Subkulturni azil

Compiled by and liner notes: Višeslav Laboš,
Project initiator: Dušan Hedl,
Copyediting: Rick Klaus Theis,
Design concept: Nieuw NDG,
Design execution:Studio Franić & Steković,
Mastering: Višeslav Laboš,
Administration: Peter Dobaj, Tatjana-Tanja Cvitko, Branko Hedl

Vsebina:

Stran A:
A1. Saniboj – Death of Vesnas
A2. Autopsia – Red nights
A3. Metropolie Trans – Disonmonia
A4. Roderick – Bilo jednom na Balkanu
A5. Janez Matičič – Fuzije op.51

Stran B:
B1. C.Z.D. – V kali zatreti
B2. Fritz und Hans – Ich habe allebeide
B3. Gino de Gagi i Nivnite Strasti – Kambanite (MP3, MP3 ZIP, WAV)
B4. Grad – Gradsko šetalište
B5. Nezaboravan san o... – Grad obojen ledom
B6. Saniboj – Alone II

EX YU ELECTRONICA Vol.4 – "Bilo jednom na Balkanu"

Po vsakem novem izidu v seriji kompilacij EX YU Electronica se zdi da je izvor demo posnetkov elektronske glasbe že skoraj izsušen. Ne glede na to, da sem se na srečo motil, sestaviti četrti del serijala ni bila lahka naloga.

Vprašanje, ki se je vedno znova pojavljalo po hodnikih fanatičnih in maloštevilnih „diggerjev“ te neuradne zgodovine EX YU glasbene scene, in je morda še najbolj aktualno ob izidu četrtega nadaljevanja zbirke je: „Kaj sploh je elektronska glasba?“

V iskanju ravnotežja med dostopnim in do sedaj najdenim materialom z vsemi svojimi elektronskimi in ne-elektronskimi spomeniki, med objektivnim in subjektivnim dojemanjem njegove kvalitete, je četrti del serijala, upam, zadel optimum tega, kar je nam vsem pomembno – kvalitetne elektronske spomenike najrazličnejših žanrov v zaokroženi avtorski celoti.

Zato tudi naslov „Bilo je nekoč na Balkanu“ („Bilo jednom na Balkanu“). Ne kot stilska ali žanrovska oznaka tukaj zaobjete glasbene vsebine, ampak kot vpogled v raznovrstnost pozabljenih kreativnih umov na nekem geopolitičnem meridijanu kjer je umetniška subverzija imela veliko kompleksnejši značaj kot v kulturi zahodnega sveta.

A-SIDE

Nakon višegodišnjeg traganja za snimkama Saniboja Žugića, klavijaturista i elektro-inženjera o čijem je talentu dosed samo kružila priča u zagrebačkim glazbenim kuloarima, misterij je riješen nakon što sam u ljeto 2012. izvukao master trake iz starog podruma kuće u kojoj je Saniboj preminuo prije 11 godina. Kao strastveni ljubitelj King Crimsona i Genesisa Saniboj je svirao klavijature u underground art-rock sastavima Sona i Homo Kiborg, a prije toga, ranih 70-ih u psych-folk formaciji Hamatri. Jednako je nepoznata činjenica da je Saniboj svirao i u jednoj od prvih formacija Azre, dok su djelovali pod imenom Balkan Sevdah Band, a tekst prvog Azrinog singla "Balkan" po riječima Mišela, pjevača zagrebačkog punk benda Blitzkrieg, je navodno nastao po predlošku Sanibojevog oproštajnog pisma Branimiru Štuliću. Pet pjesama koje su preživjele i koje je Saniboj samostalno napravio u periodu od 1979. do 1983. potpuno su elektroničke. Na njima je koristio wurlitzer, fender rhodes i sanisint, prototip sintisajzera kojeg je sam kreirao 1977.

After years of searching for recordings of Saniboj Žugić, keyboardist and electrical engineer whose talent was known only from stories heard in Zagreb’s music backrooms, the mystery was lifted when I found his master tapes in the summer of 2012, in the basement of the house where Saniboy died 11 years prior. A passionate fan of King Crimson and Genesis, Saniboj played keyboards in underground rock bands Sona and Homo Kiborg, and earlier, in the early 70s in the psych-folk formation Hamatri. Also fairly unknown is the fact that he played in one of the first lineups of Azra, while they were still going under the name Balkan Sevdah Band. According to Mišel, singer of the Zagreb punk band Blitzkrieg, the lyrics of Azra’s first single Balkan were influenced by Saniboj’s farewell letter to Branimir Štulić. The five songs that survived Saniboj recorded himself in the period between 1979 and 1983 and are completely electronic, recorded with a Wurlitzer, Fender Rhodes and sanisint, a prototype synthesizer which he created in 1977.

Autopsia je multimedijalna umjetnička grupa osnovana 1980. u srpskom gradu Ruma, iako za sebe kažu da "nisu začeti u nijednoj državi", te da su "počeci Autopsie imali kartografiju koja je uključivala više država, odnosno gradova". U Jugoslaviji djeluju do 1990. godine objavivši brojne kasete u formi samizdata. Od 1990. djeluju iz Praga kojeg sami proglašavaju "Die Geistzentrale der Welt" i dalje kao nekomercijalan i depersonalizirani art-projekt, te su do danas objavili preko 20 CD-a i DVD-a za Staalplaat, Hypnobeat, Gymnastic Records između ostalih.

O tehnici kolažiranja i reinterpretaciji audio-vizualnih fragmenata u svojim radovima Autopsia kaže: "We use established cultural patterns as codes which, in the new work, represent something new, something authentic. We relate to things as finished products, intuitively and not scientifically, attempting to understand, never to explain for we believe Autopsia's aim is not to interpret but to examine origins." Music production of Autopsia is associated with a large graphic production which consists of original graphic objects, design of flyers, booklets and a Web Page autopsia.net, with its offsprings: Autopsia TV and Illuminating Technologies.

Autopsia is a multimedia art group founded in 1980 in the Serbian city of Ruma, though they consider themselves “not conceived in any single country” and that “the beginnings of Autopsia are mapped across various contries and cities”. They are based in Yugoslavia until 1990, self-publishing numerous cassettes. From 1990 they work from Prague, which they dub “Die Geistzentrale der Welt“ („Mind Central of the World“), stil as a non-commercial and depesonalized art-project, and have to this day released more than 20 CDs and DVDs for many labels including Staalplaat, Hypnobeat and Gymnastic Records.

On the techniques of collage and reinterpretation of audio-visual fragments in their works, Autopsia comment: “We use established cultural patterns as codes which, in the new work, represent something new, something authentic. We relate to things as finished products, intuitively and not scientifically, attempting to understand, never to explain for we believe Autopsia's aim is not to interpret but to examine origins.” Music production of Autopsia is associated with a large graphic production which consists of original graphic objects, design of flyers, booklets and a Web Page autopsia.net, with its offsprings: Autopsia TV and Illuminating Technologies.

"Disonmonia" je snimljena 1988/1989 na 4 kanalnom TEAC magnetofonu u originalnom trajanju od 2 minute i 8 sekundi. Ta verzija je doživjela kasetno izdanje pod Lišnjićevim alter-egom Nowy LEF kao zbirka radova Metropolie Trans i Nowy LEF, da bi ju 2011. autor editirao, ovoga puta pod alter-egom Stereo Virus Kollektive. "Krajem 80-ih način na koji sam radio glazbu je, zapravo bio vrlo jednostavan. Doslovno sam skupljao zvukove na kazetama, snimao kratke valove sa radija, dijaloge iz filmova sa VHS kazeta, radio emisije sa 3. programa Hrvatskog radija - otuda i sample Đurđe Otržan koja je napravila odličnu emisiju posvećenu Jacques Attaliju i njegovoj knjizi "Buka - ogled o ekonomiji muzike". Pored toga sam snimao i konkretne zvukove na svoj diktafon, a imao sam naviku posuditi od prijatelja neki od instrumenata, najčešće sintisajzer, ritam mašinu ili nekakav efekt. Cijeli postupak skladanja je bio zapravo kolažiranje, igranje sa tim skupljenim zvukovima na TEAC -u, za koji bih se usudio reći bio moj glavni instrument."

„Disonmonia“ was recorded in 1988/1989 on a 4-channel TEAC tape recorder clocking in at 2 minutes and 8 seconds. This version was released under Lišnjić’s alter-ego Nowy LEF on a compilation cassette of works by Metropolie Trans and Nowy LEF. In 2011 the author edited the track, this time under the alter-ego Stereo Virus Kollektive. “In the late 80s I was making music by a very simple process. I was literally collecting sounds on cassettes, recording radio short waves, dialogues from movies off VHS cassettes, programs by Croatia’s radio 3 – this is also where I got the sample of Đurđa Otržan, who had an excellent program on Jacques Attali and his book “Noise: The Political Economy of Music”. Besides that I also recorded concrete sounds, and also had a habit of borrowing instruments from friends, most often synthesizers, rhythm machines or some sort of effects. The whole process of recording was in fact collaging, playing with these gathered sounds in the TEAC, which I’d dare to call my main instrument.”

Osiječki sastav Roderick svoju je estetiku izgradio na darkerskom svjetonazoru i afinitetima za multimediju. Potpisnici su dva službena albuma i djelovali su u periodu od 1984. do 1991. Prvi album, "Bilo jednom na Balkanu" objavljen je 1987. za nezavisnog slovenskog diskografa FV Založba sa kojeg je i uvrštena naslovna numera. Kao autor, ujedno pjevač i klavijaturist benda, za pjesmu "Bilo jednom na Balkanu" Branko Kostelnik se rukovodio idejom nadrealista i stavio stotinu papirića s jednom riječi u šešir i izvukao njih osam - prema broju federativnih republika Jugoslavije - "zanos", "nož", "heroji", "crveno", "ljubav", "legenda", "Periklovo doba" i "bilo jednom na Balkanu" koje su tvorile njezin tekst. Na matricu repetitivnog plemenskog ritma i snimljenog glasa, ubačeni su zvukovi topova, bitki i vike vojnika sa gramofonske ploče "ratnih efekata" nabavljene u Londonu. Branko Kostelnik od 1994. povremeno nastupa i snima sa grupom Roderick Novy, te je zaposlen kao producent u Muzeju Suvremene Umjetnosti u Zagrebu.

Osijek's group Roderick built its esthetics on a gothic worldview and an affinity for multimedia. They’ve authored 2 albums and were active in the period from 1984 to 1991. The first album, “Bilo jednom na Balkanu” (Once upon a time in the Balkans), was released under the Slovenian independent label FV Založba, from which the eponymous track is from. As the author, singer and keyboardist of the band Branko Kostelnik took a surrealistic approach to the track and placed 100 notes with one word on them in a hat and blindly pulled out 8 – as many as the republics in Yugoslavia – to compose the text: “rapture”, “knife”, “heroes”, “red”, “love”, “legend”, “Age of Pericles” and “once upon a time in the Balkans”. Sounds of cannons, battle and cries of soldiers from a record of war sound effects bought in London were inserted onto a matrix of tribal rhythm and recorded voice. Branko Kostelnik occasionally performs and records with the group Roderick Novy, and is working as a producer at the Museum of Contemporary Art in Zagreb.

Janez Matičič jedan je od prvih Slovenskih i uopće Jugoslavenskih kompozitora koji se oprobao u domeni elektroakustičke glazbe. U nedostatku elektroničkih studija u državi, Matičič odlazi u Pariz gdje 1961. pohodi koncert pod nazivom „Concert de bruits“ u produkciji Pierrea Schaeffera. Već godinu dana kasnije i sam započinje suradnju sa Schaefferovom Groupe de Recherches Musicales koja je potrajala sve do 1975. Tamo nastaje popriličan broj skladbi od kojih je najranija „Oscilacije/Oscillations“ iz 1966. Skladbu "Fuzije/Fusions" realizirao je u Elektronskom Studiju Radio Beograda 1979. koristeći prethodno stečena iskustva svojstvena za konkretnu glazbu kao što su kolažiranje, overdubbing i razne manipulacije trakom, uz što je posegnuo i za mogućnostima zvučne sinteze koje je nudio Elektronski studio u Beogradu. Iako Matičič potiče iz dijametralno suprotnog glazbenog miljea od ostalih učesnika na ovoj ploči, onog akademskog, uvrstili smo drugi od tri dijela njegove kompozicije "Fuzije" kako bi otputovali u nešto daljnju glazbenu prošlost elektroničke glazbe u bivšoj Jugoslaviji i odali počast jednom od istinskih pionira žanra.

Janez Matičič is one of the first Slovenian and even Yugoslavian composers who dared the field of electroacoustic music. At the lack of electronic studios in his home country, Matičič leaves for Paris where in 1961 he attends the “Concert de bruits” produced by Pierre Schaeffer. Barely a year later he begins a collaboration with Schaeffer’s Groupe de Recherches Musicales, which lasted until 1975. There he composes quite a number of pieces, the earliest of which is “Oscilacije/Oscillations” from 1966. The piece “Fuzije/Fusions” he created in Radio Beograd’s electronic studio in 1979 basing it on concrete music’s processes such as collaging, overdubbing and manipulating the tape, but also taking advantage of the studio’s tools for music synthesis. Even though Matičič, as an academically schooled composer, emerges from the diametrically opposite musical milieu of the other artists presented here, we included the second part of the three part “Fusions” to take us a bit further into the history of electronic music in Yugoslavia and to honor one of the true pioneers of the genre.

B-SIDE

C.Z.D. (Center za dehumanizacijo) jedan je od najradikalnijih i najdugovječnijih post-punk, hardcore, no-wave bendova u Jugoslaviji. Osnovani su 1983. godine u Mariboru gdje djeluju i danas. Pored klasičnog punk-rock instrumentarija, bend je održavajući blisku prijateljsku vezu sa lokalnim elektroničkim guruom Mariom Marzidovšekom bio upoznat i sa industrijskim elektroničkim zvukom. Najekspresivnije su ga realizirali u svojoj ranoj pjesmi "V kali zatreti“, koja je snimljena u Marzidovšekovom studiju u sklopu „Steyer comp.“ sessiona. Danas opskurna kasetna kompilacija, osim tri njihove pjesme uključuje i dvije od Marzidovšeka, četiri od Masakera i deset od P.V.J.S.-a. U nadolazećim godinama C.Z.D. je objavio desetak samostalnih albuma i bio uključen u brojne kompilacije. Dušan Hedl kao osnivač grupe, ujedno je i pokretač kompilacijske edicije EX YU Electronica čiji četvrti nastavak držite u ruci. Kao pisac i društveni aktivist zaslužan je za opstojnost nezavisne kulturne scene u Sloveniji.

C.Z.D. (Center za dehumanizacijo) is one of the most radical and longest running post-punk, hardcore, no-wave bands in Yugoslavia. They formed in Maribor, where they continue operating today. Armed with classic punk-rock instruments, the band was interested in electronic instruments from the very beginning and used them in their performances. Their meeting with Mario Marzidovšek, the local guru of electronic industrial sound, turned into a very productive collaboration, an explosion in creativity. Most expressively they incorporated the sound in their early recording “V kali zatreti” (“Nipped in the Bud”), recorded in Marzidovšek’s studio during the “Steyer comp.” session. The obscure cassette compilation besides 3 songs by CZD also includes 2 recordings by Marzidovšek, 4 by Masaker and 10 songs by P.U.J.S. In the following years CZD released 10 albums and contributed to many compilations. The group’s founder, Dušan Hedl, is also the project initiator for the EX YU Electronica compilation series. As a writer and social activist he also contributes to the continued existence of Slovenia’s independent cultural scene.

Fritz und Hans iz Sarajeva je zapravo bio trio - Faris Stanković je bio Fritz, Žanko Andrić je bio Hans, a treći redovni član je bio Roba (Robert Banić). Od tri master kopije kaseta snimljenih tijekom srednjoškolskih praznika 1983. jedna je uništene u ratu, druga je zagubljene na putu do Australije dok je treću prožvakao kasetofon prilikom pokušaja digitalizacije. Vjerojatno jedina preživjela kopija jest snimka koju su poslali Zdenku Franjiću sa etikete Listen Loudest! sredinom 80-ih sa koje je i skinut ovdje priloženi synth pop biser "Ich habe allebeide". Nije teško za dokučiti da se bend oslanjao na glazbeni izričaj njemačkog novog vala "Neue Deutsche Welle" (Grauzone, Trio, DAF), snimajući se u potpuno gerilskim kućnim uvjetima kod Farisa u sobi, koristeći 2 "phono" ulaza na DJ mikseti prelemljena u 4 mono kanala. Nakon što je napravljen pre-mix, vokal je snimljen tako što su kod glave na kasetofonu odvojene funkcije "record" od "play". Pjesma je dosad neobjavljena, a u međuvremenu je pronađena još jedna kopija kasete sa nadam se još puno interesantnog materijala!

Fritz und Hans from Sarajevo were actually a trio - Faris Stanković was Fritz, Žanko Andrić was Hans, and Robert Banić wa Roba, the third regular member. Of the three master copy cassettes, recorded during the high-school vacation in 1983, one was destroyed in the war, one lost en-route to Australia and the third was eaten by a tape recorder at an attempt to digitalize it. Probably the only surviving copy is a recording they sent in the mid-80s to Zdenko Franjić and his Listen Loudest! DIY label, from which this synth-pop jewel “Ich habe allebeide” is from. It’s obvious that the band based their music on the German “Neue Deutche Welle” movement (Grauzone, Trio, DAF), recording in a makeshift home studio at Faris, using 2 “phono” inputs of a DJ mixer rigged into 4 mano channels. A vocal was recorded over a pre-mix using the separated functions of “record” and “play” of a tape recorder. The song is previously unreleased, while in the meantime another copy of their cassette was found, hopefully containing a lot of interesting material!

Pored grupe Bastion Kirila Džajkovskog, početkom osamdesetih u naoko izoliranoj Makedoniji djelovao je još jedan novovalni synth-pop sastav - Gino de Gagi i Nivnite Strasti. Bend je isprva svirao u tročlanoj formaciji, da bi u razdoblju svojeg djelovanja od 1983. do 1986. bend periodički brojao i do sedam članova priskrbivši si tako i epitet makedonskih Talking Headsa. Nakon svirke u "Domu Mladih 25 Maj" novinar Studentskog Zbora napisao je da su "Gino de Gagi najveća makedonska rock nada", ipak kao i u slučaju Padot na Vizantija i mnogih drugih talentiranih sastava sa juga bivše države, službeni album je izostao.

Po raspadu benda, trojica članova - Gino, Petar Jankov i Uško sviraju u kultnom makedonskom dark rock sastavu Arhangel, da bi 1994. Uško preminuo od Kronove bolesti. Tom su se prilikom Gino de Gagi i Nivnite Strasti okupili po posljednji puta kako bi snimili pjesmu "Zadnja Pesma" indijskog pjesnika Rabindranta Tagore-a u spomen svojem prijatelju. Pjesma je objavljena, ali kao instrumentalna verzija na CD-u "14 pesni za Uško" pod imenom "Tagore". U pripremi je izdavanje samostalnog CD-a sa kompletnim demo snimcima nastalim uglavnom 1985. u kućnom studiju Toshe Pop Simonova gdje je snimljen i "Kambanite"

Besides Bastion Kirila Džajkovskog, another New Wave synth-pop group was active in the seemingly isolated Macedonia at the start of the 80s - Gino de Gagi i Nivnite Strasti. At the beginning the band played in a 3 member lineup, but during its active years from 1983 to 1986, it periodically numbered up to 7 members, which earned them the epithet Macedonian Talking Heads. After their performance in “Dom Mladih 25. Maj” a journalist of the Student Union wrote that “Gino de Gagi are Macedonia’s biggest rising stars of rock music”. Stil, like Padot na Vizantija and many other talented groups from the south of our former country, they did not release a record.

After the group disbanded, three of its members – Gino, Petar Jankov and Uško – played in Macedonia’s cult dark rock group Arhangel. In 1994 Uško passed away from Crohn’s Disease. For this occasion, Gino de Gagi I Nivnite Strasti reformed to record “Zadnja Pesma” (“Last Poem”), a poem by Indian poet Rabindranath Tagore, in memory of their lost friend. The song was released and included as an instrumental song on the CD “14 pesmi za Uško” (“14 Songs for Uško”). Also in the works is a CD compilation of their complete demo recordings mostly recorded in 1985 in the home studio of Toshe Pop Simonov, where “Kambanite” was also recorded.

Mayo Vox: “We saved money from graduation party performances and used it all for studio time. Toshe Pop Simonov was opening his studio at the time, but we couldn’t wait for him to equip it, since we had to leave for the army in august. So we were recording the demo in his living room from 8.00 AM until 3.00 PM when his folks returned from work.”

U Novom Sadu, ljeta 1981. rodila se grupa Grad kao jedan od najperspektivnijih novovalnih bendova u Jugoslaviji. Osnovali su je Vladimir Tasić - Tasa, Julije Dondo - Đusika, Aleksandar Kulić i Siniša Ilić - Siki. Tijekom perioda od samo godinu dana djelovanja, grupa je održala 7 koncerata i snimila jednako toliko autorskih pjesama u studiju Radio Novog Sada u produkciji Peđe Vraneševića (Laboratorija Zvuka). Basist Kulić nije sudjelovao na tim snimkama jer se bend inspirirao njemačkom grupom DAF koji su umjesto bas gitare za duboke dionice koristili synth. Usprkos visoko kvalitetnom materijalu na tragu ranog Električnog Orgazma, La Strade i Lune, grupa nažalost nije realizirala svoj potencijal fizičkim izdanjem. Vladimir Tasić je danas nagrađivani pjesnik i živi u Kanadi, Siniša Ilić je svirao u kultnom novosadskom sastavu La Strada, a Julije Dondo svira i dalje po raznim rock sastavima. Pjesma "Gradsko šetalište" iako svojedobno popriličan hit na demo listama lokalnih radio postaja, dosada je ostala neobjavljena.

In the summer of 1981, Novi Sad birthed the group Grad, which became one of the most promising New Wave bands in Yugoslavia. Grad was formed by Vladimir Tasić - Tasa, Julije Dondo - Đusika, Aleksandar Kulić and Siniša Ilić - Siki. In the span of only one year, they played 7 concerts and authored and recorded as many songs in the studio of Radio Novi Sad, produced by Peđe Vranešević (Laboratorija Zvuka). Since the band took inspiration from the German group DAF that used a synth instead of a bass guitar for deep tones the bassist Kulić didn’t join the recordings. While the quality of the material was on par with early Električni Orgazan, La Strada or Luna, the band didn’t realize their potential with an album release. Today Vladimir Tasić is an award winning poet living in Canada, Siniša Ilić played with cult Novi Sad band La Strada, while Julije Dondo still plays in various rock groups. Despite being somewhat of a hit on various demo listings of local radios the song “Gradsko šetalište” (“City Promenade”), remained unreleased.

Početak zagrebačkih predstavnika angažiranog synth-popa i lirske melankolije, Nezaboravan san o…, seže u prvu polovicu 80-ih kada su Ivica Družak i Zoran Stošić kao tinejđeri eksperimentirali sa elektroničkim instrumentima u projektu Vinil Desant. Snimke iz tog perioda kao i one iz kasnijih godina snimljene su u zajedničkom kućnom studiju na četverokanalnom kasetnom snimaču Fostex X26. Nezaboravan San O…, uključivao je gitarista, basista i pjevača koje je Družak smatrao nezamjenjivim analognim izvorima zvuka. Nakon što im je objavljena pjesma „Hladni simboli“ na kompilacijskoj kaseti "041 Compilation" slovenskog underground labela FV Založba, gdje ih je kritika proglasila "favoritima" i autorima "najzrelije skladbe", priliku da se objavi cjelokupni demo materijal u formi albuma za istog diskografa, bend je nažalost propustio. U zagrebačkom Pauku 1990. sviraju kao predgrupa legendarnim Clock DVA. Grupa je 1992. ponovno snimila materijal i to na engleskom jeziku pod nazivom Unforgettable dream about… no komercijalni uspjeh je i ovoga puta izostao. Paralelno, početkom 90-ih članovi sastava zajedno sa Željkom Serdarevićem osnivaju originalan ali kratkoživući cover band Enjoy Depeche Mode. Nepravedno zapostavljeni u svoje vrijeme, sa pjesmom "Grad obojen ledom" ("Town coloured by ice") Nezaboravan san o… po treći puta imaju priliku potvrditi svoju kvalitetu, ovoga puta na kompilacijskoj ploči EX YU Electronica Vol.4.

The beginnings of Zagreb's representatives of socially engaging synth-pop and lyrical melancholy, Nezaboravan san o … („Unforgettable Dream About …“), reach back into the first half of the 80s when, still teenagers, Ivica Družak and Zoran Stošić experimented with electronic instruments on the project Vinil Desant. Recordings from this period as well as latter materials were recorded in the joint home recording studio on a Fostex X26 4-channel tape recorder. Nezaboravan san o … included a guitarist, bassist and singer which Družek considered irreplaceable analog sound sources. After their song “Hladni simboli” is released in the compilation cassette “041 Compilation” of the Slovene underground label FV Založba, where the critics hail them as “favorites” and authors of the “most mature track”, the band sadly turned down the offer by the label to release their complete demo recordings in an album. They played as the opening band for the legendary Clock DVA in Zagreb’s Pauk in 1990. The group record again in 1992, this time in English as Unforgettable Dream About … but again did not achieve commercial success. At the same time, in the beginning of the 90s, members of the band join up with Željko Serdarević and form the short-lived cover band Enjoy Depeche Mode. Unfairly neglected in its time, Nezaboravan san o … have its third chance to validate their quality, this time on the compilation LP EX YU Electronica Vol. 4 with their song “Grad obojen ledom” (“City Colored with Ice”).

EX YU ELECTRONICA VOL IV: Bilo jednom na Balkanu

Vsebina:

EX YU ELECTRONICA Vol.4 – "Bilo jednom na Balkanu"

A-SIDE

B-SIDE