div>
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<span lang="EN-GB" style="font-family: Arial;">In the context of
its formation, one event was particularly incentive for the future Other Novi
Sad scene. The 1982 visit of Chris Cutler – the prime mover of the Rock in Opposition movement and one
the chief architects of alternative music of
the era – marked a turning point for the
isolate group as it gave them the much needed feedback as well as providing
them a necessary outside perspective of their work. As a result of this and
subsequent meetings, Novi Sad will become somewhat of a Recommended Records
stronghold in the years to follow and a number of Novosadian musicians will
become associated with Chris Cutler’s main record label – namely Boris Kovač, Stevan Kovacs Tickmayer and Ernő
Király</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_19]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_19]">[note 19]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. </span><span lang="EN-GB" style="font-family: Arial;">On the other hand, inspired by discoveries
made during his travels to Eastern Europe,
Chris Cutler will establish Points East in 1988, a Recommended Records sub-label
entirely dedicated to new experimental music from the communist countries.
While the first release on the newly-founded label
will be <i style="mso-bidi-font-style: normal;">Ritual Nova 2</i> by Boris Kovač
& Ritual Nova ensemble, one of the two distributor addresses
appearing on Points East releases’ sleeves will
feature a Novi Sad address of Ðorđe
Delibašić of Ove Sezone Vedri Tonovi</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_20]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_20]">[note 20]</a></span></sup><span style="font-family: Arial;">
<span lang="EN-GB">next to the address of RēR Megacorp’s London headquarters.</span></span></div>
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<span lang="EN-GB" style="font-family: Arial;">At the beginning,
the group situated there was particularly known for its oblique status (or
non-status) within their Novi Sad
hometown, which in itself was due to a mixture of reasons encompassing
infrastructural issues and inherited cultural policies previously described. In
practical terms, the group’s seclusion from its immediate environment – the
most basic context of its operation – meant that virtually everything that was
created inside the house – stayed inside the house. However, as the 1980s
marched forward, the circumstances gradually changed in Novi Sad and it became
significantly easier to organize events even for the Stole’s group</span><span style="font-family: Arial; mso-ansi-language: EN-US;">; instrumental to this change
was the appearance of </span><span lang="EN-GB" style="font-family: Arial;">several alternative art spaces such as</span><span lang="EN-GB"> </span><span lang="EN-GB" style="font-family: Arial;">Žuta kuća (Serbo-Croatian for “Yellow house”), Galerija
Nosorog (Serbo-Croatian for ”Rhinoceros gallery”), Studio za kreativno anga</span><span style="font-family: Arial; mso-ansi-language: #241A;">ž</span><span lang="EN-GB" style="font-family: Arial;">ovanje mladih (Serbo-Croatian
for ”Studio for creative engagement of youth“) in the second half of the 1980s.
</span><span lang="EN-GB" style="font-family: Arial;">Individuals like the well positioned
Stevan Kovacs Tickmayer and hyperactive Aleksandar </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Carić</span><span style="font-family: Arial;"> <span lang="EN-GB">were instrumental making a push for
the Other Novi Sad scene, the former, especially with his involvement with <i style="mso-bidi-font-style: normal;">Festival novih umetnosti</i> (Serbo-Croatian for ”New arts festival”) and the
subsequent <i style="mso-bidi-font-style: normal;">Muzika danas</i> (Serbo-Croatian for ”Music today”).</span></span></div>
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<span lang="EN-GB" style="font-family: Arial;">From the
mid-1980s onwards (starting from 1985 approximately), the philosophy as well as
the prevailing profile of the projects appearing on the Other Novi Sad scene changed
slightly from small, self-contained and house-orientated projects towards more ambitious,
outwardly sorts of projects. Probably the most indicative step in the said
direction was the founding of the Other Novi Sad super-group Dr. Zsivago Dark
Stars and its successor Naučnici (Serbo-Croatian for “Scientists”), but also
more immediate projects like CirKo Della Primavera.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.7._tickmayer_and_the_new_arts_festival"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.7.">3.7. Tickmayer and the New Arts Festival</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Stevan Kovacs
Tickmayer, a composer and multi-instrumentalist is probably the most acclaimed
musician from the Other Novi Sad scene internationally; in the same time,
Stevan Kovacs Tickmayer is somewhat of an atypical representative of the group
as he is practically the only academically educated musician on a scene
overwhelmingly comprised of musical self-taughts and dilettantes alike. Even
though the Other Novi Sad scene functioned more as a conglomerate of quaint
individuals which would render any pre-existing differences irrelevant in the
course of its practice than any kind of coherent whole, Tickmayer remained an
outsider for this group of outsiders in one crucial aspect: due to his links in
the music academia and <i style="mso-bidi-font-style: normal;">Új Symposion</i>
magazine, Tickmayer was influential in all the right places and thus, in
position to take up organization of seminal events such as <i style="mso-bidi-font-style: normal;">Festival novih umetnosti</i> and <i style="mso-bidi-font-style: normal;">Muzika danas</i>;
ultimately, through Tickmayer’s editorial involvement and influence with these festivals,
Other Novi Sad artists eventually got some much needed profile their hometown</span></div>
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_21]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_21]">[note 21]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span>
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<span lang="EN-GB" style="font-family: Arial;">In 1987, Dušan
Mihalek – the music editor-in-chief at Radio Novi Sad and Stevan Kovacs Tickmayer
in front of <i style="mso-bidi-font-style: normal;">Új
Symposion </i>in cooperation with Novosadsko
pozorište initiated <i style="mso-bidi-font-style: normal;">Festival novih
umetnosti</i>, an event dedicated to contemporary trends in music and theatre
with an emphasis on Eastern European practices. The festival was even billed as
<i style="mso-bidi-font-style: normal;">Istočno-evropska iskustva</i> (Serbo-Croatian
for “Eastern European experiences”) at first, but the name was quickly dropped
due to absurd political issues</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_22]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_22]">[note 22]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. Instead, <i style="mso-bidi-font-style: normal;">Festival
novih umetnosti</i> was held from 26.03-29.03.1987 featuring Ansambl za Drugu
Novu Muziku of Dragan Žeravac (Belgrade, SR Serbia), contemporary composers
Zygmunt Krauze (Warsaw, Poland) and Victor Ekimovsky (Moscow, SSSR),
avant-garde theatres Kugla Glumište and Igra Peridot (Zagreb, SR Croatia),
Hungarian free jazz musicians György Szabados and István Grencsó-Katalin Kovács
duo (Budapest, Hungary), Zoltan Radics (Sombor, SAP Vojvodina, SR Serbia), figures
from the Yugoslav industrial underground Mario Marzidovšek and Lokalna
Televizija (Slovenska Bistrica, SR Slovenia), but also local underground
protagonists from Other Novi Sad scene – Stole Janković, Aleksandar Carić, Béla
Máriás, Dr. Zsivago Dark Stars and Tickmayer Formatio (Novi Sad, SAP Vojvodina,
SR Serbia).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The follow-up
festival to <i style="mso-bidi-font-style: normal;">Festival novih umetnosti</i> –
<i style="mso-bidi-font-style: normal;">Muzika danas </i>was held in 1988 on a
somewhat smaller scale due to a drastically cut budget. For the same reasons <i style="mso-bidi-font-style: normal;">Új Symposion</i> withdrew from the funding
pool and Muzička Omladina Vojvodine (Serbo-Croatian for Music Youth of
Vojvodina) instead stepped up as the main organizer</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="55"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[55]">[55]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. <i style="mso-bidi-font-style: normal;">Muzika
danas</i> was held from 25.03-27.03.1988 in Studio M of Radio Novi Sad and KUD
Petefi Šandor with participation of the following artists: Agon Orchestra
(Prague, Czechoslovakia), Dresch Quartet (Budapest, Hungary), Hans-Karsten
Raecke (East Berlin, East Germany), Phil Minton and Roger Turner (London, UK),
Tickmayer Formatio and Jackie Jackie Jackson (Novi Sad, SAP Vojvodina, SR
Serbia). The 1988 was the year of the so-called <i style="mso-bidi-font-style: normal;">Jogurt revolucija</i> (Serbo-Croatian for “Yogurt revolution”) in SAP
Vojvodina, an event where Milošević’s men seized power took power in the
provincial government</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_23]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_23]">[note 23]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. In
the following year the festival was discontinued along with <i style="mso-bidi-font-style: normal;">Dani džeza</i></span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="56"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[56]">[56]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Both <i style="mso-bidi-font-style: normal;">Festival novih umetnosti</i> and <i style="mso-bidi-font-style: normal;">Muzika danas</i> events present a one of the
few and very unique efforts of establishing common ground between the academic
and non-academic experimentalists in the former Yugoslavia.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.8._other_novi_sad_band_grouping"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.8.">3.8. Other Novi Sad band grouping</a></span></div>
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<span lang="EN-GB" style="font-family: Arial;">The individuals
active in the Other Novi Sad scene were, for the most part, born in the first
half of the 1960s and thus, belonging to the same generation of people
spearheading the bustling punk and new wave scenes in Novi Sad as well as the
rest of Yugoslavia. However, a closer look at the variety of their music influences
– spanning everything from contemporary classical music (particularly labels
like ECM Records and Brian Eno’s Obscure Records) and improvised music on one
side, to vestiges of the RIO movement published on
Recommended Records and punk-derivatives on the other – suggests a considerable
lack of focus, one that is probably unsurprising given the group’s original
non-musical character. In this way, instead of the linear introduction and absorption
of trends that characterized the development of punk-infused experimentalism in
Yugoslavia (for instance the usual transitioning from basic punk-rock sound to more
post-punk and eventually into industrial and post-industrial types of music),
the heterodoxy of influences and musical approaches cultivated within the group
was a virtual guarantee of exciting musical outcomes.</span><span style="color: red;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">One figure which perfectly
encapsulates the innate eclecticism of the Other Novi
Sad scene is Tibor Bada (1963-2006) or Bada Dada. Exceptionally productive, Tibor
Bada was the driving force behind much of the Other Novi Sad exploits, bands
and art collectives alike – and probably its most recognizable ambassador. Aside
from Bada Dada and his projects, there were two formations from the Other Novi
Sad milieu that gained some exposure among wider audiences and took a life of
their own. These are Ove Sezone Vedri Tonovi (Serbo-Croatian for “This Season
Colourful Tones”) – percussions-based collective established by Ðorđe Delibašić
(and later led by Srđan ‘Džica’ Ðorđević), half-way between new wave praxis and
experimental rock, and CirKo Della Primavera – variety free improvisation
project led by Aleksandar Carić with eclectic influences ranging from ritual
music to avant-garde jazz. Stevan Kovacs Tickmayer also
participated in several music formations in the context of the Other Novi Sad
scene, most notably as Abacus with Zoran Pantelić and Béla Máriás, with whom he
made one recording in 1984, and as Intellectual Cabaret with Ðorđe Delibašić,
with whom he released a </span><span style="font-family: Arial; mso-ansi-language: EN-US;">double cassette
titled <i style="mso-bidi-font-style: normal;">Intellectual Cabaret/Résumé
1984-86</i> (CirKo Distribucija-Novi Sad, 1986) </span><span lang="EN-GB" style="font-family: Arial;">among others things.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Other, less prominent projects, evolving directly from the same surroundings of Stole Janković’s house (or at least working in close proximity), include a couple of Aleksandar Carić’s pre-CirKo Della Primavera projects like Obično putovanje šuma (Serbo-Croatian for “An ordinary journey of forests”), Neo Merz/Zeromen, a string of collaborations of Zoran Pantelić and Béla Máriás in the form of an art collective Testa di Shakespeare (Italian for “Head of Shakespeare”) – together with Tibor Bada in 1983, Abacus with Jovan ‘Toba’ Milinkov between 1984 and 1986 and Pre i posle tišine (Serbo-Croatian for “Before and after the silence”) from 1986 to 1990 with Zsófia Nády and Jaroslava Benka, but also in the first line-up of Telal Viig – a project of Nikola Ignjatović preceeding Zapisi Tišine (Serbo-Croatian for “Inscriptions of silence”). Other memorable projects include an assortment of acts involving Vladimir Sekulić, Siniša Sekulić and Voja Savkov, namely – Da capo tutti (Siniša Sekulić, Voja Savkov, Vladimir Sekulić and Jovan Milinov), Festival (Siniša Sekulić, Voja Savkov and Dragan Nastasić) and Kaod Zudeneš (Voja Savkov and Vladmir Sekulić), Kozoder u akciji (Serbo-Croatian for “Goatskinner in action”) – collective dedicated to performing live music for theatre performances (Aleksandar Šumar, Zoran Lekić, Vladimir Sekulić, Zoran Petrović and Predrag Pribić), Človek (Slovenian for “Man”) of Ljube Živković, Petar Galić and Zoran Pantelić, Kora (Serbo-Croatian for “Crust”) of Ištvan Rajčan, Anglo rif of Mira Knežević and Goran
Ivičić Tukša as well as many others.</span></div>
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Most of these projects were free-form experiments between improvisation and conceptual music traditions, usually relying on a broad specter of instruments, so in addition to the regular setup of guitars and drums there were also saxophones, clarinets, oboes, faggots, various metallophones, harmoniums, marimbaphones, found objects, self-built percussion instruments as well as synths, but the latter were more of an exception then a rule.
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.9._tibor_bada"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.9.">3.9. Tibor Bada</a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Tibor Bada
(1963-2006) alias Bada Dada, was the enfant terrible of the Other Novi Sad
scene. Tibor Bada was a multi-layered persona – prolific graphic artist, maverick wordsmith, autodidact savant, an avid alcoholic, an enormously empathic identity and in general a larger-than-life character. Tibor Bada
was a man obsessively delved into his own world and due to which he naturally
assumed – together with </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">Vladimir ’Oreško’ Orešković</span><span lang="EN-GB" style="font-family: Arial;"> – a liminal presence within the Other
Novi Sad’s scene.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">An active artist
since 1977 as Bad Art, Tibor Bada</span><span style="font-family: Arial; mso-ansi-language: EN-US;">’</span><span lang="EN-GB" style="font-family: Arial;">s
main interests in the beginning lie mostly with
poetry and painting; in 1982 he changes his moniker to Bada Dada and gradually
expands his field of activities to music, comics, fanzines, sculpture, performance art and, eventually, animated
film. When it isn’t delved into his own
fantastic world, Bada Dada’s visual work mostly functions as a comical and
carnivalesque disparagement of established values (whether authorities from art
history, intellectuals, pop culture) – a rudimentary form of social criticism,
while his visual expression mainly oscillates between crude punk poetics and
outsider art imaginativism.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Musically, his
main vehicle was Bada Dada, the default name attributed to all of his bedroom
hometaping efforts and probably the most experimental among his recordings.
After the initial stint with </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">Zoran Pantelić</span><span lang="SR" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">and Béla Máriás in Testa
di Shakespeare art collective (1983-1985), the collective soon transformed into
a band called Dr. Zsivago Dark Stars with the addition Zsófia Nády, Igor Jolić, Robert Mora and Goran
Ivičić Tukša to the line-up. </span><span lang="EN-GB" style="font-family: Arial;">Dr.
Zsivago Dark Stars was a space rock/noise band, a sort of an Other Novi Sad
scene super-group that left only a couple of live tapes before dissolving in
1987. In the same year, Bada Dada forms another two projects: first he founds
Naučnici together with Mi</span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">ć</span><span lang="EN-GB" style="font-family: Arial;">a </span><span style="font-family: Arial; mso-ansi-language: #241A;">Š</span><span lang="EN-GB" style="font-family: Arial;">i</span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">lić,</span><span lang="SR" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">Zoran Panteli</span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">ć</span><span lang="EN-GB" style="font-family: Arial;"> and Béla Máriás and then
establishes Jackie Jackie Jackson with László Rátgéber. Jackie Jackie Jackson
were an attempt of Residents-oriented experimentalism with whom Bada produced
two self-released tapes and most notably performed on <i style="mso-bidi-font-style: normal;">Muzika danas</i> festival.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">After Tibor Bada and
Béla Máriás immigrated to Budapest
in 1991, they changed the name of the band to Tudósok (Hungarian for “Scientists”)
and continued recording with that name.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.10._ove_sezone_vedri_tonovi"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.10.">3.10. Ove Sezone Vedri Tonovi</a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">Formed in spring
of 1981, Ove Sezone Vedri Tonovi were among the first bands that arose from the
context of Other Novi Sad scene of the 1980s and certainly the first that made
significant breakthroughs in reaching wider public. During their peak activity
period from late 1981 to 1983, Ove Sezone Vedri Tonovi performed frequently
around Yugoslavia, appearing
most frequently in Zagreb
– the city where they felt most comfortable. The band had a knack for being at all the right places at the right time and managed
in great deal to seize the hype in Yugoslav rock press surrounding the
country’s nascent new wave scene. In this way, Ove Sezone Vedri Tonovi evaded
the stigma of a house band that characterized the bands of the Other Novi Sad
scene.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In the summer of
1981 – shortly after their humble beginnings at Stole Janković’s house – Ove
Sezone Vedri Tonovi played a gig in Studio M of Radio Novi Sad supporting the
Chris Cutler-reinforced line-up of Black Sheep on its extended Yugo-tour. However,
Ove Sezone Vedri Tonovi were catapulted into the spotlight when they were
invited by Branko ‘Andrla’ Andrić to play on his <i style="mso-bidi-font-style: normal;">YU-Wave festival</i> in Vienna, a seminal happening for the Novosadian new
wave scene of the time; the event, held from 06.03. to 07.03.1982 at the Arena<sup><a href="https://www.blogger.com/null" name="[n_24]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_24]">[note 24]</a></sup>, was colloquially referred to as the <i style="mso-bidi-font-style: normal;">Novosadski novi talas</i> (Serbo-Croatian for “Novosadian new wave”) as
it featured a line-up entirely comprised of Novosadian new wave and post-punk
bands – Luna, Imperium of Jazz, Kontraritam, Obojeni Program, Boye, Grad and Ove
Sezone Vedri Tonovi (who played although they weren’t originally scheduled).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In December of 1982
they participate in the finals of second edition of the <i style="mso-bidi-font-style: normal;">Yu Rock Moment</i> (or <i style="mso-bidi-font-style: normal;">YURM</i>)
festival in Zagreb,
a competition-format festival for up-and-coming bands organized and sponsored by
the youth magazine <i style="mso-bidi-font-style: normal;">Polet</i>. The appearance
on the <i style="mso-bidi-font-style: normal;">YURM</i> festival is followed by a
considerable amount of press attention in Croatia (with <i style="mso-bidi-font-style: normal;">Polet</i> and <i style="mso-bidi-font-style: normal;">Studentski List</i>
in the forefront). At some point in the first half of 1983, Ove Sezone Vedri
Tonovi move out from their base at Stole Janković’s house and continue
practicing at the home of Srđan ‘Džica’ Ðorđević, their frontman.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">However, due to
string of setbacks completely unrelated with music, the band is eventually discouraged
from further engagement and by the end of year ceases all activities<sup><a href="https://www.blogger.com/null" name="[n_25]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_25]">[note 25]</a></sup>. Although Ove Sezone Vedri Tonovi left no official releases, apart
from several live bootlegs, bedroom demos and one studio recording, their short-lived,
but tumultuous career eventually plunged them into a
local lore and legend.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.11._cirko_della_primavera"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.11.">3.11. CirKo Della Primavera</a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">In contrast to Ove Sezone Vedri Tonovi, who managed to perform on a number of important festivals throughout Yugoslavia during their heyday and certainly seized upon the general media frenzy surrounding Yugoslav new wave scene at the time, CirKo Della Primavera were more of a local phenomenon, owing this reputation a lot to the proliferation and fragmentation of the said scene that occurred during their time (1985-1991) as well as due to the perceived ‘inaccessibility’ of their sound. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">CirKo
Della Primavera were founded in 1985 by Aleksandar ‘Car’ Carić as a radical
theatre and music improvisation company, with an intent to pursue a more immediate
contact with its audiences than its predecessor projects stemming from the surroundings
at Stole Janković’s house. To this end, CirKo Della Primavera principally
oriented themselves towards live performances </span><span lang="EN-GB" style="font-family: Arial;">– entering studio only once
during their entire lifetime – and adopted a
policy of carrying out loosely scripted shows that were, as a rule, rehearsed
only once. This gave a strong emphasize on originality and spontaneity to the
group and soon enough CirKo Della Primavera became notorious for its versatile
live exploits. During the course of their existence they released two official
releases: a 24 cassette box set – <i style="mso-bidi-font-style: normal;">Muzika za letnju dugodnevnicu</i> (CirKo Distribucija-Novi Sad, 1988) and a cassette <i style="mso-bidi-font-style: normal;">Faima Vinovo</i> (Nikad Robom-Belgrade,
1990).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Although Ove Sezone Vedri Tonovi and CirKo Della Primavera occupied different musical niches as well as time frames, they still shared personnel; in fact, of the eight people that were at one point full-time members of Ove Sezone Vedri Tonovi (Ðorđe Delibašić, Srđan ‘Džica’ Ðorđević, Olivera Sabljarević, Predrag Pribić, Vladimir Sekulić, Vladimir Orešković, Mile Ranin, Aleksandar Šumar and Zoran Lekić), four were also members of CirKo Della Primavera from its inception in 1985 – Delibašić, Pribić, Janković and Orešković, with the exception of CirKo’s chief ideologue Carić.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">A more detailed account of CirKo Della Primavera’s activities is to be found <a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.10._nr_011_cirko_della_primavera_-_(1990)_faima_vinovo">here</a>.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="3.12._legacy_of_the_other_novi_sad_scene"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3.12.">3.12. Legacy of the Other Novi Sad scene</a></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">During the first half of the 1980s, the Other Novi Sad scene maintained a pivotal
role in the underground circles of Novi Sad acting as a connective tissue of
sorts that integrated different corners of the city’s alternative culture </span><span lang="EN-GB" style="font-family: Arial;">– popular music, serious
music,</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: FR;"> </span><span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">art scene, alternative
theatre, etc. The network of the Other Novi Sad’s clandestine spaces provided a much needed forum for poets, artists and musicians alike in a city plagued by a lack of alternative spaces and with a troublesome history of ambiguity towards public activities. The Other Novi Sad scene reached its peak activity period in early to mid-1980s and went into a gradual decline in the latter half of the 1980s with the proliferation of alternative spaces in Novi Sad and opportunities of communicating with wider audiences. The latter half of the 1980s and the very beginning of the 1990s mark a transition period for the Novi Sad scene as it changed from a private endevour of like-minded individuals into a rudimentary underground scene.</span></div>
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<span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">However, this transition was abruptly cut-short by the Yugoslav dissolution wars of the 1990s. In the summer of 1991, <i style="mso-bidi-font-style: normal;">Jugoslovenska Narodna Armija’s</i> (or JNA; Serbo-Croatian for “Yugoslav People's Army”) Novi Sad regiment was deployed to the neighbouring city of Vukovar (SR Croatia) in a bid to prevent the newly-proclaimed Croatia from claiming the ethnically mixed city. This campaign will be the first in a series of armed conflicts that will eventually grew into the War in Croatia. The drafting of the newly-conscripted recruits and reserve corps for the Novi Sad regiment that ensued meant that Novosadians lived in an atmosphere of permenent fear of street roundups and night raids by the JNA military officials looking for manpower to fill the army units. This prompted the decission of many people to leave Novi Sad for good. A number of the artists associated with the Other Novi Sad scene emigrated westwards: Bada Dada, Béla Máriás and László Rátgéber went to Budapest, Stole Janković to London, Aleksandar Carić and the whole line-up of Zapisi Tišine to Italy, Stevan Kovacs Tickmayer to France, Đorđe Delibašić to Amsterdam and Boris Kovač to Ljubljana. The large Novosadian artistic
emigration in Budapest significantly revamped the local art scene and influenced generations of future artists. In 2011 there was even an event-exhibition titled <i style="mso-bidi-font-style: normal;">20 éves az újvidéki emigráció</i> (Hungarian for “20 years of the Novosadian emigration”)</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="57"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[57]">[57]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In Novi Sad itself, the artistic exodus had an effect of creating a cultural and generational gap which caused much of the city’s 1980s history – and thus the projects and personalities associated with the Other Novi Sad scene – to simply fall into oblivion in the years that followed. However, one
of the lasting legacies of </span><span lang="FR" style="font-family: Arial; mso-ansi-language: FR;">Other Novi Sad</span><span lang="FR" style="font-family: Arial;"> </span><span lang="EN-GB" style="font-family: Arial;">scene in Novi Sad is certainly the
Interzone festival, a music festival dedicated to improvised and experimental
music held in Novi Sad since 1997 which hosted the likes of Limpe Fuchs, Jason
Kahn and Otomo Yoshihide, among others.</span></div>
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<span lang="ES-TRAD" style="font-family: Arial; font-size: 20pt; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="iv_-_nikad_robom_tapes"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#iv">IV – Nikad Robom tapes</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; font-size: 16pt; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="4.1._nr_002_skeleton_crew_-_(1985)_esta_es_la_victoria"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.1.">4.1. NR 002: Skeleton Crew - (1985) Esta
es la victoria</a></span><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5AMMO6AEpVv8-T6E7UBF1i0gzah7yFpX5y5R5k-y87hPIKGhcQmJ8ok_A8RKOwTvggYCtf1hJk-oEqpDW8r3bzH5RaeDgAzWETq6OSwlGPvqMb7RoINXXcT66mcR4OENRm5bMqw_uUiCq/s1600/esta+es+la+victoria-mc1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5AMMO6AEpVv8-T6E7UBF1i0gzah7yFpX5y5R5k-y87hPIKGhcQmJ8ok_A8RKOwTvggYCtf1hJk-oEqpDW8r3bzH5RaeDgAzWETq6OSwlGPvqMb7RoINXXcT66mcR4OENRm5bMqw_uUiCq/s1600/esta+es+la+victoria-mc1.jpg" width="312" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">Established in
1982, Skeleton Crew was a multi-instrumentalist combo of Fred Frith, Tom Cora,
Zeena Parkins (since 1984) and formerly Dave Newhouse (1983-84) best known for
their unlikely mixes of rudimentary improvisational rock with a strong smack of
ethnic music interspersed with taped atonal collages or 1970s-style psychedelic
electronica.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Skeleton Crew was,
together with Art Bears (1978-) and Massacre (1980-), a part of a string of
Fred Frith's bands following the abandonment of his most ambitious project – Henry
Cow. Unlike the pompous prog-rock virtuosities and overdramatic anthems of
Henry Cow and the Art Bears' awkward attempts to smuggle his ostentatious style
into realms of folkloric surrealism, the Skeleton Crew's rather crude garage sound
and improvisational edge gave Frith's and Cora's amazing technical skill and
prowess almost a semi-magical aura of carnival-type one-man orchestras. The new
orientation also provided clear song-structure and, in this way, finally spelt
disassociation with the progressive rock stigma for Frith and offered
opportunities of communicating with younger and, more importantly, wider audience.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Skeleton Crew
released two studio albums on vinyl <i style="mso-bidi-font-style: normal;">Learn
to Talk</i> (RecRec Music-Zurich, Rift-New York, 1984) and <i style="mso-bidi-font-style: normal;">The Country of Blinds</i> (RecRec Music-Zurich, Rift-New York, 1986), a
collection of samples on CD entitled <i style="mso-bidi-font-style: normal;">Etymology</i>
(Rarefaction-San Francisco, 1997) and at least four live concert recordings on
cassettes: <i style="mso-bidi-font-style: normal;">Skeleton Crew</i> (self-released-New
York, 1982), <i style="mso-bidi-font-style: normal;">Live Im Kulturkeller
Würzburg 10/82</i> (RecRec Music-Zurich, 1984), <i style="mso-bidi-font-style: normal;">Front Rock 1</i> split with Polish band Reportaż (A.R.S.-Warsaw, 1984)
and <i style="mso-bidi-font-style: normal;">Esta es la victoria</i> (Nikad
Robom-Beograd, 1985), recorded in Yugoslavia. They abandoned their activity in
1986 after Fred Frith said that they started sounding as a conventional rock
outfit.</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Esta es la victoria</span></i><span lang="EN-GB" style="font-family: Arial;"> (Spanish for “This is the victory”) tape from 1985
was the first tape released on Nikad Robom and it was assigned catalogue number
NR 002, although there was no NR 001. The <i style="mso-bidi-font-style: normal;">Esta
es la victoria</i> concert happened in Ljubljana
on 07.10.1984. It is interesting to note that the cassette’s title track <i style="mso-bidi-font-style: normal;">Esta es la victoria</i> is actually a
mondegreen of the phrase <i style="mso-bidi-font-style: normal;">Hasta la victoria</i>
(Spanish for “Until the victory”). The cassette’s B side closes with one of
Nikad Robom trademark jingles, credited to something called Spontani Telepski
Duo (Serbo-Croatian for “Spontaneous Telep Duo”), indicating it originated on
Telep sessions organized by Stevan Kovacs Tickmayer. The tape was ripped at
320kbs by pop3 from Svi Marš Na Ples forum in February 2008.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download.php?4noxwtxpgflv4t3">HERE</a>.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="4.2._nr_003_joelle_leandre_-_david_thomas_and_the_wooden_birds_-_(1986)_april_u_beogradu"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.2.">4.2. NR 003: Joëlle Léandre / David Thomas and The
Wooden Birds - (1986) April u Beogradu</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgArx7pcRJqZtbKor8750JCafQbx_MFPRvLs2zORs83wVMsUx3_1K31pbPj_nyiJWQxYmsva4JkLFHRW_iMTO_XmS9ZrS3JrjhKJt4volGAJkEglrWuu6uoCF_t8fHFFpTgKXkEmDTMwfKe/s1600/mc-april+u+beogradu1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgArx7pcRJqZtbKor8750JCafQbx_MFPRvLs2zORs83wVMsUx3_1K31pbPj_nyiJWQxYmsva4JkLFHRW_iMTO_XmS9ZrS3JrjhKJt4volGAJkEglrWuu6uoCF_t8fHFFpTgKXkEmDTMwfKe/s1600/mc-april+u+beogradu1.jpg" width="307" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">NR 003 is an interesting
split tape of two fairly unrelated concert happenings in Belgrade during the
spring of 1986, titled <i style="mso-bidi-font-style: normal;">April u Beogradu</i>
(Serbo-Croatian for “April in Belgrade”). The concert recording on the A side
is by French double bassist Joëlle Léandre taking place in the Cvijeta Zuzorić
art gallery and the B side we have art rockiness of David Thomas & The
Wooden Birds in Studentski Kulturni Centar (or SKC), also in Belgrade. The B
Side features a short jingle by the Serbian experimental music-prodigy – Larynx.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Performing since
the late 1970s, Joëlle Léandre is a classically trained French double bassist,
vocalist and composer, an acclaimed name in world of New Music and contemporary
improvisation with over one-hundred fifty recordings to her name and for whom
even the likes of John Cage and Giacinto Scelsi had specially composed pieces.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">On this concert Joëlle
Léandre mainly performs works by other composers such are Jacob Druckman, Betsy
Jolas, Steve Lacy, Giacinto Scelsi and John Cage, displaying a variety of
styles as well as vocal capabilities, but also performs her own pieces like <i style="mso-bidi-font-style: normal;">Termoignage</i> or <i style="mso-bidi-font-style: normal;">Taxi</i>, the latter especially standing out from the rest of the
repertoire. The performance highpoint is a track <i style="mso-bidi-font-style: normal;">Episode Huittieme</i> by Betsy Jolas where double bass becomes an
exceptionally ominous tool in the hands of Miss Léandre, while John Cage's <i style="mso-bidi-font-style: normal;">The Wonderful Widow of Eighteen Springs</i>
provides a remarkable closure for the encounter with the Belgrade audience.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The work of David
Thomas with the Wooden Birds present the last chunk of his 1980s solo
discography shortly before reforming Pere Ubu in 1988. The Wooden Birds started
around 1985 as a continuation of the evolution process that started in 1982
with The Pedestrians, a band that formed on very the
ashes of Pere Ubu, stepping away from their trademark mix of punk infused avant-rock
to a more serene, impressionist waters. If there are significant differences
between The Wooden Birds and its previous incarnations like The Pedestrians or
His Legs, these are quite unclear and, if anything lay in a member or two, since
the great majority of the participating musicians remain the same. Also, the confusion
is stirred further with the fact that the repertoire of Pere Ubu successor bands
often included original or reworked songs of Pere Ubu.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">For the 1986 Belgrade concert of The
Wooden Birds the line-up included Tony Maimone, Daved Hild, George Cartwright,
Allen Ravenstine and David Thomas. The Wooden Birds here play a rather laid
back performance, a homogeneous mix of jazzy, art rock and folk influences with
occasional flashes of brilliant sonic interventions by Allen Ravenstine. David
Thomas sometimes strands into awfully long and strenuous conversations with
audience during medleys and in between songs. The tape was ripped at 320kbs by
pop3 from Svi Marš Na Ples forum in March 2008.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download.php?bthkn9hkb8zut3q">HERE</a>.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="4.3._nr_004_the_camberwell_now_-_(1986)_dejavnost_v_studentskem"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.3.">4.3. NR 004: The Camberwell Now - (1987) Dejavnost v Študentskem</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYKzoup4xFmrIJiJgSgONSaG8t3ILSyA-4z2GXKYBgNiuJlvCHQFPK04okpWV7kPO_Pn59fO6A-_jjKzba_D57b1g933ufG2HAc5JV9s17CibZs0V9Y2F0s6nlJQEdoFPi79Q7e0j5j-1S/s1600/dejaunost+v+studentskem-mc1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYKzoup4xFmrIJiJgSgONSaG8t3ILSyA-4z2GXKYBgNiuJlvCHQFPK04okpWV7kPO_Pn59fO6A-_jjKzba_D57b1g933ufG2HAc5JV9s17CibZs0V9Y2F0s6nlJQEdoFPi79Q7e0j5j-1S/s1600/dejaunost+v+studentskem-mc1.jpg" width="300" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">The Camberwell
Now live in Ljubljana tape entitled <i style="mso-bidi-font-style: normal;">Dejavnost
v Študentskem</i> is one of the two rarities from the Nikad Robom edition, since
it’s the only live concert, bootlegged or otherwise, of The Camberwell Now that
is in circulation.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Following the
demise of This Heat in 1982, several bands sprung up to continue it's legacy
like Charles Hayward's Les Batteries, Charles Bullen's Lifetones, Gareth
Williams project with Marie Currie which had a wonderful one-off cassette titled
<i style="mso-bidi-font-style: normal;">Flaming Tunes </i>(not on label-London,
1985), yet none of the aforementioned acts would have as much impact as The
Camberwell Now. The Camberwell Now was, like its predecessor – a trio,
consisting of Charles Hayward, Trefor Goronwy and Steve Rickard – and again, like
This Heat – renowned for Rickards' use of a mobile sampling unit, a pioneering achievement
of its sort which added a lot of character to the band’s sound. In describing
the sound of The Camberwell Now, the usual nametags like "post-RIO"
and "art-rock" usually fail to capture the kind of articulated
balance that blends all those diverse influences and styles that music of
Camberwell Now has. Apart from cassette <i style="mso-bidi-font-style: normal;">Dejavnost
v Študentskem</i> presented here, The Camberwell Now recorded two 12” singles –
<i style="mso-bidi-font-style: normal;">Meridian</i>
(Duplicate Records-London, 1983) and <i style="mso-bidi-font-style: normal;">Greenfingers</i>
(RecRec Music-Zurich, INK Records-London, 1987), an LP <i style="mso-bidi-font-style: normal;">Ghost Trade</i> (RecRec Music-Zurich, INK Records-London, 1986) and a
CD collection <i style="mso-bidi-font-style: normal;">All’s Well</i> (RecRec
Music-Zurich, 1992).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Recorded in Študentsko
naselje (Slovenian for “Student</span><span style="font-family: Arial; mso-ansi-language: EN-US;">’s village”)</span><span lang="EN-GB" style="font-family: Arial;">, Ljubljana on 13.02.1987 and released on Nikad Robom as NR 004 the same
year, <i style="mso-bidi-font-style: normal;">Dejaunost v Študentskem</i> (Slovenian
for “Live in Student’s”) with a misspelling of <i style="mso-bidi-font-style: normal;">Dejavnost</i> as <i style="mso-bidi-font-style: normal;">Dejaunost</i>.
The the cassette is almost a hour and a half long The Camberwell Now live
experience, interspersed with couple of Nikad Robom trademark jingles – Das
Kapital’s <i style="mso-bidi-font-style: normal;">Nikad Robom (verzija)</i> on
the end of the A side and Fred Frith’s <i style="mso-bidi-font-style: normal;">One,
Two, Three, Four, Nikad Robom</i> and Larynx & JMAA’s <i style="mso-bidi-font-style: normal;">Nikad Robom 15.07.1987</i> on the end of the B side. In the cassette booklet "Dejavnost" is twice misspelled as "Dejaunost", probably due to Nikad Robom duo’s poor command of Slovenian. The tape was ripped at 320kbs by pop3 from Svi Marš Na Ples forum in March 2008.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/?9hzgq6672xihhk4">HERE</a>.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="4.4._nr_005_this_heat_-_elliott_sharp_duo_-_(1987)_izgon_bojazni_iz_komune"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.4.">4.4. NR 005: This Heat / Elliott Sharp Duo - (1987) Izgon bojazni iz komune</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaFk3U6kzDKd1kymMLnn_priMeNJw3m945MPk-FiyyMIgEHYd5VnaRMLFep9a5RP4yxsl3nlgOMDVcbee9DEQubvNkatP-POqPl9dRkdaiV_YBlBWUyfWrEhFfC7nTkcaQbPVS1tQ8UECk/s1600/izgon+bojazni+iz+komune-mc1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaFk3U6kzDKd1kymMLnn_priMeNJw3m945MPk-FiyyMIgEHYd5VnaRMLFep9a5RP4yxsl3nlgOMDVcbee9DEQubvNkatP-POqPl9dRkdaiV_YBlBWUyfWrEhFfC7nTkcaQbPVS1tQ8UECk/s1600/izgon+bojazni+iz+komune-mc1.jpg" width="316" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">The second rarity
from the Nikad Robom collection is a This Heat split tape with Eliot Sharp Duo
titled <i style="mso-bidi-font-style: normal;">Izgon bojazni iz komune</i> (Slovenian
for “Banishment of fear from the commune”), featuring previously unreleased and
elsewhere unavailable This Heat demo material from their Cold Storage archives,
recorded from February of 1976 until December of 1977. The B Side comprises Elliot
Sharp live set recorded in Ljubljana
in 1987. The cassette was released in 1987 as NR 005.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">This Heat are,
alongside Throbbing Gristle, David Jackman and Metabolist, a unique act in
musical history because they present one of the rare links between two
principally different generations of British experimental musicians: the 1970s
generation which converged influences ranging from prog rock, psychedelic folk
and the Canterbury scene, with the 1980s generation of punk-infused musicians
which mainly ignored any pre-existing musical practice in an attempt to reset and
start over. Although their debut LP <i style="mso-bidi-font-style: normal;">This
Heat</i> (Piano-Houghton-le-Spring, Atem-Saint-Maur-des-Fossés, Metronome-Hamburg,
1978) presents a landmark album in experimental music of the 20<sup>th</sup> century,
they are regularly more acknowledged for their second LP <i style="mso-bidi-font-style: normal;">Deceit</i> (Rough Trade-London, Base Record-Bologna, 1981), with the UK press
regularly hailing them as forefathers of all things Indie.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The year 2006 saw
the publishing <i style="mso-bidi-font-style: normal;">of Out Of Cold Storage</i>
(This Is-London, 2006) – the definitive This Heat box set – on six CD’s which
featured a number of their previously unheard tracks. If the material featured
on <i style="mso-bidi-font-style: normal;">Izgon bojazni iz komune</i> didn't see
the light of day then, we can only guess it wasn't even intended to be properly
released. The tape offers an interesting glimpse in the early evolution of the
band presenting us with an extraordinary early take of <i style="mso-bidi-font-style: normal;">Not waving</i> (with a tape-looped intro and outro) as well as a track
titled <i style="mso-bidi-font-style: normal;">The rough and the smooth</i>, which
is obviously a recording of Friendly Rifles – a proto-This Heat formation from
1975-76 – as it completely stands out from everything else that This Heat recorded.
The track holds a reference to Friendly Rifles it in the lyrics:</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Deep inside the Guggenheim factory I sat down for
awhile,</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Rest my legs, break the rules, make up the whole of
myself,</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Selfishly people high five me, they all take me for a
ride,</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">They know I cannot hide – how can I? I'm not invisible,</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Friendly rifles don't exist when friendly rivalry
becomes extinct.</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">An acquaintance said "You cannot pick and chose,</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">You must take the rough with the smooth,</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Take whatever comes along – like it or not, right or
wrong",</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Not for me such triviality, I walk the road called
friendly rivalry,</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Friendly rifles don't exist; scratch them from your
shopping list.</span></i></div>
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<span lang="EN-GB" style="font-family: Arial;">Elliot Sharp is
an academically trained musician, acclaimed multi-instrumentalist whose name is
alongside John Zorn's, practically synonymous with 1980s New York improvisation scene. The endless
list of his more or less expected creative collaborators during the last 30
years does include some interesting names like John Duncan, Thomas Dimuzio,
Merzbow but also Bachir Attar of Master Musicians of Jajouka.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Elliot Sharp Duo
was a one-off moniker for an Elliott Sharp performance with David Linton at
Križanke hall in Ljubljana
on the 26.07.1987. Elliott Sharp is on vocals, double neck bass guitar,
keyboards and wind instruments, while David Linton is on drums. The tape was
ripped at 320kbs by pop3 from Svi Marš Na Ples forum in February 2008.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download.php?6wxeymgodgq2n41">HERE</a>.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="4.5._nr_006_wondeur_brass_-_(1987)_t'as_vu_mon_coing"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.5.">4.5. NR 006: Wondeur Brass - (1987) T'as vu mon coing</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpu9mxenIkS2qu1yjNV65PprBfpHP2FRzbxn5tdB90rr3aPvXm-u1-cyMaBaAfYGjNMmImGAuVW2sSEH3v9s5yIFHvHEytogTqxTrar7ZuvtU02QcGy0ZN36ZH0qgEM3Lrh4XM6MdcX4XF/s1600/t'as+vu+mon+coing-mc1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpu9mxenIkS2qu1yjNV65PprBfpHP2FRzbxn5tdB90rr3aPvXm-u1-cyMaBaAfYGjNMmImGAuVW2sSEH3v9s5yIFHvHEytogTqxTrar7ZuvtU02QcGy0ZN36ZH0qgEM3Lrh4XM6MdcX4XF/s400/t'as+vu+mon+coing-mc1.jpg" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">Wondeur Brass was
an art-rock group from Montreal,
Canada that
evolved from a much bigger feminist art collective of the same name. The group
was active from 1980 to 1987 in something that was then colloquially regarded
as <i style="mso-bidi-font-style: normal;">musique actuelle</i> scene in Quebec. The term <i style="mso-bidi-font-style: normal;">musique actuelle</i> is bassically the
French variant of New Music – which was a rather intuitive and audacious
umbrella-term that enveloped all of these new and diverse trends that sprung up
the 1980s: contemporary classical music, new trends in avant-jazz territories, New York's
Fluxus-infused improvisation as well as some post-RIO impulses. Unlike the New
Music term which is seldom used nowadays, <i style="mso-bidi-font-style: normal;">musique
actuelle</i> is still in active use.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Since its
clamorous beginnings as a nine-piece theatre troupe in 1980, Wondeur Brass
performed live numerous times and went through a number of internal
reorganizations, from personnel-changes to significant shifts in musical direction.
The band consolidated as a quintet around 1984 and subsequently released their
first LP <i style="mso-bidi-font-style: normal;">Ravir</i> (Ambiances Magnétiques-Montreal,
1985) – an idiosyncratic bland of jazz influenced art-rock vaguely reminiscent
of <i style="mso-bidi-font-style: normal;">Pinheads on the move</i>-era
Tuxedomoon. After the 1985-86 tour following the release of <i style="mso-bidi-font-style: normal;">Ravir</i>, a side project called Les Poules
(French for “The Chicks”) was created around a nucleus of Joane Hétu, Diane
Labrosse and Danielle Palardy Roger, a line-up that would provide a permanent
basis for creative collaboration in the next twenty years (including the
following three years of Wondeur Brass). The Les Poules' first LP <i style="mso-bidi-font-style: normal;">Les Contes De L'Amère Loi</i> (Ambiances
Magnétiques-Montreal, 1986) was probably the closest Wonder Brass crew ever got
to a punk sentiment as it was a deliberately tacky and rather playful take on
autistic electro-pop in the best vein of Renaldo & the Loaf.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In 1986, this line-up
– with the addition of Marie Trudeau on bass guitar – sets on a North American
& European tour where they performed Ljubljana,
Zagreb and eventually Belgrade, on a concert organized by Nikad
Robom. Upon their return to Montreal, Wondeur Brass recorded its second LP album <i style="mso-bidi-font-style: normal;">Simoneda, Reine Des Esclaves</i> (Ambiances
Magnétiques-Montreal, Recommended Records-London, 1987) that kept the original kink and humour of <i style="mso-bidi-font-style: normal;">Ravir</i>, but with a refinement of a genuine 1980s pop-product. By the
end of 1987 all music activities were ground to a halt as Wondeur Brass members
formed the Les Productions Supermemes, an art promoting organization
with a feminist agenda. The Wondeur Brass’ spirit was only to be partially
revived with establishment of Justine in 1990, a formation that would also play
in Belgrade in 1997 on second edition of the <i style="mso-bidi-font-style: normal;">Ring Ring</i>
festival and release two more CD albums during the 1990s – <i style="mso-bidi-font-style: normal;">Suite</i> (Ambiances Magnétiques-Montreal,
1990) and <i style="mso-bidi-font-style: normal;">Langages Fantastiques</i> (Ambiances
Magnétiques-Montreal, 1994). In the 2000s, the same line-up of Danielle Palardy
Roger, Diane Labrosse and Joane Hétu founds Ensemble SuperMusique and releases
its premier CD <i style="mso-bidi-font-style: normal;">Canevas «+»</i> (Ambiances
Magnétiques-Montreal, 2004).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The Belgrade concert took place on 28.05.1987 on a well-known Belgrade venue Fakultet Likovnih
Umetnosti (or informally Akademija) and an authorized audience-bootleg titled <i style="mso-bidi-font-style: normal;">T'as vu mon coing</i> (French for “You've seen
my quince”) was made and distributed by Nikad Robom with a catalogue number NR
006. The tape was ripped at 320kbs by pop3 from Svi Marš Na Ples forum in
February 2008.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download.php?de9gw6r9mjq7kdq">HERE</a>.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="4.6._nr_007_black_sheep_-_(1987)_alive_in_beograd"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.6.">4.6. NR 007: Black Sheep - (1987) Alive in Beograd</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2bdW6X8NbToZodMB_n4OwfXpxJNjCSIMZR8hEjmb9rekwVc0MB5xev0KjG5l4jbSVAAyIIO5Kl0bJtDceQvADAweIb2nqV9Pmy1DfOfKqFKO7bopn-T-J7DoaV6hDRP9R9v-ggfbbsvd/s1600/mc-alive+in+belgrade1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2bdW6X8NbToZodMB_n4OwfXpxJNjCSIMZR8hEjmb9rekwVc0MB5xev0KjG5l4jbSVAAyIIO5Kl0bJtDceQvADAweIb2nqV9Pmy1DfOfKqFKO7bopn-T-J7DoaV6hDRP9R9v-ggfbbsvd/s400/mc-alive+in+belgrade1.jpg" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">Black Sheep was
one of several by-products of a much wider English-Dutch co-op – Mass Culture
Control Bureau (or MCCB) stationed in Maassluis – a remote Rotterdam suburb –
and, for one reason or another, Black Sheep was the only MCCB band that managed
to ’click’ with a wider audience. In the first phase of it's existence (1981-1982)
it was concentrated around Geoff Leigh, a former Henry Cow flutist and saxophonist,
Loek Van Saus, who organized Henry Cow concerts in Netherlands and bassist
Colin Mclure, later of Dutch art-rock band Dull Schicksal. During the first
phase of its existence, Black Sheep relentlessly toured Europe, released it's
only release <i style="mso-bidi-font-style: normal;">Animal sounds volume one</i>
12" single (MCCB-Maassluis, 1981) and went on a hiatus shortly thereafter
as it's founders went to pursue other musical engagements. After a few Recommended
Records compilation appearances it was finally revitalized in 1986 with a
slightly different line-up and set on yet another tour of Europe
before permanently disbanding in 1987. In 2005, Geoff Leigh resurrected Black
Sheep once again in the form of X Black Sheep, releasing a free online mini-album
<i style="mso-bidi-font-style: normal;">Out of quarantine</i> (not on label-</span><span lang="EN-GB"> </span><span lang="EN-GB" style="font-family: Arial;">Hastings</span><span lang="EN-GB" style="font-family: Arial;">, 2010).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Originally from
England and as of 1978 situated in Netherlands, MCCB projects – Red Balune
(which actually preceded MCCB), the short-lived Kontakt Mikrofoon Orkest and
Black Sheep – were characterized by a idiosyncratic mixture of DIY ethics of
the 1980s with an unmistakably <i style="mso-bidi-font-style: normal;">Henry Cowean</i>
type of theatrical avant-rock poetic. The MCCB bands are a hysterical rollercoaster
of styles and genres even on a song-to-song basis, let alone as individual
projects or any sort of coherent whole. However, this conceptual schizophrenia
is especially applicable to Red Balune’s 7” singles <i style="mso-bidi-font-style: normal;">Capitalist kid-Spider in love</i> (MCCB-Maassluis, 1978) and <i style="mso-bidi-font-style: normal;">Maximum penalty</i> (MCCB-Maassluis, 1979)
and Geoff Leigh's solo 7” single <i style="mso-bidi-font-style: normal;">Chemical
bank</i> (MCCB-Maassluis, 1979). These releases still hold some vague
indebtedness to progressive rock’s rambunctious lucid harmonics, while the two
subsequent releases from the MCCB laboratory – Kontakt Mikrofoon Orkest’s 7”
single <i style="mso-bidi-font-style: normal;">Do the residue</i> (MCCB-Maassluis,
1981) and Black Sheep’s 12” <i style="mso-bidi-font-style: normal;">Animal sounds
volume one</i> (MCCB-Maassluis, 1981) – are much more stylistically even and categorizable
as some sort of New Wave-influenced avant-pop.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In 2004, RēR
Megacorp’s American sister-company released a CD collection of MCCB’s releases
titled <i style="mso-bidi-font-style: normal;">Things From The Past</i> (Ad Hoc
Records-Denver, 2004), putting together all material MCCB ever released in
reverse chronological order plus some previously unreleased Black Sheep songs
as well as Geoff Leigh's 1990 ultimate minimal wave hit – <i style="mso-bidi-font-style: normal;">Childhood Dreams</i>.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">On 13.08.1987,
Nikad Robom arranged a Black Sheep concert at the Akademija venue in Belgrade. Having
previously toured Yugoslavia
in 1982, this was their second Belgrade
concert, yet this time the line-up was without Geoff Leigh but with the help
from Chris Cutler and Maggie Thomas. The sound is quite different from what we
could hear on <i style="mso-bidi-font-style: normal;">Animal sounds volume one</i>
as <i style="mso-bidi-font-style: normal;">Alive in Beograd</i> is more of a
garage sounding art-rock with a vibrant rhythm-section. The <i style="mso-bidi-font-style: normal;">Alive in Beograd</i> cassette was released
as NR 007 in 1987 and it is certainly among the poorest Nikad Robom releases in
terms of sound quality. The cassette’s B side closes with a Nikad Robom
promotional jingle of unknown origin. The tape was ripped at 320kbs by pop3
from Svi Marš Na Ples forum in March 2008.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download.php?9zynl68549ork9b">HERE</a>.</span></div>
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<span lang="ES-TRAD" style="font-family: Arial; font-size: 16pt; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="4.7._nr_008_tickmayer_formatio_-_(1987)_monumentomanija_maleroznog_prvoborca"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.7.">4.7. NR 008: Tickmayer Formatio - (1987) Monumentomanija maleroznog prvoborca</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKIQWR1GLhxDJlXk0TBl_yodGTEolAiZmnlK9O7ZSmR6DDb5TVDfX3P_2K1t5aIYHCKkMGSc6bPBUQrSKNIc7kVhLLv-e6la-2g2ehLcv6_d3WmtYveg1PMZjJp_j1Xt9EVz0B36r-AgV5/s1600/monumentomanija+maleroznog+prvoborca-mc1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKIQWR1GLhxDJlXk0TBl_yodGTEolAiZmnlK9O7ZSmR6DDb5TVDfX3P_2K1t5aIYHCKkMGSc6bPBUQrSKNIc7kVhLLv-e6la-2g2ehLcv6_d3WmtYveg1PMZjJp_j1Xt9EVz0B36r-AgV5/s400/monumentomanija+maleroznog+prvoborca-mc1.jpg" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">Tickmayer
Formatio was a the name of a musical ensemble of Stevan Kovacs Tickmayer that
was active from 1986 until 2001, that recorded music for various contemporary
dance and theatre plays, performed on numerous concerts and festivals and even released
3 official releases to it's name: the LP <i style="mso-bidi-font-style: normal;">Moments
To Delight-Music In Memory Of Kassak Lajos/Urban Music</i> (Produkcija „M”
Radio Novog Sada-Novi Sad, 1988) and CDs <i style="mso-bidi-font-style: normal;">Comedia
Tempio</i> (Théâtre Jel-Orléans, 1991) and <i style="mso-bidi-font-style: normal;">Wilhelm
Dances</i> (RēR Megacorp-London,1992). Although the first couple of years they
were based in Novi Sad, they relocated to Orleans, France in 1991 due to
ongoing war in their native country. The line-up was comprised of musicians of
fairly diverse musical education and backgrounds ranging from classical music –
Borislav Cicovački, Milan Vrsajkov, Branislav Aksin, Laura Levai-Aksin, Dušica
Polovina, contemporary jazz – István Grencsó & Mihály Dresch
as well as improvised rock – Đorđe Delibašić from the Novi Sad's experimental
new wave formation Ove Sezone Vedri Tonovi – to name a few. Until its
discontinuation in 2001 some forty-something musicians played in Tickmayer
Formatio.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Stevan Kovacs
Tickmayer is an academically trained contemporary composer, multi-instrumentalist
and an author of Hungarian origin living and working in Orleans, France.
Born and raised in Novi Sad
in the multicultural environment of SAP Vojvodina as a member of Hungarian
national minority, he spent much of his formative years addressing the issues
of centre-margin as well as issues of cultural
identity. A friendship with another hungarophone musician, the largely unknown Yugoslav
avant-garde composer and ethnomusicologist Ernő Király – who spent his entire
creative existence in his own country largely unaware of what was going on contemporary
music – influenced Tickmayer greatly in traversing these issues. Tickmayer
spent his youth years studying piano and double bass and went on studying
composition under tuition of Rudolf Brucci on Academy
of Arts in Novi Sad. In 1982, during his studies,
he formed a close partnership with Serbian multi-instrumentalist Boris Kovač in
his newly founded ensemble Ritual Nova, taking participation in a 1984
multimedia performance titled <i style="mso-bidi-font-style: normal;">Bivstvovanja
Arhelija Panonca</i> (Serbo-Croatian for “The Abidings of Archelius Panonian”).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Throughout
the 1980s, young Stevan Kovacs Tickmayer was delicately balancing between two
worlds, namely the world of popular music, to which he was primarily exposed in
his formative years in Yugoslavia,
and the world of classical music, to which he was inevitably drawn in the
course of his music studies. In a creative sense, the influence of the former
had been mainly mirrored through collaborations with Boris Kovač, the greats of
Hungarian free jazz like György Szabados and Mihály Dresch as well as various
individuals from the Other Novi Sad scene, while the influence of the latter
was exemplified in his mentors – Ernő Király and Rudolf Brucci. Thus, in order
to reconcile these apparently disparate creative tendencies, he formed
Tickmayer Formatio ensemble in 1986 as a basis for collaboration of classically</span><span style="font-family: Arial; mso-ansi-language: EN-US;">-trained</span><span lang="EN-GB" style="font-family: Arial;"> musicians alongside self-taught
rock and jazz musicians. The same principle was also employed in the so called
Telep sessions</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_26]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_26]">[note 26]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> that Tickmayer also organized. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">While Tickmayer
Formatio provided a permanent base for his future works, in the meantime, Tickmayer's first compositions are being premiered at
festivals in Opatija and Novi Sad.
From 1984 onwards he becomes a member of the editorial board of Novi Sad-based <i style="mso-bidi-font-style: normal;">Új Symposion</i></span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="58"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[58]">[58]</a></span></sup><span style="font-family: Arial;"> <span lang="EN-GB">(Hungarian for “New
Symposium”), a prestigious Hungarian literary magazine. As a minority language
magazine, <i style="mso-bidi-font-style: normal;">Új Symposion</i> played a disproportionately
important role in the alternative culture formation in SAP Vojvodina as well as
in the culture of neighbouring Hungary,
particularly during the late 1960s and early 1970s ban on Western culture.</span></span></div>
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<span lang="EN-GB" style="font-family: Arial;">The
years of 1986-87 saw the full blooming of Tickmayer's composing activity as
well as Formatio's concert performances reinforced by two greats of Hungarian</span><span lang="EN-GB" style="font-family: Arial;"> free jazz – István Grencsó & Mihály
Dresch. In 1987, Tickmayer Formatio participated on the four-day long <i style="mso-bidi-font-style: normal;">Festival novih umetnosti </i>(Serbo-Croatian
for “New arts festival”) he co-organized with Radio Novi Sad and his <i style="mso-bidi-font-style: normal;">Új Symposion</i> associates at Studio M of Radio Novi Sad. In 1987, Intellectual Cabaret, Tickmayer's
side-project with his Formatio drummer Đorđe Delibašić, published a double
cassette release titled <i style="mso-bidi-font-style: normal;">Résumé 1984-86</i>
(CirKo Distribucija-Novi Sad, 1987) and contributed to a Recommended Records LP
compilation <i style="mso-bidi-font-style: normal;">Rē Records Quarterly Vol.2
No.2</i> (Rē Records-London, 1987) with one the tracks from the cassette-album.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">However, the following
year, 1988, was a year of definitive materialization for all of Tickmayer's
efforts: he recorded his first solo LP <i style="mso-bidi-font-style: normal;">SPES</i>
(Produkcija „M” Radio Novog Sada-Novi Sad, 1988), a collaborative LP <i style="mso-bidi-font-style: normal;">Chamber Music</i> (Libellula Records-Paris,
1990) with István Grencsó and published the first Formatio LP in a time-span of
just few months. In 1989, Tickmayer received an invitation for post-graduate studies
at the Royal Conservatory in Hague under Louis Andriessen & Diderick
Wagenaar. In wake of war in the former state, Tickmayer departed for Orleans, France
and during the 1990s he mostly composed and performed music for choreographies
for yet another Hungarian expatriate from SAP Vojvodina – the renowned theatre
director and choreographer – Josef Nadj. The end of the 1990s and beginning of
2000s saw a fruitful collaboration with Chris Cutler and Bob Drake in the form
of The Science Group.</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Monumentomanija maleroznog prvoborca</span></i><span lang="EN-GB" style="font-family: Arial;"> (Serbo-Croatian for “Monumentomania of
the hapless frontliner”) tape was released in 1987 as NR 008 and it was the
first tape of Yugoslav artists to be published on Nikad Robom. The Tickmayer
Formatio concert happened on 09.10.1987 in Studio M, Novi Sad with eighteen musicians on the stage
at one point. The Formatio presented themselves with a versatile mix of jazzy
minimalist interpretations, folkloric miniatures from Balkans and Mitteleuropa,
free jazz ethics oscillating from menacing to whimsical, but also occasionally very
melancholic (for instance, the piano-solo on <i style="mso-bidi-font-style: normal;">Molto Semplice</i>). The three bonus tracks featuring on the end of Side
B are, in order of appearance, are <i style="mso-bidi-font-style: normal;">Past</i>
by Isailo, Black Sheep’s <i style="mso-bidi-font-style: normal;">Nikad Robom</i>
jingle and last but not least – Oblačari, with their excellent low-fi apoca
folk track <i style="mso-bidi-font-style: normal;">O zmajevima, roblju nebeskom</i>
(Serbo-Croatian for “On dragons, the slaves of heavens”). The tape was ripped
at 320kbs by pop3 from Svi Marš Na Ples forum in February 2008.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download.php?bnva14z2vtydjvj">HERE</a>.</span></div>
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<span lang="ES-TRAD" style="font-family: Arial; font-size: 16pt; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="4.8._nr_009_buga_up_-_(1988)_presage_de_lapin_de_la_maison"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.8.">4.8. NR 009: Buga Up - (1988) Présage de lapin de la maison</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilQAPAnq3aLBo3RtvySLL4POf1gnTrAX2fE5WO6v6n1Bj_h6IbNG-BbXqbayJxODt7AJBkZZfpzhdBkzUQiVA9db1OOoN1wn1B3OPn54mDy8msZcyReAYM8xD9ZpawpfpqMJERp1XZK96e/s1600/pr%C3%A9sage+de+lapin+de+la+maison-mc1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilQAPAnq3aLBo3RtvySLL4POf1gnTrAX2fE5WO6v6n1Bj_h6IbNG-BbXqbayJxODt7AJBkZZfpzhdBkzUQiVA9db1OOoN1wn1B3OPn54mDy8msZcyReAYM8xD9ZpawpfpqMJERp1XZK96e/s400/pr%C3%A9sage+de+lapin+de+la+maison-mc1.jpg" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">Buga Up was a
fairly obscure, short-lived act from the provisionally understood wider ring of
Recommended Records conspirators named after the Australian culture jamming
pioneers and a civil disobedience group from the late 1970s – B.U.G.A. U.P. (or
Billboard Utilising Graffitists Against Unhealthy Promotions).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The line-up was
comprised of Tom Cora (cello), Guigou Chenevier (saxophone, percussion), René
Lussier (guitar) and occasionally Christiane Cohade (voice). Although the majority
of the band members were francophone, the lyrics were sung in English with just
a few exceptions (<i style="mso-bidi-font-style: normal;">Le zebre et l'etalon</i>).
They acted towards the end of the 1980s, approximately the between late 1987
and early 1989 and left no official releases, not even a compilation
contributions, thus leaving <i style="mso-bidi-font-style: normal;">Présage de lapin
de la maison</i> (French for “Forcing the rabbit into the cage”) concert
recording on Nikad Robom the only document of their activity. In addition to
this tape the band has two semi-official videos made from concert material by
Mirko</span><span lang="EN-GB" style="font-family: Arial;">Simić
of V.S. / Video Forum Ljubljana that documented various alternative practices
in the capital of Slovenia.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The <i style="mso-bidi-font-style: normal;">Présage de lapin de la maison</i> concert
happened in Kulturni Dom Poljane, Ljubljana
on 08.02.1988 and Buga Up played an unusual flavour of art rock, interspersing
the sleek and melodic song base with segments of nerve twitching and often
spasmodic outbursts of improvisation. In the best vein of politically correct RIO rockers, each of the musicians has one solo
improvising sequence. Released as NR 009 in 1988</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="59"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[59]">[59]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. Nikad Robom obtained the approval for the <i style="mso-bidi-font-style: normal;">Présage de lapin de la maison</i> cassette from Buga Up during the third edition of <i style="mso-bidi-font-style: normal;">Festival MIMI</i> in Saint-Rémy-de-Provence later that year. The tape was ripped at 320kbs by pop3
from Svi Marš Na Ples forum in March 2008.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download.php?yeto1ltj5rlzlr6">HERE</a>.</span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="4.9._nr_010_begnagrad_-_(1990)_jodlovska_urska"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.9.">4.9. NR 010: Begnagrad - (1990) Jodlovska Urška</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPThT8Uhlvw1MBpgiHI5BqWPChUxjdPhjbGLJj63pF8swfE9q81kiO3PvSRjvyfmaOHKqAZq0KJe_n7numy-X12uXlHcSvm7r3jT947v0am_t-_WUhoaTl2SZqgGhn_hmrP_0PGhyeTbsB/s1600/jodlovska+ur%C5%A1ka-mc1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPThT8Uhlvw1MBpgiHI5BqWPChUxjdPhjbGLJj63pF8swfE9q81kiO3PvSRjvyfmaOHKqAZq0KJe_n7numy-X12uXlHcSvm7r3jT947v0am_t-_WUhoaTl2SZqgGhn_hmrP_0PGhyeTbsB/s400/jodlovska+ur%C5%A1ka-mc1.jpg" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">Begnagrad is,
undoubtedly, one of the most exceptional bands that sprung up from 1970s counterculture
in Yugoslavia
and present an important missing link in the evolution of Yugoslav alternative
music. Yet after numerous attempts at contextualizing, examining and re-examining
the history of Yugoslav rock music, Begnagrad were considered to be little more
than a footnote peculiarity in its evolution. Although sustaining a
considerable degree of anonymity throughout their lifetime outside of the
narrow subculture milieu of freethinkers in their native Slovenia – Begnagrad were
in the same time one of the better known (of the otherwise downright obscure)
Yugoslav rock bands abroad as their records were distributed by Chris Cutler's
Recommended Records. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">Musically,
conceptually and ideologically detached from the creative mainframe of
then-current bands operating in Yugoslavia that were mostly bending over backwards
in efforts to sound as 'Western' as possible, Begnagrad were a highly eclectic
bunch of skilled musicians that converged different influences ranging from
diverse folk music traditions and classical music to 20<sup>th</sup> century avant-garde
and ECM-type jazz. This was particularly true in the first phase of their
existence where Begnagrad gravitated slightly towards the prog camp, their
music featuring elaborate folkloric themes structured around jazz-bound
improvisations. In the second phase, Begnagrad's music came much closer to RIO bands, the sound became much more complex, their
style more elaborate and their treatment of folk music more insidious. The whole <i style="mso-bidi-font-style: normal;">raison d'etre</i> changed as a new spectre of radical ideas was
introduced from the RIO movement, the then-blooming
new music scene as well as contemporary jazz. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">When Begnagrad
began in the mid-1970s, Yugo rock was still going through its mimetic phase and
a there were a lot of boundaries waiting to be broken: issues of authentic
creative expression outside of few previously popularized rock music genres
that innovative Yugo bands faced at the time weren’t a clever marketing
manoeuvre – but a serious ideological and representational problem for those
who would dare to tackle them</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="60"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[60]">[60]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. The situation in question arose mainly due to the
overwhelming scarcity of information on rock music and a general slow pace by
which youths in Yugoslavia
were getting familiarized with the trends and youth culture of the West. The
status of rock music at the time was rather undefined as the Party didn't have
an official policy towards it</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="61"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[61]">[61]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">and its mass popularization relied entirely upon foreign radio stations (first and foremost Radio Luxembourg) and rock-specialized press (such as <i style="mso-bidi-font-style: normal;">Džuboks</i>)
to more mainstream media.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Thus, Begnagrad
were stuck in a semantic limbo of sorts very early on; a factor which
particularly added to the ambiguity and the dubious reception with certain
audiences was their appropriation of various folk music practices.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Among rock music
audiences in Yugoslavia, the
mid-1970s were the time when the mainstream success of Bijelo Dugme – a folk rock group from Sarajevo
with a repertoire which borrowed heavily from Balkan folk music traditions – triggered a fierce debate in the Yugo rock press on the role and dosage of folk music in Yugo rock bands. This was a part of a specific dialectic of rock music’s commercialization in Yugoslavia where, unlike the fully-industrialized capitalist societies of the West, to be
perceived as commercial – meant to be more traditional music-lenient or simply more folksy. Folk music and its derivatives still had greater commercial appeal than pop and a sentiment began to grow among the alternative music audiences which viewed folk music as a sort of a dungeon keeper of Yugoslavia’s modernity.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In Slovenia,
Begnagrad’s home country, this was the time when the genre of <i style="mso-bidi-font-style: normal;">narodno-zabavna glasba</i> (Slovenian for “folk
entertainment music”) was slowly getting out of its original setting of the
rural dance parties called <i style="mso-bidi-font-style: normal;">veselice</i>
and started receiving considerable exposure from the Slovenian state media.
Initially, in the 1950s and 1960s, the Communist Party officials in Slovenia
were mainly suspicious towards <i style="mso-bidi-font-style: normal;">narodno-zabavna</i>
whom they considered potentially counter-revolutionary due to its perceived
primitiveness and had given their endorsement to schlager-inspired <i style="mso-bidi-font-style: normal;">popevka</i> instead, but all of this changed
in the 1970s when numerous festivals dedicated to <i style="mso-bidi-font-style: normal;">narodno-zabavna</i> began to sprout. One particular style of <i style="mso-bidi-font-style: normal;">narodno-zabavna</i> championed by Avsenik
Brothers Ensemble became so popular in the German speaking world that, over a
period of time, it began being widely referred to in Slovenia
by its German name – <i style="mso-bidi-font-style: normal;">Oberkrainer, </i>induced
from <i style="mso-bidi-font-style: normal;">Oberkrainer volksmusik</i> (German
for “Upper Carniola volksmusik”). The <i style="mso-bidi-font-style: normal;">Oberkrainer</i> style is a mix between polka
and waltz that is rooted in Alpine folk music traditions.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Since Begnagrad,
like many of the <i style="mso-bidi-font-style: normal;">Oberkrainer</i> ensembles,
were a modified jazz combo which used an identical instrumentation of an
accordion, a clarinet and a guitar (and a set of drums too, but this is where
Begnagrad diverge), this would often stir a kind of confusion which Begnagrad
were eager to exploit. Begnagrad played along with the image of an <i style="mso-bidi-font-style: normal;">Oberkrainer</i> country band by performing
on the streets during festivities, popular taverns and even full-blown <i style="mso-bidi-font-style: normal;">narodno-zabavna</i> festival, thus playing with
people’s expectations on the basis of their appearance. This sort of antics
prompted <i style="mso-bidi-font-style: normal;">Tribuna</i> journalist Marko
Uršič to call them “narodno-zabavna vanguard… at the root of Commedia
dell’arte”</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="62"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[62]">[62]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. In order
to boost their bogus <i style="mso-bidi-font-style: normal;">Oberkrainer</i>
credentials further, Begnagrad’s Bežigrad-born and raised coterie even recorded
<i style="mso-bidi-font-style: normal;">Kranjskagorablues nazaj</i> – a song
about Kranjska Gora, the Upper Carniola landmark (which is also a staple in
every <i style="mso-bidi-font-style: normal;">Oberkrainer</i> band’s repertoire).</span></div>
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<span lang="EN-GB" style="font-family: Arial;">By doing these
tours throughout Slovenia performing in <i style="mso-bidi-font-style: normal;">narodno-zabavna</i>
or folk music context, Begnagrad were the among the first bands in Yugoslavia
to break some of the conventions surrounding rock music shows and anticipate
certain global trends that came with the world music festivals like <i style="mso-bidi-font-style: normal;">WOMAD</i> or <i style="mso-bidi-font-style: normal;">Fête de la Musique</i>. However, this wasn’t intended, since for
Begnagrad the displacement of rock music from its quotidian context and space
of happening and playing with the accepted modes of its cultural appropriation
was of primary importance rather than to exploit the subversive potential of
folk music; Begnagrad often performed in other odd contexts like, for instance,
in half-times of friendly football games</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="63"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[63]">[63]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. This sort of actions, in
Begnagrad's case as well as their RIO contemporaries like Srp and Papa Kinjal Band
(D’Pravda) – or the entire generation of Ljubljana
artists active in 1970s, for that matter – point to a strong anti-institutional
drive that shaped the creative sensibility of the era.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In reality,
Begnagrad were never fascinated with Slovenian folk music heritage (except, in
part, with its vocal music tradition)</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="64"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[64]">[64]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> and instead they used it as a convenient resource
for interpretation and elaboration of their own musical ideas. However, if
there was a tangible link with folklore in Begnagrad</span><span style="font-family: Arial; mso-ansi-language: EN-US;">'s music </span><span lang="EN-GB" style="font-family: Arial;">it was surrealism – not as a historical
art movement, but more as a code-word for a poetic of the imaginal and the
supernatural – as this sort of vernacular surrealism is deeply rooted in South
Slavic folklore and also present in their music through experiences such as
daydreams, night dances and memories</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="65"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[65]">[65]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">; and this isn't only a characteristic of Begnagrad –
the same influence can also be found with some of their contemporaries, namely
the psychedelic folk groups such as Konj, Kladivo In Voda and Sedmina.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Begnagrad’s
career spanned some 8 years in two major phases: 1975-1979 and 1981-1983.
Chronologically, that history goes as following. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">Begnagrad formed
in summer of 1975 in Bežigrad district of Ljubljana (Slovenia), in the time
when the first wave of counterculture had long passed, destroying whatever was
left of this fragile illusion of the 1960s that art is capable of large-scale
social changes, the two high school friends – Bratko Bibič and Bogo Pečnikar,
felt they couldn't really correspond to these austere conclusions and opted for
doing what youths usually do: following their own instincts. They've been
practising and sporadically performing for a while as Begnagrad (Slovenian for
“<i style="mso-bidi-font-style: normal;">Escape-to-the-city” </i>in its compound
form), a name chosen partly in reference to these medieval situations where
inhabitants of the villages would rush to the nearby castle-cities in face
upcoming adversity and partly to the Bežigrad quarter from which they originate.
At one point Andrej Trobentar, famous Slovenian poet & singer-songwriter of
Sedem Svetlobnih Let (Slovenian for “Seven Light Years”) joins the band for a
brief period, renaming it Šest Kilometrov na Uro (Slovenian for “Six Kilometres
per Hour”) and it was only after his departure, the first line-up of Begnagrad
solidifies with Vlado Špindler on bass and Igor Muševič on drums.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Very early on
Begnagrad record their first set of demo songs in</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> restrictive</span><span lang="EN-GB" style="font-family: Arial;"> conditions at Ljubljana’s
Radio Študent and play them at their first performances. These recordings
caught the attention of Serbian journalist </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Anđelko Maleti</span><span style="font-family: Arial; mso-ansi-language: #241A;">ć and</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> he subsequently invites Begnagrad to perform on the
17<sup>th</sup> edition of <i style="mso-bidi-font-style: normal;">Omladinski
Festival</i> in Subotica (SAP Vojvodina) in May
1977, the most important </span><span lang="EN-GB" style="font-family: Arial;">youth
music festival in former Yugoslavia.
After this, they make their Belgrade debut in November of 1977 alongside established
prog rockers Buldožer and the newly formed Pankrti – which had spearheaded the
embryonic punk movement at the time – on the Belgrade <i style="mso-bidi-font-style: normal;">Dani mlade slovenačke kulture</i> (Serbo-Croatian for “Days of
Slovenian youth culture”), a manifestation organized by Peter Mlakar in front
of </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Zveza Socialistične Mladine Slovenije</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> (or ZSMS;
Slovenian for “League of Socialist Youth of Slovenia“)</span><span lang="EN-GB" style="font-family: Arial;">. In December of the same year, Begnagrad travel to Novi Sad (SR Serbia) where </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Anđelko Maleti</span><span style="font-family: Arial; mso-ansi-language: #241A;">ć</span><span lang="EN-GB" style="font-family: Arial;"> arranged them studio time at Studio M, probably one of the
best-equipped recording studios in Yugoslavia at the time. However, for
reasons unknown, the Studio M sessions with </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Maleti</span><span style="font-family: Arial; mso-ansi-language: #241A;">ć</span><span lang="EN-GB" style="font-family: Arial;"> as
the producer were aborted in the middle of the process and the album was never
finalized</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="66"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[66]">[66]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. Instead,
the Studio M recordings were left to dwell in the archives of Radio-televizija Novi Sad for years to
come.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Throughout 1978
Begnagrad remained a solid presence in Yu-rock scene playing a lot of concerts
around the country, appearing on Slovenian National Radio and even a doing a
half-hour TV show. The end of the 1978 sees the group embark on an almost three
year long hiatus as Vlado Špindler, the bass player, departed for mandatory
military service. During the course of the break, Bratko Bibič and Bogo Pečnikar experiment with a host of different
ideas with a variety of different musicians, but don’t settle until</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: SR;"> </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">the arrival
of two versatile musicians </span><span lang="EN-GB" style="font-family: Arial;">– </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">Nino De
Gleria, a bass player and percussionist, and </span><span lang="EN-GB" style="font-family: Arial;">– </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">Aleš Rendla, a drummer and violinist in mid-1981</span><span style="font-family: Arial; mso-ansi-language: EN-US;">. Parallel to their
engagement with Begnagrad, De Gleria and Rendla were active as support
musicians with Srp, another Slovenian RIO band of the era.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Begnagrad
officially reformed in the summer of 1981. In winter, they play on the second
Yugoslav RIO festival in Ljubljana,
which featured</span><span lang="EN-GB" style="font-family: Arial;"> an entirely
Slovenian line-up of D’Pravda, Srp, Begnagrad and Istranova. </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">Additionaly
Begnagrad recruit their old friend Boris Romih on guitar</span><span lang="EN-GB" style="font-family: Arial;"> and percussion, thus forming the classic
Begnagrad line-up which goes on to record their LP debut <i style="mso-bidi-font-style: normal;">Begnagrad</i> (ZKP RTVL-Ljubljana, 1982) in May of 1982. </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">In June of 1982
Begnagrad also appears on the third RIO festival in Ljubljana, which featured
Art Zoyd, Black Sheep, </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Andrea Centazzo, Peter Frohmader’s Nekropolis, Christopher Wangro’s
Circus Janus, but also fellow Slovenians D’Pravda and – oddly enough – Laibach.
Meanwhile, the LP <i style="mso-bidi-font-style: normal;">Begnagrad</i> is released in autumn of 1982 and
instantly hailed as a quintessential RIO
album. Shortly after the release of the LP debut </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">Aleš Rendla also leaves the band
to serve </span><span lang="EN-GB" style="font-family: Arial;">in the military and is replaced with </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">Zoran Kanduč
on drums. By the end of 1982, Begnagrad was joined by guitarist</span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;"> Igor Leonardi with whom
they recorded new material and performed the <i style="mso-bidi-font-style: normal;">Konzert for a Broken Dance</i> tour. With Rendla back from his military
service, the band undertook a second European tour in 1983, during which
Begnagrad split in the summer of 1983</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="67"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[67]">[67]</a></span></sup><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">. </span><span lang="EN-GB" style="font-family: Arial;">Unlike the first Begnagrad line-up, the second rarely
played in Yugoslavia outside
Slovenia, mostly
concentrating on touring abroad (Italy,
Austria, Switzerland, West
Germany, Netherlands,
Czechoslovakia,
etc), mainly due to the unbearable punk euphoria back home</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="68"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[68]">[68]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;"></span></div>
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<span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">After the band had
split, the members of Begnagrad soon dispersed each in their own direction. In 1984,
Begnagrad’s rhythm section, comprised of Aleš Rendla, Nino De Gleria and Igor
Leonardi </span><span style="font-family: Arial; mso-ansi-language: EN-US;">– </span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">formed Quatebriga, a
band that carried the legacy of the Ljubljana RIO scene well into the second
half of the 1980s. In the meantime, Begnagrad’s frontman, </span><span lang="EN-GB" style="font-family: Arial;">Bratko Bibič, started cooperating with the
Swiss-based group Nimal, founded by ex-members of Debile Menthol Jean 20
Huguenin and Jean-Maurice Rossel plus Tom Cora and Pippin Barnett, while
Begnagrad’s founder Bogo Pečnikar retired from music
altogether. Although the band has been lying dormant for several years, the
beginning of 1990s sees a slight revival of interest for Begnagrad as their
1977 Studio M recordings resurface in March of 1990 on a tape-release </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Jodlovska Urška</span></i><span lang="EN-GB" style="font-family: Arial;">
(Nikad Robom-Belgrade, 1990) and, later that year, their 1982 self-titled LP is re-released on CD as <i style="mso-bidi-font-style: normal;">Konzert For A Broken Dance</i> (AYAA-Reims, 1990) with some bonus
tracks. In 1993, the 1977 Studio M recordings are further re-released on
CD as <i style="mso-bidi-font-style: normal;">Tastare</i> (Bess Pro
Market-Ljubljana, 1993) with a new mastering and addition of few bonus tracks.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Almost a whole decade had
passed, until Bratko Bibič and Bogo Pečnikar started working together again.
This happened in somewhere in 1993, when Pečnikar joined Bibič in Nimal studio L'Usines
in Neuchatel to record material for his new project. This is essentially how Bratko
Bibič and The Madleys began, a band that still continues to perform in 2013 and
which has released two CD album</span><span style="font-family: Arial; mso-ansi-language: EN-US;">s so far </span><span style="font-family: Arial; mso-ansi-language: EN-US;">– </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Of Bridko Bebič</span></i><span lang="EN-GB" style="font-family: Arial;"> (LabelUsineS-Neuchatel, 1995)
and <i style="mso-bidi-font-style: normal;">Na Domačem Vrtu</i> (Serija SyHaPA
Silents-Ljubljana, 2002). The Madleys line-up eventually grew to include former
Begnagrad members Al</span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">eš Rendla and Nino De Gleria as well as </span><span lang="EN-GB" style="font-family: Arial;">former Srp viola player Matjaž Sekne. </span><span lang="EN-GB" style="font-family: Arial;">In December of 2012, on the occasion of
the 30<sup>th</sup> anniversary of the publishing of their self-titled 1982
debut album, Begnagrad had officially reformed to play a one-off gig in Ljubljana. The event
happened on 12.12.2012 in Center kulture Španski borci and featured the
original Begnagrad line-up from the era of Bratko Bibič,
Bogo Pečnikar, Boris Romih, Al</span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">eš Rendla and Nino De Gleria</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="69"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[69]">[69]</a></span></sup><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Jodlovska
Urška (Slovenian for “Yodeling Urška”) was released in 1990 on Nikad Robom as</span><span lang="EN-GB" style="font-family: Arial;"> NR 010. The 1977 Studio M sessions it
contains remain to this day the only document of the first phase of Begnagrad’s
existence. The recordings on <i style="mso-bidi-font-style: normal;"></i></span><span style="font-family: Arial; mso-ansi-language: EN-US;">Jodlovska Urška</span></div>
<span style="font-family: Arial; mso-ansi-language: EN-US;"> feature </span><span lang="EN-GB" style="font-family: Arial;">the original 1977 studio mix made Studio
M, with whom members of Begnagrad were unsatisfied, thus leaving the material
unreleased for thirteen years. The picture featured on the front cover is the
bell tower of Gospa od Zvonika church in the complex of Diocletian’s Palace in Split old town (SR Croatia).
Inside the tape’s sleeve there is a small note in Slovenian, probably written
by some of its members, which includes an interesting error; somewhere near the
bottom of the text, it is written: <i style="mso-bidi-font-style: normal;">Zrihtano
pa zdelano pri založbi Nigdar Robem; marec 1990; Otroške novine, Gornji
Milanovac</i></span><span style="font-family: Arial; mso-ansi-language: EN-US;">; implying that the cassette edition was somehow affiliated with publisher of the Nikad Robom comic edition – Dečje novine from Gornji Milanovac (SR Serbia). The cassette rip here featured is either incomplete or the bonus tracks mentioned on the sleeve were never included (a track each by Steve Feigenbaum & Friends, Black Sheep and Oblačari).</span>
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<span lang="EN-GB" style="font-family: Arial;">The music on </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Jodlovska Urška</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> characterized </span><span lang="EN-GB" style="font-family: Arial;">complementation
of the otherwise irreconcilable elements, giving away a sense of extraordinary
eclecticism. The quirk of Alpine folk music together with the vigour of
Istrian-Mediteranean musical traditions and the cerebral rhythmicity of jazz
with the physicality of rock band blend so naturally in Begnagrad's music as if
relieved of any previous contexts of they might have had. Akin to medieval
minstrels, Begnagrad's music inhibits this thinly woven space in between phantasmagorical
and the real; a place of poetic rumination and magical allure. The tape was
ripped at 320kbs by pop3 from Svi Marš Na Ples forum in December 2007.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download.php?ghyh3359951lx83">HERE</a>.</span></div>
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<span lang="ES-TRAD" style="font-family: Arial; font-size: 16pt; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="4.10._nr_011_cirko_della_primavera_-_(1990)_faima_vinovo"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.10.">4.10. NR 011: CirKo Della Primavera - (1990) Faima Vinovo</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyAMcQ9XlSjXwCcxUl12oL01X-Sy5MINy812o2_sILpczssYPyrNBMsleF37ozxOoXVaqnW-kIdOZsnRiYRinJV8pHKEuv9Khw3XHyFOnWSHqjtq2XnAa8IA6yX98JXE2x6BwF8N1SgGC_/s1600/faima+vinovo-mc1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyAMcQ9XlSjXwCcxUl12oL01X-Sy5MINy812o2_sILpczssYPyrNBMsleF37ozxOoXVaqnW-kIdOZsnRiYRinJV8pHKEuv9Khw3XHyFOnWSHqjtq2XnAa8IA6yX98JXE2x6BwF8N1SgGC_/s400/faima+vinovo-mc1.jpg" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">CirKo Della
Primavera was the name of the improvised music and theatre troupe led by
Aleksandar Carić that emerged in the lively Other Novi Sad underground of the
late 1980s. Praised as much as ridiculed, CirKo Della Primavera was a strangely
revered bunch in their hometown, their impromptu performances with its odd
conceptual set ups, bizarre mises-en-scène and disjointed harmonics are almost
proverbial in Novi Sad’s
alternative folklore. They were also, somewhat erroneously, remembered as the
crass alter-ego of the long lost, but never forgotten Ove Sezone Vedri Tonovi.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In terms of its artistic
influences and especially regarding its basic conceptual setup as an
idea-conveying vehicle, CirKo Della Primavera stood mainly between two disparate
artistic traditions. With their subversive culture jamming ethics and
intermedial nature (combining poetry, music, film and
theatre), the events staged by CirKo Della Primavera undoubtedly belong to the
diverse landscape of the post-Fluxus avant-garde, however, since they were
primarily preoccupied with music production – they were also a music act
occupying a rather unwholesome position in the pop culture spectrum. From
today's perspective, the conceptual bent of their sound reveals an inclination
towards some of the marginal trends occurring in the experimental music scene of
the 1980s with the rise of shambolic free improvisation acts like
Smegma, Mnemonist Orchestra and particularly New 7th Music.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">CirKo Della Primavera (Italian for “Circus of Spring”) came into existence in 1985 as a result of collaboration of five people: multi-instrumentalist/poet Aleksandar Carić, painter/sculptor Stojan ‘Stole’ Janković, percussionist Ðorđe Delibašić, painter Vladimir Orešković and guitar player Predrag Pribić. The hearth of its ideological and theoretical inception was the homestead of Stole Janković, where since the onset of the 1980s, an informal coterie of poets, artists and musicians has been working together with the goal of exchanging ideas and cultivating a collective creative experience. Even prior to CirKo Della Primavera, its members were involved with a number of experimental music groups that surfaced in the same surrounding, most notably
its predecessor mega-group Ove Sezone Vedri Tonovi (in fact, all CirKo members except Carić were members of Ove Sezone Vedri Tonovi), but also many others like Pre i posle tišine, Neo Merz, Zeromen, Obično putovanje šuma, etc; the rest of these projects were usually either impulse-driven manifestations of temporary character or were stubbornly focused on its own production, without any intent of communicating with its immediate environment. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">However,
this wasn’t the case with CirKo Della Primavera </span><span lang="EN-GB" style="font-family: Arial;">(nor Ove Sezone Vedri Tonovi for that matter)
as its main preoccupation was precisely performing live. In the course of its six year existence, CirKo Della Primavera staged around dozen performances in Novi Sad and other places in Yugoslavia; all of these were, as a rule, rehearsed and performed only once.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In respect to
their context, setting and the general idea, these events could be categorized
into several different, but mutually complementary groups: regular concerts or
gigs, action performances and manifestations. In the beginning, regular youth
concerts or gigs (in venues such pubs, jazz clubs and alike) made up a
significant part CirKo Della Primavera’s activities; these shows were noted for
their spontaneity and anarchic spirit and this is where CirKo Della Primavera would
usually display the full oeuvre of their rock deconstructivist programme – from
diluted, eerily atmospheric ritual music to shambolic improv jamborees and similar
awkward attempts in jazz territories. Another of their antics were action
performances, that is, making impromptu appearances on various public sites
such as city buses, squares, abandoned spaces and performing miniature oddball
concertos which had a “hit and run” modus operandi akin to modern day
flash-mobs.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">However, when
attending festivals and large auditoriums, CirKo Della Primavera undertook a
much more elaborate approach. For such occasions, CirKo Della Primavera would
employ theatrical elements, such as costumes, scenography as well as adding
non-musical elements in the form of an array of Cagean props used onstage for
extracting sounds; since these were usually odd found objects, mundane household objects or furniture, this gave Cirko’s already
marginal appearance a clear hint of Arte Povera. Although improvisation
and its workings would remain pretty much the key underlying focus in that kind
of settings, their concerts would become musical inscenations more than
anything.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The
first official CirKo Della Primavera</span><span lang="EN-GB" style="font-family: Arial;"> manifestation took place in 1985 in the form of a twelve-hour long open-air
concert at Katolička porta</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_27]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_27]">[note 27]</a></span></sup><span style="font-family: Arial;"> <span lang="EN-GB">titled <i style="mso-bidi-font-style: normal;">Koncert za letnju
dugodnevnicu</i> (Serbo-Croatian for “Concert for the summer solstice”). The
concert was conceived as a whimsical tribute to the pagan festivity, but also
as an all day happening where CirKo Della Primavera and their friends would
play continually; occasionally visitors and passers-by would be persuaded to
join in the proceedings</span></span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_28]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_28]">[note 28]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. In total there were four more events held as <i style="mso-bidi-font-style: normal;">Koncert za letnju dugodnevnicu</i>, the
other three being significantly shorter than the initial. Subsequently, these
concerts were collected and released as <i style="mso-bidi-font-style: normal;">Muzika
za letnju dugodnevnicu</i> (CirKo Distribucija-Novi Sad, 1988) a twenty-four
cassette box set in a wooden case, with Nikad Robom in charge of the
distribution.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">In 1989 they make
their only studio appearance in and publish the recordings on a cassette <i style="mso-bidi-font-style: normal;">Faima Vinovo</i> (Nikad Robom-Belgrade,
1990). One of CirKo Della Primavera's most acclaimed performances was in 1988/89
in an art gallery in Belgrade
in the Knez Mihajlova Street;
they were invited on the occasion of an anniversary event of a Serbian
sculpting colony and played an improvised set wholly on terracotta instruments.
CirKo Della Primavera one and only appearance abroad happened in the 1991 edition of <i style="mso-bidi-font-style: normal;">West-East</i>
festival in Győr (Northwest Hungary), which had, soon enough, turned out to be one
of the last performances they had.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">With the onset of
war in former Yugoslavia
in 1991, CirKo Della Primavera – like many of its like-minded Yugoslavian
projects of the time – got simply overran by the political circumstances. In
the new reality setting that was quickly enveloping everyday existence in
Yugoslavia, what they were doing was getting increasingly redundant and soon as
much as three of its members soon left Novi Sad: Stole Janković headed for
London, Ðorđe Delibašić relocated to Amsterdam</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[n_29]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_29]">[note 29]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> and Aleksandar Carić settled down in Italy.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">While in Italy,
Carić embarked upon a creative collaboration with a street theatre troupe '90
Teatro Movimento as musician and actor which drew him closer to buskers’
lifestyle and the career of a street performer. Soon enough, in 1994, Carić
formed his own Tatamata Teatro Company with Serena Galella and went on
performing in various countries around Europe, Asia and South
America. In addition to his performing activities, he organized
several festivals dedicated to open air theatre and street performance like <i style="mso-bidi-font-style: normal;">Coast to Coast festival</i> of Palmi and
Gerace in Calabria.
Since 2001, Aleksandar Carić is the artistic director of Novi Sad’s <i style="mso-bidi-font-style: normal;">Internacionalni Festival Uličnih Svirača</i> (or <i style="mso-bidi-font-style: normal;">IFUS</i>; Serbo-Croatian for “International Street Artists Festival”),
a festival dedicated to the art of street performing that saw its 13<sup>th</sup>
edition in 2013.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Since departing
to Italy,
his involvement in the</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">experimental music field remained sporadic. In 2000, he realized a multimedia
performance with Branislav Petri</span><span lang="EN-GB" style="font-family: Arial;">ć</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">titled <i style="mso-bidi-font-style: normal;">Can you overcome war with Your stereophonic
capabilities?</i>. In 2001, </span><span lang="EN-GB" style="font-family: Arial;">Carić
</span><span style="font-family: Arial; mso-ansi-language: EN-US;">staged its
Italian edition with Amy Denio and Sabina Meyer and subsequently released CD documenting
it </span><span lang="EN-GB" style="font-family: Arial;">– </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Puoi Sconfiggere la Guerra con la tua Capacità Stereofonica?</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> (self-released-Rome, 2001). Throughout
2001/02 he performs w</span><span lang="EN-GB" style="font-family: Arial;">ith StrixAluco,
a project of </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Sabina
Meyer</span> <span style="font-family: Arial; mso-ansi-language: EN-US;">and Daniela
Cattivelli, </span><span lang="EN-GB" style="font-family: Arial;">on various
festivals throughout Europe, including the 2002 editions of Ring Ring and
Interzone, in Belgrade and Novi Sad, respectfully. In 2001, he also</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> records a CD album with
Meyer and Cattivelli titled <i style="mso-bidi-font-style: normal;">AnteNata</i> </span><span lang="EN-GB" style="font-family: Arial;">(Ambiances Magnétiques-Montreal, 2005)</span><span style="font-family: Arial; mso-ansi-language: EN-US;">, a similar-minded project
that represented a continuation of the explorations begun by </span><span lang="EN-GB" style="font-family: Arial;">StrixAluco. In 2003, Carić delivers a memorable
one-off performance </span><span style="font-family: Arial; mso-ansi-language: EN-US;">on a string of promotional concerts for </span><span lang="EN-GB" style="font-family: Arial;">Bojan Đorđević’s</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Srbija: Sounds
Global</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;">
project</span><span lang="EN-GB" style="font-family: Arial;">, where he used the
same Situationist set-up characteristic of his 1980s work with CirKo Della
Primavera: voice, recorder, a </span><span style="font-family: Arial; mso-ansi-language: EN-US;">washbowl and a mattress air pump.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Apart from <i style="mso-bidi-font-style: normal;">Muzika za letnju dugodnevnicu</i>, CirKo Della
Primavera only official release to date is <i style="mso-bidi-font-style: normal;">Faima
Vinovo</i> cassette from 1990 that came out on Nikad Robom as NR 011. The
cassette consists of two structurally and stylistically different segments: the
first corresponds with the opening track on A side <i style="mso-bidi-font-style: normal;">Muzika za ples i probavu</i> (Serbo-Croatian for “Music for dance and
digestion”), which is a sparse ritualistic track, extracted from a live performance
recorded in the hall of the Novi Sad Faculty of Agriculture in April of 1989 and
the second, comprising the remainder of the tape, which is a mishmash recording
of improvised music and free jazz made in Boris Kovač’s Barbaro studio in
Bukovac made during the winter of 1989. On <i style="mso-bidi-font-style: normal;">Faima
Vinovo</i>, CirKo Della Primavera are dubbed as Ansambl za istinitu kućnu
muziku CirKo Della Primavera (Serbo-Croatian for “Ensemble for true house music
CirKo Della Primavera”), while the names of performers appear in pseudonyms, so
we have a line up of Apolon Česterton, Celestin Hulahop, Ištar Aerodinamik, </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Branko Brama and Kaspar
Hauzer in this particular order corresponding to Đ</span><span lang="EN-GB" style="font-family: Arial;">orđe Delibašić, Stole Janković, Aleksandar Carić, Predrag
Pribić and Vladimir Orešković, who was also in charge for the tape artwork.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Last but not
least, side B closes with one of the best Nikad Robom jingles <i style="mso-bidi-font-style: normal;">Nikad Robom (verzija)</i> by Das Kapital, a
Novosadian hometaping duo of </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Božidar Kecman and Boris Jocić from the latter part of the 1980s. </span><span lang="EN-GB" style="font-family: Arial;">The tape was ripped at 320kbs by pop3 from
Svi Marš Na Ples forum in March 2008.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download.php?cvv4a7fmuwx1vta">HERE</a>.</span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<span style="font-family: Arial; font-size: 16pt; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="4.11._nr_012_institut_-_(1992)_minijature"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4.11.">4.11. NR 012: Institut - (1992) Minijature</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbzAFSlZVgzJER-q54NFjnNDiolSXbzAwi_dI_FhxXdPbc84qdeRgIZI6AfkXaOxfSZ8EkOVtIbCTI05zBJSHTIPlDaqmv_T1H3hpk4ILQdDZxx_drQPqdGmfimpVgu2I2OCM_B6ACw7eU/s1600/minijature-mc1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbzAFSlZVgzJER-q54NFjnNDiolSXbzAwi_dI_FhxXdPbc84qdeRgIZI6AfkXaOxfSZ8EkOVtIbCTI05zBJSHTIPlDaqmv_T1H3hpk4ILQdDZxx_drQPqdGmfimpVgu2I2OCM_B6ACw7eU/s400/minijature-mc1.jpg" /></a></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">In
Yugoslavia it wasn’t uncommon for individuals engaged in experimental music to
meticulously create volumes and sometimes entire bodies of work without ever
making any serious effort (or in some cases – even intent) to make their output
available to any sort of public. In fact, there are numerous cases of this practice
and some whole anti-careers were made in this way – especially in the punk
dominated 1980s cassette experimentalist scene – but to wait eighteen years to get a first release published is a sort
of a landmark case even for Yugoslavian standards, which is precisely the case
with Institute from Belgrade.
Institute, on the other hand, could hardly be considered a part of this scene,
since rather than utilizing the technological possibilities that facilitated
the growth of DIY experimentalism, their principal interest remained with live
improvisation and above all the</span><span lang="EN-GB" style="font-family: Arial;"> colour</span><span style="font-family: Arial; mso-ansi-language: EN-US;">, texture and resonance of the percussive timbre. In addition
to this, the fact that the Institute’s whole archive was throughout the years systematically
kept on magnetic reels instead of cassettes makes them a stand-alone phenomenon
in Yugoslav music.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Institute
are traffickers of world music exotica, psychedelic frontiersmen in search for
the perfect head trip, sonic anthropologists suffering from a severe case of
nostalgie de la boue. Over the years Institute has expressed interest in a
palette of different music traditions extending from sub-Saharan polyrhythms
and sparse sonorities of Eastern music traditions to proximal Indo-European
heritage as well as apocryphal paleo-Balkanic archaica. With interest in the
latter, Institute came very close to Boris Kovač and the <i style="mso-bidi-font-style: normal;">Nova Panonska Umetnost</i> </span> <span lang="EN-GB" style="font-family: Arial;">(Serbo-Croatian for “New Pannonian Art”) </span><span style="font-family: Arial; mso-ansi-language: EN-US;">movement at times,
however their fascination with world music remained a constant throughout their
career. With its artistic imaginarium entirely immersed in distant cultures and
with a regular influx of collaborators </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">nationals of various Non-Aligned countries
(Zaire, Nigeria, Guinea-Bissau and Cape Verde among others) who came to study
in the Yugoslavian capital, one is almost tempted to think about Institute in relation
to the thirdworldist tendencies present in Yugoslav popular culture of the 1960s<sup><a href="https://www.blogger.com/null" name="[n_30]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_30]">[note 30]</a></sup>. Still, the truth is that by the time Institute appeared in mid-1970s,
Yugoslav culture policies facilitated and fostered its own variety of
rudimentary Western style pop culture; and not only that Institut stems from this
Yugo pop culture matrix, but paradoxically, their own interest in the Third
World </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">as a band that actually
exists in the Third World </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US;">is entirely westernized as it's rooted in the exhausted</span><span style="font-family: Arial; mso-ansi-language: EN-US;"> imagination of the
capitalist First World.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">There
are two main, mutually complementing creative
currents which remained a fixture during Institute’s almost forty year
existence. The first current, just a few years older, is jazz music. Throughout
the years, jazz has retained its influence on Institute in a variety of forms:
in the 1970s, this was usually the then-popular jazz fusion genre (or sometimes
free jazz) and in the 1990s and 2000s this was mainly ethno jazz with motifs
from a wide range of music traditions. The second major current in Institute’s
oeuvre is DIY improvisation, the presence of which we can trace to the very
beginning of the 1980s. Characteristic for Institute’s music-making
process in regard to this current are
investigations into specific musical materials which usually result in
custom-built instruments or accumulation of purposeful objects which could be
used as found instruments. The recording or performing sessions are regularly
site-specific, often involving field trips.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Institute
was founded in 1974 around a nucleus of Veljko Nikolić alias Papa Nik and Srđan
Aleksić alias Sai Fraparega, two students at Faculty of Architecture in Belgrade. In the
beginning, the group was named Gandharva, after the famous institute of Indian
Classical music – Gandharva Mahavidyalaya (only later it will be established that Gandharva was only a phase of the Institute). Along with the founding duo of Papa Nik (electric
piano, synth, recorder, etc) and Sai Fraparega (drums, percussions, etc), the
line-up eventually solidified around Milan Milićević (bass guitar), Dušan
Gamser (violin) and Vlada Minić (flute). The fledgling band's repertoire mostly
consisted of conventional jazz-rock routines that were popular in the day
contrasted with elements ethnic music as well as free jazz. However, towards
the end of the 1970s the duo will eventually come to an understanding that
their true musical interests in fact lie with what made up most of their intros
and medleys in Gandharva – spontaneous DIY improvisation; improvisation on
pots’n’pans, beer bottles and literally anything they could lay their hands on.
The most imporant recordings of the first Institute phase are <i style="mso-bidi-font-style: normal;">Počeci</i> (Serbo-Croatian for "Beginnings")
and <i style="mso-bidi-font-style: normal;">Veliko putovanje</i> (Serbo-Croatian
for "The great travel"), both unreleased to date<sup><a href="https://www.blogger.com/null" name="70"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[70]">[70]</a></sup>.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">After
a couple of brief stints with projects such as Bridge and Visoka Vegetacija (Serbo-Croatian
for "High Vegetation"), the group morphed into Rabut on the turn of
the 1980s. Rabut, as a formation, came about when Veljko Nikolić and Srđan
Aleksić did a project titled <i style="mso-bidi-font-style: normal;">Grad Rabut
Doline</i> (Serbo-Croatian for "The City of The Rabut Valley") as a
part of their studying course at the faculty of Architecture under the
mentorship of Bogdan Bogdanović, the great mystic of Yugoslavian architecture. <i style="mso-bidi-font-style: normal;">Grad Rabut Doline</i> dealt with the
recreation of a lost civilization with the use of symbolic forms. The basic
media were slides, drawings, photographs and video, however the two expanded
the original idea with the addition of live music, prepared masks, costumes,
etc. The project was originally presented at the 14<sup>th</sup> <i style="mso-bidi-font-style: normal;">BITEF</i> festival at Belgrade’s SKC venue on 17.06.1980. In wider
context of Institute’s evolution, the main innovation of Rabut in regard to the
music making process was that the entire repertoire was delivered on an
assortment of self-made instruments such as rabutfon, zojnica and jaguarovi
brkovi; it was also the first time that the group used traditional Oriental
instruments such as saz, zurna and tabla. All in all, both Rabut and the
project <i style="mso-bidi-font-style: normal;">Grad Rabut Doline</i> were an
important formative experience for Papa Nik and Sai
Fraparega and thus, crucial for establishing Institute’s identity. The main
recording in this period is <i style="mso-bidi-font-style: normal;">Grad Rabut
Doline</i> (unreleased)<sup><a href="https://www.blogger.com/null" name="71"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[71]">[71]</a></sup>.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">From
the mid-1980s onwards, a classical Institute period follows. By this time the
Institute duo’s interests with traditional music (Yoruba music, throat singing,
etc) and especially world music (Fela Kuti, Ravi Shankar, Stomu Yamashta) peak,
resulting with a more commercial jazz fusion sound. The group performed for the
first time as Institute during the inaugural <i style="mso-bidi-font-style: normal;">Druga nova muzika</i> (Serbo-Croatian for "Other new music") festival
at SKC on 02.11.1984 as well as the follow-up mini-event <i style="mso-bidi-font-style: normal;">Druga nova muzika (Ten years after)</i> on 28.12.1984 also at SKC.
Further performances include </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Povratak Džona Fruma</span></i><span lang="EN-GB" style="font-family: Arial;"> (</span><span style="font-family: Arial; mso-ansi-language: EN-US;">Serbo-Croatian for "</span><span lang="EN-GB" style="font-family: Arial;">The Return of John Frum") at SKC in 1986, <i style="mso-bidi-font-style: normal;">Kiva 1</i> and <i style="mso-bidi-font-style: normal;">Kiva 2</i> at the BIP brewery in Skadarlija district in 1986, <i style="mso-bidi-font-style: normal;">Institute-Guinea Bissau</i> and <i style="mso-bidi-font-style: normal;">Sedam Zimskih Pokrivača</i> (</span><span style="font-family: Arial; mso-ansi-language: EN-US;">Serbo-Croatian for "</span><span lang="EN-GB" style="font-family: Arial;">Seven Winter Blankets") at SKC in
1987, <i style="mso-bidi-font-style: normal;">Avangarda XXI Veka</i> at SKC in
1988 and <i style="mso-bidi-font-style: normal;">Pomoć Jermeniji</i> event (</span><span style="font-family: Arial; mso-ansi-language: EN-US;">Serbo-Croatian for "</span><span lang="EN-GB" style="font-family: Arial;">Help to Armenia") at Studentski dom
Karaburma in </span><span style="font-family: Arial; mso-ansi-language: EN-US;">1988.
From this period this period there is also an appearance on <i style="mso-bidi-font-style: normal;">Lična muzika</i>, the first Yugoslav computer music festival from 01.06.-05.06.1987. Papa Nik and Fraparega did a set with two joysticks attached to a computer with percussion software and a little live ducky which was wired to produce digital noises. There are many unreleased recordings from this period, however a recording from the 1986
concert </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Povratak Džona Fruma</span></i><span lang="EN-GB" style="font-family: Arial;"> was recently released on a self-titled CDR
(self-released-Belgrade, 2011)</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="72"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[72]">[72]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Towards
the late 1980s and beginning of the 1990s, Institute enters into its Yap phase which is easily one of the most-accessible
stages in its development. The Institute Yap phase is characterized by frequent
collaboration with a number of African musicians and abundant concert
activities in the Museum of African Art in Belgrade
or the Ethnographic Museum in Belgrade.
During this time, Institute puts out its first releases – the two cassettes <i style="mso-bidi-font-style: normal;">Minijature</i> (Nikad Robom-Belgrade, 1992)
and <i style="mso-bidi-font-style: normal;">K</i></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">utubombo Naturara</span></i><span lang="EN-GB" style="font-family: Arial;"> (L.V.O. Records-Belgrade, 1994) as well
as a CD release <i style="mso-bidi-font-style: normal;">Kompilacija I</i> (self-released-Belgrade,
199?)</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="73"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[73]">[73]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Minijature</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> is a collection of Institute
short live-numbers released as a cassette on Nikad Robom (catalogue nr.</span><span lang="EN-GB" style="font-family: Arial;"> NR 012) </span><span style="font-family: Arial; mso-ansi-language: EN-US;">in December of 1992</span><span lang="EN-GB" style="font-family: Arial;">. The idea for the tape release came earlier that year when Nikad Robom started frequenting Institute’s Friday evening gigs at Muzej afričke umetnosti in Belgrade. Nikad Robom invited Papa Nik of Institute to perform a series of radiophonic miniatures live-on-air on their <i style="mso-bidi-font-style: normal;">Pomen Crvenom Patuljku </i>radio show on Radio B92. Since the show aired every second Sunday in a month and lasted only about an hour, t</span><span lang="EN-GB" style="font-family: Arial;">he sessions </span><span style="font-family: Arial; mso-ansi-language: EN-US;">for the <i style="mso-bidi-font-style: normal;">Minijature</i>
release took over six months to record (09.05-28.11.1992) as Institute could
play only about fifteen minutes in each broadcast. In the process of recording
tracks for <i style="mso-bidi-font-style: normal;">Minijature</i> everything was
an improvisation – from the basic musical setup to the choice of instruments to
personnel involved. The cassette release is accompanied with a booklet
featuring an elaborate tabular scheme displaying all the relevant information
regarding participants of the sessions as well as instruments utilized for
individual tracks. The tape was digitalized to a CDR media by Papa Nik and subsequently ripped at 320kbs by
Hogon in July 2011.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download/b0b684abls27xb5">HERE</a>.</span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 20pt;"><a href="https://www.blogger.com/null" name="v_-_appendixes"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#v">V
– Appendixes</a></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 16pt;"><a href="https://www.blogger.com/null" name="5.1._appendix_nr.1_bada_dada_-_(1998)_csak_a_osbadadadaarchiv"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#5.1.">5.1.
Appendix nr.1: Bada Dada - (1998) Csak a Ősbadadadaarchiv vol.1 84-90</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8WzSPBCjj41V8kLavEVpJAO39AMlY5VVPnWY25hn4FgQHOCRlQ9xNvsSq1PcQui5G5qOylrWrlcnEDuUldo34mXMZEO7NKUIMslPtYRDie2ANEkNjL9TpPzdl5DAYFXY6k0mqZ8WHL7h4/s1600/csak+a+osbadadadaarchiv+84-90-mc8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8WzSPBCjj41V8kLavEVpJAO39AMlY5VVPnWY25hn4FgQHOCRlQ9xNvsSq1PcQui5G5qOylrWrlcnEDuUldo34mXMZEO7NKUIMslPtYRDie2ANEkNjL9TpPzdl5DAYFXY6k0mqZ8WHL7h4/s400/csak+a+osbadadadaarchiv+84-90-mc8.jpg" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Csak a Ősbadadadaarchiv vol.1
84-90</span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> (Bahia
Music-Budapest, 1998) is one of the very few cassette releases documenting the
first, 1980s phase of Tibor Bada's main music vehicle, Bada Dada – a moniker
that covers all of his private DIY audio experiments. Although it was his
default and most prolific project, Bada himself didn't seem to bother too much
to release any of these recordings even in a semi-official form probably due to
the inaccessible nature of the material. The <i style="mso-bidi-font-style: normal;">Csak a Ősbadadadaarchiv vol.1 84-90</i> (Hungarian
for "Only old Bada Dada archive vol.1 84-90") is a collection of Bada's
work encompassing the 1984-1990 period, when he still lived in Novi Sad.</span><span style="font-family: Arial;"> <span lang="EN-GB">Besides</span></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Bada’s bedroom audio
experiments which constitute the bulk of the tracks on the cassette, there are
two live recordings by Doktor Živago Dark Stars, his official band of time,
that were added to the mix – <i style="mso-bidi-font-style: normal;">Megjött a
Vegeta</i> (Hungarian for "Vegeta arrived"<sup><a href="https://www.blogger.com/null" name="[n_31]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[note_31]">[note 31]</a></sup>) and <i style="mso-bidi-font-style: normal;">Budapest</i>. The cassette was published in 1998 on Attila Bognár and
Ernő Mesterházy’s Bahia Music, one of the main alternative music publishers in Hungary during
the 1990s and early 2000s. </span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The
techniques and procedures Bada utilizes on <i style="mso-bidi-font-style: normal;">Csak
a Ősbadadadaarchiv vol.1 84-90</i> are remarkably basic and the song structures
are quite barren, even for sound poetry standards. As he himself implies on the
cover art ("A Viszontagság veteran"), Bada is indeed a well-versed conjurer
of cheap tricks, however none of his Fluxus-type gimmickries serve self</span><span lang="EN-GB" style="font-family: Arial;">-gratificatory</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">purposes or present an end in
themselves, but rather provide a necessary atmosphere for his poetry recitals.
In two of his most stark examples of dark surrealism on the album Bada’s
narration is accompanied by a haunting performance of primitive zither plucking:
<i style="mso-bidi-font-style: normal;">Gyönyörű Vak Lány</i> (Hungarian for
"Beautiful Blind Girl") is a fragment from provincial childhood about
a beautiful blind girl who was, still, deemed lucky in the song as she couldn’t
know how ugly her suitors are and <i style="mso-bidi-font-style: normal;">Szabó
Rozáliát</i> is a Kharmsean account of another unfortunate girl of the same
name who was "<i style="mso-bidi-font-style: normal;">deathfucked</i> by
lightning" on her way home from the fish market.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Zither
is used throughout the cassette and one of its more humorous deliveries are to
be found on <i style="mso-bidi-font-style: normal;">Direktorok</i> (Hungarian for
"The Directors") – which tackles the socialist cult of public company
managers and <i style="mso-bidi-font-style: normal;">I Never Go</i> – which seems
to be a personal story related to Bada. On several of tracks like <i style="mso-bidi-font-style: normal;">Jaj, de Kicsi</i> (Hungarian for "Oh,
how small"), <i style="mso-bidi-font-style: normal;">Tavasz</i> (Hungarian
for "Spring") and <i style="mso-bidi-font-style: normal;">Küzdelem</i>
(Hungarian for "Fight"), Bada plays the guitar by merely picking notes up and down the low E string and in <i style="mso-bidi-font-style: normal;">Apa Kocsit Hajt</i> (Hungarian for
"Dad Drives a Car"), apart from the introduction and coda, Bada plays only two
alternating chords on harmonica. In the beginning of the 1990s, <i style="mso-bidi-font-style: normal;">Apa Kocsit Hajt</i> was re-recorded with Tudósok,
Bada’s band with Béla Máriás, which has become over the years a cult classic in
the Hungarian underground. The only tracks on <i style="mso-bidi-font-style: normal;">Csak a Ősbadadadaarchiv vol.1 84-90</i> where the experiments aren’t
subordinated to the lyrical order are <i style="mso-bidi-font-style: normal;">Ó
Milyen Jó</i> (Hungarian for "Oh, how good"), the only track
featuring synthesizer – a mood number about a strangely beautiful day – and <i style="mso-bidi-font-style: normal;">Antikrisztus</i> (Hungarian for "Antichrist")
where Bada resorts to a proper tomfoolery: he plays a whole Jean-Michel Jarre
piece (<i style="mso-bidi-font-style: normal;">Equinoxe pt.5</i>) and sings his
demented karaoke over it: <i style="mso-bidi-font-style: normal;">Gyere ide Anti,
vár téged a tanti!</i> (Hungarian for "Come over Anti, the auntie wants to
see you"). </span><span lang="EN-GB" style="font-family: Arial;">The tape was
ripped at 128kbs by nychale in April 2010.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download/ia9xnailg0kz7e7">HERE</a>.</span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 16pt;"><a href="https://www.blogger.com/null" name="5.2._appendix_nr.2_igrokaz_u_zmijarniku_-_(1989)_drvored_sumraka"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#5.2.">5.2. Appendix nr.2: Igrokaz u Zmijarniku - (1989) Drvored sumraka</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjScuqjic0iRahwoS46CQkYiVcnw9bmM-6yPQCfPXaAA45_FrwK44OWCVYiEl4vOqVWqF3JbUKX2_tGOJeAdttJx6LFVZ8pzRNRH37jjtbQoL_Miu54rClaVqcMSp7Iu89kZyKrsdi7ym3R/s1600/drvored+sumraka-mc+-+Copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjScuqjic0iRahwoS46CQkYiVcnw9bmM-6yPQCfPXaAA45_FrwK44OWCVYiEl4vOqVWqF3JbUKX2_tGOJeAdttJx6LFVZ8pzRNRH37jjtbQoL_Miu54rClaVqcMSp7Iu89kZyKrsdi7ym3R/s400/drvored+sumraka-mc+-+Copy.jpg" /></a></div>
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<span lang="EN-GB" style="font-family: Arial;">Igrokaz u
Zmijarniku (Serbo-Croatian for "A</span><span style="font-family: Arial; mso-ansi-language: #241A;"> play in the snake-burrow“</span><span lang="EN-GB" style="font-family: Arial;">) is one of the most mysterious formations to arise
in the so called Nikad Robom circle and certainly one of the most inventive
acts in SAP Vojvodina’s 1980s independent music scene. Igrokaz u Zmijarniku was
an attic-bound duo</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: #241A;"> </span><span style="font-family: Arial; mso-ansi-language: #241A;">of two
friends </span><span style="font-family: Arial; mso-ansi-language: EN-US;">– </span><span style="font-family: Arial; mso-ansi-language: #241A;">Siniša Nenadić and Nebojša Raičković,
</span><span lang="EN-GB" style="font-family: Arial;">active in a relatively short
span of approximately two years, from 1987 to 1989. The group </span><span style="font-family: Arial; mso-ansi-language: #241A;">developed their </span><span lang="EN-GB" style="font-family: Arial;">unique DIY </span><span style="font-family: Arial; mso-ansi-language: #241A;">aesthetics</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span style="font-family: Arial; mso-ansi-language: #241A;">in
the relative isolation of their hometown Bačka Topola, a remote place in North-Central
Vojvodina. </span><span lang="EN-GB" style="font-family: Arial;">Although Igrokaz u
Zmijarniku were geographically closer to Subotica,
the duo had, as a matter of fact, much stronger ties to Novi Sad and its music scene due to a few
factors. In the early 1980s, </span><span style="font-family: Arial; mso-ansi-language: #241A;">Nenadić was introduced to the RIO scene in Novi Sad through </span><span lang="EN-GB" style="font-family: Arial;">Bojan Đorđević of Nikad Robom whom he met
</span><span lang="EN-GB" style="font-family: Arial;">after spotting an
advertisement for Đorđević’s hometaping operation in the <i style="mso-bidi-font-style: normal;">Džuboks</i>
music magazine</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="74"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[74]">[74]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. For the duo, Novi Sad
was also a place where all sorts of interesting concerts and festivals occurred
(<i style="mso-bidi-font-style: normal;">Dani džeza</i>, <i style="mso-bidi-font-style: normal;">Muzika danas</i>, etc) as it was a city with a vibrant alternative
music scene. Finally, it was in Novi
Sad (or more precisely Bukovac) where Igrokaz u
Zmijarniku recorded </span><span style="font-family: Arial; mso-ansi-language: #241A;">bulk of the material for <i style="mso-bidi-font-style: normal;">Drvored sumraka</i>
(self-released-Bačka Topola, 1989), their one and only cassette release.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">As a project,
Igrokaz u Zmijarniku was conceived and carried out in its entirety in the </span><span style="font-family: Arial; mso-ansi-language: #241A;">attic of Siniša Nenadić's
house. There were no conventional concerts apart from a two or three of
exclusive performance-sessions arranged for friends only. Correspondingly,
the creative approach was characterized by a set of features
typical of the 1980s era DIY dilettantism such as pristine recording
conditions, an assortment of found and self-built instruments, primitive sampling
techniques and the use of synthesizers, as well as a leisurely attitude towards
the music-making process. The main idea behind Igrokaz u Zmijarniku was to
produce songs that have a more or less apparent pop structure with a DIY cassette
experimentalist ethos. The concept revolved around a metal frame of children</span><span style="font-family: Arial; mso-ansi-language: #241A;">'s bed attached
to which were various </span><span lang="EN-GB" style="font-family: Arial;">bits and pieces taken from the local military scrapyard (tanks,
tin chunks, different metallic objects, etc). The distinctively cold sound of
Igrokaz u Zmijarniku derives from an arsenal of percussive metallophone and
idiophone instruments used on its recordings such as xylophone, glockenspiel,
triangles and bells, in addition to a synthesizer and a bass guitar</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="75"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[75]">[75]</a></span></sup><span style="font-family: Arial; mso-ansi-language: #241A;">.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The only Igrokaz
u Zmijarniku release, <i style="mso-bidi-font-style: normal;">Drvored sumraka</i>
(Serbo-Croatian for "Tree-row of twilights") was published in 1989 as
a self-released cassette. The majority of cassette tracks were hand-picked from
a two recording sessions at </span><span style="font-family: Arial; mso-ansi-language: #241A;">Boris Kovač</span><span style="font-family: Arial; mso-ansi-language: EN-US;">’s
Barbaro studio in Bukovac </span><span lang="EN-GB" style="font-family: Arial;">in
December of 1988 and March of 1989, respectfully. Making the sessions work for
Igrokaz u Zmijarniku </span><span style="font-family: Arial; mso-ansi-language: #241A;">anecdotaly involved the feat of moving the beds construction from Bačka
Topola to Bukovac, much to their producer's amazement. </span><span lang="EN-GB" style="font-family: Arial;">On the other hand </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: #241A;">Peščana ljubav</span></i><span style="font-family: Arial; mso-ansi-language: #241A;"> (</span><span lang="EN-GB" style="font-family: Arial;">Serbo-Croatian for "Sandy love"),</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: #241A;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: #241A;">Napuštena stvarnost</span></i><span style="font-family: Arial; mso-ansi-language: #241A;"> (</span><span lang="EN-GB" style="font-family: Arial;">Serbo-Croatian for "Abandoned reality") </span><span style="font-family: Arial; mso-ansi-language: #241A;">and <i style="mso-bidi-font-style: normal;">Stari grad</i> (</span><span lang="EN-GB" style="font-family: Arial;">Serbo-Croatian
for "Old town") </span><span style="font-family: Arial; mso-ansi-language: #241A;">were recorded live at the attic in Bačka Topola. The regular Igrokaz u
Zmijarniku line-up of Siniša Nenadić (percussion, vocals, recorder on <i style="mso-bidi-font-style: normal;">Napuštena stvarnost</i>) and Nebojša Raičković
(bass guitar, vocals, lead guitar on <i style="mso-bidi-font-style: normal;">Kristalni
krst</i> and <i style="mso-bidi-font-style: normal;">Vodena šuma</i>) was aided
by Tijana (synthesizer) and Sanja (metallophone on <i style="mso-bidi-font-style: normal;">Peščana ljubav</i>) for this release. Featured on the front cover of <i style="mso-bidi-font-style: normal;">Drvored sumraka</i> is </span><span lang="EN-GB" style="font-family: Arial;">s</span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">tylized</span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman";"> drawing of Igrokaz’s infamous bed metal frame. </span><span lang="EN-GB" style="font-family: Arial;">The tape was ripped at 320kbs by
Alter-Malter blog in December 2010.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download/sataa086j1nprq9">HERE</a>.</span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 16pt;"><a href="https://www.blogger.com/null" name="5.3._appendix_nr.3_d'pravda_-_(1982)_demo"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#5.3.">5.3. Appendix nr.3: D’Pravda - (1982) Radio Študent demo</a></span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The 1982 Radio Študent demo is the only studio work D’Pravda produced
and, in all likelihood, the only recording of D’Pravda there is. The
eleven-song recording was produced on 14.07.1982, towards the end of their
year-long existence with a following line-up: Iztok Saksida (guitar, also vocals
on <i style="mso-bidi-font-style: normal;">Tata</i>, <i style="mso-bidi-font-style: normal;">Život nije san</i>, <i style="mso-bidi-font-style: normal;">Dakle draga</i>,
<i style="mso-bidi-font-style: normal;">Želja [vokalno]</i> and <i style="mso-bidi-font-style: normal;">Untitled [Viktor]</i>), Samo Ljubešić
(double bass, also guitar on <i style="mso-bidi-font-style: normal;">Život nije san</i>
as well as vocals on <i style="mso-bidi-font-style: normal;">Socijalizam</i> and <i style="mso-bidi-font-style: normal;">Majko bajko</i>), Mitja Veronek (trombone,
also harmonium on <i style="mso-bidi-font-style: normal;">Eto već je sve poprskano</i>
and <i style="mso-bidi-font-style: normal;">Untitled [Viktor]</i>), Žiga Saksida
(saxophone), Matjaž Rožič (saxophone), Matija Pribošič (clarinet), Zorko Škvor (drums)
and Jaša Kramaršič (vocals). When not wholly or partially improvised on the
spot, the lyrics were written by Iztok Saksida and were predominantly on
Serbo-Croatian with a couple of songs on Slovenian.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">The Radio Študent demo justifies D’Pravda’s daunting reputation as
notoriously lousy musicians and self-styled socialist realist punks of the
Ljubljana RIO scene. Although some of the tracks are actually very elaborate in
structure (most notably the prog-oriented <i style="mso-bidi-font-style: normal;">Stražar
in država</i> and <i style="mso-bidi-font-style: normal;">Život nije san</i>),
the Radio Študent demo is fairly under-produced and D’Pravda’s performance is
rather sloppy throughout the recording – thus keeping consistency with their
punk philosophy and primary function as an idea-conveying vehicle. Since
D’Pravda was first and foremost a live act, not particularly keen about studio
work – the Radio Študent demo with its rehearsal-like traits such as disjointed harmonics, off-key vocals
and occasional outbursts of buffoonery, fares pretty well in approximating the immediatism
and the rambunctious charm of their live shows. This accounts for tracks like <i style="mso-bidi-font-style: normal;">Dakle draga</i> – a post-punk track which
seems to be a take on Azra’s rock poetics and <i style="mso-bidi-font-style: normal;">Eto već je sve poprskano</i> – an another parody of popular rock
standards of the time. However, two particularly glaring examples of this
drunken licentiousness that plagues the Radio Študent demo are <i style="mso-bidi-font-style: normal;">Socijalizam</i> and <i style="mso-bidi-font-style: normal;">Majko bajko</i>.</span></div>
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<span style="font-family: Arial; mso-ansi-language: EN-US;">Here are the lyrics for <i style="mso-bidi-font-style: normal;">Socijalizam</i>:</span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US;">Bit ću kratak. Socijalizam,
Socijalizam, Socijalizam. </span></i><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;">Socijalizam,
ti si večan. Socijalizam ti si majka naroda. Socijalizam, moraš biti voljen. Socijalizam,
ti si vođa našeg puta. Ti si zvezda, Socijalizam. Ti si, Socijalizam, sve. Socijalizam,
ti si aura Božija. Ti si od ovog i od onog sveta. Nijednog nema boljeg od tebe.
Socijalizam, ti si gutač radnika, ratnika, patnika, putnika. Ti voliš da jedeš
dobru svetinu. Da, gurmane si, Socijalizam. Ti si klasa, Socijalizam. Tako si
lep, lepši od prirode, lepši od napretka, lepši od snova. Socijalizam, bolji od
samoga sebe. Socijalizam, prijatelj svih koji umiru. Ali Socijalizam, samo
nešto, samo nešto, samo jedan mali, upravo sićušni prigovor. Kako si mogao, kako
si mogao da zaboraviš, kako si mogao da zaboraviš urnebesni kliker ? Kako si
mogao da zaboraviš nogu svoju nogu, nogu, nogu ? Gde ćeš da staneš ? Neoprostivo
! Nečuveno ! Kako si mogao da zaboraviš ?</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;">Socijalizam, ti
si sve što se očekuje. Ti si sve što treba i najmilijem robu i najomrznutijem
kućevlasniku. Socijalizam, ti si rajska livada, ti si drvo saznanja.
Socijalizam, ti si dika našeg bića. Ti si budućnost, ti si sadašnjica puna
volje za boljim životom. Divota, divota. Ti si uspeh, ti si sreća – sada i ovde.
Socijalizam, voljeni drug – velika
matica čovečanstva. Ti si sjajna ljubavnica punačkog tela i jantarnih grudi.
Čvrstog hoda. Ti voliš da ti se mazi. Voliš da maziš ! Ti, maza svojih
podanika. Socijalizam, ti si voljeni otvor. Ti si sve što treba, ti si sve što
čovek želi kada je na umoru. Ti si sve što čovek želi kada nije na umoru.
Socijalizam, Socijalizam, tvoja krasna stražnjica. Da, krasna, opasna, jestiva,
slatka i miriše na čokoladu, kao ustalom i sve grane tvoje privrede. I tad kada
se ne zna, Socijalizam, plačeš li ili se smiješ za svoje podanike kada traže da
se utope u tebi ? Socijalizam, ti koji ne voliš lagati. Nečuveni poredak. Sav
istina bez ostatka. Ti si sve što treba i najcrnjem stvoru na kugli zemaljskoj.</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;">I tako zaista
ne mogu shvatit, zaista ne mogu shvatit, Socijalizam plavog oka, zelenog oka i
punačkih ustiju i nežnih ruku. A šta će se tek reći o tvom glasu ? Vitak si kao
turska vojska, Napoleonova šaka i Staljinove orgulje. Razigrane kose, crne
kose, smeđe kose. I zaista ne mogu da shvatim ? Kako si mogao da zaboraviš ?
Kako si mogao da zaboraviš urnebesni kliker ? Kako si mogao da zaboraviš sićušnu
nogu svoju ? Nogu na koju ipak možeš da staneš kad zatreba ? Kako si zaboravio
svoj kraj, kraj svoj, kraj tvoj, urnebesni kliker i tvoje propasti, napasti,
sablasti ? Kako si zaboravio ? Kako si se utapao, pao, pao, pao, zreo, veo, beo,
beo... Ali ipak, ali ipak ! Ostani mi zdrav, sretan i voljen. Socijalizam, Socijalizam,
sudbino tvoja.</span></i></div>
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<span lang="EN-GB" style="font-family: Arial;">The tape was
ripped at 256kbs by a sound engineer from Radio Študent in March 2012 and
subsequently ended up on Svi Marš Na Ples forum.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download/2aaylq5wmw32k61">HERE</a>.</span></div>
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<span lang="ES-TRAD" style="font-family: Arial; font-size: 16pt; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="5.4._appendix_nr.4_srp_-_(2002)_zadnja_vecerja"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#5.4.">5.4. Appendix nr.4: Srp - (2002) Zadnja Večerja</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyc5ebaD3YuLOvPuw27-_PBS7qIOFMSbyXWQCQzjB7dCgJjqdsN8qrF8C7M6y4ir0Pqyi6bZ1XfTLZv4s1lnwyJ2SlFtYgpSXlI3_OYPeb6WmvrPEm-0YxVcxTC-D2MhJhtun0K2dC6b_l/s1600/zadnja+ve%C4%8Derja-the+last+supper-cd1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyc5ebaD3YuLOvPuw27-_PBS7qIOFMSbyXWQCQzjB7dCgJjqdsN8qrF8C7M6y4ir0Pqyi6bZ1XfTLZv4s1lnwyJ2SlFtYgpSXlI3_OYPeb6WmvrPEm-0YxVcxTC-D2MhJhtun0K2dC6b_l/s400/zadnja+ve%C4%8Derja-the+last+supper-cd1.JPG" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Zadnja Večerja</span></i><span lang="EN-GB" style="font-family: Arial;"> (Arhefon-Ljubljana, 2002) is
a multimedia CD collection of Srp’s archival material that includes both the
unreleased recordings mostly from the band’s pre-LP era (1981-1982) as well as
the surviving video documentation from the same period. <i style="mso-bidi-font-style: normal;">Zadnja Večerja</i> (Slovenian for “The Last Supper”) was published in
2002 as an enhanced CD by Arhefon – a joint project of Društvo za raziskovanje
popularne glasbe (Slovenian for “The Society for the study of popular music”) and
Nika Records – with an assigned catalogue nr. Arhefon 02. Accompanying the
release is an extensive twenty three page booklet with a plethora of
information about Srp both on Slovenian and English. Featured on the front
cover is a still from Srp’s 1984 video Svuda <i style="mso-bidi-font-style: normal;">ljudi, svuda zastave</i> (Slovenian for “People everywhere, flags
everywhere”) directed by </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Jan Zakonjšek. </span><span lang="EN-GB" style="font-family: Arial;">The personnel featured on <i style="mso-bidi-font-style: normal;">Zadnja Večerja</i> are a regular Srp line-up
of </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Matjaž
Sekne (viola), Primož Simončič (saxophone), Gojmir Lešnjak (bassoon, vocals)
and Tadej Pogačar (double bass).</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<span lang="EN-GB" style="font-family: Arial;">The
audio part of <i style="mso-bidi-font-style: normal;">Zadnja Večerja</i> contains
original versions and alternative takes of the songs that were selected for
Srp’s 1984 LP like <i style="mso-bidi-font-style: normal;">Blues</i>, <i style="mso-bidi-font-style: normal;">Drugovi Omladinci, Zdravo!</i>, <i style="mso-bidi-font-style: normal;">Zadnja Večerja</i>, <i style="mso-bidi-font-style: normal;">Kritična</i> as well as a couple of songs that weren’t considered for
the LP release such as <i style="mso-bidi-font-style: normal;">Narodna</i>, <i style="mso-bidi-font-style: normal;">Vsem Mojim Prijateljem</i>, <i style="mso-bidi-font-style: normal;">ECM-Dva Prašiča Iz Verone</i>, <i style="mso-bidi-font-style: normal;">Tango</i> and <i style="mso-bidi-font-style: normal;">Omladinci</i>. The song <i style="mso-bidi-font-style: normal;">Maturantski
Izlet</i>, on the other hand, is the same version of the track that appeared on
the LP. For the major part, the recordings derive from two sessions – at Radio </span><span style="font-family: Arial; mso-ansi-language: #241A;">Š</span><span lang="EN-GB" style="font-family: Arial;">tudent</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">14.06.-15.06.1981
sessions and the Metro studio session from 06.07.1982. As </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Maturantski Izlet</span></i><span lang="EN-GB" style="font-family: Arial;"> was recorded on the sessions for the LP, the only live
track on the CD is <i style="mso-bidi-font-style: normal;">Omladinci</i>, which
was recorded on 22.04.1981 on the Philosophical Faculty of Ljubljana. The video
part features three music videos for <i style="mso-bidi-font-style: normal;">Opera-Zadnja
Večerja</i>, <i style="mso-bidi-font-style: normal;">Zadnja Večerja</i> and <i style="mso-bidi-font-style: normal;">Svuda Ljudi, Svuda Zastave</i>.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">The CD
was ripped at variable bitrate by Za Ljudi! blog in April 2009.</span></div>
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<span lang="EN-GB" style="font-family: Arial;">Download it – <a href="http://www.mediafire.com/download/82lwzt370wafxdb">HERE</a>.</span></div>
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<span lang="EN-GB" style="font-family: Arial; font-size: 20pt;"><a href="https://www.blogger.com/null" name="vi_-_notes_and_references"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#vi">VI
– Notes and references</a></span></div>
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<span lang="ES-TRAD" style="font-family: Arial; font-size: 16pt; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="6.1._notes"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#6.1.">6.1. Notes</a></span></div>
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<sup><span lang="SV" style="font-family: Arial; mso-ansi-language: SV;"><a href="https://www.blogger.com/null" name="[note_1]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_1]">[note 1]</a></span></sup><span lang="SV" style="font-family: Arial; mso-ansi-language: SV;"> - <span style="mso-bidi-font-weight: bold;">^ The New Music term as a genre designation originates from the <i style="mso-bidi-font-style: normal;">New Music, New York </i>conference and festival held at The Kitchen in New York in the 08.06.-16.08.1979 period. During the 1970s, the term New Music was used somewhat simultaneously with the Downtown scene term to mark out the specific melange of Fluxus-infused, minimalist and
other non-Darmstadt types of music that were proliferating there. However, after the <i style="mso-bidi-font-style: normal;">New Music, New York</i> conference this meaning had been gradually lost and the term had evolved into a
synonym for contemporary classical music.</span></span></div>
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<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_2]">
</a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_2]">[note 2]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ H</span></span><span lang="EN-GB" style="font-family: Arial;">ometaping in the original meaning of term
</span><span lang="EN-GB" style="font-family: Arial;">–
indicating an unauthorized production and distribution of copyrighted material.
Nikad Robom was one of the several well-known hometaping hubs for Western
alternative music in the former Yugoslavia.
These were a necessity in the Eastern Block considering the slow pace at which
cultural information arrived from the West and label owners would often take up
such enterprises. One of the earliest and most prominent of these hometaping
hubs by scale as well by scope was that of a Zagreb-based journalist Damir
Tiljak. Tiljak turned his personal plight into an occasional source of income
(and, by chance, into a nation-wide alternative music enlightenment mission) by
spending the settlement money he got from an automobile accident to supply
himself with a state-of-the art gramophone and tape recorder along with a
couple of thousand LPs. Another important hometaping hub was operated by the
Mario Marzidov</span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;">š</span><span lang="EN-GB" style="font-family: Arial;">ek for Krautrock, punk as well as various sorts of experimental
music. </span></div>
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<span lang="EN-GB" style="font-family: Arial;">Nikad
Robom’s hometaping activities were suspended at one point in 1996, after their “five year plan” that concerned keeping their prices unchanged for a
period of five years; they kept up with the plan even through the
hyperinflation of 1993 when the postage ended up being more expensive than
ordering 20 tapes from them.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_3]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_3]">[note 3]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ This number includes </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Izgon
bojazni iz komune</span></i><span lang="EN-GB" style="font-family: Arial;"> split
tape which is actually only partially recorded live in Yugoslavia
(namely, the B side with Elliott Sharp). The A side,
on the other hand, features This Heat home recordings.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_4]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_4]">[note 4]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Jodlovska Urška</i> was published with the approval from Begnagrad</span><sup><a href="https://www.blogger.com/null" name="76"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[76]">[76]</a></sup>,</span><span style="mso-bidi-font-weight: bold;"> <i style="mso-bidi-font-style: normal;">Faima Vinovo</i> features cover art made by Oreško, a Cirko Della Primavera member, so it was most likely approved, while <i style="mso-bidi-font-style: normal;">Minijature</i> (NR 012) were commisioned by Nikad Robom.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_5]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_5]">[note 5]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span>Vojin
‘Chubby’ Kovač famously penned a 1968 pamphlet titled <i style="mso-bidi-font-style: normal;">Manifest kulturne revolucije</i> calling for the rise of the oppressed
lumpenproletariat, while Ivan ‘Feo‘ Volarič authored a haiku rock poetry
collection <i style="mso-bidi-font-style: normal;">Desperado Tonic Water</i> and
was a frequent collaborator of Buldožer and other Slovenian rock bands of the
time. Since the OHO group was somewhat of an all-encompassing platform for
contemporary art forms in 1960s Ljubljana
both Chubby and Feo were among its ranks. However, their inclination towards low
culture had clearly set them apart from the reist (Kranj) nucleus of the OHO
group. </span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_6]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_6]">[note 6]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ The
Slovenian branch of <i style="mso-bidi-font-style: normal;">Savez Socijalističke</i></span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> Omladine Jugoslavije</span></i><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">
(or SSOJ; Serbo-Croatian for “League of Socialist Youth of Yugoslavia”), the
official youth wing of the <i style="mso-bidi-font-style: normal;">Savez
komunista Jugoslavije</i> (Serbo-Croatian for “League of Communists of
Yugoslavia”).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_7]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_7]">[note 7]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ As for instance</span> </span><span lang="EN-GB" style="font-family: Arial;">–</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span lang="EN-GB" style="font-family: Arial;">Etron Fou Leloublan, Guigou Chenevier, Ferdinand & Les Philosophes,
Hellebore (France), The Work, Fred Frith, Skeleton Crew, Camberwell Now (UK),
Gruppo Folk Internazionale, Havadia (Italy), Wondeur Brass (Canada), Cassiber (West
Germany), Debile Menthol (Switzerland), Present (Belgium), 5 UU´s (USA)</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="77"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[77]">[77]</a><a href="https://www.blogger.com/null" name="78"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[78]">[78]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">. </span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_8]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_8]">[note 8]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ The Rio inn was named after the city
in Brazil and, apart from hosting its namesake festival, had nothing to do with the <span style="mso-bidi-font-weight: bold;">Rock in
Opposition movement</span>.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_9]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_9]">[note 9]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ This
honour in fact belogs to the eigth edition of the <i style="mso-bidi-font-style: normal;">Pražské jazzové dny</i> (Czech for “Prague jazz days”) festival in 1979
which billed Art Bears as well as Fred Frith and Chris Cutler for an improvised
set. In context of the inaugural edition of Ljubljana RIO festival as the first
RIO festival in Eastern Europe, it is intersting to mention that the tenth
edition of <i style="mso-bidi-font-style: normal;">Pražské jazzové dny</i> </span></span><span lang="EN-GB" style="font-family: Arial;">– originally </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">scheduled for the second half of May of 1980 </span><span lang="EN-GB" style="font-family: Arial;">– </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">was supposed to be solely
dedicated to the RIO movement with performances by Art Bears, Art Zoyd, This
Heat and Etron Fou Leloublan. </span><span lang="EN-GB" style="font-family: Arial;">Since
it was planned a whole month before the Ljubljana RIO festival – which was to
take place second half of June of 1980 – it would hypothetically</span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> predate its Ljubljana counterpart as the first of its kind in Eastern
Europe, if it had actually happened. The tenth edition of festival, however, didn’t
take place due to the Party’s tacit opposition to the event; the culture
officials in Prague
had set up an unsurmountable bureaucratic obstacle before the organizers by
stalling the concert registration process, in this way preventing them to
obtain the necessary permits on time</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="79"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[79]">[79]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_10]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_10]">[note 10]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ In fact,
four acts were headli</span></span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">ning the second Ljubljana RIO festival, but
only the mentioned three (Begnagrad, Srp, D’Pravda) were relevant in the RIO context. The fourth headliner was </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Istranova from
Izola in the Slovenian Istria, who were inclined towards folk music within a more
general singer-songwriter paradigm.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_11]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_11]">[note 11]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Which is
understandable considering the fact that all three bands were active in some
form prior to the RIO movement’s worldwide onset in March of 1978 </span></span><span lang="EN-GB" style="font-family: Arial;">– Begnagrad in 1975, Srp in
1977 (as Odpad) and D’Pravda in 1975 (as </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Ljubljanska železniška postaja).</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_12]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_12]">[note 12]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Although
not an immediate association with the Rock in Opposition, the performing arts –
and theatre in particular</span></span><span style="color: red; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">– had a fairly significant influence upon the RIO
musicians. Since RIO was a movement which placed a strong emphasis on
virtuosity and musical artisanship, theatre – as an exemplification of true
performativism – captivated the creative imagination of many RIO
and post-RIO bands. Some of the projects like Red Balune or Circus Janus were concieved
as mixed media exploits which, in conceptual terms, had stood somewhere half-way
between performing arts and music practice. Chris Cutler acknowledges group’s theatre
experience as playing a vital role in creative consolidation of early Henry Cow</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="80"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[80]">[80]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">.</span><span style="color: red; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_13]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_13]">[note 13]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><span lang="EN-GB" style="font-family: Arial;">In fact not transformed, but rather split
into two factions </span><span lang="EN-GB" style="font-family: Arial;">– one with Neven Korda, Zemira Alajbegović, Samo Ljubešič,
Marina Gržinić which became </span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">FV 112/15</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="81"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[81]">[81]</a></span></sup><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> </span><span lang="EN-GB" style="font-family: Arial;">– and the other
with Marina Gržinić and Dušan Mandič which became Lenjinove sanje o kokosih
(Slovenian for “Lenin’s dreams of coconuts”) with the addition of Aina Šmid</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="82"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[82]">[82]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span><span lang="EN-GB" style="color: red; font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_14]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_14]">[note 14]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ The essay was prepared for the occasion of
the 2012 <i style="mso-bidi-font-style: normal;">Istanbul-Isfahan</i>
retrospective exhibition of Dušan ‘Hup’ Pirih’s work in MGLC gallery (Ljubljana)</span><sup> <a href="https://www.blogger.com/null" name="83"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[83]">[83]</a></sup></span><span lang="EN-GB" style="font-family: Arial;">.</span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_15]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_15]">[note 15]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Hidrogizma
was realized several times from 1979 to 1980. Its’ premier presentation was at
the Galerija Emonska vrata of the Architectural museum in Ljubljana in 1978, followed
by several others also in Ljubljana </span></span><span lang="EN-GB" style="font-family: Arial;">– one </span><span style="font-family: Arial; mso-ansi-language: EN-US;">among them in ŠKUC Gallery in 1979 </span><span lang="EN-GB" style="font-family: Arial;">– after which the final tw</span><span style="font-family: Arial; mso-ansi-language: EN-US;">o incarnations
were installed in SR Croatia in 1980; the first at SKC Zagreb and the second at
Rozarij church in Dubrovnik on the occasion of Dubrovački dani mladog teatra (Serbo-Croatian
for “Dubrovnik youth theatre days”). On its 25<sup>th</sup> anniversary in
2004, Hidrogizma was erected once again in Moderna galerija Ljubljana on the occasion of <i style="mso-bidi-font-style: normal;">Sedem grehov</i> (Slovenian for “Seven Sins”)
exhibition</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="84"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[84]">[84]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;">.</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></sup></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_16]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_16]">[note 16]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ The first version is according to Zoran Pantelić of Testa di Shakespeare and Pre i posle tišine fame<a href="https://www.blogger.com/null" name="85"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[85]">[85]</a> and the second is according to a Other Novi Sad scenster. The Black Sheep went from Ljubljana to Belgrade only to replace Pankrti on the all-Slovenian alternative music mini-festival <i style="mso-bidi-font-style: normal;">Desant na Beograd</i> and this is where Đorđe Delibašić most likely spotted them and invited them to prolong their Yugoslav tour to Novi Sad.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_17]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_17]">[note 17]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^</span></span><span style="font-family: Arial;">
</span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">The Vojvodina branch of <i style="mso-bidi-font-style: normal;">Savez
Socijalističke Omladine Jugoslavije</i> (or SSOJ; Serbo-Croatian for “League of
Socialist Youth of Yugoslavia”), the official youth wing of the <i style="mso-bidi-font-style: normal;">Savez komunista Jugoslavije</i>
(Serbo-Croatian for “League of Communists of Yugoslavia”).</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_18]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_18]">[note 18]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><span style="font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-weight: bold;">Boris Kovač even released a book called <i style="mso-bidi-font-style: normal;">Novi Ritual</i> (SKC Niš, 1989), a poetic-perspectivist treatise in
which he commented on the resurgence of ritual music in contemporary context
and outlined the main philosophical principles behind his Ritual Nova project</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="86"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[86]">[86]</a></span></sup><span style="font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-weight: bold;">.</span><sup><span style="color: red; font-family: Arial; mso-ansi-language: EN-US;"></span></sup></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_19]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_19]">[note 19]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^</span></span><span style="font-family: Arial;">
<span lang="EN-GB">Ernő Király was originaly from Subotica, but lived in Novi Sad since the 1950s.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_20]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_20]">[note 20]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^</span></span><span style="font-family: Arial;">
<span lang="EN-GB">For a while, </span></span><span style="font-family: Arial; mso-ansi-language: EN-US;">Đorđe Delibašić</span><span style="font-family: Arial;">
<span lang="EN-GB">ran a short-lived Recommended Records distribution in Novi Sad
which he established with the help of Nikad Robom,
but it went quickly bankrupt</span></span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="87"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[87]">[87]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_21]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_21]">[note 21]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ S</span></span><span lang="EN-GB" style="font-family: Arial;">etting up a gig of Jackie Jackie Jackson,
a painting exhibition of </span><span lang="EN-GB" style="font-family: Arial;">Stole
Janković, projecting films of Aleksandar Carić, etc. </span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_22]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_22]">[note 22]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ As Stevan
Kovacs Tickmayer recalled in an interview, the local Party cell almost banned the
entire manifestation under allegations that its original title </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Istočno-evropska Iskustva</span></i><span lang="EN-GB" style="font-family: Arial;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">was supposed to secretly
evoke the spirit of the Warsaw Pact</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="88"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[88]">[88]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">. </span></div>
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<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_23]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_23]">[note 23]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ The event
</span></span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">was called <i style="mso-bidi-font-style: normal;">Jogurt
revolucija</i> since at one point the protesters started throwing packeges of
yoghurt at the building of the province authorities.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_24]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_24]">[note 24]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^The Arena (or Wiener Arena) is a venue located in the Landstrasse
district of Vienna and one of the oldest alternative culture centres in the
Austrian capital. Branko ‘Andrla’ Andrić’s activities in Vienna are mostly connected to Arena, since
he was one of its founders and original occupiers (the
space was an abandoned slaughterhouse)</span></span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="89"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[89]">[89]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
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<sup><span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_25]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_25]">[note 25]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^
The hapless Ove Sezone Vedri Tonovi hastily sent a badly recorded cassette
for participating in third <i style="mso-bidi-font-style: normal;">YURM</i>
festival in 1983 which led to a ludicrous smear campaign conducted by <i style="mso-bidi-font-style: normal;">Polet</i> journalist
Boro Kokan. Kokan questioned the authenticity of the recordings they sent and had
repeatedly accused the band for plagiarism. Furthermore, Ove Sezone Vedri
Tonovi entangled themselves in an informal boycott on playing in Novi Sad due to a row they
had got into with a half of local New wave scene</span></span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="90"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[90]">[90]</a></span></sup><span lang="EN-GB" style="font-family: Arial;">.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_26]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_26]">[note 26]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^</span></span><span style="font-family: Arial;">
<span lang="EN-GB">Telep sessions was the name given to a series of weekly jams held
at the KUD Petefi Šandor venue in Telep, a Hungarian neighbourhood in Novi Sad.
The Telep sessions ran for a few years in the mid-1980s and served as an
important platform for exchange of ideas among various Novosadian musicians as
well as a section of the Other Novi Sad clique.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_27]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_27]">[note 27]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><span lang="EN-GB" style="font-family: Arial;">Katolička porta (Serbo-Croatian for “Catholic
churchyard”) refers to the churchyard of the Crkva Imena Marijinog, a regular
venue in Novi Sad
for public concerts since the late 1970s to the present day.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_28]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_28]">[note 28]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><span lang="EN-GB" style="font-family: Arial;">There is an interesting
account by a visitor who didn’t like the concert too much about how at one
point a gypsy musician (who – according to this visitor – “actually knew to play
music, unlike CirKo Della Primavera”) joined in the jam session and practically stole the show for CirKo with his virtuoso display, so they had to send him away after a while.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[note_29]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_29]">[note 29]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><span lang="EN-GB" style="font-family: Arial;">During the war in Yugoslavia, Amsterdam as well as
the Netherlands in general, were a frequent emigration choice for a number of
SFRY alternatives as for instance SeXa, Mario Marzidovšek, Dejan Vlaisavljević
Nikt, Petar Milić and many others. In a way, it became a temporary continuation
of the Yugoslav cultural space</span></div>
<div class="MsoNormal">
<sup><span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_30]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_30]">[note 30]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><span style="font-family: Arial; mso-ansi-language: EN-US;">After the Tito-Stalin split in 1948, the communist Yugoslavia found itself
in a state of political limbo as the newly founded country went separate ways
with its Warsaw pact allies. For Tito’s culture-commisars, this meant
disassociation with the cultural models of the Soviet
Union and its satellites, namely – Socialist Realism in the arts
and Soviet films and music in popular culture. Throughout the late 1940s and
1950s, Yugoslav foreign policy makers went on a series of frantic diplomatical
missions to a number of Third World countries in quest for strategic
partnerships and the culture officials followed suit in finding adequate
rolemodels that the rogue Eastern bloc country could emulate. In popular music
of the time, this was reflected in the efforts to familiarize the Yugoslavian
public with </span><span lang="EN-GB" style="font-family: Arial;">music
of </span><span lang="EN-GB" style="font-family: Arial;">the faraway, Third World
countries like Mexico
(corrido and son), Cuba (cha
cha cha and rumba), Brazil
(samba) and even Hawaii
(hula). </span><span style="font-family: Arial; mso-ansi-language: EN-US;">One
particularly glaring legacy of this period is the Yugoslav people’s </span><span lang="EN-GB" style="font-family: Arial;">infatuation with Mexican music, which
resulted in a phenomenon known as the</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">Yu-Mex music, where a number of Yugoslavian musicians
tried to imitate Mexican performers of corrido and son.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; mso-ansi-language: EN-US;">The geopolitical adventure of Yugoslav foreign policy reaped its
greatest success at the 1961 Belgrade
conference where the Non-Aligned movement was officially declared. In the
following years and decades, Yugoslavia
developed substantial relations with a number of countries of the Third World
and became an important education hub for the Third World.
However, as for the Yugoslav cultural policy, by the beginning of the 1960s,
the </span><span lang="EN-GB" style="font-family: Arial;">thirdworldist
agenda had already given way to a rudimentary Western-style pop culture.</span></div>
<div class="MsoNormal">
<sup><span lang="EN-GB" style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_31]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#[n_31]">[note 31]</a></span></sup><span lang="EN-GB" style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^
Vegeta is a popular Yugoslav condiment, a mixture of spices and various vegetables
most frequently used as a soup base.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="ES-TRAD" style="font-family: Arial; font-size: 16pt; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="6.2._references"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#6.2.">6.2. References</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<sup><span lang="SV" style="font-family: Arial; mso-ansi-language: SV;"><a href="https://www.blogger.com/null" name="[1]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#1">[1]</a></span></sup><span lang="SV" style="font-family: Arial; mso-ansi-language: SV;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;"><a href="http://www.plotki.net/projects/changes-from-below/drums-of-darkwood/">Drums
of Darkwood</a></i>, Vera Šćepanović article in <i style="mso-bidi-font-style: normal;">Plotki</i>, 21.11.2008.</span></div>
<div class="MsoNormal">
<sup><span lang="SV" style="font-family: Arial; mso-ansi-language: SV;"><a href="https://www.blogger.com/null" name="[2]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#2">[2]</a></span></sup><span lang="SV" style="font-family: Arial; mso-ansi-language: SV;"> - <span style="mso-bidi-font-weight: bold;">^</span> <i style="mso-bidi-font-style: normal;"><a href="http://arhiva.glas-javnosti.rs/arhiva/2004/12/20/srpski/D04121901.shtml">Represija
nad duhom</a></i> (in Serbian), Marinko Arsić Ivkov interview with Dragan
Banjac in <i style="mso-bidi-font-style: normal;">Glas Javnosti</i>, 20.12. 2004.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[3]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#3">[3]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.patrickwright.net/wp-content/uploads/pwright-on-chris-cutler.pdf">Resist
me, make me strong: on Chris Cutler</a></i>, Patrick Wright article in <i style="mso-bidi-font-style: normal;">Guardian</i>, 11.11.1995.</span></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal" style="tab-stops: 81.0pt;">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[4]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#4">[4]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.ccutler.com/ccutler/writing/lookingBack.shtml">Looking back</a></i>,
Chris Cutler essay for the programme of BIG EAR Festival-Budapest, September
2000.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[5]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#5">[5]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Bojan Đorđević, personal e-mail communication,
19.12.2009.</span></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[6]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#6">[6]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Bojan Đorđević, personal e-mail communication,
19.12.2009.</span></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[7]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#7">[7]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Bojan Đorđević, personal e-mail communication,
23.11.2009.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[8]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#8">[8]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Bojan Đorđević, personal e-mail communication,
23.11.2009.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[9]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#9">[9]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <a href="http://www.progarchives.com/forum/forum_posts.asp?TID=83097">ProgArchives
interview with Stevan Kovacs Tickmayer</a>, 27.11.2011.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[10]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#10">[10]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^</span></span><span style="font-family: Arial;"> <i style="mso-bidi-font-style: normal;"><span lang="EN-GB">From Social Movements to
National Sovereignity</span></i></span><span lang="EN-GB" style="font-family: Arial;">, Tomaž Mastnak essay in <i style="mso-bidi-font-style: normal;">Independent Slovenia:
Origins, Movements, Prospects</i> edited by Jill Benderly and Evan Kraft, page
93 (Macmillan Press-London, 1994).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[11]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#11">[11]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: #241A;"><a href="http://wff1.ff.uni-lj.si/oddelki/zgodovin/wwwrepe/20th/Liberalization.pdf">The
liberalization of Slovenian society in the late 1960s</a></span></i><span style="font-family: Arial; mso-ansi-language: #241A;">, Božo Repe essay
in <i style="mso-bidi-font-style: normal;">Slovene Studies</i> (</span><span lang="EN-GB" style="font-family: Arial;">vol.16, nr.2), pages 49-58 (Society
for Slovene Studies-Bowling Green, 1994).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[12]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#12">[12]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Kaj so mi prinseli Dnevi
mlade slovenske kulture v Beogradu</span></i><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> (in Slovenian),
Vladimir Memon article in <i style="mso-bidi-font-style: normal;">Problemi</i>
(year 15, nr. 176), pages 50-51, December 1977.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[13]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#13">[13]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span style="color: blue; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><a href="http://www.youtube.com/watch?v=B2hMkoDZ5r8">Večni študent</a></span></i><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">, Siniša Gačić TV documentary, segment with former </span><span lang="EN-GB" style="font-family: Arial;">ŠKUC music editor Stane Sušnik
10:10-10:34, (RTV Slovenija-Ljubljana, 2009).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[14]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#14">[14]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Aleks Lenard, personal e-mail communication,
27.10.2010.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[15]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#15">[15]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Aleks Lenard, personal e-mail communication,
27.10.2010.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[16]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#16">[16]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Aleks Lenard, personal e-mail communication,
27.10.2010.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[17]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#17">[17]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><span lang="EN-GB" style="font-family: Arial;">Mark Jung and
Bratko Bibič’s</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">essay in liner notes for the
CD re-release of Begnagrad’s 1981 album <i style="mso-bidi-font-style: normal;">Begnagrad</i>
(Mio Records-Giv'atayim, 2003).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[18]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#18">[18]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Aleks Lenard, personal e-mail communication,
27.10.2010.</span></span></div>
<div class="MsoNormal">
<sup><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="[19]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#19">[19]</a></span></sup><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;"><a href="http://www.audiorama.org/planeta/planetas/planeta8.html">A propos de la
scène Yougoslave</a></span></i><span lang="EN-GB" style="font-family: Arial;"> segment
with ŠKUC employee Zorko Škvor (03:20-03:40) in </span><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;">Planeta:
revue sonore des nouvelles musiques</span></i><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;">, n</span><span lang="EN-GB" style="font-family: Arial;">r. 8</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: ES-TRAD;"> </span><span lang="EN-GB" style="font-family: Arial;">(Planétarium-Strasbourg,
1986)</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[20]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#20">[20]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;">
- <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Koncert
skupine Etron Fou Leloublan u Lublan (Laibach)</i> (in Slovenian), Andrej
Drapal article in <i style="mso-bidi-font-style: normal;">Tribuna</i> (year 30, nr.7-10),
page 30, 29.12.1980.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[21]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#21">[21]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Aleks Lenard, personal e-mail communication,
27.10.2010.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[22]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#22">[22]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Spomladanski festival zmaga
alternativnega teatra nad mestno birokracijo</i> (in Slovenian), Andrej Rozman
article in <i style="mso-bidi-font-style: normal;">Mladina</i> 30.06.1983 as
quoted in Livija Rojc-</span></span><span style="font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-weight: bold;">Štremfelj's <i style="mso-bidi-font-style: normal;"><a href="http://dk.fdv.uni-lj.si/magistrska/pdfs/mag_rojc-stremfelj-livija.pdf">Financiranje
gledaliških festivalov – primer Ane Desetnice</a></i> </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">(in
Slovenian), page 51 </span><span style="font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-weight: bold;">(Fakulteta za družbene vede-Ljubljana, 2007).</span><span style="font-family: Arial;"> <span lang="EN-GB"></span></span></div>
<div class="MsoNormal">
<sup><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"><a href="https://www.blogger.com/null" name="[23]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#23">[23]</a></span></sup><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Akrobacija
Klovna</span></i><span lang="EN-GB" style="font-family: Arial;"> (in
Serbo-Croatian), Aleksandar Žikić article in <i style="mso-bidi-font-style: normal;">Džuboks</i> nr.147, pages 52-53, 13.08.1982.</span><sup><span lang="ES-TRAD" style="font-family: Arial; mso-ansi-language: ES-TRAD;"></span></sup></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[24]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#24">[24]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Vlado Šav in aktivna kultura</i> (in
Slovenian), Aleksandra Schuller essay in <i style="mso-bidi-font-style: normal;">Annales.
Series historia et sociologia</i> (in Slovenian), volume 21, issue 2, pages
397-412 (Zgodovinsko društvo za južno Primorsko-Koper, 2011).</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[25]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#25">[25]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://sl.wikisource.org/wiki/Kastracijski_stroji">Kastracijski stroji</a></i>
(in Slovenian), Boris Pintar and Jana Pavlič (MASKA-Ljubljana, 2001).</span></span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[26]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#26">[26]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Oni to vole alternativno</span></i><span lang="EN-GB" style="font-family: Arial;"> (in Serbo-Croatian), Drago Vovk article in <i style="mso-bidi-font-style: normal;">Džuboks</i> nr.146, pages 45-46, 30.07.1982.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[27]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#27">[27]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Ičo Vidmar essay in liner notes of Srp's retrospective CD release <i style="mso-bidi-font-style: normal;">Zadnja Večerja</i> (Arhefon-Ljubljana,
2002).</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[28]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#28">[28]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Iztok Osojnik, personal e-mail communication, 25.02.2013.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[29]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#29">[29]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Iztok Osojnik, personal e-mail communication, 25.02.2013.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[30]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#30">[30]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Iztok Osojnik, personal e-mail communication, 25.02.2013.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[31]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#31">[31]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span style="color: blue; font-family: Arial; mso-ansi-language: EN-US;"><a href="http://www.mladina.si/arhiv/200140/">Biti pri
sebi</a></span></i><span style="font-family: Arial; mso-ansi-language: EN-US;"> (in Slovenian), Iztok Osojnik interview with Jure Novak in <i style="mso-bidi-font-style: normal;">Mladina</i> nr.40, 09.10.2001.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[32]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#32">[32]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Iztok Osojnik</span>,
personal e-mail communication, 25.02.2013.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[33]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#33">[33]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Biti Hup</i> (in Slovenian), Iztok Osojnik essay on Dušan ‘Hup</span></span><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-weight: bold;">’ </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">Pirih written on the occasion </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">Istanbul-Isfahan</span></i><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">
retrospective exhibition of Hup’s work, September
2012.</span><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[34]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#34">[34]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Iztok Osojnik</span>,
personal e-mail communication, 25.02.2013.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[35]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#35">[35]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span style="color: blue; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><a href="http://www.mladina.si/97822/hidrogizma/">Hidrogizma</a></span></i><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">(in Slovenian), <span style="mso-bidi-font-weight: bold;">Ksenja Hahonina
article</span> in <i style="mso-bidi-font-style: normal;">Mladina</i> nr.2, 12.01.2005.<span style="mso-bidi-font-weight: bold;"></span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[36]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#36">[36]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span style="color: blue; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><a href="http://www.mladina.si/97822/hidrogizma/">Hidrogizma</a></span></i><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US;">(in Slovenian),<span style="mso-bidi-font-weight: bold;"> Ksenja Hahonina
article</span> in <i style="mso-bidi-font-style: normal;">Mladina</i> nr.2,
12.01.2005.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[37]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#37">[37]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Oni to vole alternativno</span></i><span lang="EN-GB" style="font-family: Arial;"> (in Serbo-Croatian), Drago Vovk article in <i style="mso-bidi-font-style: normal;">Džuboks</i> nr.146, pages 45-46, 30.07.1982.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[38]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#38">[38]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Solidarnost verboten</i> </span></span><span lang="EN-GB" style="font-family: Arial;">(in Slovenian), </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">Božidar
Založnik article in <i style="mso-bidi-font-style: normal;">Tribuna</i> (year 31,
nr.17-18), pages 8-9, 18.03.1982.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[39]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#39">[39]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Akrobacija Klovna</span></i><span lang="EN-GB" style="font-family: Arial;"> (in Serbo-Croatian), Aleksandar Žikić article in <i style="mso-bidi-font-style: normal;">Džuboks</i> nr.147, pages 52-53, 13.08.1982.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[40]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#40">[40]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Oni to vole alternativno</span></i><span lang="EN-GB" style="font-family: Arial;"> (in Serbo-Croatian), Drago Vovk article in <i style="mso-bidi-font-style: normal;">Džuboks</i> nr.146, pages 45-46, 30.07.1982.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[41]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#41">[41]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <a href="http://www.arhivaskc.org.rs/hronografije-programa/spoljni-program/284-198068/10912-19-decembar-1980.html">Novogodišnji
rok koncert 19.12.1980</a>, SKC online archive entry.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[42]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#42">[42]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial;">Oni to vole alternativno</span></i><span lang="EN-GB" style="font-family: Arial;"> (in Serbo-Croatian), Drago Vovk article in <i style="mso-bidi-font-style: normal;">Džuboks</i> nr.146, pages 45-46, 30.07.1982.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[43]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#43">[43]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Zoran Panteli</span></span><span lang="EN-GB" style="font-family: Arial;">ć</span><span style="font-family: Arial; mso-ansi-language: EN-US;">, personal e-mail
communication, 24.05.2011.</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></sup></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[44]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#44">[44]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Zoran Panteli</span></span><span lang="EN-GB" style="font-family: Arial;">ć</span><span style="font-family: Arial; mso-ansi-language: EN-US;">, personal e-mail
communication, 25.05.2011.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[45]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#45">[45]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Zoran Panteli</span></span><span lang="EN-GB" style="font-family: Arial;">ć</span><span style="font-family: Arial; mso-ansi-language: EN-US;">, personal e-mail
communication, 25.05.2011.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[46]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#46">[46]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.kuda.org/trajni-cas-umetnosti-novosadska-neoavangarda-60-ih-i-70-ih-godina-xx-veka-2005-reader">Trajni čas
umetnosti</a></i>, publication prepared for the occasion of the 2005 <i style="mso-bidi-font-style: normal;">Trajni čas umetnosti</i> retrospective
exhibition of Novosadian Neo-Avantgarde of the 1960s and 1970s produced and organized by Centar
za nove medije_kuda.org in Museum of the Contemporary Art Novi Sad (Revolver –
Archiv für aktuelle Kunst-Frankfurt am Main, 2005).</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[47]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#47">[47]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <a href="http://slobodnakultura.org/media/interview-misko-suvakovic">Miško
Šuvaković video interview</a> (in Serbian) by Prelom Kolektiv for <i style="mso-bidi-font-style: normal;">Slučaj SKC-a 1970-ih godina</i> research
project, segment 11:17-11:37, 23.05.2008.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[48]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#48">[48]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.kuda.org/trajni-cas-umetnosti-novosadska-neoavangarda-60-ih-i-70-ih-godina-xx-veka-2005-reader">Trajni čas
umetnosti</a></i>, publication prepared for the occasion of the 2005 <i style="mso-bidi-font-style: normal;">Trajni čas umetnosti</i> retrospective
exhibition of Novosadian Neo-Avantgarde of the 1960’s and 1970’s produced and organized by Centar
za nove medije_kuda.org in Museum of the Contemporary Art Novi Sad (Revolver –
Archiv für aktuelle Kunst-Frankfurt am Main, 2005).</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[49]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#49">[49]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.zarez.hr/clanci/nevidljiva-umetnost-slobodana-tisme">Nevidljiva
umetnost Slobodana Tišme</a></i> (in Croatian), Milica Bogosavljević article in
<i style="mso-bidi-font-style: normal;">Zarez</i> nr.357, 25.04.2013. </span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[50]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#50">[50]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Zoran Panteli</span></span><span lang="EN-GB" style="font-family: Arial;">ć</span><span style="font-family: Arial; mso-ansi-language: EN-US;">, personal e-mail
communication, 24.05.2011.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[51]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#51">[51]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span style="color: blue; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><a href="http://www.nol.hu/archivum/archiv-489683">Egyéni, erős, provokatív
(Tudósok 20)</a></span></i><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> (in Hungarian), dr. Béla Máriás
interview with Béla Szilárd Jávorszky in <i style="mso-bidi-font-style: normal;">Népszabadság</i>,
25.04.2008.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[52]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#52">[52]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Zoran Panteli</span></span><span lang="EN-GB" style="font-family: Arial;">ć</span><span style="font-family: Arial; mso-ansi-language: EN-US;">, personal e-mail
communication, 24.05.2011.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[53]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#53">[53]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Zoran Panteli</span></span><span lang="EN-GB" style="font-family: Arial;">ć</span><span style="font-family: Arial; mso-ansi-language: EN-US;">, personal e-mail
communication, 24.05.2011.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[54]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#54">[54]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">O začecima i počecima world music
u Srbiji tokom 1980-ih i 1990-ih godina</i> (in Serbian), Oliver Đorđević article in </span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">Etnoumlje</span></i><span style="mso-bidi-font-weight: bold;"> magazine special edition (nr.19-22) titled </span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">World music u Srbiji: prvih 30 godina,
1982-201</span></i><span style="mso-bidi-font-weight: bold;">, pages 98-133,
October 2012.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[55]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#55">[55]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.novamisao.org/2011/08/stevan-kovac-tikmajer-panonski-vidik-koji-zvuci-tajnovito">Panonski
vidik koji zvuči tajnovito</a></i> (in Serbian), Stevan Kovacs Tickmayer interview
with Adrian Kranjčević in <i style="mso-bidi-font-style: normal;">Nova Misao</i>
nr.19, May/June 2011.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[56]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#56">[56]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.novamisao.org/2011/08/stevan-kovac-tikmajer-panonski-vidik-koji-zvuci-tajnovito">Panonski
vidik koji zvuči tajnovito</a></i> (in Serbian), Stevan Kovacs Tickmayer interview
with Adrian Kranjčević in <i style="mso-bidi-font-style: normal;">Nova Misao</i>
nr.19, May/June 2011.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[57]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#57">[57]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span style="color: red; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><a href="http://www.a38.hu/hu/program/20-eves-az-ujvideki-emigracio-kiallitas">20
éves az újvidéki emigráció</a></span></i><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> (in Hungarian), exhibition
announcement on A38 website, October 2011.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[58]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#58">[58]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Stevan Kovacs Tickmayer, personal e-mail
communication, 29.04.2010.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[59]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#59">[59]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <a href="http://www.videodokument.org/simic/simic.htm">Mirko Simić videography</a>
at Videodokument website.</span></span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[60]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#60">[60]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Bratko Bibič, personal e-mail communication,
29.05.2010.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[61]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#61">[61]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">A tale of two subcultures</i>,
Gregor Tomc essay in <i style="mso-bidi-font-style: normal;">Remembering Utopia:
The Culture of Everyday Life in Socialist Yugoslavia</i> edited by Breda Luthar
and Maruša Pušnik,</span></span><span lang="EN-GB" style="font-family: Arial;">
page 169 </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">(New Academia Publishing-Washington, 2010).</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[62]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#62">[62]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Beg an grad</i> (in Slovenian),
Marko Uršič article in </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Tribuna</span></i><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> (year 31, nr.12), page 11, 23.12.1981.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[63]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#63">[63]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Nogometni show !</span></i><span lang="EN-GB" style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> (in Slovenian), B.C. article in <i style="mso-bidi-font-style: normal;">Novi Tednik</i> (year 31, nr.23), page 20, 09.06.1977.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[64]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#64">[64]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Bratko Bibič, personal e-mail communication, 29.05.2010.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[65]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#65">[65]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><span lang="EN-GB" style="font-family: Arial;">Mark Jung and
Bratko Bibič’s</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">essay in liner notes for the
CD re-release of Begnagrad’s 1981 album <i style="mso-bidi-font-style: normal;">Begnagrad</i>
(Mio Records-Giv'atayim, 2003).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[66]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#66">[66]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.mladina.si/97686/moderni-nomad/">Moderni nomad</a></i> (in
Slovenian), Jure Aleksič article in <i style="mso-bidi-font-style: normal;">Mladina</i>
nr.46, 19.11.2003.</span></span><span lang="SR" style="font-family: Arial; mso-ansi-language: SR;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[67]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#67">[67]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span></span><span lang="EN-GB" style="font-family: Arial;">Mark Jung and
Bratko Bibič’s</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"> </span><span style="font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">essay in liner notes for the
CD re-release of Begnagrad’s 1981 album <i style="mso-bidi-font-style: normal;">Begnagrad</i>
(Mio Records-Giv'atayim, 2003).</span></div>
<div class="MsoNormal" style="mso-pagination: none; tab-stops: 141.75pt;">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[68]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#68">[68]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.mladina.si/97686/moderni-nomad/">Moderni nomad</a></i> (in
Slovenian), Jure Aleksič article in <i style="mso-bidi-font-style: normal;">Mladina</i>
nr.46, 19.11.2003.</span></span></div>
<div class="MsoNormal" style="mso-pagination: none; tab-stops: 141.75pt;">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[69]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#69">[69]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.spanskiborci.si/7/208/begnagrad-30-let-prezgodaj.html">Begnagrad
– 30 let prezgodaj</a></i> (in Slovenian), concert announcement on Center
kulture Španski borci, December 2012.</span></span>
<br />
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[70]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#70">[70]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Institute music</i> (in Serbian),
Oliver Đorđević article in <i style="mso-bidi-font-style: normal;">Etnoumlje</i>
(nr.15-16), pages 4-9, 25.04.2011.</span></span><span style="color: red; font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[71]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#71">[71]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Institute music</i> (in Serbian),
Oliver Đorđević article in <i style="mso-bidi-font-style: normal;">Etnoumlje</i>
(nr.15-16), pages 4-9, 25.04.2011.</span></span><span style="color: red; font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[72]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#72">[72]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Institute music</i> (in Serbian),
Oliver Đorđević article in <i style="mso-bidi-font-style: normal;">Etnoumlje</i>
(nr.15-16), pages 4-9, 25.04.2011.</span></span><span style="color: red; font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[73]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#73">[73]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">Institute music</i> (in Serbian),
Oliver Đorđević article in <i style="mso-bidi-font-style: normal;">Etnoumlje</i>
(nr.15-16), pages 4-9, 25.04.2011.</span></span><span style="color: red; font-family: Arial; mso-ansi-language: #241A; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[74]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#74">[74]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Siniša Nenadić, personal e-mail communication,
10.09.2013.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[75]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#75">[75]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Siniša Nenadić, personal e-mail communication,
10.09.2013.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[76]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#76">[76]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ </span>Bojan Đorđević,
personal e-mail communication, 19.12.2009.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[77]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#77">[77]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Aleks Lenard</span>,
personal e-mail communication, 27.10.2010.<span style="mso-bidi-font-weight: bold;"></span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[78]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#78">[78]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Aleks Lenard</span>,
personal e-mail communication, 06.11.2011.</span><sup><span style="font-family: Arial; mso-ansi-language: EN-US;"></span></sup></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[79]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#79">[79]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.ceskatelevize.cz/specialy/bigbit/clanky/191-prazske-jazzove-dny/">Pražské
jazzové dny</a></i> (in Czech), Petr Hrabalik article for <i style="mso-bidi-font-style: normal;">Bigbít Internetová encyklopedie rocku</i>, date unknown.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[80]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#80">[80]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.ccutler.com/ccutler/bands/group02.shtml">Henry Cow</a></i>,
entry from Chris Cutler’s official website, date unknown.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[81]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#81">[81]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Neven Korda interview with</span>
Nina Peče (in Slovenian), in<span style="mso-bidi-font-weight: bold;"> </span></span><i style="mso-bidi-font-style: normal;"><span style="color: blue; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;"><a href="http://dk.fdv.uni-lj.si/dela/Pece-Nina.PDF">FV alternativna umetniška
produkcija</a></span></i><span style="font-family: Arial; mso-ansi-language: EN-US;">, pages 61-67 (Faculty of Social Sciences-Univeristy of Ljubljana, 2003).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[82]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#82">[82]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;">The Video, Film, and Interactive
Multimedia Art of Marina Gržinić and Aina Šmid, 1982-2008</i>, Marina Gržinić
essay in <i style="mso-bidi-font-style: normal;"><a href="http://grzinic-smid.si/wp-content/uploads/2013/02/newmedia.pdf">New-media
technology, science and politics</a></i> edited by Marina Gržinić and Tanja Velagić,
page 153 (Löcker Verlag-Vienna, 2009).</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[83]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#83">[83]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.mglc-lj.si/eng/exhibitions_and_events/istanbul_isfahan_dusan_pirih_hup_from_the_collection_of_mglc_/13">Istanbul-Isfahan
Dušan Pirih Hup from the collection of MGLC</a></i>, exhibition announcement on
MGLC website, September 2012.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[84]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#84">[84]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.pixxelpoint.org/img/doc/Katalog%20SLO%20ENG.pdf">DE.fragmentacija</a></i>,
catalogue prepared for the occasion of 2013 <i style="mso-bidi-font-style: normal;">Pixxelpoint</i>
exhibition in Kulturni dom Nova Gorica, November 2013.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[85]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#85">[85]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Zoran Pantelić</span>,
personal e-mail communication, 10.03.2014.</span><span lang="EN-GB" style="font-family: Arial;"></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[86]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#86">[86]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.duhovnirazvoj.com/Muzika/Boris%20Kovac.htm">Boris Kovač i nova ritualna muzika</a></i> (in Serbian), Gwydion article for <i style="mso-bidi-font-style: normal;">Duhovni razvoj</i> portal, January 2009.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[87]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#87">[87]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ Chris Cutler</span>,
personal e-mail communication, 22.05.2011.<span style="mso-bidi-font-weight: bold;"></span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[88]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#88">[88]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.novamisao.org/2011/08/stevan-kovac-tikmajer-panonski-vidik-koji-zvuci-tajnovito">Panonski
vidik koji zvuči tajnovito</a></i> (in Serbian), Stevan Kovacs Tickmayer interview
with Adrian Kranjčević in <i style="mso-bidi-font-style: normal;">Nova Misao</i>
nr.19, May/June 2011.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[89]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#89">[89]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.inst.at/trans/17Nr/3-11/3-11_andric17.htm">Branko Andric –
Einblick in das Leben und Schaffen eines Künstlers und Schriftstellers</a></i>
(in German), Branko Andrić junior artictle in <i style="mso-bidi-font-style: normal;">Trans</i> nr.17, section 3.11. <i style="mso-bidi-font-style: normal;">Das
Künstlerbild und das Künstlerproblem in der Ost-West-Literatur</i>, March 2010.</span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial; mso-ansi-language: EN-US;"><a href="https://www.blogger.com/null" name="[90]"></a><a href="http://ahogonsindustrialguide.blogspot.com/2014/03/the-diversity-of-diversity-traditions.html#90">[90]</a></span></sup><span style="font-family: Arial; mso-ansi-language: EN-US;"> - <span style="mso-bidi-font-weight: bold;">^ <i style="mso-bidi-font-style: normal;"><a href="http://www.ngnewave.info/index.php?id=13,177,0,0,1,0">Ove sezone vedri
tonovi – QUID PRO QUO – necenzurirano</a></i> (in Serbian), Predrag Pribić
email interview for <i style="mso-bidi-font-style: normal;">NG New Wave</i>
portal, March 2008.</span></span></div>
</div>
</div>
hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com10tag:blogger.com,1999:blog-610004026922635302.post-48761212788722341352011-01-30T17:47:00.000-08:002011-01-30T19:04:38.319-08:00Hometaping in Self-Management update 1.0Just two quick notices:<br /><br />1) You can finally order the LP at <a href="http://www.spinvinyl.si/articles.php?lng=en&pg=133" class="postlink"><span style="color: rgb(255, 0, 0);">SpinVinyl (Ljubljana)</span></a> and you can hear some mp3 samples on the <a href="http://www.ljudmila.org/subkulturni-azil/explorer.php?page=monofonika_ex-yu-elek-1">Subkulturni Azil</a> website.<br />2) Two remaining <span style="font-style: italic;">Hometaping in Self-Management</span> promotions are due this week in Croatia and Serbia, respectfully:<br /><br />03. 02. 2011 / Students' Centre Zagreb, Savska cesta 25, Zagreb<br />04. 02. 2011 / Museum of The 25th May, Botićeva 6, Belgrade<br /><br />Both promotions start at 13:00 sharp.<br /><br />See you there.<br /><a href="http://www.ljudmila.org/subkulturni-azil/explorer.php?page=monofonika_ex-yu-elek-1" class="postlink"><span style="color: rgb(255, 0, 0);"></span></a>hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com3tag:blogger.com,1999:blog-610004026922635302.post-13074412425906834232011-01-05T20:16:00.001-08:002011-06-02T18:02:34.377-07:00Hometaping in Self-Management<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakildFbMGlzcjLZtZvmeO7Pz-EWWPBKPPMeEOSUwsO20oeHWIb7hP_O8KM8l9bvGAXRnxD7Z_oqTBQ-_Kx70fbd8hBO2eg90WsYAj2wsrfrqjq2A4Q14Kmo8SKEyT3oTLRN4RCjh1nsA/s1600/ex-yu-electronica+-+FRONT.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 395px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakildFbMGlzcjLZtZvmeO7Pz-EWWPBKPPMeEOSUwsO20oeHWIb7hP_O8KM8l9bvGAXRnxD7Z_oqTBQ-_Kx70fbd8hBO2eg90WsYAj2wsrfrqjq2A4Q14Kmo8SKEyT3oTLRN4RCjh1nsA/s400/ex-yu-electronica+-+FRONT.jpg" alt="" id="BLOGGER_PHOTO_ID_5558927982548842994" border="0" /></a><br />Dear friends, staunch supporters, occasional readers and disinterested sympathizers,<br /><br />We are proud to announce the release of <span style="font-style: italic;">Hometaping in Self-Management </span>LP, the first in a series of retrospective <span style="font-style: italic;">Ex Yu Electronica</span> compilation LPs that seek to highlight some of the most interesting happenings in the 1980s independent DIY experimental music scene of former Yugoslavia.<br /><br />As a regionally-focused testimony of 1980s non-academic experimental music practices, <span style="font-style: italic;">Hometaping in Self-Management</span> is the first document of its kind in Eastern-Europe and as such it seeks to expand the known frontiers of the hometaping spectrum. There are elements of fundamentalism to the logic behind this compilation: if the phenomenon of Yugoslav tape experi<span style="font-size:100%;">mentalism was globally perceived as a marginal, bordering on nonexistent within the 80s cassette culture </span><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" latentstylecount="156"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} </style> <![endif]--><!--[if gte mso 9]><xml> <o:shapedefaults ext="edit" spidmax="1026"> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout ext="edit"> <o:idmap ext="edit" data="1"> </o:shapelayout></xml><![endif]--><span style=";font-family:Arial;font-size:100%;" lang="EN-GB" >–</span><span style="font-size:100%;"> then</span> this compilation treats it as a microcosm on its own right; if Mario Marzidovšek was generally regarded as an obscure person in the global network <span style=";font-family:Arial;font-size:100%;" lang="EN-GB" >–</span> then he is nothing short of a superstar on <span style="font-style: italic;">Hometaping in Self-Management</span> ; if Sumanuti Jebači are considered a mere footnote on the Yugoslav hometaping scene <span style=";font-family:Arial;font-size:100%;" lang="EN-GB" >–</span> they are a key nexus on the hometaping scene of Croatian Banovina and so on.<br /><br /><span style="font-style: italic;">Hometaping in Self-Management</span> presents 14 different projects from five republics of the former Socialist Federal Republic of Yugoslavia (with the exception of Montenegro) with 14 tracks spanning from 1981 to 1989. The LP comes in an edition of 300 copies, with a four pages full colour booklet and abundance of information about each individual project, a small introduction into hometaping in SFRY and a general project introduction by its initiator (Dušan Hedl). The LP is realized in cooperation of <span style="font-style: italic;">Subkulturni Azil</span> (Maribor, Slovenia) NGO for culture and art publishing and <span style="font-style: italic;">A Hogon’s Industrial Guide</span> (Belgrade, Serbia) research platform with the support of Ministry of Culture of Slovenia.<br /><br />The first of three promotional events planned for <span style="font-style: italic;">Hometaping in Self-Management</span> LP will take place in ŠKUC, Ljubljana (Slovenia) on 10.01.2010. at 13h and you are all invited to come. The details on two other promotions in Zagreb and Belgrade, as well as information on distribution of the LP will come soon.<br /><br />All the best in 2011,<br />A Hogon's Industrial Guidehogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com8tag:blogger.com,1999:blog-610004026922635302.post-72771996700321200122009-09-20T18:38:00.000-07:002012-01-06T21:13:52.172-08:00Electric Fish - (1986) Material Zvok [mc,not on label-re2001,cdr,Coda]<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumKyLbP7_V2n5wXvmSY7q91yPnJAZ37LBObVugWR8xSv9uIzpq8jsdL1-lKoc5jqfrHk1YVjbN8r9tI3xK4fU_nKstjRPwPuU-bZ_uN8voF2XycMtdiJro5opRGUGkWIwwqFXG4VMyM0/s1600-h/E.F.+40%25.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 354px; height: 463px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumKyLbP7_V2n5wXvmSY7q91yPnJAZ37LBObVugWR8xSv9uIzpq8jsdL1-lKoc5jqfrHk1YVjbN8r9tI3xK4fU_nKstjRPwPuU-bZ_uN8voF2XycMtdiJro5opRGUGkWIwwqFXG4VMyM0/s400/E.F.+40%25.jpg" alt="" id="BLOGGER_PHOTO_ID_5383739389368512034" border="0" /></a><br /><br />Electric Fish was a Slovenian electro-industrial unit of Matjaž Rebevšek and Ervin Potočnik from a little town Žalec, near Celje in east-central Slovenia. The original incarnation of Electric Fish emerged somewhere around 1983/84 in a fertile climate for audio-experimentalism, when in the Celje region operated such projects as Mario Marzidovšek, Sfinkter [later to become Strelnikoff], Lokalna Televizija, Juhuhu Stric Vinko In Njegovi, White Noise<sup id="cite_ref-0" class="reference"><span>[</span>1<span>]</span></sup>. The period was also marked by a frequent collaborations with Italian improvisational group Musika from Trieste and an organization Coordinamento Musicale Il Posto Della Fragole which resulted in numerous performance happenings throughout Slovenia and the north of Italy, most of which were in the context of Antipsychiatry movement [for example, the closed-down psychiatric asylum San Giovanni in Trieste was a regular venue for these events]. Probably the most famous of Electric Fish's numerous live appearances happened in Udine, on the Friuli stadium in 1985 and on the other hand the most regular gigs were in Celje:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeSsdnCcjjr0BarfooMHGfginYzAsGRQwA7KM6fi_0LdkajiWl01TKVQC2oYrfVpkhyMKOGBpFj32UFUYekbBQhQRcbRrfaj4mvvyhTUToI47L36qLktMlb0B7jhF3GP8yM4NS3APd2F8/s1600-h/E.F.+Koncert.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 273px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeSsdnCcjjr0BarfooMHGfginYzAsGRQwA7KM6fi_0LdkajiWl01TKVQC2oYrfVpkhyMKOGBpFj32UFUYekbBQhQRcbRrfaj4mvvyhTUToI47L36qLktMlb0B7jhF3GP8yM4NS3APd2F8/s400/E.F.+Koncert.jpg" alt="" id="BLOGGER_PHOTO_ID_5383730208008391506" border="0" /></a><br /><span style="font-size:78%;">here pictured: Electric Fish [Matjaž Rebevšek - synth, Ervin Potočnik - vocals]</span><span style="font-size:78%;"> </span><span style="font-size:78%;">performing on a one-day festival with Mario Marzidovšek, Lokalna Televizija, Masaker, </span><span style="font-size:78%;">Narodni Dom Celje 1983/84</span><br /><br />Electric Fish's short 80es engagement was by all criteria - a product of a then-common do-it-yourself reasoning where it a was more important to work and be an active presence on the scene than to actually document what you were doing [not as a matter of a conscious decision of any kind, but more because of the very nature of the zeitgeist]. In that sense, Electric Fish left behind them only one 'official' tape - Optimalni Usodni Minimum [Slovenian for Optimal Humanely Minimum] released in 1987 on Das Synthetische Mischgewebe's own label - Alien Artists, very few rare compilation appearances - such as MML's Condotte Perturbate/Moteno Vedenje [with Marzidovšek, Masaker, Lokalna Televizija, Musika] as well as a 1986 'demo' tape Materijal Zvok. Matjaž and Ervin ceased all activity as Electric Fish by the end of the 1986, never to resurface with any other project. And it wasn't until 2001 and the Mestece Celje - Fantazme Osemdesetih [The town of Celje - Phantasms of The Eighties] exhibition in the Celje Gallery of Contemporary Art - that it was to be heard about them again. Members of the Electric Fish were approached by the exhibition curator Nevenka Šivavec to represent the group with some of its original sound material for the exhibition documenting the 80's local alternative practices and to that purpose the Material Zvok demo tape was transferred into CDR and rereleased in a small number of copies. With the same material Electric Fish was represented on the Oscilacije Zvoka [Sound Oscillations] exhibition in 2005 in Moderna Galerija Ljubljana.<br /><br />This renewal of interest somehow slowly led to revitalization of Electric Fish's activities and soon enough Matjaž Rebevšek started recording new material and even occasionally performing now and then as Electric Fish. One such occasion was in 2006 on a sculpting exhibition<sup id="cite_ref-1" class="reference"><span>[</span>2<span>]</span></sup> of his former bandmate Ervin Potočnik, nowadays a conservator and a member of Slovenian Academy of Fine Arts. In 2007 Electric Fish released a mini-album Electric Field on Zdenko Franjić's legendary Slušaj Najglasnije! /Listen Loudest! label and with it for the first time in its 25 year history even broke the charts. KZSU Stanford's annual 2008 experimental music charts, that is. Standing in stark contrast with their 80's concrete industrial output, the new aesthetic direction Electric Fish undertook leans towards beautifully textured ambient soundscapes, strange and bewildering analogue modular electronics.<br /><br />Nowadays, Electric Fish can be found on Myspace: <a href="http://www.myspace.com/electricriba">http://www.myspace.com/electricriba</a><br /><br />The CDR / demo tape which I will present to you today - Material Zvok - is containing some of the original mixes that ended up on Optimalni Usodni Minimum [track 1,2,3], as well as some unreleased material from the Udine stadium concert [tracks 4,5]. In terms of style, Electric Fish most of the time plays an entirely synthesizer-based flavour of minimal oldschool industrial, but also has an eclectic edge combining the rather smoothly produced straightforward style of analogue electronics with bits of church chanting, sleazy italo-disco or 80es naiveté pop that renders them vaguely comparable to third wave industrials eccentrics such as Geins't Nait or Cranioclast, when the whole industrial idea-tank still had much gusto left. The CDR comes in a plain see-through sleeve, without any artwork and only with a rather unwholesome white print and ugly lettering on the cd-itself giving the basic information "Electric Fish -1986 - Coda" [Coda being the name of the studio in which the demo tape was transferred]. Ripped by Hogon in 320kbs, August 2009.<br /><br />Download it - <a href="http://www.mediafire.com/?sor93ojwuerqdhj">HERE</a><br /><br />Enormous gratitude is due to Irena Čerčnik of the Celje Center for Contemporary Arts for sending me the CDR, Matjaž Rebevšek for consenting the interrogation as well as Milko Poštrak of Faculty of Social Work, Ljubljana / Radio Študent.<br /><br />Optimalni Usodni Minimum tape is still a much wanted item, I would be more than happy to see it on my blog.<br /><br /><sup id="cite_ref-0" class="reference"><span>[</span>1<span>]</span></sup> - <a href="http://users.triera.net/bedradan/bedrac.html">http://users.triera.net/bedradan/bedrac.html</a><br /><sup id="cite_ref-1" class="reference"><span>[</span>2<span>]</span></sup> - <a href="http://www.premoderno.com/ervin.htm">http://www.premoderno.com/ervin.htm</a>hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com10tag:blogger.com,1999:blog-610004026922635302.post-16593680630122985462009-06-20T16:44:00.001-07:002014-07-30T02:54:36.728-07:00Aporea - (1988) Na Rekah Vavilonskih [mc,not on label]<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxaCeUQOXgev_mYY4BkbEY2hrKTvvhFYA-OeGJevrrpkYSUU7QykmJHWnl1JXnR_nf3BasklXN4plYpCrSyEsAhjZpQTItvmAKLxcTBkOuyPBccqJz_q32MPEHwqK2LGawYtKZ1L0OrLs/s1600-h/Na+Rekah+Vavilonskih-Aporea1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5347899354369952178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxaCeUQOXgev_mYY4BkbEY2hrKTvvhFYA-OeGJevrrpkYSUU7QykmJHWnl1JXnR_nf3BasklXN4plYpCrSyEsAhjZpQTItvmAKLxcTBkOuyPBccqJz_q32MPEHwqK2LGawYtKZ1L0OrLs/s400/Na+Rekah+Vavilonskih-Aporea1.jpg" style="cursor: pointer; float: left; height: 273px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><br />
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The excitement of finding and sharing these kind of things was one of the reasons I started doing my blog 2 years ago. To find anything on this scale of importance in Yugoslav scene was unimaginable at the time when I stumbled upon it and so far, it really can't be paralleled by anything. It is a great joy indeed to share this.<br />
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Talking about Makedonska Streljba in the last post was a nice innuendo for this one. On the very fringes of the Makedonska Streljba movement there were several very interesting developments most of whom remained unfamiliar even in the Macedonian public, let alone in Yugoslavia or world. Certainly the most important of these is Aporea or Apokrifna Realnost [or Apocryphal Reality, Macedonian Cyrillic: Апореа/Апокрифна Реалност] from Skopje, a multimedia project whose musical output could easily fit the best tradition of any ritual industrial bands that rose in mid and late 80es era on labels like Nekrophile Rekords, ADN, Touch, etc. What was an important influence for all of the bands from Makedonska Streljba, for Aporea it was a starting ground: the active exploration of the complex relationships with their own cultural and spiritual heritage through a specific postmodern, westernized frame of work - art exhibitions, music distributing, subcultural activity, as means of reconciling their people with the new reality they were heading to, but in the same time - finding an adequate <span style="font-style: italic;">modus viviendi</span> for an individual's own spiritual continuance within the sociological context of postmodern Europe. In Aporea's mythology, the context in which that transition would be made possible is referred to as "New Europe" and it is best described in words of Goran Lišnjić's 1989 article "Lanterna Magica" about Aporea: "Spiritual nation becomes and remains in the spiritual homeland without borders".<br />
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Under the spiritual guidance of Father Stefan Sandžakovski of the Macedonian Orthodox Church, Aporea was a loose collective of people of whom the most prominent were Goran Trajkoski, Zoran Spasovski, Klime Kovačevski, Metodij Zlatanov and Neven Ćulibrk. The remaining outer core was comprised of painters-iconographers and calligraphers Kiril Zlatanov (brother of the aforementioned Metodij) and Lazar Lečić as well as Predrag Cvetičanin, frontman of the Niš post-punk band Dobri Isak. On the eve of the last ever gig of Padot Na Vizantija, that took place in Banjaluka (Bosnia and Herzegovina) in July of 1985, Goran Trajkovski met an ardent fan of Padot Na Vizantija's work - Neven Ćulibrk (nowadays Father Jovan Ćulibrk, mentioned in the previous post), local alternative culture activist-journalist, part-time member of NEP and literature student with a particular interest in traditionalism and matters of faith. It was this friendship that made Aporea come to life and soon, in August of 1985 the first Aporea get-together was organized in Struga (Macedonia). In April of 1986 the very first public manifestation of Aporea was organized in the Pedagogical Academy of Banjaluka in the form of an art-exhibition that tackled the issues of the relationship between the East and the West, the traditional and the modern, through referencing and juxtaposting the diverse historical avant-gardes that existed in the Balkans in various periods of time [i.e. the art of Leonid Šejka or Ljubomir Micić's Zenitism] that also dealt with the issue. Until autumn of 1986 Aporea made the first and only issue of their fanzine of the same name, followed by the 1987 release of a fanzine-book "Apokrifna Realnost" that had somewhat of a role of a manifest. The only music document of Aporea "Na Rekah Vavilonskih" was recorded and distributed on a cheap cassette tape in 1988 for the occasion of ongoing TV documentary project about life and work of a painter-iconographer Lazar Lečić from Čurug (Serbia), a member of Aporea at the time. Due to the fact that in the brief period after the cease of activities of Padot Na Vizantija in 1985, Goran Trajkoski and Zoran Spasovski got involved with Mizar, Macedonian mega-band, as well as the fact that Neven Ćulibrk lived mostly between Zagreb and Banjaluka, Aporea only made a scarce documentation of its existence. There isn't a strict point in time when Aporea became Anastasia, but it somehow coincided with the abandonment of Aporea's multimedia activity that a new band, a strictly music-oriented Anastasia, followed. In that respect, it could be said that Aporea lasted until 1988 when a performance/exhibition of Metodij Zlatanov's visual poetry entitled "Sveti Jovan Neroden" was held in Zagreb's Lapidarij. Contrary to what I said in the previous post [more specifically on the entry on NEP], Aporea actually <span style="font-weight: bold;">never</span> performed live as a music group.<br />
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Unlike Aporea, Anastasia not only did perform live, but it also became a life-project of Goran Trajkoski and Zoran Spasovski and it didn't took long for Anastasia to conquer the music world with a amazing soundtrack for the 1994 Milčo Mančevski film "Before The Rain" (Pred Doždot).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGF7HNcVRQYDykXUt4dMucZ0EVztvkHt_5DVo-Ce3NTcwHyrkosem1fiUC1mH_TSlSxCdQUc1bIWQoRKAug6T-2MwW6TLE0JiJYmWBeADx2q5iuvHqvcDs4kr5u3Z_bLcLnti1_ePxdi8/s1600-h/Na+Rekah+Vavilonskih-Aporea2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5349558749818079106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGF7HNcVRQYDykXUt4dMucZ0EVztvkHt_5DVo-Ce3NTcwHyrkosem1fiUC1mH_TSlSxCdQUc1bIWQoRKAug6T-2MwW6TLE0JiJYmWBeADx2q5iuvHqvcDs4kr5u3Z_bLcLnti1_ePxdi8/s400/Na+Rekah+Vavilonskih-Aporea2.jpg" style="cursor: pointer; float: left; height: 314px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><br />
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The tape artwork is actually taken from a painting by Lazar Lečić entitled "Ratnik" (Warrior). On the tape itself we have song titles in Church-Slavonic assorted in Greek Alphabet (А В Г Д Е) instead of Azbuka order (А Б В Г Д), thus paying tribute to the Greek influence in origins of Slavonic literacy. In an attempt to avoid confusion, I left the songs as "Untitled" on the file names, because I don't think lot of people have Church Slavonic language packs installed on their computers. Although somebody took the time and transcribed the track names to a hypothetical variant of Macedonian Latin Alphabet and even left a tutorial how he did it, I really wouldn't know wheter is it correct or not. Here it is nonetheless:<br />
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A1) Dzvjazdo, javljajuštaja solnce - The Star which announces The Sun<br />
A2) Besjada pri vuchode vu Ierusalime: Luke 19: 41-44 - The utterance upon entering Jerusalem<br />
A3) Miru prežde roždestva - The World Before Birth (of Christ)<br />
B1) Na rekachu vavilonskychu psalm 137 - On the rivers of Babylon, Psalm 137<br />
B2) Kondak Sv. Prochoru Pčinskomu - Verses for St. Prochorus of Pčinja<br />
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On the cover there is a verse from the Gospel of Luke 19:41-44 written in archaic Serbian Cyrillic:<br />
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<span style="font-style: italic;">"And when he was come near, he beheld the city, and wept over it, Saying, if thou hadst known, even thou, at least in this thy day, the things which belong unto thy peace! but now they are hid from thine eyes. For the days shall come upon thee, that thine enemies shall cast a trench about thee, and compass thee round, and keep thee in on every side, And shall lay thee even with the ground, and thy children within thee; and they shall not leave in thee one stone upon another; because thou knewest not the time of thy visitation."</span><br />
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In this tape of mere 19 minutes, we have two faces of Aporea that correspond to the two sides of the cassette. On the A Side side we a have a grave and toilsome atmosphere where the resonance of the sound is prominent more than anything. In the first song "The Star which announces The Sun" - the dripping from the cave walls adds to the suspense atmosphere amid church bells chiming and voices chanting liturgical hymns. After it, the highpoint of A Side "The utterance upon entering Jerusalem" features a perfectly simplistic, crude and sparse, but equally as effective one-string plucking of an archaic instrument which accompanies a voice reciting the verses from Luke 19: 41-44 on Church-Slavonic. This is indeed, apocryphal, catacomb music of the early Christians: those of the persecuted, dispossessed and abandoned. "The World Before Birth" (A3) is a pittoresque, dreamy percussion piece on a xylophone-like instrument with distant, faded flutes and bells that create vague hints of traditional Balkan ethno-motifs. On the B Side, we have a much more traditional song structure. "On The Rivers of Babylon" (B1) is an absolute climax of the tape, the track in question being a rather raw, unpolished and sometimes even unequally paced, but all-together mesmerizing piece improvised on traditional Macedonian instruments. Finally, the "Verses for St. Prochorus of Pčinja" close the album with an example of traditional Orthodox church-chanting. Download the tape - <a href="http://www.mediafire.com/download/hxr7i26xv7jv51j/Aporea+-+%281988%29+Na+Rekah+Vavilonskih+%5Bmc%2Cnot+on+label%5D.rar">HERE</a><a href="http://rapidshare.com/files/246115530/Aporea_-__1988__Na_Rekah_Vavilonskih__mc_not_on_label_.rar"></a><br />
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Okay, <span style="font-weight: bold;">everybody</span> pay attention now - the Aporea book is one of the most remarkable documents of the cassette culture era. However, it's not on English: most of it is on Serbian and Macedonian, with a couple of passages being on Latin and Greek. I will dare not trying to give it a proper review, as it requires someone much more articulate than me, but I will just repeat what I was said by the person who ripped it. There are couple of graphics towards the middle that are repeating and that's not an error, it's like that in the original book. It is conceived to be read from both sides as reflected in the opening words/lyrics of a Padot Na Vizantija song - "Početok i Kraj" (Beginning and the End). Being a PDF-scan the full impression of it will not be properly experienced because in places it was hand-waxed and some parts of it are inscribed in golden colour. Download the book - <a href="http://www.mediafire.com/download/ukpikl8j7j2afzw/Aporea+Book+%281987%29.rar">HERE</a><a href="http://rapidshare.com/files/246642516/Aporea_Book__1987_.rar"></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhabNgxJjysYk_VvyPnE-fRxDtj2YGPieyNrgoEj_5IbWT9tkeMTYdV5Wo0F_x3JMdroHqZ6LIogZrrdQgkx2_1f0pUqG26DwD1iTv7G76UDg_rI-JqsWBtIu4X1Ksvtd6tZcGWOHOQVA/s1600-h/Na+Rekah+Vavilonskih-Aporea3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5349559450900819730" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhabNgxJjysYk_VvyPnE-fRxDtj2YGPieyNrgoEj_5IbWT9tkeMTYdV5Wo0F_x3JMdroHqZ6LIogZrrdQgkx2_1f0pUqG26DwD1iTv7G76UDg_rI-JqsWBtIu4X1Ksvtd6tZcGWOHOQVA/s400/Na+Rekah+Vavilonskih-Aporea3.jpg" style="cursor: pointer; float: left; height: 77px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><br />
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The tape was downloaded from a Macedonian torrent tracker last year, where a guy ripped it in 320kbs and the PDF-book is a rip from our kind donor from Osijek - Goran Lišnjić. Thanks again to our expert-consultant on the matters of art and tradition - Nikola of Kinovia as well as Goran Trajkoski and Father Jovan Ćulibrk the biographical data provided.</div>
hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com18tag:blogger.com,1999:blog-610004026922635302.post-37415817051821768642009-06-02T10:12:00.002-07:002012-02-25T17:04:37.976-08:00Various Artists - (1988) The Cassette Played Poptones [compiled by Sestra Wazelin - reviewed by Sestra Hogon - 4 in 1]<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHh78Ao2CU52V0a-z59QKcHsddafRQYw3N8IgcJTkmEt4Qlwd0u_VTi4m_U2Xolhh_-qJn9Uzi4H4OEm3fo5m3FWqtAuJmzJkSlQo3E4BQauQswLanSRhJEc5MC3Qy6o2Kvl0neLYqI5Q/s1600-h/Sestra+Wazelin.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 271px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHh78Ao2CU52V0a-z59QKcHsddafRQYw3N8IgcJTkmEt4Qlwd0u_VTi4m_U2Xolhh_-qJn9Uzi4H4OEm3fo5m3FWqtAuJmzJkSlQo3E4BQauQswLanSRhJEc5MC3Qy6o2Kvl0neLYqI5Q/s400/Sestra+Wazelin.jpg" alt="" id="BLOGGER_PHOTO_ID_5342780864390465250" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Back in the days, this tape - The Cassette Played Poptones - was one of the seminal compilations of the so called industrial/experimental camp [huge quotation marks here as none of the bands present even comes close to all of the cliches connected with the particular genre], as it the was an attempt to bring closer some of the really interesting happenings in that part of the Yugoslav underground to a more wider audience [obviously, besides Laibach's and Borghesia's activities, respectively]. In that respect, the tape was one of the rare that was reviewed by the mainstream press [like Džuboks]. The importance of these kind of collaborative efforts in the individualist music scene of Yugoslavia is also mirrored by the fact that the there were so few of them, with the majority of authors usually preferring closely-knit acquaintances [if any] for collaboration and thus a more limited scope of influence, rather than this type of regional samplers. The tape compiler, Sestra Wazelin, was actually one of the participants Goran Lišnjić "Lis" from Osijek [Croatia] with his project Metropolie Trans, the other participants being Autopsia from Ruma [Serbia], NEP from Zagreb [Croatia] and Padot Na Vizantija from Skopje [Macedonia]. The tape came with a second issue of a fanzine of the same name [Sestra Wazelin], which I don't posses. The tape was selfreleased in 1988 in an unknown number of copies, ripped around 2008 in 320 kbps and split into two parts with 60 something mbs each: download - <a href="http://www.mediafire.com/?ig2ut8qxlc4olyq">HERE</a>. Originally published in four parts, but later merged into one for comprehension and aesthetic reasons.<br /><br />A word of thanks must be said to whoever ripped this, Sabrina P. Ramet - whose thoughts and references I used extensively, Nikola of Kinovia for making the creative ends meet and of course Goran Lišnjić for the abundance of information provided.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjskNDkD3583qFrePLwuC1SVgTlc2U0mybqCMCOOcMQ4NxxHF4D9Wl6AWLBNFS3pgqMSo-90HECWW0VkcLcT4dnBgyp2rbqHJHfbvD-UAHaZGC2xHBbM0WTbO7pvIOHtXVbTO16lbS-ZCI/s1600-h/autopsia.gif"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 371px; height: 391px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjskNDkD3583qFrePLwuC1SVgTlc2U0mybqCMCOOcMQ4NxxHF4D9Wl6AWLBNFS3pgqMSo-90HECWW0VkcLcT4dnBgyp2rbqHJHfbvD-UAHaZGC2xHBbM0WTbO7pvIOHtXVbTO16lbS-ZCI/s400/autopsia.gif" alt="" id="BLOGGER_PHOTO_ID_5343442919138974194" border="0" /></a><br /><br /><br /><br /><br /><br />The first band featuring on this 4-way compilation is Autopsia from Ruma [Serbia], nowadays world-renown name of postindustrial music with headquarters in Prague [Czech Republic]. What can be said about Autopsia that we already don't know? Quite a lot, actually. As the factographical data on Autopsia are particularly scarce concerning their first 10 years of operation and/or mostly coming from local storytellers often prone to memory lapses and hyperbole, this should be taken with a grain of salt.<br /><br />Autopsia is basically Rade Milinković and whoever he gets to collaborate with. In the early 1980es period these collaborators would often include multimedia artist Slobodan Šajin [from <a href="http://www.auxmanir.com/">Aux Manir</a>] and one elusive character S. Vukelić engaged in graphic design and music production, yet in the late 1980es colaborators would often include Zlatko Sakulski of nowadays global phenomena from Ruma - <a href="http://www.vrelomusic.com/">Vrelo</a> and Dušan Đorđević-Mileusnić from Belgrade who provided much of the theoretical edge. Autopsia officially functioned as an agricultural art commune, located on a farm in a the nearby vicinity of Ruma often taking participation in art exhibitions throughout the country. Deeply rooted in within the punk scene Autopsia started out as a fringe-fanzine advocating individual selfrealisation and responsibility, but later significantly broadened their scope of activities. Autopsia is still active and can be found <a href="http://www.blogger.com/www.autopsia.net">here</a>.<br /><br />Autopsia provided three tracks for the comp, with two of them sounding like rather sketchy blueprints for further elaboration: both Kompozicija za Hor i Klavir [Composition For a Choir and a Piano] and Kompozicija za Hor [Composition For a Choir] respectively, feature a short libretto passage sung over and over again in a loop, creating an effect that quite resembles sampling, but it is in fact suppose to be performed as we are suggested by the track titles [on the other hand - if it is sampling then its really refined and clean-cut]. On the first track the reiterated passage is from Orf's Carmina Burana [<span style="font-style: italic;">Fortune rota volvitur, descendo minoratus</span>] and the on the second its <span style="font-style: italic;">Te Decet Hymnus</span> - from the Requiem Mass [which could be from virtually any baroque composer]. The last Autopsia track "Oh no! Hopeless" is a less oblique affair and definitely more musical than the previous two - we have a dramatic, intense atmosphere of barroom howls intertwining with drums and a sampled voice.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRE4O5kWWe1BEp4ozmXw2hFX95ogCMMroA7NaHOPulHtvRCByICx9VKASk6j7yaCwkNud39yxxkShTQymA7oH6kxHONNPAV0Cx0IpTWDwntz2-2ZoAcuWLzgK9_wC1LGtTJfskty4SqWQ/s1600-h/Napetost+nad+Evropom.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 392px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRE4O5kWWe1BEp4ozmXw2hFX95ogCMMroA7NaHOPulHtvRCByICx9VKASk6j7yaCwkNud39yxxkShTQymA7oH6kxHONNPAV0Cx0IpTWDwntz2-2ZoAcuWLzgK9_wC1LGtTJfskty4SqWQ/s400/Napetost+nad+Evropom.jpg" alt="" id="BLOGGER_PHOTO_ID_5343572369971682754" border="0" /></a><br /><br /><br /><br />The second band on the compilation is NEP from Zagreb, a loose multimedia collective formed around 1982 by a young graphic designer Dejan Kršić, with the usual accomplices being Gordana Brzović and Jani Štravs. There is a slight ambivalence to exactly what NEP stands for as it can mean Nova Evropa Projekt [or New Europe Project], but also it can mean Novi Evropski Poredak [New European Order]. Whatever the abbreviation actually stood for, the activities of NEP encompassed political & art theory, music, graphic design and film, especially emphasizing the role of medias in contemporary society. During their heyday throughout the mid 80es, they even performed several concerts, with probably the most famous being in 1985 when they opened for Test Department as well as one in 1988 when they had a split bill with a Macedonian band called Aporea, purveyors of anchorite ritualism of whom more will be said on this blog in due time. Somewhere around 1991, when the old country fell apart/into war, NEP also ceased to exist - with individual authors continuing their work on other projects.<br /><br />A thing in common with Test Dept. and a probably a principal and the obvious most NEP trademark was rather engaged political rhetoric, unambiguously leftist - heavily leaning towards marxist-communism. In my opinion, regarding this kind of explicitly political or totalitarian art engagement as something already exploited by the countries most famous avantgarde art export [Laibach], one should avoid calling all these art-projects that sprung up during the early and mid eighties 'bastards of Laibach', because it was more a matter of a common zeitgeist of the era for all of the artistic and intellectual vanguard in a communist country to be heavily politic. Of all the projects that operated in former Yugoslavia, Laibach, as of the 1982-83 NSK takeover of a outsiderist art-punk/industrial unit from Trbovlje of the same name to a state sponsored project, was not the only one doing this and certainly not the first. Rightfully or not, NSK/Laibach took over and heavily exploited the monopoly for being the prime vanguard on ex-Yugo territory, so we will deconstruct that notion as we unveil all the other interesting happenings in the Yugo scene.<br /><br />Musically speaking NEP tracks on this comp are mostly unusual, but rather simple tape-looped soundscapes with explicit political content and very clear contexts. The first track (A4) Kada se Forme Lome (When Attitudes Become Firm) is for example taking subject to some of the really interesting happenings surrounding the 1984 UK Miners strike that proved to be crucial in shaping relations between trade unions and government, significantly diminishing the roles of the former for good (which was an essential topic for Test Dept's activities). While (A5) Cultural Struggle seems like a bizarre non-identifiable ethnic music jingle-loop combining passages from some textbook propaganda, in fact what follows it is the high point of the compilation. (A6) Novi Poredak (New Order) is a monumental epic for string instruments, choir and a synthesizer about new winds blowing on the horizon, an absolutely superb piece in every respect. Finishing The A Side of with (A7) Naš Cilj-Komunizam (Our Goal-Communism) is a bit of a humourous relief [with maybe a dash of self-irony] as a familiar voice keeps repeating "our people, our Party", presenting us with a romantic*, tranquil, even meditative vision about how communist utopia sounds like. [*did i mention comrade Tito's voice is sampled? yes, it's that kind of hopelessly romantic].<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXtakor8VildNax_brrzRICewqTV0j1mXn7kwqTHOaV4QZySX7eeW9D2Hi5jLpPbFpXNlzjIt_e_MnP85tuiNv9jb0aEq6gPAfKsxP-aXndTAzAQd813UQBAMwa6FIfjQADIxYXiqYd9g/s1600-h/Pad2.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 391px; height: 249px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXtakor8VildNax_brrzRICewqTV0j1mXn7kwqTHOaV4QZySX7eeW9D2Hi5jLpPbFpXNlzjIt_e_MnP85tuiNv9jb0aEq6gPAfKsxP-aXndTAzAQd813UQBAMwa6FIfjQADIxYXiqYd9g/s400/Pad2.jpg" alt="" id="BLOGGER_PHOTO_ID_5343430783412702786" border="0" /></a><br /><br />Opening Side B with three tracks - Padot Na Vizantija (The Fall of Byzantium or often Падот На Византија in original, Macedonian Cyrillic script) is probably the biggest name on this compilation in terms of ex-Yugoslavia [on the other hand - Autopsia would be probably the most famous name on the comp internationally, even if virtually unheard of here] and it's kinda strange that they found themselves here because - first of all - the group wasn't part of a wider industrial/experimental milieu to which majority of the compilation is dedicated to and second - they were defunct for 3 years when The Cassette Played Poptones was released. Nonetheless, their contribution here is precious for its historiographical value, because their discography is less then scarce as the group disbanded without even recording an 'official' studio-demo recording with only couple of compilation tracks and live-bootlegs remaining to testify for the cult underground following that Padot Na Vizantija enjoy.<br /><br />Padot Na Vizantija was a post-punk group from Skopje, Macedonia. They were formed in October of 1983 by Goran Trajkoski on the ashes of Saraceni - his previous punk-rock group and the line up was Goran Trajkoski on vocals & bass guitar [until 1984, when a separate bass player was introduced - Sami Ibrahim], Klime Kovačevski on guitar [replaced with Zoran Dabić in 1984] and Špend Ibrahim on drums. After two years of performing numerous times on various punk venues and rock festivals throughout Yugoslavia - the group disbanded in 1985, as Goran Trajkoski went to pursue his fortune with Mizar. Although the recordings are pretty much awful, most probably audience bootlegs, Padot Na Vizantija are pretty much well represented on the comp with three of their most famous songs (B1) Početok i Kraj [Beginning and End], a sacralist postpunk anthem with liturgical singing characteristic of Padot, (B2) Noć Nad Jugoslavija [Night Over Yugoslavia] and probably their biggest hit - (B3) Istata Sostojba [The Same Situation].<br /><br />Padot na Vizantija is now commonly accepted as progenitors of what will later be known as the Makedonska Streljba movement [or Macedonian Barrage], one of the most important currents in art underground of former Yugoslavia, spawning such cult names [of course in more or less local terms] as Mizar, Telonauka Sovršena, Anastasia, Arhangel, etc. This entry would be a nice occasion to tell you more about it, as the information on them are rather scarce and story rather interesting [the mp3's and individual bands information are more or less available, so I'll skip that]<br /><br />Makedonska Streljba was a revivalist current within the existing post-punk movement in Macedonia and it was certainly one of the most fascinating ones [in the 1980es as well as now], as a it was a subculture movement which sought inspiration in what majority of the subculture movements dare not tread: spirituality and folklore. In the broader context of the epoch, it can also be considered as one of the first traces of Neofolk movement in mainland Europe. A little prehistory is required here - all these bands that came to be Makedonska Streljba and those bands that predeceased it like Padot Na Vizantija, Telonauka Sovršena and Mizar, were under direct influence by above all - Joy Division, and to a lesser extent bands like Siouxie & The Banshees and Bauhaus, because all of the mentioned bands had a certain introspective depth that could be interpreted as part of an inner quest [an inner quest like, for instance, religion is]. Now why Joy Division? Besides the obviously transcendental or even meditative sounding, Joy Division generally has that type of fervor to it that you could easily associate with feeling of religious intoxication [not to mention the fact that Ian Curtis is nowadays the martyr of a semi-official religious cult that has grown around him]. Anyway, there is a interesting essay by hieromonk Father Jovan Ćulibrk on the subject of such inner quests, Joy Division and Christianity to be found <a href="http://www.mitropolija.cg.yu/aktuelno/saopstenja/e_culibrk-joy.html">here</a>.<br /><br />One of the most important aspects of Makedonska Streljba was the admiration of the ancient culture of Byzantium that was present on the Macedonian soil more than 600 years ago mostly through liturgical singing and overtones (with traditional Macedonian folk music also proving to be a vital bond), but also through emphasizing the common religious and cultural identity, through the values and heritage of Eastern Orthodoxy which they accepted from the Byzantines. In other words - it was a Macedonian-centred movement, which first and foremost strove to stir the emotions of Macedonian people (for instance Mizar from Skopje and Telonauka Sovršena from Struga were among the first bands to actually release an album entirely on Macedonian language). Makedonska Streljba movement had a strong political and an ideological background as the emphasize of separate national values and identity was regarded as a secessionist provocation by the bureaucratic communist government which didn't chose means to keep order in the politically correct, multiethnic and multicultural Yugoslavia. Therefore many members of Makedonska Streljba faced open boycott and even unofficial persecution in Yugoslavia (and especially Macedonia) because of their views.<br /><br />Here it would be more than tempting to underline the enormous sociological and culturological differences* in Yugoslavia even within the countries most vanguard factors, such are subculture movements of the separate constitutional nations, by mentioning that opposition to the official state doctrine was also done by the Slovenians and their Neue Slowenische Kunst, but on a whole another level. It wouldn't be too far from the truth to say that Neue Slowenische Kunst was in fact a complete ethical, aesthetic and philosophical antipod of its Macedonian counterpart as they adopted a specific postmodern, futurist world view, firmly rooted within the Western civilization, [with a particular fondness to the concept of German Ordnung], whereas Macedonians looked to a distant past to find inspiration, to their own people and the Church.<br /><br />[*the differences that, when applied <span style="font-style: italic;">en masse</span>, make the dismantlement of the former state the only logical outcome]<br /><br />With Macedonia stepping out from Yugoslavia in 1992, the members of the movement found themselves in an awkward situation to be the favourites of the newly established ruling clique and in this new climate some of them adapted and made a commercial breakthrough with the ongoing 90es folk revivalism and some haven't and remained in the dark. In Macedonia nowadays, it is generally accepted that Makedonska Streljba movement is the groundstone of any modern culture.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF1qbH4m2YFTRORRVbnX5gIgulSlTq_hYuJN5HZqc6hbwdFSTSsgmLfcJNPhyq494SI_XMHqueDtjFFLB5IsBuw0TuV9QS8sFR55o561eypCqjEpYlWS5734BZEQcCvIfvpSxHpESRuag/s1600-h/Copy+of+METROPOLIE+ARHITEKTURA.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 366px; height: 479px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF1qbH4m2YFTRORRVbnX5gIgulSlTq_hYuJN5HZqc6hbwdFSTSsgmLfcJNPhyq494SI_XMHqueDtjFFLB5IsBuw0TuV9QS8sFR55o561eypCqjEpYlWS5734BZEQcCvIfvpSxHpESRuag/s400/Copy+of+METROPOLIE+ARHITEKTURA.jpg" alt="" id="BLOGGER_PHOTO_ID_5343669509375874978" border="0" /></a><br /><br /><br /><br />Last, but not least we have Metropolie Trans of Goran Lišnjić "Lis". Hailing from from Osijek, Croatia's easternmost point and fourth largest city, Lis' very existence is one of the numerous evidences of ultimate triumph of the decentralization process of 80es mail-art network over the concept of traditional of art centres. Metropolie Trans is a project in a 30-year-and-counting string of projects of Lis', one man crusade in struggle for a total art. For him art and culture are not a mere decor for the Polis, but an all-encompassing control system through which inner mechanisms within the modern society are regulated. In that context, the frame of Lis' work was always open (as opposed to "multimedial"), in order to address as much instances of the postmodern society as possible. As for the art making process, it is entirely conceptual and therefore can often endure substantial shifts in form. It is a philosophy that is, certainly not revolutionary or new, but a product of a common 80es subcultural reasoning which spawned such culture-totals as Club Moral, Die Tödliche Doris, Smell & Quim, etc.<br /><br />Metropolie Trans is the first serious actualization of Lis' ideas and it lasted from 1985 until 1990, occasionally including other people, i.e. Mladen Pavlović. Before Metropolie Trans there was Diskretni Šarm Buržoazije, a tape-loop oriented avant-punk effort which was a more a theoretical unit than a real band. During it's lifetime, Metropolie Trans had five solo exhibitions (most of them in Osijek and one in Zagreb), recorded four audio-works, one of whom is The Cassette Played Poptones, the other three being collected early works in Serija Ranih Radova (1985-87), a collection of mixes and edits entitled Transformer (1989) and a tape Numbers/Order (1990), produced numerous theoretical texts and graphic works and even recorded a film. After Metropolie Trans, new projects such as Nowy Lef, Lebensformer and ultimately Re:Form, the current occupation of Lis', followed.<br /><br />The three tracks representing Metropolie Trans vary pretty much in style as well as intention. The first Metropolie Trans track (B4) Nowy Lef [standing for Mayakovsky's famous journal] is a rather good tape mishmash including dramatic operatic voices, German military songs and apocalyptic fanfare in the best tradition of any martial/neofolk band that came out from mittel-Europa, some 5-6 years before anything of the sort became a trend. After Nowy Lef we are in for a complete surprise as (B5) Virus is an entirely programmed track, presenting us with a upbeat electro tune in a collaborative effort with Mladen Pavlović [alias Radio Oktobar]. Finally, (B6) Žito (Corn) closes the compilation with a track that could probably be best described as an example of dark ambient.hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com6tag:blogger.com,1999:blog-610004026922635302.post-19913543988756013112009-05-01T09:04:00.052-07:002021-03-21T09:17:37.668-07:00King Nothing - (1994) Before And After The Silence [mc,Key-A-No Records]<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial; font-size: x-small;">This entry of A hogon's industrial guide was revised on 21.03.2021. The
original version of the article is still accessible through the Internet
archive via this
<a href="https://web.archive.org/web/20210319161038/http:/ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html">link</a>.</span>
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<span style="font-family: Arial;">The release presented here is <i>Before and After The Silence</i> cassette from
1994 by King Nothing, the moniker of the entity previously known as Larynx
– the Yugoslav 1980s hometaping wunderkind – who in 1990s was the brain
behind the cult noise rock outfit Demencija Prekoks (Serbian for “Dementia
Praecox”). King Nothing (née Đorđe Dimitrijević) hails from Požarevac, a
small city in east central Serbia that you could hardly call a punk Mecca,
but a city that’s mostly known for its political power-struggles as it was
the stronghold of former Milošević regime during the 1990s as well as the
backbone of opposition movement. While Larynx was a relative unknown for
the wider alternative audience in Yugoslavia (though nonetheless a key
figure in the hermetic domain of Yugoslavian 1980s cassette
experimentalism<span id="1"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[1]">[1]</a></sup></span>), Demencija Prekoks on the other hand was a notorious band that was a
beacon of the Yugoslav underground throughout the decade – mainly because
of their chaotic live shows and noted media presence (several TV
appearances, music videos, etc) – and one that had a special place in the
popular imagination of the Yugo 1990s underground as everyone’s favourite
for affectionate othering or a benchmark of sorts that was often invoked
for comparisons due to its perceived excessiveness and outlandishness in
regard to the musical standards of the time. Demencija Prekoks was always
<i> that</i> band, a threshold to be reached or carefully avoided.</span>
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<span style="font-family: Arial;">King Nothing came into being in 1990 and in the early 1990s mostly
functioned as an adjunct to Demencija Prekoks as the materials originally
developed for King Nothing often served as blueprint for future Demencija
Prekoks tracks. Although King Nothing had released about a dozen tapes by
1994, these were released on his increasingly diminishing home output LX
Music LTD which by the early 1990s became more of a private tape
repository than a proper label<span id="2"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[2]">[2]</a></sup></span>
whereas Demencija Prekoks released its first two cassettes on Take It Or
Leave It Records, a professional indie publisher. In 1994, Key–A–No
Records became the new generic home label for all endeavours of the
Požarevac hometaping maverick with the release of King Nothing’s <i>Before
And After The Silence</i> tape as its inaugural release<span id="3"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[3]">[3]</a></sup></span>. The material for the cassette was recorded in a strange interregnum for
the band in which King Nothing had decreed in the press and around town
that Demencija Prekoks ceased to exist on 29.05.1994<span id="4"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[4]">[4]</a></sup></span>. Nonetheless, the band regrouped in 1996 and King Nothing found itself
again in the sidelines for the remainder of the 1990s with no new releases
as King Nothing himself was still fully committed to his primary project.
It was only after a short period in the end of the 1990s and beginning of
the 2000s wherein Demencija Prekoks gradually slumped into a prolonged
period of hibernation<span id="5"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[5]">[5]</a></sup></span>
that this changed and in 2002 King Nothing took over the primacy in
planning and execution at the Key–A–No headquarters. Throughout the 2000s
King Nothing was the main Key–A–No project releasing nineteen albums from
2002 and 2007 and had provided a stepping stone for its author’s
transformation from a performer to digital audio workstation
composer.</span>
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<span style="font-family: Arial;">In terms of its musical direction, <i>Before and After The Silence</i> tape
doesn’t differ too much from Demencija Prekoks’ broadly construed noise
rock with atonal overtones, however this was not generally the case with
King Nothing as its’ program was much more heterogeneous compared to DP’s
insofar as it offered Đorđe more freedom to experiment in different
musical directions<span id="6"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[6]">[6]</a></sup></span>. In many media appearances as well as fanzine interviews in the 1990s,
King Nothing used the term <i>white music</i> to describe the type of sound he
was pursuing with his projects<span id="7"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[7]">[7]</a></sup></span>. The term had originally came from Western rock press where the division
of music into respective black and white family trees was popular at the
time and it wasn’t long until the Yugoslavian rock press and music
audiences picked it up, too<span id="8"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[8]">[8]</a></sup></span>. While the original, racial meaning of the term was not lost to King
Nothing – as he invoked it too at times<span id="9"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[9]">[9]</a></sup></span>
– the concept of <i>white music</i> connected with his poetics and worldview at a
particular nexus where lived realities, both individual-psychological as
well as broader sociopolitical ones, are juxtaposed onto a
magickal-symbolic framework and then affected through a variety of
artistic and magickal procedures in a way to achieve personal and
collective individuation.</span>
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<span style="font-family: Arial;">In a 1994 interview in the <i>War Pigs</i> fanzine, King Nothing correlated the
beginning of the 1990s with the Alchemical <i>Nigredo</i> (or <i>Blackness</i></span><span style="font-family: Arial;"><span style="font-family: Arial;">)</span></span><span style="font-family: Arial;"><span id="10"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[10]">[10]</a></sup></span>, the stage of decay and putrefaction. The context for this sort of
framing was provided by a historical event that was unfolding at the
inception point of both King Nothing (1990) and Demencija Prekoks (1991):
the looming civil war as well as dissolution of Yugoslavia. As the country
gradually spiralled into chaos, events became more and more random and
this loss of objective ground was especially visible in the media as the
truth about the conflict was being pulled apart by competing propaganda
narratives. In the vacuum that opened with the collapse of central
authority, hearsay and subtext superseded text. A growing sense of
insecurity took its toll on the mental health of its populace – even in
places like Požarevac that were not directly affected by war operations.
Both projects were conceptualized with this event in the foreground:
Demencija Prekoks, itself a medical anachronism for schizophrenia, and
King Nothing as a kind of a nihilistic sublimation of this
experience.</span>
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<span style="font-family: Arial;">Like many industrial musicians before him<span id="11"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[11]">[11]</a></sup></span>, King Nothing followed a path peppered by anti-psychiatric theory (in
his case R. D. Laing in particular) that theorized that by immersing or
redefining oneself through one’s own psychiatric condition a significant
amelioration of symptoms can be achieved; in King Nothing’s case in
particular, this involved a process of spiritual-artistic self-therapy
through which he could exteriorize his deeply felt anguish and confront
head on the inner demons that the war had unleashed. The underlying idea
was that the magickal role of Demencija Prekoks as a self-described
ultra-nihilist force was in a way to respond to the chaos of early 1990s
in Yugoslavia with even more chaos of its own (i.e. noise) and in this way
accelerate the Alchemic cycle to bring about the <i>Albedo</i> (or <i>Whiteness</i>), the
second of the four stages of the <i>Magnum Opus</i> (hence <i>white music</i>)<span id="12"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[12]">[12]</a></sup></span>. However, this cathartic drive through noise ultimately leads to silence
or nothingness per King Nothing as an expression of his own True Will; not
to nihilism but rather No-thingness, the Buddhist <i>Śūnyatā</i> – wherein <i>the chaotic non-entity</i><span id="13"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[13]">[13]</a></sup></span>
finally dissolves and finds its peace. Since most of these movements in
King Nothing’s poetic are sketched in these sets of pairs (like <i>Nigredo</i> /
<i>Albedo</i>, black / white, noise / silence, illness / health, chaos /
nothingness) it is entirely probable that a different interpretation could
be made by rearranging the relationship between the element pairs.</span>
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<span style="font-family: Arial;">Unlike much of the early King Nothing repertoire that ended up serving as
Demencija Prekoks demo fodder – a pool of ready-made song material to
build upon – all the tracks on <i>Before and After The Silence</i> were conceived
as King Nothing songs by design because by 1994 Demencija Prekoks had
already developed a life of its own and the two projects were thought
about as separate entities.</span>
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<span style="font-family: Arial;">The tape is a dense, cut and paste patchwork of pre-recorded loops and
sampled phrases that make extensive use of the studio’s multitrack
mixboard recording possibilities. Moreover, since King Nothing is
essentially a one-man-band here that plays all the instruments and effects
himself, the emphasis on studio-as-an-instrument approach cannot be
overstated. Due to a lack of post-production editing on <i>Before And After
The Silence</i>, the way these multiple layers are transposed onto each other
at times appears to be clunky, but most of the time this clunkiness just
adds to the overall charm of the raw lo-fi chaos going on here. While the
A side is more on the intense and spastic part of the DIY noise rock
spectrum, the B side, on the other hand, has a more turgid, psychedelic
atmosphere to it. The imagery invoked in the lyrics ranges from
surrealistic accounts of tripping on fly juices (<i>Moj deo muve</i>; Serbian for
“My chunk of the fly”) and lurid inquiries into cases of foetal
cannibalism (<i>Umetnost abortusa</i>; Serbian for “Art of the abortion”) to
autopoetic insights into King Nothing’s metaphystics (<i>Bang every beat</i>).
Most of the song lyrics on A side are in Serbian while most of the B side
are in English.</span>
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<span style="font-family: Arial;">All the materials were recorded at Studio Sedlić in Požarevac – where
also most of the Demencija Prekoks releases were also recorded<span id="14"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#[14]">[14]</a></sup></span>
– and released in 30 copies on King Nothing’s own Key-A-No Records in
November of 1994. The cassette was most likely scooped from either Svi
Marš Na Ples forum or FTP Kombinat, an invite only file-sharing FTP
server, both relevant resources for Yugoslavian and ex-Yugoslavian
alternative music in the late 2000s and early 2010s. The tape was ripped
in 320 kbs. An enormous thanks is due to Stevan Lenhart for his amazing
archive preservation efforts, King Nothing for his patience and Dr. Srele
for the networking.</span>
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<span style="font-family: Arial;">Download it -
<a href="http://www.mediafire.com/?ri30syeqi4x3c6q">HERE</a>.</span>
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<span style="font-family: Arial;">Notes and references:</span>
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<span style="font-family: Arial;"><span id="[1]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#1">[1]</a></sup></span>
- ^ In course of eight years he released more than sixty tapes in limited
editions on his private LX Music LTD, five releases of whom appeared
elsewhere, with four of them featuring on Marzidovšek's
Marzidovšekminimallaboratorium output as well as one on Dragan Pavlov's
own Red Phoenix/Crvene Kasete label, namely:</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">MML 34 Larynx - (1986) Sound Ambients-High Fast Dance</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">MML 51 Avyakta Sabd - (1987) Divyam Janma</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">MML 64 Various Artists - (1987) Last and First Music</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">MML 66 Larynx - (1987) The Golden Age of Meaning</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">CK 006 Larynx - (1990) The Best of Larynx Music</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[2]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#2">[2]</a></sup></span>
- ^ In the 1988-1994 period, LX Music LTD’s scope of record label
functions was drastically diminishing and the label became an increasingly
privatized affair. After Larynx’s 1988 <i>Get Out</i> cassette, there were no
automatic copies being produced for new releases and the label’s catalogue
was exclusively duplicated on demand. The label had also largely stopped
producing artworks for each new release; after 1988 these were for an
exception than a rule.</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[3]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#3">[3]</a></sup></span>
- ^ Not only it became a new home for King Nothing, but Key–A–No Records
also became the only label where he would publish his works in the future
– since its establishment in 1994, he didn’t publish his works on any
other label.</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[4]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#4">[4]</a></sup></span>
- ^ This announcement can be found in one of the versions of Demencija
Prekoks manifesto printed around that time.</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[5]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#5">[5]</a></sup></span>
- ^ King Nothing’s 29.05.1994 announcement marks the end of the first
phase of Demencija Prekoks. After a brief hiatus in activities which was
mostly occupied by King Nothing’s solitary ventures, the group continues
its work and self-releases three more albums by 1998 (which delineates the
end of the second phase of Demencija Prekoks). It is only after 1998 when
this hibernation period fully kicks in and it lasts until Demencija
Prekoks’ last performance at the 2003 edition of <i>KOMAR</i> festival in
Kovačica when the already inactive group ceremonially performed a post
mortem concert to call it quits for good. The Demencija Prekoks official
discography goes as following:</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">BTK-003 Demencija Prekoks (Take It Or Leave It Records-Belgrade,
1992)</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">BTK-020 Plava Grobnica Neba (Take It Or Leave It Records-Belgrade,
1993)</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">KAN 002 Live in Amsterdam (Key–A–No Records-Požarevac, 1996)</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">KAN 003 Dance Dance Dance (Key–A–No Records-Požarevac, 1997)</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;">KAN 004 Safe Aids Lips (Key–A–No Records-Požarevac, 1998)</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[6]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#6">[6]</a></sup></span>
- ^ King Nothing largely continued where Larynx left off in the vague
terrain of guitar, drums and effects improvisation, but it also ventured
into hero guitar improvs, electro-thrash-metal and even folk music.</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[7]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#7">[7]</a></sup></span>
- ^ There is an anecdote about how <i>white music</i> first popped into King
Nothing’s view: one day in 1990 King Nothing and his friend Aleksandar
’Aleks’ Andrić (from their 1980s enterprises like Lovci Na Tune and Hell
Hell Hell & Other Love Songs) were sitting in front of the Beograd
department store in Požarevac. At the time the said duo were involved with
one of the numerous early incarnations of Demencija Prekoks – of which
there about eight or ten with at least fifteen different musicians in the
period from January 1989 to March 1991. At some point or another, a common
acquaintance, who at the time had been Aleks’ colleague from the steam
generators factory and King Nothing’s erstwhile classmate from coal
exploitation classes, had approached them. After some initial back and
forth, the normie acquaintance inquired about the sort of music they play
to which Aleks readily replied "white guitar noise" in pompous but shabby
English. Seeing their acquaintance confused, King Nothing intervened and
brought it down a notch by saying Aleks was only goofing around and that
they only play hard rock. But this epithet of <i>white music</i> – or at times
white noise – somehow stuck with King Nothing and he would use it
throughout the 1990s to describe the sound of King Nothing and Demencija
Prekoks. It is worth mentioning here that one of the very first King
Nothing albums was indeed called <i>White music</i> (LX Music LTD-Požarevac,
1990).</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[8]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#8">[8]</a></sup></span>
- ^ Perhaps the most notable acquisition of this term in Yugoslav bands is
found in the album <i>White Music - 2 Ways 2 German Art & Work Discipline</i>
(Black & White Tapes-Sarajevo/Slušaj Najglasnije!-Zagreb, 1992) of the
Sarajevo noise rock band SCH.</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[9]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#9">[9]</a></sup></span>
- ^ Asked about the <i>white music</i> epithet in an interview for Vasa
Radovanović’s <i>Oprem Dobro</i> fanzine (nr. 58, May 1995), King Nothing himself
simply quoted a line from a text titled <i>ABC bele muzike</i> (Serbo-Croatian
for “ABC of white music“) by one Josif Ahmed in <i>Delo</i> literary magazine
(year 34/1988, nr. 12/December, page 234) as if consulting from a
technical manual:</span>
</div>
<div class="MsoNormal">
<i><span style="font-family: Arial;">White music is the first subculture of white youth, completely liberated
from negro or oriental music elements.</span></i>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[10]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#10">[10]</a></sup></span>
- ^ Uroš Smiljanić’s <i>War Pigs</i> fanzine nr.4 (self-released-Belgrade,
January 1994).</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[11]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#11">[11]</a></sup></span>
- ^ Most notably the Australian industrial act SPK took their name from a
famous West German antipsychiatric organization called <i>Sozialistisches
Patientenkollektiv</i> (German for “Socialist Patients' Collective”) whose
motto was <i>Aus der Krankheit eine Waffe machen</i> (German for “Turn illness
into a weapon”).</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[12]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#12">[12]</a></sup></span>
- ^ King Nothing would certainly have preferred the <i>Aeon of Horus</i> to the
<i>Magnum Opus</i> as the metaphor since he is first and foremost a Thelemite and
the principle would remain the same since Horus is the Egyptian child-god
of light and as such it would perfectly play into his <i>white music</i> concept.
However this term isn’t without its shortcomings: since the <i>Aeon of Horus</i>
stands for an era of mankind’s self-realization and spiritual development
that spans several millennia it could not have accounted for small events
such as those in Yugoslavia at the time; this is why King Nothing used a
more abstract and ahistorical concept like <i>Nigredo</i> to account for the
concrete circumstances he was living and creating in.</span>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[13]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#13">[13]</a></sup></span>
- ^ The term <i>chaotic non-entity</i> appears in Demencija Prekoks’ manifesto as well as the eponymous
song on the group’s eponymous first album (Take It Or Leave It
Records-Beograd, 1992) which is – together with <i>Svetlim i nestajem</i>
(Serbian for “I glisten and disappear”) – one of the central load bearing
pillars of King Nothing poetics. The term features in R.D.
Laing’s book <i>The Divided Self – An Existential Study In Sanity And Madness</i>
(Tavistock Publications-London, 1960) in his writings on schizophrenia but, in fact, originates from William Blake’s <i>Jerusalem: The Emanation of
The Giant Albion</i> (1820) – the central book of Blake’s prophetic cycle. R.
D. Laing lauded the term as one of the best literary descriptions of the
self-body split experienced by schizophrenics:</span>
</div>
<div class="MsoNormal">
<i><span style="font-family: Arial;">However, when the 'centre' fails to hold, neither self-experience nor
body-experience can retain identity, integrity, cohesiveness, or vitality,
and the individual becomes precipitated into a condition the end result of
which we suggested could best be described as a state of 'chaotic
nonentity'. In its final form, such complete disintegration is a
hypothetical state which has no verbal equivalents.</span></i>
</div>
<div class="MsoNormal">
<span style="font-family: Arial;"><span id="[14]"><sup><a href="http://ahogonsindustrialguide.blogspot.com/2009/05/king-nothing-1994-before-and-after.html#14">[14]</a></sup></span>
- ^ All Demencija Prekoks albums were recorded at Studio Sedlić except the
first that was recorded at Kod Baba Vuke studio in Belgrade</span>
</div>
</div>
hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com0tag:blogger.com,1999:blog-610004026922635302.post-84490569772462025492008-10-19T09:43:00.000-07:002008-10-19T10:07:28.085-07:00Sound Is A Picture And Vice Versa<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyVhK0v_OVNpgKya94WW6qV-le5yDqNjo-EHS08mk_vjOnbqNBYt2PcXuYZxYzpeaMT8pT6cU8pSTIqpW4qBI2Q8t05KxnJyLxr8py0xYHP8Ci8DKThyphenhyphenn6vAnycLLtEkaguBrBM6es_2A/s1600-h/Sound+Is+A+Picture+And+Viceversa.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyVhK0v_OVNpgKya94WW6qV-le5yDqNjo-EHS08mk_vjOnbqNBYt2PcXuYZxYzpeaMT8pT6cU8pSTIqpW4qBI2Q8t05KxnJyLxr8py0xYHP8Ci8DKThyphenhyphenn6vAnycLLtEkaguBrBM6es_2A/s400/Sound+Is+A+Picture+And+Viceversa.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5258907902213557122" /></a><br /><br />SOUND IS A PICTURE AND VICE VERSA<br /> <br />ONE NIGHT SHOT<br /><br />Artelier Mecano is glad to invite you to the opening of the exhibition "Sound is a picture and vice versa", Saturday 25 October, Salone Gemma (www.faltwerksalon.it) in via S.Francesco 52A, Triest.<br /><br />h. 18.30 corpi illuminanti e paesaggi sonori ("illuminating bodies & sound landscapes") - installation by Artelier Mecano<br /><br />h. 20.00 marea_rumore di fondo (tides_background noises)<br />appunti sonori per derive psichiche (sound notes for psychedelic drifting) - Live performance on music and sounds of J.Berrocal, Cabaret Voltaire, Hanged up, M.Marzidovsek ecc. random selection and mix by M-VOID <br />length: about 40'<br /><br />The installation makes use of music interventions by Maurizio M-VOID and present itself as a whole of sounds and visuals, where illuminating bodies and sound landscapes take shape through the use of minimal leftovers and industrial waste reinterpreted by the Artelier poetic. The title is a quote of Mario Marzidovsek, an explorer of the industrial/noise music scene in the ex Yugoslavia. During the Eighties Mario established the no profit label MML (Marzidovsek Minimal Laboratorium). He was also a prolific self-taught artist, dedicated to xerox and mail art.<br /><br />Our project takes inspiration first of all by Marzidovsek music, but also by his peculiar and multifaceted personality. He was full of creative energy and able to establish a real network of artists and musicians around the world, thanks to an intense correspondence around and about the MML production. Inspired by Mario Marzidovsek the minimal resources available became our expressive strength.<br /><br />http://arteliermecano.blogspot.com/hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com2tag:blogger.com,1999:blog-610004026922635302.post-15645291569791029212008-08-31T14:36:00.000-07:002011-12-24T15:51:17.974-08:00P.P. Nikt<div><div><div><div><br />Yugoslav tape <span class="blsp-spelling-error" id="SPELLING_ERROR_0"><span class="blsp-spelling-error" id="SPELLING_ERROR_0"><span class="blsp-spelling-error" id="SPELLING_ERROR_0">experimentalism</span></span></span> is pretty much rare per <span class="blsp-spelling-error" id="SPELLING_ERROR_1"><span class="blsp-spelling-error" id="SPELLING_ERROR_1"><span class="blsp-spelling-error" id="SPELLING_ERROR_1">se</span></span></span>, but this is a rarity even for experimental music production standards in Yugoslavia. Formed in Belgrade during the latter half of the 1980<span class="blsp-spelling-error" id="SPELLING_ERROR_2"><span class="blsp-spelling-error" id="SPELLING_ERROR_2"><span class="blsp-spelling-error" id="SPELLING_ERROR_2">ies</span></span></span>, P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_3"><span class="blsp-spelling-error" id="SPELLING_ERROR_3"><span class="blsp-spelling-error" id="SPELLING_ERROR_3">Nikt</span></span></span> stands for <span class="blsp-spelling-error" id="SPELLING_ERROR_4"><span class="blsp-spelling-error" id="SPELLING_ERROR_4"><span class="blsp-spelling-error" id="SPELLING_ERROR_4">Plastično</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_5"><span class="blsp-spelling-error" id="SPELLING_ERROR_5"><span class="blsp-spelling-error" id="SPELLING_ERROR_5">Pozorište</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_6"><span class="blsp-spelling-error" id="SPELLING_ERROR_6"><span class="blsp-spelling-error" id="SPELLING_ERROR_6">Nikt</span></span></span> [or Plastic Theatre <span class="blsp-spelling-error" id="SPELLING_ERROR_7"><span class="blsp-spelling-error" id="SPELLING_ERROR_7"><span class="blsp-spelling-error" id="SPELLING_ERROR_7">Nikt</span></span></span>] and is the brainchild of Serbian filmmaker, theatre director and musician <span class="blsp-spelling-error" id="SPELLING_ERROR_8"><span class="blsp-spelling-error" id="SPELLING_ERROR_8"><span class="blsp-spelling-error" id="SPELLING_ERROR_8">Dejan</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_9"><span class="blsp-spelling-error" id="SPELLING_ERROR_9"><span class="blsp-spelling-error" id="SPELLING_ERROR_9">Vlaisavljević</span></span></span> "<span class="blsp-spelling-error" id="SPELLING_ERROR_10"><span class="blsp-spelling-error" id="SPELLING_ERROR_10"><span class="blsp-spelling-error" id="SPELLING_ERROR_10">Nikt</span></span></span>".<br /><br />While his activities were primarily associated with <span class="blsp-spelling-error" id="SPELLING_ERROR_11"><span class="blsp-spelling-error" id="SPELLING_ERROR_11"><span class="blsp-spelling-error" id="SPELLING_ERROR_11">filmmaking</span></span></span>, <span class="blsp-spelling-error" id="SPELLING_ERROR_12"><span class="blsp-spelling-error" id="SPELLING_ERROR_12"><span class="blsp-spelling-error" id="SPELLING_ERROR_12">Dejan</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_13"><span class="blsp-spelling-error" id="SPELLING_ERROR_13"><span class="blsp-spelling-error" id="SPELLING_ERROR_13">Vlaisavljević</span></span></span> also composed soundtracks for his films and theatre plays. In the beginning, around 1987, he was the only member of the group, performing live several times as a one man band and occasionally with the help of video/sound artist <span class="blsp-spelling-error" id="SPELLING_ERROR_14"><span class="blsp-spelling-error" id="SPELLING_ERROR_14"><span class="blsp-spelling-error" id="SPELLING_ERROR_14">Petar</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_15"><span class="blsp-spelling-error" id="SPELLING_ERROR_15"><span class="blsp-spelling-error" id="SPELLING_ERROR_15">Milić</span></span></span>. The concerts combined video and film screenings, live instrumental music and spoken word. During that time P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_16"><span class="blsp-spelling-error" id="SPELLING_ERROR_16"><span class="blsp-spelling-error" id="SPELLING_ERROR_16">Nikt</span></span></span> recorded the four cassettes I will present here - <span class="blsp-spelling-error" id="SPELLING_ERROR_17"><span class="blsp-spelling-error" id="SPELLING_ERROR_17"><span class="blsp-spelling-error" id="SPELLING_ERROR_17">Besmrtnost</span></span></span> [Immortality], Great Movies, Private Eyes, Up and released all of them on his own label <span class="blsp-spelling-error" id="SPELLING_ERROR_18"><span class="blsp-spelling-error" id="SPELLING_ERROR_18"><span class="blsp-spelling-error" id="SPELLING_ERROR_18">Nikt</span></span></span> Music in 1989. In 1989 <span class="blsp-spelling-error" id="SPELLING_ERROR_19"><span class="blsp-spelling-error" id="SPELLING_ERROR_19"><span class="blsp-spelling-error" id="SPELLING_ERROR_19">Mirko</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_20"><span class="blsp-spelling-error" id="SPELLING_ERROR_20"><span class="blsp-spelling-error" id="SPELLING_ERROR_20">Mikulić</span></span></span> and <span class="blsp-spelling-error" id="SPELLING_ERROR_21"><span class="blsp-spelling-error" id="SPELLING_ERROR_21"><span class="blsp-spelling-error" id="SPELLING_ERROR_21">Dragan</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_22"><span class="blsp-spelling-error" id="SPELLING_ERROR_22"><span class="blsp-spelling-error" id="SPELLING_ERROR_22">Ve</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_23"><span class="blsp-spelling-error" id="SPELLING_ERROR_23"><span class="blsp-spelling-error" id="SPELLING_ERROR_23">Ignjatović</span></span></span> joined in making P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_24"><span class="blsp-spelling-error" id="SPELLING_ERROR_24"><span class="blsp-spelling-error" id="SPELLING_ERROR_24">Nikt</span></span></span> a trio that performed several times in Belgrade and Warsaw. Later on, in 1990 <span class="blsp-spelling-error" id="SPELLING_ERROR_25"><span class="blsp-spelling-error" id="SPELLING_ERROR_25"><span class="blsp-spelling-error" id="SPELLING_ERROR_25">Dejan</span></span></span> dropped the 'P.P.' in the band name as well as the two other band members, teamed up with longtime friend and a colleague Igor <span class="blsp-spelling-error" id="SPELLING_ERROR_26"><span class="blsp-spelling-error" id="SPELLING_ERROR_26"><span class="blsp-spelling-error" id="SPELLING_ERROR_26">Toholj</span></span></span> and produced an album called Amazing Flight Stories. Soon, in the wake of war in Yugoslavia, he relocated to Amsterdam where he remains until today, making movies and just <span class="blsp-spelling-error" id="SPELLING_ERROR_27"><span class="blsp-spelling-error" id="SPELLING_ERROR_27"><span class="blsp-spelling-error" id="SPELLING_ERROR_27">occasionally</span></span></span> composing music.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLIMXX8R5b1fhYWMN2qtlVmX6X5eOOrjUI81xp26p9W9TyU4WnTSVMmN0HMdrHLcZu71ISmiHbI_M0fSd6Dcj-RI1ShQtWDndlaty6BDuyeDf7qIiDc031fwHZIxqWRmlzW7Nl9aIDHo/s1600-h/Copy+of+P.P.+Nikt+-+The+Great+Movies1.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLIMXX8R5b1fhYWMN2qtlVmX6X5eOOrjUI81xp26p9W9TyU4WnTSVMmN0HMdrHLcZu71ISmiHbI_M0fSd6Dcj-RI1ShQtWDndlaty6BDuyeDf7qIiDc031fwHZIxqWRmlzW7Nl9aIDHo/s400/Copy+of+P.P.+Nikt+-+The+Great+Movies1.jpg" alt="" id="BLOGGER_PHOTO_ID_5240859048288326562" border="0" /></a><br />Music of P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_28"><span class="blsp-spelling-error" id="SPELLING_ERROR_28"><span class="blsp-spelling-error" id="SPELLING_ERROR_28">Nikt</span></span></span> was homemade <span class="blsp-spelling-error" id="SPELLING_ERROR_29"><span class="blsp-spelling-error" id="SPELLING_ERROR_29"><span class="blsp-spelling-error" id="SPELLING_ERROR_29">experimentalism</span></span></span> usually consisting of abstract, loop-based patterns [usually sampled from 50<span class="blsp-spelling-error" id="SPELLING_ERROR_30"><span class="blsp-spelling-error" id="SPELLING_ERROR_30"><span class="blsp-spelling-error" id="SPELLING_ERROR_30">ies</span></span></span> movies] and/or bedroom <span class="blsp-spelling-corrected" id="SPELLING_ERROR_31">jams</span> deploying lots of <span class="blsp-spelling-error" id="SPELLING_ERROR_32"><span class="blsp-spelling-error" id="SPELLING_ERROR_31"><span class="blsp-spelling-error" id="SPELLING_ERROR_31">synths</span></span></span>, guitars and other <span class="blsp-spelling-corrected" id="SPELLING_ERROR_33">unidentifiable</span> sound-sources. The overall effect of which is very emotional often mesmerizing lo-<span class="blsp-spelling-error" id="SPELLING_ERROR_34"><span class="blsp-spelling-error" id="SPELLING_ERROR_32"><span class="blsp-spelling-error" id="SPELLING_ERROR_32">fi</span></span></span> music made out of virtually no proper means, as a product of sheer enthusiasm. Double cassette release Great Movies is probably the most representative of this 'typical P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_35"><span class="blsp-spelling-error" id="SPELLING_ERROR_33"><span class="blsp-spelling-error" id="SPELLING_ERROR_33">Nikt</span></span></span>' sound.<br /><br />P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_34">Nikt</span> - (1989) The Great Movies [<span class="blsp-spelling-error" id="SPELLING_ERROR_35">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_36">Nikt</span> Music] are - <a href="http://www.mediafire.com/?apffzho96vs65t3">HERE</a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja57vv3RSC9QG-ZNma3zfMp9Efjgi5EnLBThx-juwsR3NQ2xsgOaAi4xlaE_qDHvuu0z5zNFIQcoh7wE-IwpsDcKpcE1JW7H9G-ltKOn2RNubNnW7fzvySDfHcICxLFfEVGaDsZdyhhsc/s1600-h/P.P.+Nikt+-+Private+Eyes.jpg"><img id="BLOGGER_PHOTO_ID_5240759632094869058" style="margin: 0px 10px 10px 0px; float: left; width: 462px; height: 265px;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja57vv3RSC9QG-ZNma3zfMp9Efjgi5EnLBThx-juwsR3NQ2xsgOaAi4xlaE_qDHvuu0z5zNFIQcoh7wE-IwpsDcKpcE1JW7H9G-ltKOn2RNubNnW7fzvySDfHcICxLFfEVGaDsZdyhhsc/s400/P.P.+Nikt+-+Private+Eyes.jpg" border="0" /></a></div><br /><div><br /><br />Pretty much in the vein of Great Movies - the <span class="blsp-spelling-corrected" id="SPELLING_ERROR_36">suggestively</span> titled Private Eyes album obviously evokes film <span class="blsp-spelling-error" id="SPELLING_ERROR_37"><span class="blsp-spelling-error" id="SPELLING_ERROR_34"><span class="blsp-spelling-error" id="SPELLING_ERROR_37">noir</span></span></span> atmospheres with it's cool jazz-<span class="blsp-spelling-corrected" id="SPELLING_ERROR_38">reminiscent</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_39"><span class="blsp-spelling-error" id="SPELLING_ERROR_35"><span class="blsp-spelling-error" id="SPELLING_ERROR_38">synths</span></span></span>. It's probably the most diverse or the least coherent album in terms of style [for instance songs like: Elephant's Song or Happy], but that's the case with more or less every P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_40"><span class="blsp-spelling-error" id="SPELLING_ERROR_36"><span class="blsp-spelling-error" id="SPELLING_ERROR_39">Nikt</span></span></span> release. Sometimes the effects employed in making these albums - and this especially goes for Private Eyes - will leave a feeling of naivety, but that's just a part of P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_41"><span class="blsp-spelling-error" id="SPELLING_ERROR_37"><span class="blsp-spelling-error" id="SPELLING_ERROR_40">Nikt's charm</span></span></span>.<br /><br />P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_41">Nikt</span> - (1989) Private Eyes [<span class="blsp-spelling-error" id="SPELLING_ERROR_42">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_43">Nikt</span> Music] is - <a href="http://www.mediafire.com/?jo7dbe2u0xegpoh">HERE</a><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRQ2R_n-coLsa8rF5dfZL74n9yK2M8uuaW5uIYRsUDT7YaRz-NUvvrtVRmlkxyZEXW8k73KrgWW8TCDF08A4xWUJ3Ze3mAuU8LburljPnEQqD5nvVvdjbYnLY2pTHRu0GqTUpDuaF4Mi8/s1600-h/Copy+of+P.P.+Nikt+-+Up.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRQ2R_n-coLsa8rF5dfZL74n9yK2M8uuaW5uIYRsUDT7YaRz-NUvvrtVRmlkxyZEXW8k73KrgWW8TCDF08A4xWUJ3Ze3mAuU8LburljPnEQqD5nvVvdjbYnLY2pTHRu0GqTUpDuaF4Mi8/s400/Copy+of+P.P.+Nikt+-+Up.jpg" alt="" id="BLOGGER_PHOTO_ID_5240798135386491778" border="0" /></a><a href="http://rapidshare.com/files/141614087/P.P._Nikt_-__1989__Private_Eyes__mc_Nikt_Music_.rar"></a><br /><br />The most implicit and intense P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_42"><span class="blsp-spelling-error" id="SPELLING_ERROR_38"><span class="blsp-spelling-error" id="SPELLING_ERROR_44">Nikt</span></span></span> album is Up, a soundtrack for the movie of the same name, an inhumanely minimalist piece of work occasionally contrasted with beautifully melancholic tracks '<span class="blsp-spelling-error" id="SPELLING_ERROR_43"><span class="blsp-spelling-error" id="SPELLING_ERROR_39"><span class="blsp-spelling-error" id="SPELLING_ERROR_45">Ponekad</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_44"><span class="blsp-spelling-error" id="SPELLING_ERROR_40"><span class="blsp-spelling-error" id="SPELLING_ERROR_46">Kao</span></span></span> I <span class="blsp-spelling-error" id="SPELLING_ERROR_45"><span class="blsp-spelling-error" id="SPELLING_ERROR_41"><span class="blsp-spelling-error" id="SPELLING_ERROR_47">Uvek</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_46"><span class="blsp-spelling-error" id="SPELLING_ERROR_42"><span class="blsp-spelling-error" id="SPELLING_ERROR_48">Nekad</span></span></span>' [Once in a while as always sometimes], '<span class="blsp-spelling-error" id="SPELLING_ERROR_47"><span class="blsp-spelling-error" id="SPELLING_ERROR_43"><span class="blsp-spelling-error" id="SPELLING_ERROR_49">Posle</span></span></span>' [After] and '<span class="blsp-spelling-error" id="SPELLING_ERROR_48"><span class="blsp-spelling-error" id="SPELLING_ERROR_44"><span class="blsp-spelling-error" id="SPELLING_ERROR_50">Jednog</span></span></span> Dana Će <span class="blsp-spelling-error" id="SPELLING_ERROR_49"><span class="blsp-spelling-error" id="SPELLING_ERROR_45"><span class="blsp-spelling-error" id="SPELLING_ERROR_51">Sve</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_50"><span class="blsp-spelling-error" id="SPELLING_ERROR_46"><span class="blsp-spelling-error" id="SPELLING_ERROR_52">Ovo</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_51"><span class="blsp-spelling-error" id="SPELLING_ERROR_47"><span class="blsp-spelling-error" id="SPELLING_ERROR_53">Biti</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_52"><span class="blsp-spelling-error" id="SPELLING_ERROR_48"><span class="blsp-spelling-error" id="SPELLING_ERROR_54">Tvoje</span></span></span>' [All of this will be yours one day] . This is P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_53"><span class="blsp-spelling-error" id="SPELLING_ERROR_49"><span class="blsp-spelling-error" id="SPELLING_ERROR_55">Nikt</span></span></span> at its best. The Up film is an informal remake of <span class="blsp-spelling-error" id="SPELLING_ERROR_54"><span class="blsp-spelling-error" id="SPELLING_ERROR_50"><span class="blsp-spelling-error" id="SPELLING_ERROR_56">Tomislav</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_55"><span class="blsp-spelling-error" id="SPELLING_ERROR_51"><span class="blsp-spelling-error" id="SPELLING_ERROR_57">Gotovac's</span></span></span> 60<span class="blsp-spelling-error" id="SPELLING_ERROR_56"><span class="blsp-spelling-error" id="SPELLING_ERROR_52"><span class="blsp-spelling-error" id="SPELLING_ERROR_58">ies</span></span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_57"><span class="blsp-spelling-error" id="SPELLING_ERROR_53"><span class="blsp-spelling-error" id="SPELLING_ERROR_59">avant</span></span></span>-<span class="blsp-spelling-error" id="SPELLING_ERROR_58"><span class="blsp-spelling-error" id="SPELLING_ERROR_54"><span class="blsp-spelling-error" id="SPELLING_ERROR_60">garde</span></span></span> classics '<span class="blsp-spelling-error" id="SPELLING_ERROR_59"><span class="blsp-spelling-error" id="SPELLING_ERROR_55"><span class="blsp-spelling-error" id="SPELLING_ERROR_61">Pravac</span></span></span>' and '<span class="blsp-spelling-error" id="SPELLING_ERROR_60"><span class="blsp-spelling-error" id="SPELLING_ERROR_56"><span class="blsp-spelling-error" id="SPELLING_ERROR_62">Kružnica</span></span></span>'.<br /><br />P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_63">Nikt</span> - (1989) Up [<span class="blsp-spelling-error" id="SPELLING_ERROR_64">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_65">Nikt</span> Music] is - <a href="http://www.mediafire.com/?jca3zacasycqmrc">HERE</a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGEAKw0xtDIMR-p4MCK1ubbwc9yVIJeLINDQEbNUyFK-mZ9fBkIUiaoZiK0FQNAe2iTg2-rqGReHSNGRY2ZlHteWfaHWk_cmMKhQysxddIQbyCmRmHtpDZon-R-DMrMFgbEKiaODm7gx8/s1600-h/P.P.+Nikt+-+Besmrtnost+front.jpg"><img id="BLOGGER_PHOTO_ID_5240755197455892482" style="margin: 0px 10px 10px 0px; float: left; width: 400px; height: 236px;" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGEAKw0xtDIMR-p4MCK1ubbwc9yVIJeLINDQEbNUyFK-mZ9fBkIUiaoZiK0FQNAe2iTg2-rqGReHSNGRY2ZlHteWfaHWk_cmMKhQysxddIQbyCmRmHtpDZon-R-DMrMFgbEKiaODm7gx8/s400/P.P.+Nikt+-+Besmrtnost+front.jpg" border="0" /></a><span class="blsp-spelling-error" id="SPELLING_ERROR_61"><span class="blsp-spelling-error" id="SPELLING_ERROR_57"><span class="blsp-spelling-error" id="SPELLING_ERROR_66">Besmrtnost</span></span> stands out in P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_58"><span class="blsp-spelling-error" id="SPELLING_ERROR_67">Nikt's</span></span> opus primarily because of the 'concrete' nature of the samples used: steel-mill echoes, machine hums, jet propulsion noises here constitute long drone symphonies that arouse feelings of silent perverse optimism in prospects of impending technological doom. If one hasn't been previously introduced to the highly implicit nature of previous P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_59"><span class="blsp-spelling-error" id="SPELLING_ERROR_68">Nikt</span></span> efforts and his naturalist approach to sonic experimentalism - he could even argue that Besmrtnost is an example of industrial ambient and that wouldn't be too much of a mistake, either.</span><br /><br />P.P. <span class="blsp-spelling-error" id="SPELLING_ERROR_69">Nikt</span> - (1989) <span class="blsp-spelling-error" id="SPELLING_ERROR_70">Besmrtnost</span> [<span class="blsp-spelling-error" id="SPELLING_ERROR_71">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_72">Nikt</span> Music] is - <a href="http://www.mediafire.com/?6fmxd4m7w4rlrjs">HERE</a><br /><br /><br /><br />All tapes ripped as 320 <span class="blsp-spelling-error" id="SPELLING_ERROR_60"><span class="blsp-spelling-error" id="SPELLING_ERROR_73">kbs</span></span><em></em><em></em> mp3's by pop3<span class="blsp-spelling-error" id="SPELLING_ERROR_61"><span class="blsp-spelling-error" id="SPELLING_ERROR_74">.</span></span> For a more detailed biography of Dejan Vlaisavljević "Nikt" which I used as a valuable source, click - <a href="http://www.dvnikt.com/history.html">HERE</a><a href="http://rapidshare.com/files/328027583/Dejan_Vlaisavljevic_Nikt.rar"></a>. Naturally, if anybody has any additional info on Dejan Vlaisavljević "Nikt" or would like to contribute to this blog with his publications, tapes or maybe even films - I would be more than glad to have them here.<span style="display: block;" id="formatbar_Buttons"><span class="" style="display: block;" id="formatbar_CreateLink" title="Link" onmouseover="ButtonHoverOn(this);" onmouseout="ButtonHoverOff(this);" onmouseup="" onmousedown="CheckFormatting(event);FormatbarButton('richeditorframe', this, 8);ButtonMouseDown(this);"><img src="img/blank.gif" alt="Link" class="gl_link" border="0" /></span></span></div></div></div></div>hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com3tag:blogger.com,1999:blog-610004026922635302.post-34176038471938021062008-07-29T05:33:00.000-07:002017-10-12T17:11:01.015-07:00And meanwhile..<div dir="ltr" style="text-align: left;" trbidi="on">
Here are the promised <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Marzidovsek</span> tapes, carefully collected from all four corners of the globe:<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9awQq0tF6lXUBEHrDoUhpMPAVKVjsfOIoKW0Ttd2qnosyXnDB_i4YF6XSZwW-qTGtbp5SKI9WGRmUFSa3I7FY0ZRut0WzQH4OG4Qf8F11nNN7Z-YRIqhf8rdxuDFArYoNgGaiyMn8UrA/s1600/I-mc1.jpg"><img border="0" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9awQq0tF6lXUBEHrDoUhpMPAVKVjsfOIoKW0Ttd2qnosyXnDB_i4YF6XSZwW-qTGtbp5SKI9WGRmUFSa3I7FY0ZRut0WzQH4OG4Qf8F11nNN7Z-YRIqhf8rdxuDFArYoNgGaiyMn8UrA/s400/I-mc1.jpg" width="400" /></a>Mario <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Marzidovsek</span> - (1984) I [<span class="blsp-spelling-error" id="SPELLING_ERROR_2">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_3">Marzidovshek</span> Minimal <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Laboratorium</span>,320<span class="blsp-spelling-error" id="SPELLING_ERROR_5">kbs</span>] - <a href="http://www.mediafire.com/?uug41tuqahsanwx"><span style="text-decoration: underline;">HERE</span></a> [thanks to anonymous hero pop3 from <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Osijek</span>,Croatia]<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTf_F5DIXabCZWR85LaAk3yykyamwbvjGqpKq6HH4vyYpVuD9f__X83zkMieZDAuJd0s7k0fEi2s3e1qMet21mcE7EXwXAacBn5snnq1SE-ZrMMv5KSin3ZqvcAL-zYCEzt5yvnV511U/s1600/II-mc1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img border="0" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTf_F5DIXabCZWR85LaAk3yykyamwbvjGqpKq6HH4vyYpVuD9f__X83zkMieZDAuJd0s7k0fEi2s3e1qMet21mcE7EXwXAacBn5snnq1SE-ZrMMv5KSin3ZqvcAL-zYCEzt5yvnV511U/s400/II-mc1.jpg" width="400" /></a> Mario <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Marzidovsek</span> - (1985) II [<span class="blsp-spelling-error" id="SPELLING_ERROR_8">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_9">Marzidovhsek</span> Minimal <span class="blsp-spelling-error" id="SPELLING_ERROR_10">Laboratorium</span>,320<span class="blsp-spelling-error" id="SPELLING_ERROR_11">kbs</span>] - <a href="http://www.mediafire.com/?pq21f9ef8iqe58i">HERE</a> [pop3]<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv4PIkJoyY9hRLTA1VU6D09y5kNxxIcCZJP7rT6Z7huebQme_yXWZMELBq0aS3Z-248Z2-3qfFAhs0cMFJdnVAgIPlxqKmTwJ0gjmNz85DVR_OXFzWyPeJIeKMsIHCjBhXbdplez43T68/s1600/III-reincarnation+tetralogy-mc1.jpg" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv4PIkJoyY9hRLTA1VU6D09y5kNxxIcCZJP7rT6Z7huebQme_yXWZMELBq0aS3Z-248Z2-3qfFAhs0cMFJdnVAgIPlxqKmTwJ0gjmNz85DVR_OXFzWyPeJIeKMsIHCjBhXbdplez43T68/s400/III-reincarnation+tetralogy-mc1.jpg" width="396" /> </a>Mario <span class="blsp-spelling-error" id="SPELLING_ERROR_12">Marzidovsek</span> - (1985) 3 - Reincarnation <span class="blsp-spelling-error" id="SPELLING_ERROR_13">Tetralogy</span> (Dedicated to Klaus <span class="blsp-spelling-error" id="SPELLING_ERROR_14">Schulze</span>) [<span class="blsp-spelling-error" id="SPELLING_ERROR_15">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_16">MML</span>,320<span class="blsp-spelling-error" id="SPELLING_ERROR_17">kbs</span>] - <a href="http://www.mediafire.com/?1kwn5cv1wkpc1l5">HERE</a> [<span class="blsp-spelling-error" id="SPELLING_ERROR_18">originally</span> published by <a href="http://noisepress.blogspot.com/"><span class="blsp-spelling-error" id="SPELLING_ERROR_19">noisepress</span></a> blog, should be <span class="blsp-spelling-error" id="SPELLING_ERROR_20">Swiss</span> if my memory serves me well]<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiASH7gwGDW0Z16PfHUEcTMslWYQv1OAEE3YI5wCX7M8AGgyJ0q7srEuMSewxPQNB-MgjBXUiQEjAKwatfiXYqrEkVs361XwIvmEiVikiD1DANxWwLy4QsGiamNGd-47AWA3n3CPiH2zOs/s1600/IV-reincarnation+tetralogy-mc1.jpg" imageanchor="1"><img border="0" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiASH7gwGDW0Z16PfHUEcTMslWYQv1OAEE3YI5wCX7M8AGgyJ0q7srEuMSewxPQNB-MgjBXUiQEjAKwatfiXYqrEkVs361XwIvmEiVikiD1DANxWwLy4QsGiamNGd-47AWA3n3CPiH2zOs/s400/IV-reincarnation+tetralogy-mc1.jpg" width="400" /> </a>Mario <span class="blsp-spelling-error" id="SPELLING_ERROR_21">Marzidovsek</span> - (1985) 4 - Reincarnation <span class="blsp-spelling-error" id="SPELLING_ERROR_22">Tetralogy</span> (Dedicated to Klaus <span class="blsp-spelling-error" id="SPELLING_ERROR_23">Schulze</span>) [<span class="blsp-spelling-error" id="SPELLING_ERROR_24">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_25">MML</span>,320<span class="blsp-spelling-error" id="SPELLING_ERROR_26">kbs</span>] - <a href="http://www.mediafire.com/?1v19sct96xyaz9y">HERE</a> [again pop3]<br />
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[NO SCAN, HELP PLEASE]<br />
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Mario <span class="blsp-spelling-error" id="SPELLING_ERROR_27">Marzidovsek</span> - (1985) Brutal-Minimal [<span class="blsp-spelling-error" id="SPELLING_ERROR_28">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_29">Marzidovshek</span> Minimal <span class="blsp-spelling-error" id="SPELLING_ERROR_30">Laboratorium</span>,128<span class="blsp-spelling-error" id="SPELLING_ERROR_31">kbs</span> rip] - <a href="http://www.mediafire.com/?45rnw7wn30ouu9z">HERE</a> [thanks to <span class="blsp-spelling-error" id="SPELLING_ERROR_32">Atrax</span> Morgue,Venezuela]<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUh_4EmpoPgMkAnAGl1WdlhLDvAdjpbsxEFgzA82tHvF9vjlPiXn1L3lDx8Ilo28z8b4guJNp9Fkx7AJ07Uh1-Z87CTWTJFfKW5lJw2tvHfZGPcvXL9bfLrhEHr6XAANQu3XHA0iGTv2A/s1600-h/marburg.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5228588736820399330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUh_4EmpoPgMkAnAGl1WdlhLDvAdjpbsxEFgzA82tHvF9vjlPiXn1L3lDx8Ilo28z8b4guJNp9Fkx7AJ07Uh1-Z87CTWTJFfKW5lJw2tvHfZGPcvXL9bfLrhEHr6XAANQu3XHA0iGTv2A/s400/marburg.jpg" style="float: left; margin: 0pt 10px 10px 0pt;" /></a><br />
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<span style="font-size: xx-small;">[take notice : </span><span style="font-size: xx-small;"> the picture doesn't portray</span><span style="font-size: xx-small;"> the city <span class="blsp-spelling-error" id="SPELLING_ERROR_33">Maribor</span> in Slovenia or '<span class="blsp-spelling-error" id="SPELLING_ERROR_34">Marburg</span> am <span class="blsp-spelling-error" id="SPELLING_ERROR_35">Drau</span>' as <span class="blsp-spelling-error" id="SPELLING_ERROR_36">Germans</span> call it, but probably a german town called Marburg</span><span style="font-size: xx-small;">!]</span><br />
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Mario <span class="blsp-spelling-error" id="SPELLING_ERROR_39">Marzidovsek</span> - (1986) <span class="blsp-spelling-error" id="SPELLING_ERROR_40">Marburg</span> [<span class="blsp-spelling-error" id="SPELLING_ERROR_41">mc</span>,?,256<span class="blsp-spelling-error" id="SPELLING_ERROR_42">kbs</span>] - <a href="http://www.mediafire.com/?wgp2dua7r86tctw"><span style="text-decoration: underline;">HERE</span></a> [kindly donated from an excellent <span class="blsp-spelling-corrected" id="SPELLING_ERROR_43">Slovak</span> blog - <a href="http://dualtrack.blogspot.com/"><span class="blsp-spelling-error" id="SPELLING_ERROR_44">Dualtrack</span></a>]<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9b0c1d3uqJOJq8miqJe5MojQwljwTnqiuroaP5sKBeDrd5W_CsOOSpVRnXs7rH9JNZ9Qp2HIVHUtPvb8HxKBw_cAeuIn6zGPo1DPXapFxhugz8DjOHUa4K5kaxZIHpXcVVlUK4E1YDUU/s1600-h/mario.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5351609432054319410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9b0c1d3uqJOJq8miqJe5MojQwljwTnqiuroaP5sKBeDrd5W_CsOOSpVRnXs7rH9JNZ9Qp2HIVHUtPvb8HxKBw_cAeuIn6zGPo1DPXapFxhugz8DjOHUa4K5kaxZIHpXcVVlUK4E1YDUU/s400/mario.jpg" style="float: left; height: 400px; margin: 0pt 10px 10px 0pt; width: 378px;" /></a><br />
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[thank you, <span class="blsp-spelling-corrected" id="SPELLING_ERROR_45">mr</span>. De <span class="blsp-spelling-error" id="SPELLING_ERROR_46">Waard</span> for filling us in with the cover]<br />
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Mario <span class="blsp-spelling-error" id="SPELLING_ERROR_47">Marzidovsek</span> - (1987) Live On The Air - <span class="blsp-spelling-error" id="SPELLING_ERROR_48">Nijmegen</span> 17.09.1987 [<span class="blsp-spelling-error" id="SPELLING_ERROR_49">mc</span>,Art & Noise Editions,128<span class="blsp-spelling-error" id="SPELLING_ERROR_50">kbs</span> rip thanks to <span class="blsp-spelling-error" id="SPELLING_ERROR_51">Atrax</span> Morgue,Venezuela] - <a href="http://www.mediafire.com/file/rn1rmehfbn45cbe/Mario+Marzidov%C5%A1ek+-+%281987%29+Live+On+The+Air+%28Nijmegen+17.09.1987%29+%5Bmc%2CArt+%26+Noise%5D.rar">HERE</a><br />
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<img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKuAem8ZfWz7D296rx2D56Dh9zXM_SW__Jgl_11Ifzpfysj6SNMzbiw9I7cS17Sl3YW7raXyJvxF385u0H_oR_wxax6xZw-LFyFfgp6q3V9AyAhYxfOhv5PN1_v6NjLziW3zHzFFapdjQ/s640/suicide+in+america+%2526+bavarian+aquarels-mc1.JPG" width="388" /><span class="blsp-spelling-error" id="SPELLING_ERROR_52">Merzdow</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_53">Shek</span> - (1987) Suicide In America & Bavarian <span class="blsp-spelling-error" id="SPELLING_ERROR_54">Aquarels</span> [<span class="blsp-spelling-error" id="SPELLING_ERROR_55">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_56">Staalplaat</span>,256<span class="blsp-spelling-error" id="SPELLING_ERROR_57">kbs</span> rip] - <a href="http://www.mediafire.com/?cau2u0avvzpyfvn"><span style="text-decoration: underline;">HERE</span></a><br />
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+ bonus:<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqgIGsoicgH_z9XlmQxQAt9om8X9vhHeVnkppvIt6Zew_N4ECldxmJVG8TMzezL4pnfQjpCtj91iunJSCwWFM-kyFkAyAxVPxwP_eCy-B31-DBQF8Z4D1MTJe-6ciXEuvE5YC7MXgo7s/s1600/steyer-mc1.JPG" imageanchor="1"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqgIGsoicgH_z9XlmQxQAt9om8X9vhHeVnkppvIt6Zew_N4ECldxmJVG8TMzezL4pnfQjpCtj91iunJSCwWFM-kyFkAyAxVPxwP_eCy-B31-DBQF8Z4D1MTJe-6ciXEuvE5YC7MXgo7s/s320/steyer-mc1.JPG" width="320" /></a> Various Artists - (1985) <span class="blsp-spelling-error" id="SPELLING_ERROR_58">Steyer</span> [<span class="blsp-spelling-error" id="SPELLING_ERROR_59">mc</span>,<span class="blsp-spelling-error" id="SPELLING_ERROR_60">Marzidovshek</span> Minimal <span class="blsp-spelling-error" id="SPELLING_ERROR_61">Laboratorium</span>,256<span class="blsp-spelling-error" id="SPELLING_ERROR_62">kbs</span> rip] - <a href="http://www.mediafire.com/?goqczkf3nvgjlrz">HERE</a> [pop3]<br />
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Also i owe a big thanks to <span class="blsp-spelling-error" id="SPELLING_ERROR_63">Gramofonije</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_64">Plocanovic</span> for the info and huge one to <span class="blsp-spelling-error" id="SPELLING_ERROR_65">Rajko</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_66">Muršič</span> for the precious article. Needless to say, if somebody would like to contribute with more <span class="blsp-spelling-error" id="SPELLING_ERROR_67">Marzidovsek</span> or <span class="blsp-spelling-error" id="SPELLING_ERROR_68">MML</span> tapes - <span class="blsp-spelling-corrected" id="SPELLING_ERROR_69">I'd</span> be more than happy to put them on my blog.</div>
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hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com3tag:blogger.com,1999:blog-610004026922635302.post-34435343513493675242007-11-13T01:08:00.000-08:002014-06-02T18:12:46.306-07:00presenting Mario Marzidovsek<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial;">Mario Marzidovšek is one of
the key figures of the Yugoslav 1980s underground: an old-school industrial
musician, cassette culture pioneer, versatile artist, scene organizer and a
unique personality from Slovenska Bistrica (SR Slovenia). Even though he had
been engaged with audio experimentation since the beginning of the 1980s, Mario
Marzidovšek started releasing tapes only in early 1984. In the international casette
network of the late 1980s he was a relatively familiar name having contributed
to around 120 international cassette compilations (by his own account). Among
his best known exploits were two solo cassettes published for two Dutch
experimental music titans – a studio recording titled <i style="mso-bidi-font-style: normal;">Suicide In America & Bavarian Aquarels</i> (Staalplaat-Amsterdam, 1987)
and a rare live show titled the other <i style="mso-bidi-font-style: normal;">Live
on the air</i> (Art & Noise Editions-Nijmegen, 1987) – as well as several
appearances on various nowadays-legendary cassette compilations like <i style="mso-bidi-font-style: normal;">Thee Book</i> (Graf Haufen Tapes-Berlin,
1984) or <i style="mso-bidi-font-style: normal;">Insane Music for Insane People vol.
23</i> (Insane Music-Trazegnies, 1988).</span></div>
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<span style="font-family: Arial;">As was often the case with
1980s hometapers, Mario Marzidovšek started out as a member of the mail-art
network involved in xerox art, collages, concrete poetry, etc. As an artist, as
well as a musician, he was strongly influenced by a variety of contemporary
ideas, especially conceptualism. In that sense, Mario Marzidovšek perfected a
whole array of Cagean stunts for extracting sounds with non-musical objects
that he used in his performances. He even used to ‘make sounds’ in Laibach
shows for a period of time. From 1984 to 1988, Mario Marzidovšek ran his
legendary Marzidovshekminimallaboratorium (or MML) label which was responsible
for more than 80 tapes in total. Mario Marzidovšek’s MML proved to be crucial
in connecting and solidifying diverse scenes within former Yugoslavia – from
punk and hometaping communities to people engaged in mail art and sound poetry,
as well as serving as the only link of Yugoslavian hometapers to the worldwide
network of hometapers and vice versa. He was also the author of the fanzine <i style="mso-bidi-font-style: normal;">Štajerski poročevalec</i>, in which he
published his essays on music and art. </span></div>
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<span style="font-family: Arial;">In 1988 or 1989, Mario
Marzidovšek aborted all his artistic activities, quit his day job as a
technician in the chemical plant in Rače (SR Slovenia) and moved to Netherlands and later Germany. Not much known about his
whereabouts in Western Europe, apart from the
fact that he rarely performed there. Eventually, in 1990 or 1991, Mario
Marzidovšek returned to his native Poljčane, a hamlet near Slovenska Bistrica,
where he removed himself from public life. </span></div>
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<span style="font-family: Arial;">___________</span></div>
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<span style="font-family: Arial;">Rajko Muršič</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">’</span><span style="font-family: Arial;">s excellent 1996 essay <i style="mso-bidi-font-style: normal;">On the relationship of Global and Local Music Production: Mario
Marzidovšek and his Independent Label Marzidovshekminimalaboratorium</i> presented here is without question the single-most important resource on Mario Marzidovšek available to researchers. Hope I'll soon have some of his publications that I could share. Meanwhile, I'll post some of his tapes.</span></div>
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<span style="font-family: Arial;">Table of contents:</span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="i"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#i_-_mml_as_a_catalyst_of_a_local_scene">I – MML as a catalyst of a local scene</a></span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="ii"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#ii_–_mml_the_hatchery_of_the_alternatives">II – MML: The hatchery of the alternatives</a></span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="iii"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#iii_–_mario_marzidovsek_his_work_and_his_nerve_destroying_industrial_music">III – Mario Marzidovšek, his work and his nerve destroying industrial music</a></span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="iv"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#iv_–_impact_of_the_mml_the_first_private_independent_label_production_company">IV – Impact of the MML, "the first private independent label/production company" in the former Yugoslavia</a></span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="v"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#v_–_afterword">V – Afterword</a></span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="vi"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#vi_–_notes_and_references">VI – Notes and references</a></span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="6.1."></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#6.1._–_notes">6.1. Notes</a></span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="6.2."></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#6.2._-_notes_by_a_hogons_industrial_guide">6.2. Notes by A hogon’s industrial guide</a></span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="6.3."></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#6.3._-_references">6.3. References</a></span></div>
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<span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="6.4."></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#6.4._–_bibliography">6.4. Bibliography</a></span></div>
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<span style="font-family: Arial; font-size: 20.0pt;"><a href="https://www.blogger.com/null" name="i_-_mml_as_a_catalyst_of_a_local_scene"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#i">I – MML as a catalyst of a local scene</a></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Sedanji čas vnaša šizofreničen nemir v naše napumpane
duše.</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">/Present time is bringing schizophrenic unrest in our
pumped souls./</span></i></div>
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<span style="font-family: Arial;">Mario Marzidovšek</span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">(From a fanzine with a
cassette Steyer comp.)</span></div>
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<span style="font-family: Arial;">In the times when the world
record industry is concentrated in 5 or 6 major multinational companies<sup><a href="https://www.blogger.com/null" name="1"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[1]">[1]</a><a href="https://www.blogger.com/null" name="2"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[2]">[2]</a></sup>, when "growing
internationalisation of the sound"<sup><a href="https://www.blogger.com/null" name="3"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[3]">[3]</a></sup>
is evident, reminding on a short period of existence of a small,
"local" part of the world independent cassette scene in the 1980's
may seem peculiar. But it shouldn't be, because small, independent and local
productions are of enormous importance in establishing of the "local"
scenes and their unique ways of appropriation and adaptation to the
"global" challenges. Local productions reflect very close and direct
interference between producers and consumers. They are mostly obscured by
amounts of global, national and regional music sales and, moreover, they are
almost never incorporated in statistic data. Who cares about 10 or 50
cassettes, sent by mail directly from the producer (tax free, of course) to
consumer on whatever address?</span></div>
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<span style="font-family: Arial;">After the introduction of
the cassettes in the late 1960s, the third major recording revolution started<sup><a href="https://www.blogger.com/null" name="4"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[4]">[4]</a></sup>. The production of the CD's and LP's is
still technologically too expensive and too sophisticated to produce and
distribute them in small numbers of copies, while the cassettes may be released
(or taped at home), as necessary, in a few copies or in enormous number of
copies. It makes no essential difference. Cassettes are cheaper than any other
sound carrier, therefore the cassette production is still the most democratic
way of music distribution<sup><a href="https://www.blogger.com/null" name="[n_1]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_1]">[note 1]</a></sup>. </span></div>
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<span style="font-family: Arial;">Cassette production is the
most important part of local and regional music productions. In Africa, Asia, Indonesia and other parts of the so called Third World, cassette recordings predominates<sup><a href="https://www.blogger.com/null" name="5"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[5]">[5]</a></sup> and the ways of music distribution are
pretty different from those in West countries<sup><a href="https://www.blogger.com/null" name="6"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[6]">[6]</a></sup>.
Therefore, there exist many independent local and regional productions of a
large scale. Cassette production itself is in fact only exceptionally of small
scale and non-commercial. In non-Western countries, there are large local and
regional cassette markets (beside illegal tape recordings of the western
popular music). At the local and regional levels the sale of local and regional
music may compete the sales of the major international pop stars, because local
and regional popular music is nowadays, as a rule, the most important part of
the use of music in everyday life. From the aspect of the use of music it is
essential in what degree the music is "employed in human action"<sup><a href="https://www.blogger.com/null" name="7"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[7]">[7]</a></sup>. Cassette recordings are the most usable
way of spreading and everyday use of different kinds of ethno pop, because the
cassettes may be listen to in virtually any occasion. For listening to LP and
CD records one have to buy the more expensive and massive equipment that is
usually placed in the living rooms, while the cheapest cassette recorders are
essentially mobile and may be used practically in any occasion, including the working
place.</span></div>
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<span style="font-family: Arial;">Wide spread myth is that
consumption of music is one way process, lead by production of the major
multinational record companies. The consumption may, in the case of local or
underground markets, take on opposition, liberation signifiers (as in the case
of black music as noticed by Paul Gilroy)<sup><a href="https://www.blogger.com/null" name="8"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[8]">[8]</a><a href="https://www.blogger.com/null" name="9"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[9]">[9]</a></sup>.
Local music production reflects "a range of social, economic, and
political factors peculiar to the city"<sup><a href="https://www.blogger.com/null" name="10"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[10]">[10]</a></sup>,
town or an area or any other "localised" place (in opposition to the
"non-place", characterised by mass media, people's mobility and the
flows of the "supermodernity"<sup><a href="https://www.blogger.com/null" name="11"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[11]">[11]</a></sup>).
Only heterogeneous music production may satisfy all the basic people's musical
needs. It seems unlikely that music would ever evolve towards one and only
global "pattern". In the era of technical reproduction of the work of
art<sup><a href="https://www.blogger.com/null" name="12"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[12]">[12]</a></sup>, the "tension between
cultural homogenization and cultural heterogenization"<sup><a href="https://www.blogger.com/null" name="13"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[13]">[13]</a></sup> became "accompanied by a
localisation of cultural identity and claims to authenticity"<sup><a href="https://www.blogger.com/null" name="14"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[14]">[14]</a></sup>. Empirical studies at local levels, for
example ethnographic researches in Liverpool or in rural Slovenia, indicate "various
ways in which people create an image or sense of place in the production and
consumption of music"<sup><a href="https://www.blogger.com/null" name="15"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[15]">[15]</a><a href="https://www.blogger.com/null" name="16"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[16]">[16]</a></sup>.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Marzidovshekminimalaboratorium
(MML) may be seen as a case of entering the local scene into international,
and, vice versa, reflecting of the independent international scene within the
local context. The most important is that autonomous local productions, tied to
global trends, whether "underground" or "dominant",
provides the frames of constantly creating and recreating identities of
participants, both producers and consumers by negotiating their place in the
contemporary "mediascapes" and "ideoscapes"<sup><a href="https://www.blogger.com/null" name="17"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[17]">[17]</a></sup>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Although the first jazz band
in Slovenia appeared in Ljubljana in 1922
(Original Jazz Nagode)<sup><a href="https://www.blogger.com/null" name="18"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[18]">[18]</a></sup> and the
first rock bands appeared in the first part of the 1960s<sup><a href="https://www.blogger.com/null" name="19"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[19]">[19]</a></sup>, the punk "movement" developed
the first authentic domestic rock scene<sup><a href="https://www.blogger.com/null" name="20"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[20]">[20]</a><a href="https://www.blogger.com/null" name="21"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[21]">[21]</a></sup>.
In the early eighties, the first wave of Slovene punk came to the end. At the
time, the initiative impulses have been successfully spreading from Ljubljana to other
Slovenian towns and villages. The result was a peculiar situation at the
beginning of the eighties, when more alternative and punk bands were active
outside of Ljubljana.
Several very interesting and successful groups appeared in Trbovlje (Laibach),
Metlika (Indust bag), Idrija (S.O.R., Kuzle), Žalec and Celje (Lokalna
televizija, Strelnikoff), Maribor
(Masaker), and the villages of Trate (CZD) and Cerklje (Demolition Group). </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In the period between 1984
and 1988 Mario Marzidovšek and his label MML became a kind of a catalyst of the
local or regional scene in the northeast region of Slovenia<sup><a href="https://www.blogger.com/null" name="[n_2]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_2]">[note 2]</a></sup>. I will try to define its position
and its impact within micro-local, local, regional, national and (even)
international underground music production, distribution and consumption. My
starting claim is that the most important and apparent impact may be noticed in
micro-local and local contexts, less so in regional and national contexts, and
merely conditionally noticeable at the global or international (underground)
context, although the cassettes were distributed all around the world.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The northeast Slovenian
alternative scene may be considered as a local scene with particular
characteristics. It was autonomous, concerning individual differences, and open
towards new, unorthodox and interesting musical ideas. Undoubtedly, recording
and reproduction quality of MML recordings significantly</span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">contributed to a unique
sound of that scene. Although there may be put several objections to
superficially used definitions of regional or local sounds, as for example
Detroit, San Francisco, Seattle, Liverpool or Manchester sound within some
dominant streams of rock production<sup><a href="https://www.blogger.com/null" name="22"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[22]">[22]</a><a href="https://www.blogger.com/null" name="23"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[23]">[23]</a><a href="https://www.blogger.com/null" name="24"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[24]">[24]</a><a href="https://www.blogger.com/null" name="25"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[25]">[25]</a></sup>,
there is no doubt that particular production have their own characteristics
concerning production, sound, style and locality.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">A very important compilation
cassette was released in 1985 with two punk bands (Masaker, CZD) and a hardcore
band (P.U.J.S.) from Maribor,
plus Mario Marzidovšek himself. It determined (and documented) the local
alternative scene and gave it a strong impulse<sup><a href="https://www.blogger.com/null" name="[n_3]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_3]">[note 3]</a></sup>.<span style="mso-spacerun: yes;"> </span>Although some of the
bands have soon disappeared, the influence of the initiative alternative scene
in Maribor remained resulting in establishing of a student radio station MARŠ
in 1990, a rock club MKC in 1988 and occupation of an empty barracks in Maribor
in 1994.</span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The bands, especially from
the northeast Slovenia,
weren't active for a long time. With the exception of the Center za
dehumanizacijo (CZD) none of them is active anymore. Mario Marzidovšek was
concern that all the bands will disappear and his label would have no meaning
if there will be no bands to produce. He once said that only himself personally
would survive, not his label.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The records industry is,
after all, the constant hegemonising factor in popular music, especially if we
consider that five or six major labels nowadays control more than 80 % of
recordings' production in the world. However, there is important output of
independent, small and non profit labels, and home-made productions of cheap
cassettes, distributed in special private canals by mail. Protest singer and
improviser Eugene Chadbourne, for example, used to record and copy many
cassettes and personally distribute them all around the world. That kind of
activities may be treated as home-made music and we may find many similarities
between certain aspects of production, reproduction and use of popular music and
certain aspects of functioning of traditional music<sup><a href="https://www.blogger.com/null" name="26"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[26]">[26]</a></sup>. Not only that the opposition between the
"global" and the "local" becomes relativised because of
home productions, the very central issue of the impact of particular product
may be seen as the questioning of the "universal" effects of the
particular popular music hits. It is difficult to put "global" and
"dominant" music production as exclusively or crucially relevant for
local music productions. It may be the opposite: is not every music in fact
"local"?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 20.0pt;"><a href="https://www.blogger.com/null" name="ii_–_mml_the_hatchery_of_the_alternatives"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#ii">II – MML: The hatchery of the alternatives</a></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In his mail catalogues Mario
Marzidovšek wrote:</span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">“MARZIDOVSHEKMINIMALABORATORIUM
was registered abroad as the first private non-profit label for cassette
production in Yugoslavia
with extended activities in different areas of the youth subculture in
Štajerska (Slovenian for “Slovene Styria”)” (facsimile in <i style="mso-bidi-font-style: normal;">Štajerski poročevalec</i>, p.2).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Marzidovshekminimalaboratorium<sup><a href="https://www.blogger.com/null" name="[n_4]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_4]">[note 4]</a></sup> was started in 1984 when Mario
Marzidovšek released first 6 cassettes of his music. A year later he began to
produce compilation cassettes with the groups from northeast Slovenia and, simultaneously, release the
compilations and collaborations with experimental musicians from the former Yugoslavia and from all around the world,
predominately from Europe and America.
He managed to release at least ten compilation cassettes with new music.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Marzidovšek's label MML was
a unique phenomenon from many aspects. In the former Yugoslavia, some sectors of economy
were following market rules long before the fall of socialism. Record industry
was one of them. There were 7 major government-founded (in fact public or,
literally, "social") labels, PGP RTV Ljubljana and Helidon in Slovenia, Jugoton and Suzy in Croatia, PGP RTB and Diskos in Serbia and Diskoton in Bosnia and Herzegovina. Their
interests were strictly market oriented, their policy was profitable and only
small percentages of releases were non-commercial<sup><a href="https://www.blogger.com/null" name="27"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[27]">[27]</a></sup>.
That means that there were only a few jazz, avant-garde and non-commercial rock
music releases.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The first independent label
in the former Yugoslavia was
established in 1973 in Ljubljana
by the Student organisation governed label, ŠKUC (Student Cultural and Art
Centre). Unfortunately, during the 1970s, ŠKUC was in position to release only
very few records and cassettes. At the beginning of the 1980s, Galerija ŠKUC
izdaja (The Gallery of ŠKUC Edition) began to produce cassettes with live
recordings of punk and alternative bands that were performing in Ljubljana. At the
beginning of the eighties, two newly established labels released several jazz
and rock records: Dokumentarna from Ljubljana
and Slovenija from Koper. Both were established by associations of cultural
activists. The label Slovenija released several records with local groups and
some Italian bands. Later in the 1980s, some other independent labels appeared:
the most important are ŠKUC-R.O.P.O.T., the label FV, which has been derived
from the Galerija ŠKUC Izdaja, Front Rock and Druga godba. Except for the
latter, all of them have started to release LP records and, finally, in the
1990s, all of them started to release CD records.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">At the beginning of the
eighties, the label Galerija ŠKUC Izdaja released 14 cassettes, the successive
label FV released several more cassettes, while in the period between 1984 and
1988 Mario Marzidovšek (MML) released more than 80 titles! Marzidovšek started
his label, distribution and studio Marzidovshekminimalaboratorium in 1984.
Although it is difficult to figure out the exact number of cassettes released
by MML, we may find more than 80 titles in his mail order catalogue from 1988. MML
production was not limited or oriented to Slovene area or to the area of the
former Yugoslavia.
The MML editions were distributed all around the world. Many of Marzidovšek's
releases were reviewed in international music magazines (<i style="mso-bidi-font-style: normal;">Option Magazine</i>, <i style="mso-bidi-font-style: normal;">Sound Choice</i>,
<i style="mso-bidi-font-style: normal;">Maximum Rock 'n' Roll</i>, <i style="mso-bidi-font-style: normal;">NME</i>, etc.) and were put in several
alternative mail distributions. Mario Marzidovšek wrote in a letter sent to the
author of the present paper in April 1988 that his label plus the label FV from
Ljubljana – of European orientation and quality –
and Slovenija from Koper were the three major independent labels at the time in
the former Yugoslavia.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In 1988 he divided his label
in two major parts, <i style="mso-bidi-font-style: normal;">MML International</i>,
and <i style="mso-bidi-font-style: normal;">MML Yugoslavia (East Music Service)</i>.
<i style="mso-bidi-font-style: normal;">MML International</i> followed the
production policy of the MML from the very beginning, that means to prefer more
complex and experimental music, and releasing of more interesting groups and
international compilations, released on more quality CrO2 tapes. Within the
heterogeneous territory of Yugoslavia he was searching for new and experimental
groups outside Slovenia
(e.g., Grešnici, Hermitage, Larynx from Požarevac,
Serbia, Autopsia from Serbia, Fast Deadboy and Karcinom desne dojke
from Zagreb, Croatia,
Diskretni šarm buržoazije from Croatia,
etc.) and distributed releases of the Yugoslav punk music<sup><a href="https://www.blogger.com/null" name="[h_10]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[hogon’s note 1]">[hogon’s note 1]</a></sup>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">He never started to produce
LP records, not only because of much higher costs, but because it was much more
difficult to manage distribution of vinyl releases. And, according to the starting
costs, it is much more risky to release a record of the unknown bands. Cassette
production was then, and still is, the most democratic way of production and
distribution of non-commercial music. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One of his most important
projects was a cassette compilation <i style="mso-bidi-font-style: normal;">Third
Generation New Music</i>. In his promotion material, Marzidovšek announced a
concurs for the recent tapes. He has gotten much interesting material. Musical
experimenters from all around the world sent him their recordings. Naturally,
the position of MML was marginal in the sense of commercial effect, however,
MML was relatively important part of international underground production of
new music. Similar underground connections and networks are very difficult to
be noticed, although it is the sphere where the most interesting new things are
going on.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 20.0pt;"><a href="https://www.blogger.com/null" name="iii_–_mario_marzidovsek_his_work_and_his_nerve_destroying_industrial_music"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#iii">III – Mario Marzidovšek, his work and his nerve destroying industrial music</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Mario Marzidovšek was born
in Celje in 1961, living in Poljčane, a very small town in the northeast Slovenia. In
the early eighties, he has married and moved to a nearby town of Slovenska Bistrica, where
he started with art activities and established the label MML. In 1988 (or 1989)
he left Slovenska Bistrica and went to the Netherlands
and Germany.
When he came back home in 1990/1991, he removed back to Poljčane, but since
that time he has disappeared from public life. As far as I know he isn't
involved in any kind of music and art activities anymore. It is difficult to
find out what is he doing now, because he doesn't have any contacts with his
former colleagues any more<sup><a href="https://www.blogger.com/null" name="[n_5]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_5]">[note 5]</a></sup>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Mario Marzidovšek is indeed
a very peculiar person. He managed to be engaged in numerous activities and,
nevertheless, he always walked around with enormous surplus of energy. At least
for some time, he succeeded skillfully to control and canalise his extreme
personal and creative energy into sound and visual production. He is important
for the northeast alternative scene in Slovenia as an organiser and as a
producer. As far as organisation is concerned, only he was able to connect the
alternative musicians and artists from Maribor
and Celje regions. It happened in the year 1985. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">He was a true volcano of
alternatives. While he was employed as a chemical technician in a chemical
factory in Rače, he was involved in numerous activities. At the first place, he
was working on minimal-industrial, electronic and experimental music. He wasn't
only recording his music, he frequently performed live. Furthermore, he was a
painter, although he didn't have any art education. His artistic development
was very specific and eruptive. As a non-professional painter, Mario
Marzidovšek became a member of the Society of Visual Arts in Slovenska
Bistrica. Anyone who knows how difficult is to become a member of the society,
if the candidate didn't finish art academy, would know that Marzidovšek's
membership was one of the exceptions. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">As an artist, Mario Marzidovšek
was inspired – according to his claims – by (traditional) cubism, futurism,
dynamism, constructivism, expressionism, surrealism (<i style="mso-bidi-font-style: normal;">Dalism</i>), spontanism, experimental techniques, and new image (<i style="mso-bidi-font-style: normal;">nova podoba</i>). Basically, he was
fascinated by the conceptual art, dada and, especially, futurism from the
beginning of the century. He was also involved in other graphic activities:
making collages, photographs, visual and industrial design, posters and
emblems, working on xerox and minimal art (mail art, book art), collage,
photo-techniques, applicable arts. Some of his experiments were also connected
with kinetic art. He was also very productive in literature. He wrote visual,
concrete and dada poetry<sup><a href="https://www.blogger.com/null" name="[n_6]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_6]">[note 6]</a></sup>.<span style="mso-spacerun: yes;"> </span>And, finally, he wrote several articles and
essays on music and avant-garde arts. Hardly to believe that he didn't have any
art training and almost no school training in the humanities! Without any
irony, we could take his work as a work of an industrial naive artist.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Beside all the mentioned
creative activities and successfully started non-profit cassette label, Mario
Marzidovšek decided to publish fanzines (<i style="mso-bidi-font-style: normal;">Slovenski
poročevalec</i>) and the anthologies of his poetry and essays in limited number
of copies, as he said, for internal use only (that means for his friends). And,
finally, he was enthusiastic performance artist, he was involved in numerous
(spontaneous) street happenings, <i style="mso-bidi-font-style: normal;">ambients</i>,
actions and interventions, as he called his often provocative activities. Let
me give you an example. When he got an idea to make a photograph from within a
police car, he simply organised spontaneous street performance in Ljubljana in 1981. He
lied down in the centre of the crossroads near the railway station and a
colleague of him took the photographs. When police came, both were put in the
police truck, so Mario was able to take some photos from within the police
truck – those photographs were one of the most important for his visual
material used in different contexts<sup><a href="https://www.blogger.com/null" name="[n_7]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_7]">[note 7]</a></sup>.
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Mario Marzidovšek kept up a
very extensive correspondence. He wrote more than 600 letters a year to his
correspondents from all around the world. At the beginning, his correspondence
was predominately oriented in mail art activities. Later, a large part of his
correspondence was connected with his label. Besides, he maintained enormous
private correspondence<sup><a href="https://www.blogger.com/null" name="[n_8]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_8]">[note 8]</a></sup>. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">He was famously open to the
world. His English language abilities were not perfect, but in spite of that he
answered virtually to anybody who wrote to him. The promotion material for the
label was made on xerox copies and was originally written on a type-machine.
His label was actually a home production with extremely low costs and equally
low benefits. Mario Marzidovšek had many contacts with similar labels and
individuals, interested in similar activities, who distributed his editions and
vice versa.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In his improvised studio,
Mario Marzidovšek succeed to prepare more than 35 recordings and sent them to
other labels. His music was supposedly included in many different home-made compilations
of experimental and electronic music from all around the world. Actually, as he
would claim, he appeared in more than 120 compilations throughout the world,
including several LP records.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">He started with music
performances and recordings in 1984, although he began to play electronic music
some years before. When Marzidovšek appeared in public, one could have claimed
that he was influenced by Neue Slowenische Kunst and Laibach, but more likely
they all were influenced by the similar art and music starting points
(futurism, cubism and electronic music). Mario Marzidovšek had a marvellous
collection of new music (20th century classics), the so called German Kraut
Rock, electronic and minimal music. As far as I know he never went to any music
school. While experimenting he developed and learned several styles. In
personal contacts he was able to mention more than 30 styles he was supposed to
use<sup><a href="https://www.blogger.com/null" name="[n_9]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_9]">[note 9]</a></sup>.<span style="mso-spacerun: yes;"> </span>In Marzidovšek's music, the process of
creating different "sounds" and "loops" by limited electronic
equipment has been very important, but more effective were rude anger and
energy in the heart of his brutal electronic music, very similar to punk or
hardcore. Although his live performances were pretty chaotic and noisy, he
actually never produced simple musical mess. Strengthen with his conceptual
artistic ideas, the clear compositional structure has always been the basis of
his "playing with sounds".</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">He began to explore
electronic music in the late 1970s, influenced with experimental approaches to electro-acoustic
avant-garde music by composers like Stockhausen and Schaefer. The new music of
the 20th century was the basic source of Mario Marzidovšek's inspiration:
Schönberg's dodecaphony and (later) serial school, Italian bruitism (Luigi
Rusolo) and machine music, punctual music, he was influenced by the aleatoric
procedures of John Cage and by works of the minimal composers like Steve Reich,
Terry Riley and Philip Glass. The new music combined with the influences of
Frank Zappa, German (Kraut) Rock and British and German pop/industry chaos
(Throbbing Gristle, Test Department, Einstürzende Neubauten) led Mario
Marzidovšek towards various ways of developing of his authorial music at the
beginning of the 1980s. He was also in touch with alternative (experimental,
punk and hardcore) scenes at different parts of the former Yugoslavia (Maribor,
Ljubljana, Zagreb,
Belgrade,
Požarevac). After all, significant aspects of provocation and more or less
apparent opposition stance may be detected in his music production.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Mario Marzidovšek
synthesised various musical and artistic influences, however, in the first
place, he was conceptually radical performer. He managed to combine conceptual
and composed framework with impulsive and primordial sound explorations at the
stage. On the minimal repetitions and noisy patterns, the sound melismatics
became the most important. He invented some terms concerning his music: <i style="mso-bidi-font-style: normal;">geometrical sound</i>, the so called <i style="mso-bidi-font-style: normal;">third stream</i>, etc. His programme
concerning sound (written in 1979) was: "Complete new music and trends
prom the past – New social and technical disguise – Too fast tempo of
discovering the unknown spheres in music – Uncompleted – Back to the
traditional sources of /electronic/ sound" (see <i style="mso-bidi-font-style: normal;">Štajerski poročevalec</i>).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Mario Marzidovšek has always
performed solo. He didn't have many concerts, especially not in Ljubljana. He performed
in small clubs and several artistic occasions (art exhibitions), and,
predominately, with punk and hardcore bands at mini-festivals. At the beginning
he performed only in Slovenia.
It is difficult to find out how many times he performed in the other parts of
the former Yugoslavia.
In 1987 he went on a tour in Belgium
and Holland and, later, in 1988-90, stayed in
the Netherlands and Germany for a
longer period of time. He actually, as he told us, didn't perform much there.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Naturally, the Marzidovšek's
music didn't find many enthusiasts at home. Punks and other alternatives went
to his concerts but they wouldn't very enthusiastically accept his experimental
music. Improvised home-studio became the essential part of his music
creativity. From the very beginning he started to record his music and send the
tapes on different addresses of well known as well as independent newspapers
and to various mail distributions, labels and to musicians who were engaged in
similar music activities. In the times of growing post punk and developing of
European techno scene, his explorations were not so far away from the actual
industrial trends, especially when, in 1987 and 1988, he started to use more
electronic rhythms. As he wrote in his letter in 1988, he succeeded to
"materialise" his music, to give it "bullocks". His
concerts and releases in compilations (FV, Staal Plaat, V 2 Org.) in 1987/88
confirmed his position of eclectic mixing of contemporary styles. He wrote:
"Under the influences of industrial music, my music transformed in more
calmed phreny, difficult to describe otherwise than 'post-industrial phreny of
collective angsts before the nearby warfare ages'" (from the letter to the
author in April 1988). He knew!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Using of the term industrial
was derived from personal experience. When he started to explore art and music,
Mario Marzidovšek was employed in a chemical factory. He was also fascinated
with industry in the town of Maribor, one of the
major industrial towns in the former Yugoslavia. In the late phase of
his work, his music became much closer to other European post-industrial works
with apparent dance connotations "high technology on one hand and
alter-dance on the other"<sup><a href="https://www.blogger.com/null" name="28"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[28]">[28]</a></sup>.
Mario Marzidovšek has named that phase as "more melted industrial sampling
tech". </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">It is not a coincidence that
the most mature work of Mario Marzidovšek was a cassette entitled <i style="mso-bidi-font-style: normal;">Marburg</i> (a
German name for Maribor).
On that tape he successfully combined industrial electronic music with
occasional techno or electro funk (dancy) elements. Scott Lewis wrote about
that tape in Option (August 1987) as follows: "Retained industrial
electronics with simple rhythms in the center. It's pretty good. I must admit
that I would presumably be enthusiastic about it if it would be released some
seven years ago. Some things are too similar to others, released in last years
(though, supposedly, in Yugoslavia
they didn't hear them). Some tunes, especially on the side B, have something
rather original. Something industrial is within, occasionally, they are nice
and joyful – almost as an industrial polka! I couldn't say I've heard anything
similar to that music so far." (Facsimile in <i style="mso-bidi-font-style: normal;">Štajerski poročevalec</i>).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Mario Marzidovšek's work was
minimal in two senses. It was inspired by American minimal music and the
principle of repetition. More obvious, his music was minimal according to
technology used for its production. Minimalism is suitable for dilettantes, but
Marzidovšek was all but a dilettante. The work of Mario Marzidovšek was,
essentially, achieving of the important artistic effects by using of the
minimal technical means. His work may be characterised as a work with minimally
developed structures and traits and maximal sound effects.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">He was extremely sensitive
and was able to detect social disturbances long before any other. He was very
well aware of the power of music and its dangerous elements. He used music as a
form of exploring and, simultaneously, provocation. His experiments with sound,
grounded on very limited material possibilities, were unique. He used old
Farfisa organ, and several home-made electronic devices or devices taken from
improvised electronic laboratory. His sound explorations were extremely
personal. He was quite aware of his music messages. Many times he said (in
personal conversations) that he would explode if he wouldn't work as an artist.
His energy was indeed extraordinary.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 20.0pt;"><a href="https://www.blogger.com/null" name="iv_–_impact_of_the_mml_the_first_private_independent_label_production_company"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#iv">IV – Impact
of the MML, "the first private independent label/production company" in the former Yugoslavia</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Mario Marzidovšek worked
alone – not only musically, he was an extreme individualist – but that doesn't
mean that as a producer and leader of a label he had an ambition to become a
kind of tutor, censor or selector. His credo was to produce anything worth to
produce within alternative scene. Creative idea was favoured, not technical
equipment and skill. In fact he was extremely tolerant and was able to
establish connections between very different persons. It was the only way to
drive forwards very different music activities in northeast Slovenia in
1985 and 1986. Music was as diverse as punk, hardcore, industrial rock,
improvised music, electronic music, acoustic and art music.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">He never earned much money
with his label. If he did, he used it for his further production plans. Several
times he was prepared to pay costs of recordings in studio for bands. The
production of MML was both a small scale production of a kind of home
recordings, sold to fans and given to friends<sup><a href="https://www.blogger.com/null" name="29"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[29]">[29]</a></sup>,
and alternative regional, national and international network distribution. His
"laboratory", Minimal Laboratorium, was in fact an improvised studio
with home made devices and some old instruments and very old tape recorders. He
had home made 4 channel mixing console and very cheap microphones, some of them
of Russian origin. The effective combination for noise!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">MML was a non-commercial
underground label and it also became an important local distribution centre for
experimental and alternative music. Marzidovšek was involved in an extremely
wide spread mail distribution network with one of its centres at the Post
Office Box in Slovenska Bistrica. He received many records and cassettes in
exchange for his products, so he was selling them by mail throughout the former
Yugoslavia.
Among them, he also distributed some illegal cassette (live) recordings of
various new wave, punk and experimental groups, altogether approximately 50
titles. However it was not a one-way exchange. Marzidovšek's cassettes appeared
in several other similar alternative distributions and catalogues in Western
Europe and in the United States (for example: Graf Haufen/Mutant Music
Distribution, X-Kurzhen, Gog-Art/Afflict Records, BBI Records and Tapes,
Bloedvlag/Nihilistic Records, De Koude Oorlog, Global Music Distribution, Dark
Star Tapes, Used Records Mail Order, etc.). Furthermore, he distributed
independent cassettes and records from the whole territory of the former Yugoslavia
throughout the world. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">He started his distribution
in Slovenia, but
simultaneously made contacts with other regions of the former Yugoslavia and abroad. During the
first two years information about MML releases were published in the most
important Slovenian weekly of the time, <i style="mso-bidi-font-style: normal;">Mladina</i>,
but after 1987, when <i style="mso-bidi-font-style: normal;">Mladina</i> ceased
to write about new and alternative music, he oriented towards other regions of
the former Yugoslavia (so, the reviews of his cassettes were published in <i style="mso-bidi-font-style: normal;">Student</i>, <i style="mso-bidi-font-style: normal;">Rock magazine</i>, etc.).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Despite published
information about his label, Mario Marzidovšek was convinced that personal
communication, whether oral or by mail, is the most effective. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Marzidovšek's Minimal
Laboratorium was not important only because it was an efficient channel for
releasing and distribution of alternative music from northeast Slovenia
alternative scene. It was important because its position was both local and
global. Mail connections with similar alternative productions throughout the
world were essential for internationalisation of the local scene(s) and for
"localisation" of the "global" alternatives. Every process
of autochthonisation (or indigenisation, if I may use Appadurai's term) is in
fact the process of mediation between the adaptation strategies of individuals
(and small groups) within the changing context of everyday life in the
particular localities (and regions) and the challenges of the global trends.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">In the contrary to major
regional commercial record labels in the former Yugoslavia, MML was not limited on
internal market. It was not limited in the range of any market at all. If the
local music production may well serve the needs of the majority of local
population (and their inherited musical taste), then some creative parts of
local scenes may be well interacting within the global network.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Local scenes may be
ephemeral or unimportant in the global exchange of products and ideas. However,
creating of the autonomous sphere of production and creating of the autonomous
network of communications does have effects. They are, mostly, limited on the
local contexts. Nevertheless, the very life is a matter of locality, so any
production is necessary local in its origins. The relationship between cultural
imperialism and its local appropriation is far from being simple, there is a
complex "tension between progress and restoration; between the eclectic,
syncretic forms of acculturated expression brought about by the meeting of
various musical techniques, technologies and traditions"<sup><a href="https://www.blogger.com/null" name="30"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[30]">[30]</a></sup>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">"Local practices and
musical idiosyncrasies" are nowadays increasingly important, not just in
terms of providing expression for "often problematic notions of national
musical identity," but as agents of what Appudarai has called
'repatriation of difference'<sup><a href="https://www.blogger.com/null" name="31"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[31]">[31]</a></sup>.
Although John Street concludes that "there is no clear or direct link
between music and locality, except as a rather nebulous indicator of identity
and difference"<sup><a href="https://www.blogger.com/null" name="32"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[32]">[32]</a></sup>, it is
worth to check out the locality of the MML production according to the criteria
of the proposed six main indicators of (local) musical identity: industrial
base, social experience, aesthetic perspective, political experience, community
and scene<sup><a href="https://www.blogger.com/null" name="33"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[33]">[33]</a></sup>. In Marzidovšek's
work and his label MML there were significant traits or reflections of
industrial base (concerning both real industries in the area and local/regional
music industry) and the MML itself (cassette production, recordings,
distribution) was a kind of industrial base for Marzidovšek's music. By the
assistance in organising of the concerts and festivals in the area, Mario
Marzidovšek has actively participated in providing of the common social
experience for participant musicians and audience(s). In spite of diverse
aesthetic perspectives of the bands and musicians appearing on the label MML
and on the concerts, organised by Marzidovšek and other "activists"
in the northeast Slovenia,
the alternative attitude has been their common denominator. And, finally,
definable self- regarding scene has appeared (its expression was before
mentioned <i style="mso-bidi-font-style: normal;">Incriminal Collective</i>), in
opposition to the political reality of the time.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Let me, at the end, assess
the impact of the MML. On micro-local level it definitely had the most
important impact. At the time of continuous active working of the label,
several micro-local scenes developed and identified its existence with both
live concerts and recordings. We may define different micro-local scenes with
very various musical styles. In Žalec and Celje there were mostly by Laibach
and Rock in Opposition inspired bands (Sfinkter, Local Television and White
Noise), plus some interesting post-punk bands (for example Yoohoohoo Uncle
Vinko and Co. and Strelnikoff). In Maribor
and surrounding villages several hardcore, punk and experimental bands appeared
(Masaker, CZD, P.U.J.S., Soft and Simple, Avantkurent, Margine). In Slovenska
Bistrica, only Mario Marzidovšek himself has created literally one-man scene. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">On a local level, northeast
bands and individuals cooperated, appeared at the same concerts, etc.,
although, mostly, they didn't have common projects and they didn't meet
otherwise than in concerts. As far as regional scene is concerned, that means Slovenia, because Slovenia was not independent at the
time (although its cultural production functioned, predominately, as national),
the impact was not expressed so much. The scene in northeastern Slovenia was a part of very dynamic alternative
production of the time and was never really recognised as equally important as
the scene in the centre, Ljubljana.
Marzidovšek's production did have some impact on the national level, within the
former Yugoslavia,
but mostly with cassette releases and distribution of that releases, not with
organised concerts. Finally, on the international alternative scene, the most
important was the very appearance of the MML in alternative music press, but it
actually didn't have much impact, except for his appearance on some
compilations and his distant collaborations (by mail) with several American and
other musicians<sup><a href="https://www.blogger.com/null" name="[n_10]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[note_10]">[note 10]</a></sup>.<span style="mso-spacerun: yes;"> </span>There were, it must be stressed, several
circles or ranges of its impact. MML had important impact in Italy, particularly in Trieste
with release of a cassette with Italian bands, mostly from Trieste, and organising of several events,
connected with anti-psychiatry movement. As mentioned before, the second range
was touching Germany, and
finally, USA.
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The most important is that
those contacts enable Mario Marzidovšek to give information back. MML was
principally established as the underground two-ways traffic. No matter how
ephemeral it was, it was extremely important because it provided some non-local
basis of self-confidence to the authors and performers from the northeast Slovenia.
And it was a very efficient means of linking (or even integrating) the Slovene
production to the international context. The major national labels in the
former Yugoslavia
were not able to do that. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 20.0pt;"><a href="https://www.blogger.com/null" name="v_–_afterword"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#v">V – Afterword</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">One of my friends in Maribor remembers that
Mario Marzidovšek took his work very seriously and was aware of danger he was
faced with. Mario made a remark that it is extremely difficult to hold all
parts together. He felt his activities as a kind of synthesis, mixing. In an interview
(made by Jože Kos for the weekly <i style="mso-bidi-font-style: normal;">Mladina</i>
in 1986) Mario Marzidovšek explained: "In fact, I experience it as pretty
dangerous, almost paranoid: sound is picture and vice versa". He would
also say that his music was so dangerous, that it could easily take his mind
away...</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">The author would like to
thank to Jože Kos and Milko Poštrak for material (personal letters, cassettes)
and suggestions, used in the article.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 20.0pt;"><a href="https://www.blogger.com/null" name="vi_–_notes_and_references"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#vi">VI – Notes
and references</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 16.0pt;"><a href="https://www.blogger.com/null" name="6.1._–_notes"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#6.1.">6.1. Notes</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_1]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_1]">[note 1]</a></span></sup><span style="font-family: Arial;"> - ^ I will ignore the important question of
copyright, because the subject of my interest in the present paper is the
cassette production and distribution by the author himself (or with authors'
informal permission).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_2]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_2]">[note 2]</a></span></sup><span style="font-family: Arial;"> - ^ The similar "catalysis" process has
happened again almost the decade later, when, at the beginning of the 1990's,
an independent label Front Rock from Maribor successfully joined the forces of
the northeast Slovenian alternative scene in struggle for the rock clubs and
places for alternative cultural institutions in the emptied barracks in the
towns of Maribor and Ptuj<sup><a href="https://www.blogger.com/null" name="34"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[34]">[34]</a></sup>.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_3]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_3]">[note 3]</a></span></sup><span style="font-family: Arial;"> - ^ In 1984 the informal alternative association was
established in Maribor,
called <i style="mso-bidi-font-style: normal;">The Incriminal Collective</i>.
Musicians, writers, painters and other active underground people worked on a
programme put forward by Jože Kos. The main goals of the Collective were
solving of the problems with meeting place, club and the place for rehearsals,
the establishment and normal functioning of alternative press institutions (<i style="mso-bidi-font-style: normal;">Kmečke & rockodelske novice</i>, <i style="mso-bidi-font-style: normal;">Katedra</i>) and the constitution of an
independent youth radio (see: <i style="mso-bidi-font-style: normal;">Inkriminalni
produkt</i>; <i style="mso-bidi-font-style: normal;">Brum inkriminalnih živcev</i>;
<i style="mso-bidi-font-style: normal;">Agonija Gustava</i>).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_4]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_4]">[note 4]</a></span></sup><span style="font-family: Arial;"> - ^ The essential programme goals of the MML were
(1) the cassette production of Marzidovšek's own music (MML Production), (2)
releasing of the cassettes and cooperating with groups and individuals, (3)
making contacts and mediating between independent productions from all around
the world and cooperating in the various music and art projects, (4)
distribution of the Yugoslav progressive music in Yugoslavia and abroad and (5)
exchange of ideas and opinions from all the areas of art.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_5]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_5]">[note 5]</a></span></sup><span style="font-family: Arial;"> - ^ Some of his former acquaintances even claim that
he lives in London.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_6]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_6]">[note 6]</a></span></sup><span style="font-family: Arial;"> - ^ In his mail catalogue from 1986 it was possible
to find the following "books" (they were in fact fanzine-style
photocopies): <i style="mso-bidi-font-style: normal;">"Book"</i>, <i style="mso-bidi-font-style: normal;">Conceptual and Art Projects: Marzidovšek
& Skrbinek + Mail-Book Art</i>; <i style="mso-bidi-font-style: normal;">Concrete
& Visual Poetry: Marzidovšek 1982-1985</i>; <i style="mso-bidi-font-style: normal;">Minimal Art: Marzidovšek 1982-1985</i>; <i style="mso-bidi-font-style: normal;">"Different Principle" 1: Atonal Xerox Art – Marzidovšek
1982-1985</i>; <i style="mso-bidi-font-style: normal;">Dada Poetry – Marzidovšek:
"Poems for Children From Tins"</i>.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_7]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_7]">[note 7]</a></span></sup><span style="font-family: Arial;"> - ^ That was Marzidovšek's interpretation of the
event. His colleague who was with him at that occasion has told us another
story. They went to Ljubljana
by train to visit a concert of Siouxsie and The Banshees and were pretty drunk
when they arrived. The "happening" happened at the first crossroad
near the railway station and was more or less unintended, improvised and
chaotic.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_8]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_8]">[note 8]</a></span></sup><span style="font-family: Arial;"> - ^ He numbered his letters. The number of the
invitation for a founding meeting of the informal association of the
"alternative activists" from Maribor
(<i style="mso-bidi-font-style: normal;">Štajerska scena</i> – <i style="mso-bidi-font-style: normal;">Styria scene</i>), sent to me in 1985, was
762/1985. The number of the last letter Marzidovšek has sent to me in 1988 was
4185/88!</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_9]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_9]">[note 9]</a></span></sup><span style="font-family: Arial;"> - ^ Megalomania was his trade mark. Concerning
musical styles, he was supposedly dealing with the long list as follows: <i style="mso-bidi-font-style: normal;">musique concrete</i>, <i style="mso-bidi-font-style: normal;">serial / punctual music</i>, <i style="mso-bidi-font-style: normal;">/a/tonal
systems</i>, <i style="mso-bidi-font-style: normal;">dodekaphony in electronic
sound</i>, <i style="mso-bidi-font-style: normal;">electronic expressionism</i>, <i style="mso-bidi-font-style: normal;">minimalism</i>, <i style="mso-bidi-font-style: normal;">collage music</i>, <i style="mso-bidi-font-style: normal;">Dadaism</i>, <i style="mso-bidi-font-style: normal;">aleatoric procedures</i>, <i style="mso-bidi-font-style: normal;">improvisation/experimental sound</i>, <i style="mso-bidi-font-style: normal;">geometrical / abstract sound</i>, <i style="mso-bidi-font-style: normal;">futurism / bruitism</i>, <i style="mso-bidi-font-style: normal;">primitive sound</i>, <i style="mso-bidi-font-style: normal;">synthetical orchestrated music</i>, <i style="mso-bidi-font-style: normal;">synthetical
organs</i>, <i style="mso-bidi-font-style: normal;">synthetic vocal / chorus
music</i>, <i style="mso-bidi-font-style: normal;">prepared sound of traditional
acoustic means</i>, <i style="mso-bidi-font-style: normal;">electronic treatment
of vocal</i>, <i style="mso-bidi-font-style: normal;">third stream music</i>, <i style="mso-bidi-font-style: normal;">improvised and experimental jazz</i>, <i style="mso-bidi-font-style: normal;">minimalism within jazz</i>, <i style="mso-bidi-font-style: normal;">synthetic jazz</i>, <i style="mso-bidi-font-style: normal;">xiloton music</i>, <i style="mso-bidi-font-style: normal;">electronically
and mechanically prepared piano /alter-minimal/</i>, <i style="mso-bidi-font-style: normal;">synthetical half-industrial sound</i>, <i style="mso-bidi-font-style: normal;">new- sound-painting</i>, <i style="mso-bidi-font-style: normal;">reincarnation
of the German sound in the 1970s</i>, <i style="mso-bidi-font-style: normal;">new
psychedelic</i>, <i style="mso-bidi-font-style: normal;">combinational music
forms</i> (see <i style="mso-bidi-font-style: normal;">Štajerski poročevalec</i>).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[note_10]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[n_10]">[note 10]</a></span></sup><span style="font-family: Arial;"> - ^ Mario Marzidovšek once participated on the
"mail" concert in San
Antonio, Texas.
Supposedly, Elliott Sharp was also engaged in the same concert.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 16.0pt;"><a href="https://www.blogger.com/null" name="6.2._-_notes_by_a_hogons_industrial_guide"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#6.2.">6.2. Notes by A hogon’s industrial guide</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[hogon’s note 1]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#[h_10]">[hogon’s note 1]</a></span></sup><span style="font-family: Arial;"> - ^ Grešnici are not an experimental music group,
but a trad rock / punk band, while Fast Deadboy is from Kragujevac (SR Serbia),
not Zagreb.</span><span style="font-family: Arial; font-size: 10.0pt;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 16.0pt;"><a href="https://www.blogger.com/null" name="6.3._-_references"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#6.3.">6.3. References</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[1]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#1">[1]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Identity, Place and the “Liverpool Sound”</i>,
Sara Cohen essay in <i style="mso-bidi-font-style: normal;">Ethnicity, Identity
and Music: The Musical Construction of Place</i> edited by Martin Stokes, page
130 (Berg-Oxford, 1994).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[2]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#2">[2]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Popular Music and Society</i> by Brian
Longhurst, pages 29-54 (Polity Press- Cambridge, 1995).</span></div>
<div class="MsoNormal">
<sup><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;"><a href="https://www.blogger.com/null" name="[3]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#3">[3]</a></span></sup><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;"><a href="http://www2.hu-berlin.de/fpm/popscrip/themen/pst02/pst02_rutten.htm">Lokale
Musik und der internationale Marktplatz</a></i> (in German), Paul Rutten essay
in <i style="mso-bidi-font-style: normal;">PopScriptum 2 - Musikindustrie</i>,
page 31 (Forschungszentrum Populäre Musik der Humboldt-Universität zu Berlin-Berlin,
1994).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[4]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#4">[4]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Recording Technology, the Record Industry,
and Ethnomusicological Scholarship</i>,<span style="mso-bidi-font-weight: bold;">
Kay </span>Kaufman Shelemay essay in <i style="mso-bidi-font-style: normal;">Comparative
Musicology and Anthropology of Music: Essays on the History of Ethnomusicology</i>
edited by Bruno Nettl and Philip V. Bohlman, page 278 and 285 (The University
of Chicago Press-Chicago, 1991).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[5]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#5">[5]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Big Sounds From Small Peoples: The Music
Industry in Small Countries</i> by Roger Wallis and Malm Kirster, pages 5-7, 77
and 270 (Constable-London, 1984).</span></div>
<div class="MsoNormal">
<sup><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;"><a href="https://www.blogger.com/null" name="[6]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#6">[6]</a></span></sup><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;"><a href="http://www2.hu-berlin.de/fpm/popscrip/themen/pst02/pst02_rutten.htm">Lokale
Musik und der internationale Marktplatz</a></i> (in German), Paul Rutten essay
in <i style="mso-bidi-font-style: normal;">PopScriptum 2 - Musikindustrie</i>,
page 38 (Forschungszentrum Populäre Musik der Humboldt-Universität zu Berlin-Berlin,
1994).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[7]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#7">[7]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;"><a href="http://hugoribeiro.com.br/biblioteca-digital/Merriam-The_Anthropology_Music.pdf">The
Anthropology of Music</a></i> by <span style="mso-bidi-font-weight: bold;">Alan
P. </span>Merriam, pages 210 and 209-227 (Northwestern University Press-Evanston,
1964).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[8]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#8">[8]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^</span> <i style="mso-bidi-font-style: normal;">Popular Music and Local Identity: Rock, Pop
and Rap in Europe and Oceania</i> by Tony
Mitchell, page 85 (Leicester University Press-London, 1996).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[9]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#9">[9]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">From Grocery Shopping to Political Economy</i>,
Daniel Miller essay in <i style="mso-bidi-font-style: normal;">MESS -
Mediterranean Ethnological Summer School</i> edited by Zmago Šmitek and Borut
Brumen, pages 123-130 (Slovene Ethnological Society-Ljubljana, 1995).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[10]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#10">[10]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Identity, Place and the “Liverpool Sound”</i>,
Sara Cohen essay in <i style="mso-bidi-font-style: normal;">Ethnicity, Identity
and Music: The Musical Construction of Place</i> edited by Martin Stokes, page
117 (Berg-Oxford, 1994).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[11]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#11">[11]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;"><a href="http://monoskop.org/images/3/3c/Auge_Marc_Non-Places_Introduction_to_an_Anthropology_of_Supermodernity.pdf">Non-Places:
Introduction to an Anthropology of Supermodernity</a></i> (1992) by <span style="mso-bidi-font-weight: bold;">Marc </span>Augé (Verso Books-London, New
York, 1995).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[12]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#12">[12]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;"><a href="http://www.ipu.hr/uploads/documents/1920.pdf">Umjetničko djelo u
razdoblju tehničke reprodukcije</a></i> (1936) (in Serbo-Croatian), Walter
Benjamin essay in <i style="mso-bidi-font-style: normal;">Estetički ogledi</i>
edited by Viktor Žmegač, pages 125-151 (Školska knjiga-Zagreb, 1986).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[13]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#13">[13]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;"><a href="http://www.unc.edu/~jbecks/comps/pdf/appadurai_disjuncture.pdf">Disjuncture
and Difference in the Global Cultural Economy</a></i>, essay <span style="mso-bidi-font-weight: bold;">by Arjun </span>Appadurai in <i style="mso-bidi-font-style: normal;">Public Culture 2</i>, page 5 (Duke
University Press-Durham, 1990).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[14]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#14">[14]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Identity, Place and the “Liverpool Sound”</i>,
Sara Cohen essay in <i style="mso-bidi-font-style: normal;">Ethnicity, Identity
and Music: The Musical Construction of Place</i> edited by Martin Stokes, page
133 (Berg-Oxford, 1994).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[15]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#15">[15]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Identity, Place and the “Liverpool Sound”</i>,
Sara Cohen essay in <i style="mso-bidi-font-style: normal;">Ethnicity, Identity
and Music: The Musical Construction of Place</i> edited by Martin Stokes, page
129 (Berg-Oxford, 1994).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[16]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#16">[16]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Center za dehumanizacijo: Etnološki oris
rock skupine</i> (in Slovenian) by Rajko Muršič (ZKO Pesnica-Pesnica, 1995).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[17]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#17">[17]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;"><a href="http://www.unc.edu/~jbecks/comps/pdf/appadurai_disjuncture.pdf">Disjuncture
and Difference in the Global Cultural Economy</a></i>, essay <span style="mso-bidi-font-weight: bold;">by Arjun </span>Appadurai in <i style="mso-bidi-font-style: normal;">Public Culture 2</i>, page 5 (Duke
University Press-Durham, 1990).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[18]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#18">[18]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Zgodbe o jazzu: Razvoj afroameriške glasbe
med leti 1619-1964</i> (in Slovenian) by Peter Amalietti, page 6 (Državna
založba Slovenije-Ljubljana, 1986).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[19]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#19">[19]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Kameleoni 1965-1995</i> (in Slovenian) by
Franko Hmeljak (Capris-društvo za oživljanje starega Kopra-Kopar, 1995).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[20]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#20">[20]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">The Politics of Punk</i>, <span style="mso-bidi-font-weight: bold;">Gregor </span>Tomc essay in <i style="mso-bidi-font-style: normal;">Independent Slovenia: Origins, Movements,
Prospects</i> edited by Jill Benderly and Evan Kraft, pages 113-134 (</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Macmillan
Press-London, 1994)</span><span style="font-family: Arial;">.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[21]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#21">[21]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Punk pod Slovenci</i> (1984) (in Slovenian)
edited by Nela Malečkar and Tomaž Mastnak (Knjižnica revolucionarne teorije-Univerzitetna
konferenca ZSMS-Ljubljana, 1985).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[22]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#22">[22]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Fast Food, Stock Cars & Rock 'n' Roll:
Place and Space in American Pop Culture</i> <span style="mso-bidi-font-weight: bold;">edited by George O. </span>Carney (Rowman & Littlefield Publishers-Lanham,
1995).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[23]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#23">[23]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Identity, Place and the “Liverpool Sound”</i>,
Sara Cohen essay in <i style="mso-bidi-font-style: normal;">Ethnicity, Identity
and Music: The Musical Construction of Place</i> edited by Martin Stokes
(Berg-Oxford, 1994).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[24]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#24">[24]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">In Garageland: Rock, Youth and Modernity</i>
by<span style="mso-bidi-font-weight: bold;"> Johan </span>Fornäs, Ulf Lindberg
and Ove Sernhede (Routledge-London, 1995).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[25]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#25">[25]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Popular Music and Local Identity: Rock, Pop
and Rap in Europe and Oceania</i> by Tony
Mitchell (Leicester University Press-London, 1996).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[26]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#26">[26]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Center za dehumanizacijo: Etnološki oris
rock skupine</i> (in Slovenian) by Rajko Muršič (ZKO Pesnica-Pesnica, 1995).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[27]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#27">[27]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Subcultural Sounds: Micromusics of the West</i>
by Mark Slobin, page 34 (Wesleyan University Press-Hanover (NH), 1993).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[28]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#28">[28]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Nemška scena in simfo rock</i> (in
Slovenian), <span style="mso-bidi-font-weight: bold;">Bojan </span>Tomažič
article in <i style="mso-bidi-font-style: normal;">Večer</i>, 26.03.1988.</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[29]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#29">[29]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">The Hidden Musicians: Music-Making in an
English Town</i> by Ruth Finnegan, page 156 (Cambridge University Press-Cambridge,
1989).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[30]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#30">[30]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ Keith Negus
as cited in </span><i style="mso-bidi-font-style: normal;">Popular Music and
Local Identity: Rock, Pop and Rap in Europe and Oceania</i>
by Tony Mitchell, page 264 (Leicester University Press-London, 1996).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[31]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#31">[31]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Popular Music and Local Identity: Rock, Pop
and Rap in Europe and Oceania</i> by Tony
Mitchell, page 264 (Leicester University Press-London, 1996).<sup><a href="https://www.blogger.com/null" name="[32]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#32">[32]</a></sup> -
<span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania</i> by Tony Mitchell, page 89 (Leicester
University Press-London, 1996).<span style="mso-bidi-font-weight: bold;"></span></span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[33]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#33">[33]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Popular Music and Local Identity: Rock, Pop
and Rap in Europe and Oceania</i> by Tony
Mitchell, page 89 (Leicester University Press-London, 1996).</span></div>
<div class="MsoNormal">
<sup><span style="font-family: Arial;"><a href="https://www.blogger.com/null" name="[34]"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#34">[34]</a></span></sup><span style="font-family: Arial;"> - <span style="mso-bidi-font-weight: bold;">^ </span><i style="mso-bidi-font-style: normal;">Bili ste zraven: Zbornik o rock kulturi v severovzhodni
Sloveniji</i> (in Slovenian) <span style="mso-bidi-font-weight: bold;">edited by
Gorazd </span>Beranič, Dušan Hedl and Vili Muzek (ZKO Pesnica-Pesnica and
KID-Ptuj, 1994).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 16.0pt;"><a href="https://www.blogger.com/null" name="6.4._–_bibliography"></a><a href="http://www.ahogonsindustrialguide.blogspot.com/2007/11/mario-marzidovsek-tapes.html#6.4.">6.4. Bibliography</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">A “Black Box" of Music Use: On Folk
and Popular Music,</span></i><span style="font-family: Arial;"> Rajko
Muršič essay in Narodna umjetnost 33/1, pages 59-74 (Institut za etnologiju i
folkloristiku Zagreb, 1996).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Agonija Gustava</span></i><span style="font-family: Arial;"> (in Slovenian), fanzine edited by Dušan
Hedl (MKC Maribor-Maribor, October 1988).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Big Sounds From Small Peoples: The Music Industry in
Small Countries</span></i><span style="font-family: Arial;"> by Roger Wallis and Malm
Kirster (Constable-London, 1984).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Bili ste zraven: Zbornik o rock kulturi v
severovzhodni Sloveniji</span></i><span style="font-family: Arial;"> (in
Slovenian) <span style="mso-bidi-font-weight: bold;">edited by Gorazd </span>Beranič,
Dušan Hedl and Vili Muzek (ZKO Pesnica-Pesnica and KID-Ptuj, 1994).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Brum inkriminalnih živcev</span></i><span style="font-family: Arial;"> (in Slovenian), fanzine edited by Jože
Kos Grabar, May 1987.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Center za dehumanizacijo: Etnološki oris rock skupine</span></i><span style="font-family: Arial;"> (in Slovenian) by Rajko Muršič (ZKO Pesnica-Pesnica,
1995).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Disjuncture and Difference in the Global Cultural
Economy</span></i><span style="font-family: Arial;">, essay <span style="mso-bidi-font-weight: bold;">by Arjun </span>Appadurai in <i style="mso-bidi-font-style: normal;">Public Culture 2</i>, pages 1-24 (Duke
University Press-Durham, 1990).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Drugačna izhodišča k razumevanju
situacije mladinske kulture pri nas</span></i><span style="font-family: Arial;"> (in Slovenian), Mario Marzidovšek article in <i style="mso-bidi-font-style: normal;">Mladina</i> nr. 31. 03.10.1986.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Fast Food, Stock Cars & Rock 'n' Roll: Place and
Space in American Pop Culture</span></i><span style="font-family: Arial;"> <span style="mso-bidi-font-weight: bold;">edited by George O. </span>Carney (Rowman
& Littlefield Publishers-Lanham, 1995).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">From Grocery Shopping to Political Economy</span></i><span style="font-family: Arial;">, Daniel Miller essay in <i style="mso-bidi-font-style: normal;">MESS - Mediterranean Ethnological Summer School</i> edited by Zmago
Šmitek and Borut Brumen (Slovene Ethnological Society-Ljubljana, 1995).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Identity, Place and the “Liverpool Sound”</span></i><span style="font-family: Arial;">, Sara Cohen essay in <i style="mso-bidi-font-style: normal;">Ethnicity, Identity and Music: The Musical Construction of Place</i>
edited by Martin Stokes, pages 117-134 (Berg-Oxford, 1994).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">In Garageland: Rock, Youth and Modernity</span></i><span style="font-family: Arial;"> by<span style="mso-bidi-font-weight: bold;"> Johan </span>Fornäs,
Ulf Lindberg and Ove Sernhede (Routledge-London, 1995).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">Inkriminalni produkt</span></i><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;"> (in
Slovenian), fanzine, 08.02.1984.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">Kameleoni 1965-1995</span></i><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;"> (in Slovenian) by
Franko Hmeljak (Capris-društvo za oživljanje starega Kopra-Kopar, 1995).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Kaos, hrup in red</span></i><span style="font-family: Arial;"> (in Slovenian), facsimile of the article
by Peter Barbarič in MML catalogue, 1985.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;">Lokale Musik und der
internationale Marktplatz</span></i><span lang="DE" style="font-family: Arial; mso-ansi-language: DE;"> (in German), Paul Rutten essay in <i style="mso-bidi-font-style: normal;">PopScriptum 2 - Musikindustrie</i>, pages 31-45 (Forschungszentrum
Populäre Musik der Humboldt-Universität zu Berlin-Berlin, 1994).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">MML na poti k Hajnrihu</span></i><span style="font-family: Arial;"> (in Slovenian), Jože Kos Grabar article
in <i style="mso-bidi-font-style: normal;">Mladina</i> nr. 38, 21.11.1986.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">MML jezdi k svetlobni hitrosti</span></i><span style="font-family: Arial;"> (in Slovenian), article in Kmečke &
rockodelske novice fanzine nr. 22. 1987.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Nemška scena in simfo rock</span></i><span style="font-family: Arial;"> (in Slovenian), Bojan Tomažič article in
<i style="mso-bidi-font-style: normal;">Večer</i>, 26.03.1988.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Non-Places: Introduction to an Anthropology of
Supermodernity</span></i><span style="font-family: Arial;"> (1992) by <span style="mso-bidi-font-weight: bold;">Marc </span>Augé (Verso Books-London, New
York, 1995).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">O novejši glasbi</span></i><span style="font-family: Arial;"> (1984) (in Slovenian), Mario Marzidovšek
article in <i style="mso-bidi-font-style: normal;">Štajerski poročevalec</i>
fanzine 1985.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Popular Music and Local Identity: Rock, Pop and Rap
in Europe and Oceania</span></i><span style="font-family: Arial;"> by Tony Mitchell (Leicester University Press-London,
1996).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Popular Music and Society</span></i><span style="font-family: Arial;"> by Brian Longhurst (Polity Press- Cambridge, 1995).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Punk pod Slovenci</span></i><span style="font-family: Arial;"> (1984) (in Slovenian) edited by Nela Malečkar and Tomaž Mastnak (Knjižnica
revolucionarne teorije-Univerzitetna konferenca ZSMS-Ljubljana, 1985).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Recording Technology, the Record Industry, and
Ethnomusicological Scholarship</span></i><span style="font-family: Arial;">,<span style="mso-bidi-font-weight: bold;"> Kay </span>Kaufman Shelemay essay in <i style="mso-bidi-font-style: normal;">Comparative Musicology and Anthropology of
Music: Essays on the History of Ethnomusicology</i> edited by Bruno Nettl and
Philip V. Bohlman, pages <span style="mso-spacerun: yes;"> </span>277-292 (The
University of Chicago Press-Chicago, 1991).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Štajerski poročevalec</span></i><span style="font-family: Arial;"> (in Slovenian), fanzine by Mario
Marzidov</span><span style="font-family: Arial; mso-ansi-language: #241A;">šek, </span><span style="font-family: Arial;">1985. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Subcultural Sounds: Micromusics of the West</span></i><span style="font-family: Arial;"> by Mark Slobin (Wesleyan University Press-Hanover
(NH), 1993).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Anthropology of Music</span></i><span style="font-family: Arial;"> by <span style="mso-bidi-font-weight: bold;">Alan P. </span>Merriam,
(Northwestern University Press-Evanston, 1964).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Hidden Musicians: Music-Making in an English Town</span></i><span style="font-family: Arial;"> by Ruth Finnegan (Cambridge University Press-Cambridge, 1989).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Politics of Punk</span></i><span style="font-family: Arial;">, <span style="mso-bidi-font-weight: bold;">Gregor </span>Tomc
essay in <i style="mso-bidi-font-style: normal;">Independent Slovenia: Origins, Movements,
Prospects</i> edited by Jill Benderly and Evan Kraft, pages 113-134 (</span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Macmillan
Press-London, 1994)</span><span style="font-family: Arial;">.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Third Generation Serious (New) Music:
Kasete MML 23 in MML 24</span></i><span style="font-family: Arial;">
(in Slovenian), Milko Poštrak article in <i style="mso-bidi-font-style: normal;">Mladina</i>
nr. 38, 21.11.1986.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Umjetničko djelo u razdoblju tehničke reprodukcije</span></i><span style="font-family: Arial;"> (1936) (in Serbo-Croatian), Walter Benjamin essay in
<i style="mso-bidi-font-style: normal;">Estetički ogledi</i> edited by Viktor
Žmegač, pages 125-151 (Školska knjiga-Zagreb, 1986).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Zgodbe o jazzu: Razvoj afroameriške glasbe med leti
1619-1964</span></i><span style="font-family: Arial;"> (in Slovenian) by Peter
Amalietti (Državna založba Slovenije-Ljubljana, 1986).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Znajdi se, kakor znaš in veš</span></i><span style="font-family: Arial;"> (in Slovenian), facsimile of the Marjan
Ogrinc article in MML Catalogue, 1985.</span></div>
</div>
hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com10tag:blogger.com,1999:blog-610004026922635302.post-72003093642316764332007-10-30T15:00:00.000-07:002017-10-12T13:01:40.579-07:00Abbildungen Variete - (1983) Abbildungen Varieté [mc,Galerija ŠKUC]<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC0-JzCPQZ0Zli9Fk5xe2T0G5jstQ4IyJ6ZfZ9r0hq_V5nlYB8ERIJXBJadkI-eAk8Qmk1twtRdPNDxSCSFZmPQTiRChwctQzWg6PJBzo_XLZXl2uPfFh42ldXKnko3Ar_5HxLjULPaas/s1600/abbildungen+variete.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="706" data-original-width="622" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC0-JzCPQZ0Zli9Fk5xe2T0G5jstQ4IyJ6ZfZ9r0hq_V5nlYB8ERIJXBJadkI-eAk8Qmk1twtRdPNDxSCSFZmPQTiRChwctQzWg6PJBzo_XLZXl2uPfFh42ldXKnko3Ar_5HxLjULPaas/s400/abbildungen+variete.jpg" width="350" /></a></div>
<span class="mediumtxt">Abbildungen Varieté</span> is the second most important name in Yugoslav/Slovenian oldschool industrial scene of the 1980s besides Laibach. They hailed from Slovenia's second largest city Maribor in the northeastern-most part of Slovenia, then one of the biggest Yugoslav heavy industry centres. Unfortunately, little is known about <span class="mediumtxt"> Abbildungen Varieté</span>. We know that it that existed in the period between 1982-1987, that it was close to the Neue Slowenische Kunst (German for "New Slovenian Art") movement and that its members were Marko Ornik, Igor Zupe, Goran Majcen, Leonard Rubins and Branko Mirt. Besides the eponymous cassette release <i>Abbildungen Varieté</i> (Galerija ŠKUC Izdaja-Ljubljana, 1983) cassette-release, the <i>84</i> (ZKP RTVL-Ljubljana, 1984) LP compilation contribution with the track <i>Ishodišče subjekta</i> and a couple of cassette-demo recordings - there were no other recordings of Abbildungen Varieté. The <i>Abbildungen Varieté</i> release came out in November of 1983 in an edition of 230 copies and for the most part is a live-recording with a couple of studio tracks thrown in.<br />
<br />
When compared to the rest of industrial scene back then, <span class="mediumtxt"> Abbildungen Varieté</span> was a rare bird and defining them is certainly not an easy task. They had a strong smack of ritual-music, which is also present with Laibach and Strukturne Ptice as an inkling and played a vital role in early Autopsia. So the pool of bands we could draw parallels to would be from that milieu: Last Few Days, Ain Soph, maybe even Het Zweet. Sound-wise it's quite diverse: a bit of sinister tribal drumming with frantic clamor, a bit of solemn ceremonial chanting and a bit of ominous funeral dirges for the banishing of the Dead. Rip encoded in 320kbs by pop3.<br />
<br />
Download it <a href="http://www.mediafire.com/download/rdgflf16qdkj0zj/Abbildungen+Variet%C3%A9+-+%281983%29+Abbildungen+Variet%C3%A9+%5Bmc%2CGalerija+%C5%A0KUC%5D.rar">HERE</a>.</div>
hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com9tag:blogger.com,1999:blog-610004026922635302.post-21194358986420641542007-10-30T14:38:00.000-07:002007-10-30T14:59:04.967-07:00introductory notethis blog will hopefully be an interesting place for all those on lookout for rare 80ies cassette culture gems, experimental music (and film !) aficionados and proto&oldschool industrial listeners. i personally don't have any tapes and wouldn't know how to rip them but am just driven with a feeling of what could be important. also, i'm into categorization & careful listening so that might be helpful.<br /><br />hope i'll soon change this obnoxiously boring blog title.<br /><br /><br />welcome everybody :)hogonhttp://www.blogger.com/profile/16293365125418512758noreply@blogger.com1