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The Road to EnlightenmentATTENTION - TRADUCTION EN COURS
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"Anatomy of Sound" est une émission de radio Internet qui a été introduite pour la première fois en milieu de l'année 1995 sur une station de radio "Studio A," Banja Luka, Bosnie-Herzégovine. Cette émission offre un concept complètement différent des émissions de radio spécialisées en ayant pour but de promouvoir et de présenter la scène musicale d'ex-Yougoslavie en se concentrant sur les groupes ayant une démarche dite alternative ou non-commerciale. Ce concept est resté le même au cours des dix années, même si les stations qui ont l’ont diffusé ont changé (Radio Contact, Radio Balkans, la radio indépendante, Radio UNS Geto, Grande-radio-sve Banja Luka, Studio 88-Mostar). Actuellement, l'émission est diffusée 2 fois par mois en Bosnie sur la radio nationale « Radio BH 1 », mais grâce à Internet, elle peut être écoutée à travers le monde.
L’émission est composé de deux parties. La première heure est consacrée à jouer de nouvelles chansons et la présentation de nouveaux groupes émergents d’ex-Yougo, de l’Europe et du monde. Ici- L'Europe et le monde, désignent d'abord et avant tout, des musiciens qui ont quitté les Balkans pour l'Europe occidentale au début de la guerre ont continué la musique et formé de nouveaux groupes de musique. En outre, l'exposition présente également des festivals de musique à travers la musique des musiciens locaux et artistes et labels de disques et les ONG qui se consacrent à la vulgarisation de musique alternative.
La deuxième partie du spectacle est "Vieilles surprises pour les nouvelles générations». Cette demi-heure met en place des groupes de musique des années soixante-dix, quatre-vingt et quatre-vingt-dix qui ont été peu écouté, mais qui ont néanmoins contribué de manière significative au développement et à la création de la scène musicale ex-yougoslave.
Le dernier-né de l'émission est la présentation de la musique scène ethno yougoslave, ou plus précisément, les parties où la musique ethno est en fusion avec d'autres genres comme le punk, électronique, le swing, noise, etc
En plus de faire deux fois par mois "Anatomy of Sound," il existe également la production d'un spectacle pour le public international avec l'intention de présenter la très riche et complexe scène musicale alternative yougoslave. La raison en est que les hostilités qui ont éclaté pendant la dernière créé une image négative dans les médias et, par conséquent, dans leurs consommateurs à propos de cette zone comme une zone de barbares et les gens sans culture. Ainsi, à travers sa sphère d'influence, "Anatomy of Sound" tentatives de créer une meilleure compréhension de la scène yougoslave pour les personnes en Europe par les chansons et les virages de la période avant et après la dernière guerre.
Ces 11 éditions déjà accompli de l'exposition "Anatomy of Sound" sont un produit de la coopération avec une ONG française "AOLF" et ont pour objectif la mise en place et l'élaboration de la musique alternative scène de l'ex-Yougoslavie au public en France.
So What is This About?Anatomija Zvuka
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Segment 1 / Novembre 2007 -Document Playlist
La première édition a offert une courte selection de la musique qui sera joué plus tard dans une autre playlist. Nous avons présenté deux groupes de musique de Bosnie - "Sopot" et "Vuneny", qui ont fait deux tournées en France fin de 2007.
Nous avons également écouté des morceaux plus récent du légendaire groupe yougoslave "Disciplina Kitschme", qui a joué depuis 1982.
Nous avons également présenté deux groupes de garage rock qui sont très endémique dans leur pays par la musique qu'ils jouent: "No Rules" de Bosnie-Herzégovine et "Muskat Hamburg" de Slovénie, et joué trois chansons de trois groupes de musique ethnique de Croatie ( "Cinkusi"), Slovénie ( "Janez Skof") et la Macédoine ( "Foltin") et, enfin, a présenté un excellent groupe de musique du Kosovo - "Jéricho." En fin de compte, pour la dernière partie du spectacle, nous avons joué six chansons yougoslave de six autres groupes de la fin des années 80's:
- Gustafi (Pula, Croatie)
- Boye (Novi Sad, Serbie)
- Luna (Novi Sad, Serbie)
- Mizar (Skopje, Macédoine)
Franz-Lacni (Ljubljana, Slovénie)
- KUD Idijoti (Pula, Croatie)
Segment 2/December 2007 - Part 1 / Part 2 - Playlist
In the second edition of “Anatomy of Sound” we once again made a short cross-section but this time of the existing alternative music scene in Bosnia and Herzegovina. The Bosnian music scene is under great pressure from the Serbian and Croatian media, as well as aggressive promotion of low quality bands that come from these countries. Thus, the Bosnian music scene is heavily isolated, which makes it difficult for local music groups to become known and gain wider audiences. Nonetheless, even in such a music environment, there are many quality bands which are playing excellent music and producing exceptional albums, but they tend to find greater success in the surrounding countries rather then their own local scene.
Bosnia and Herzegovina is the only country in the region where you can find two outstanding percussion ensembles/groups and these are “Sarajevo Drum Orchestra” and “Afrodizijak” from Banja Luka. Lately, the punk scene is experiencing a revival as well, with several anarcho-punk festivals being organized around the country, so the younger generations are once again showing an interest in this form of musical expression. Currently in Bosnia, there are several very interesting punk bands, such as “Unutrasnja Emigracija”, “Izolanti”, “Ofsajd,” etc.
In the second part of the show, which we called “Old Surprises for New Generations,” we showcased the musical opus of the Slovenian group “BEGNAGRAD,” a group that was active in the late 1970s and pioneered the Slovenian ethno music and its fusions with swing and free jazz. The members of this band are still active through work on an international project “Accordian tribe” and in their solo projects as well. Their first album in France was released in 1991 under the name “Koncert for broken dance.”
Segment 3/December 2007 - Playlist
In the third segment, the first hour was dedicated to ex-Yugoslav alternative pop music scene. Yugoslav alternative pop music came into existence at the beginning of the 1980s, or to be more exact, with the establishment of an excellent and very influential group “Idoli” from Belgrade, who are rightfully credited as the grandfathers or the originators of pop music scene on the territory of ex-Yugoslavia. Currently there exist a significant number of bands in the region which combine pop with other genres, such as punk and noise. “Lira Vega,” “Pressing,” “Ventolin” (Beograd, Serbia), “PMG Kolektiv” (Skopje, Macedonia), “Jubboko sa negrass,” “Kre?” (Banjaluka, Bosnia) are just some that we listened to during the show.
During the second part of the show, we introduced the legendary pop-punk band from Zagreb, Croatia – “Studeni Studeni”, which unfortunately broke up at the beginning of the war in ex-Yugoslavia. I say “unfortunately” especially since the critics promised them a bright future, judging by the reviews of their only recording “?isto kao suza.” Following the break of the band, two of the band members moved to Serbia and there formed an outstanding new group “Novembar.” “Novembar” continued where “Studeni Studeni” left off and released four terrific albums up to date.
Segment 4/ January 2008 - Playlist
In this year’s first show, we produced a special edition dedicated to Yugoslav bands and kant-authors from the end of the 1960s and the beginning of the 1970s. The development of Yugoslav music scene started at the beginning of the sixties, closely following the establishment of the world music scene. The greatest influence came from Radio Luxemburg, which was listened to in secret and which allowed young people to hear bands such as “the Beatles,” “the Shadows,” “the Rolling Stones,” etc. The first groups that emerged out of this period mostly played covers of the above-mentioned bands, but by the mid 1960s, they started making and releasing their own songs and albums. Personally, 1967 was the best year of Yugoslav rock and roll from that period. During that year two of the greatest hits of Yugoslav music production scene were recorded: the song “Osmijeh” (“Smile”) by “Grupa 220” from Zagreb and the song “Pruzam ruke” (“Extending hands”) by a Sarajevo band called “Indexi”, which we listened to at the beginning of the show. We also listened to a group called “Zlatni akordi” (“the Golden Accords”) who were the first music band in 1966 that was allowed to record a foreign hit in the original – the cover of “My Generation” by the British band “the Who.” We also introduced the first Yugoslav vinyl recorded live, which was the compilation record from BOOM FEST in 1972. This festival was held every year in a different city of ex-Yugoslavia and it featured the most promising rock and roll bands, kant-authors, etc. However, the real treat of this special show was a story about the band “FIRE”, for which it was believed to be out of the Netherlands but which, as it recently turned out, was in fact composed of people from Yugoslavia who were at odds with the communist regime and moved to Holland at the beginning of the seventies. There they recorded their only album “Could you understand me” and independently released it. Finally, for the end of this show, we introduced three kant-authors from Slovenia and Croatia: Tomaž Pengov, Marko Brecelj and Toma Bebi?
Segment 5/January 2008 - Playlist
The fifth edition of “Anatomy of Sound” was dedicated to familiarizing the audiences with three very accomplished and extremely important record labels out of Slovenia and Croatia. “Moonlee Records” (www.moonleerecords.com), the first one of them, is represented on the whole of the territory of ex-Yugoslavia, but their releases are distributed all over Europe and even wider. This record label grew out of the hard-core band “Analena”, who are infamous for playing over three hundred shows around Western Europe and earning a status of an underground/squat attraction. Thanks to these tours, the guys who run “Moonlee Records” were able to make many contacts with concert promoters, clubs, record labels, etc. They mostly release Croatian, Slovenian and Bosnian punk-metal-noise-hard core groups. In addition, they organize a traveling festival in the region. Recently they released an album of a Belgian hard core punk band “HITCH.”
The other record label is called “Kapa Records” and they mostly specialize in releasing albums of the Slovenian regeea-ragga-ska-punk scene. Last year, they became known for organizing a tour of South Africa for “Backstage” – a Ljubljana-based band. Additionally, they also organize various events and concerts for bands from Europe and around the world, both for- and not for-profit, in their privately-owned club “Gala Hala.”
The third record label of this presentation is the oldest and the most prolific in the region and the surrounding areas. It is still led by Zdenko Franjic, who in mid-1980s launched it with the release of the legendary record – “Bombardiranje New Yorka” (“The Bombing of New York”). This album was recorded with completely new and until then unknown bends, many of whom later went on to have very impressive careers. Since that time then, “Slusaj najglasnije” (“Listen the Loudest”) is a record label known for discovering new talents because Zdenko releases everything, literally – from the worst demo recordings to the most perfectly produced albums whom no one else wants to produce.
The second part of the show was dedicated to a band called “Blue Noise” from Banja Luka (a town in Southwest Bosnia). Like “Studeni Studeni”, a band which we presented in the last segment, “Blue Noise” stopped their career short as a result of wartime violence that erupted on the territory of ex-Yugoslavia. As high-schoolers, they made a demo recording of three songs that received excellent reviews in various fanzines and radio-shows in the late eighties. “Blue Noise,” as their name suggests, played noise rock with influences from bands, such as “Husker du,” “Sonic Youth,” “Sugar” and the others. At the beginning of the war, two of the band members left Banja Luka, and one of them ended up in Berlin, where he started another noise band called “Croon” and continued the noise that “Blue Noise” had started.
Segment 6/February 2008 - Playlist
In the sixth segment of the show, during the first hour we played the music from different alternative bands from ex-Yugoslavia. We promoted the second album from one-man-band Damir Avdic, who performs alone and only with a distorted guitar. Damir is a Bosnian, and before the war, he fronted a fantastic garage-punk band “Rupa u zidu” (“A Hole in the Wall”). He moved to America at the beginning of the war and regrouped with his old band mates at the end of it. However, because he was unable to keep everyone together, he started performing solo. The critics and audiences in Slovenia call him a “Bosnian psycho.” During this show, we also listened to one band from Montenegro called “Autogeni trening.”
The second part of the show was dedicated to the presentation of a rare and only album from an alternative Belgrade band – “Dr. Spira i ljudska bica” (Dr. Spira and Human Beings”). This band was formed at the end of the nineteen-seventies and at that time recorded their only album. The album was totally different than anything else that existed at the time and since it was so alternative, not a single record label was interested in releasing it. However, one of the band members went to London in 1980 and pressed 50 records at his own expense and gave these to friends. Only in 1985, PGP RTS (Serbian record label) officially released this album after many famous musicians urged them to do so, and today, it can be considered one of the top 10 albums of Yugoslav alternative music production.
Segment 7/ February 2008 - Playlist
The seventh part of the show was dedicated to illustrating the avant-garde music scene. Our selection included bands that explored sound in a totally different way from everything else we heard thus far. We began with “Uzrujan” from Zagreb, which in the early 1990s stirred up the world avant-garde scene with a self-titled album filled with glitch/noise and avant-garde sounds. We continued with a band called “The Stroj” from Ljubljana, a sort of a circus-performance band that includes people who during their concerts hang from the ceiling and bang on metal drums, producing much noise and incorporating pyrotechnics. One part of the show also featured Bosnian avant-garde scene from the beginning of the year 2000 and covered bands, such as “Temple Texas”, “Space”, “Devil Boogie.” In addition, we first listened to incredible “Kries” (Zagreb), and then to “Tickmayer Formatio,” a band formed in Novi Sad by a man who eventually left for New York in search of better understanding of his music and ended up collaborating with John Zorn, Fred Frith and others.
The second part of the show was dedicated to alter-funk band from Zagreb from the nineteen-eighties – “The Housepainters,” who never released their own record even though they had great tracks at that time. Their lyrics were in English and their music was heavily influenced by “Talking Heads,” Peter Gabriel, “A Certain Ratio.” It is interesting to mention that I found this album on the internet and downloaded it from a blog that reported that its front man started a band under the same name in Belgium, where he still lives.
Segment 8/March 2008 - Playlist
The Yugoslav punk scene exists since 1977, which means that it trails the punk beginnings in England and the emergence of “Sex Pistols” only by three years. Just as it happened in the rest of the music world of the time, the young people grew tired of listening to hard-rock bands like “Led Zeppelin” and “Deep Purple,” so when this new genre appeared, it was logical that it intrigued the tastes of the youth. When reading the biographies of Yugoslav punk bands, it seems that the first encounters with punk music happened thanks to the children of ambassadors who brought these records back from their travels. First Yugoslav punk bands were formed in Rijeka, and these are groups “Paraf,” “Termiti.” But, not too long after, punk bands also appear in other bigger cities of ex-Yugoslavia: Belgrade, Zagreb, and Ljubljana. However, the expression of the punk scene was a lot more difficult and dangerous in the case of Yugoslavia, and pioneers of punk oftentimes found themselves attacked and subjected to repression by those in surroundings and by the police. In fact, many of them ended up in jail, and this sort of repression continued two years after the death of president Josip Broz Tito. We listened to the most important punk songs from the archives of Yugoslav punk and new wave, as well as introduced several completely underground bands whose recordings are either extremely difficult to find or were never even released to the public.
Segment 9/March 2008 - Playlist
This March edition was dedicated to music bands which did their first European and, more specifically, their French tours in the past couple of years. This tradition of playing concerts around France dates back to the end of the nineties when, thanks to cooperation of NGOs from the two countries, several bands from Bosnia and Herzegovina played in bigger French cities while their French counterparts came to Bosnia and performed in the country and the region. Lately though, and especially with the involvement of the Parisian association AOLF, the number of ex-Yu bands touring France more than doubled, meaning that every year there is at least one or two tours. We introduced bands, such as “Red Five Point Star,” “Antenat,” “Superhiks,” “Dubioza Kolektiv,” “D.M.T.,” “Sopot,” and “Vuneny,” all of whom have toured France. We are of course optimistic that this tradition will continue into the future and hopefully these sorts of presentations will help ensure that.
The other part of the show was dedicated to a rockabilly band from Sarajevo called “Torpeda”, who were active at the end of the nineteen-eighties and played their last show in April 1992, which was also the last show of pre-war Sarajevo. This group never released a record, but they were considered to be great live acts in the region.
Segment 10/April 2008 - Playlist
In this edition, we introduced several new promotional albums. We played the new material from a Banjaluka band called “Afrodizijak,” who have recently released their first album that combines African rhythms and Balkan music. We listened to a couple of songs each from a Slovenian kant-author Dani Kavasa and the Slovenian acoustic duo “Demeter,” which played a mini-tour of France at the beginning of June with French bands “Les Hurlements de Leo” and “San Sebastien.” We also highlighted a Dutch group “Makazoruki” whose members are people from Bosnia and Herzegovina who have moved to Holland at the beginning of the war and there continued to play and release records. They did a tour of ex-Yugoslavia at the beginning of April.
The other part of the show was reserved for the musical opus of a Serbian (Nis) band “Trivalia” from the eighties. They played dark/industrial music with Byzantine motives and, according to the do-it-yourself principles, self-released all their cassettes, cds and books.
Segment 11, May 2008 - Playlist
In the last show dedicated to the presentation of the Yugoslav music scene, we started with a cross-section of Yugoslav post-rock scene and listened to several bands from Slovenia, Croatia and Serbia. Post-rock and noise are very well represented on the territory of ex-Yugoslavia, not only with concerts and performances by outside artists, but also by the volume and quality of released albums for local bands. Therefore, it is important to mention three record labels that promote and represent this musical genre: “God bless this mess” from Slovenia, “Earwing” from Zagreb and “Rapanelli” from Belgrade. We also presented one compilation of bands from Banjaluka, which was prepared and released by an organization GETO from Banjaluka.
The second part of the show, we dedicated to an excellent kant-author Panta Siklja Nafta and his album “Nafta on my mind.” He is a professional forklift driver, who has been a part of the music scene for more than thirty years and released three albums – one for each decade. His albums are full of humor, outlandish irony and remind one of Screaming Jay Hawkins, Frank Zappa or Captain Beefhearta.
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