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My first ever contact with the astonishing comprimate of J. G. Ballard’s “Crash” in mere two minutes, was not through the original song by Mute Records’ supremo Daniel Miller but due its title appearing on one of Grace Jones’s releases. I was 10 years old and summer holidays were already at pace – my parents gave me some pocket money to spend and what could I possibly have spent it on but a cassette. The primary choice was “Little Creatures” by Talking Heads but due my pocket cash being well under the Heads’ cassette price range, among those affordable was Grace Jones’s “Island Life” compilation. Listening to the contents and observing the information on the inner side of the cassette wrapper, I spotted this unusual phrase, which many years later I’ve finally encountered in its original audible form, via “Nervous Systems” – one of Mute’s promotional samplers released by mid-90s, the golden age of the grey area through which my personal discovery of avantgarde noise began.

Once “Warm Leatherette” came piercing out through the speakers, it was an instant romance – the joy of speed in combination with self-mutilation through speed expressed so graphically in its lyrics. Daniel Miller’s (aka The Normal, but that don’t need any special introduction now) kickstart can be observed as brutal assault on Kraftwerk’s more sensual “Autobahn” – in “Warm Leatherette”, the passenger is not astonished by the environment, he is astonished by the level of blood pressure bursting out through vessels, blood splattering all over the front glass. The electronic drill coupled along with sexually deviant lyrics is at the same time frightening and fascinating, providing a merciless grab for listeners’ attention. But what actually makes “Warm Leatherette” so astonishing is capturing the essence of J. G. Ballard’s (in)famous novel in modest two minutes. The only other example I can think of in similar terms of lyrical perfection, is undoubtedly The Cure’s “Killing an Arab”, where Robert Smith took the spine of Albert Camus’s novel and created an intense 3-minute atmosphere, which inevitably caused controversy on the back of a suggested title.

However, both these songs are hard to find in a cover form. “Warm Leatherette” especially, due its explicitly minimalist nature. Most attempts so far remain evident of the unsurpassed power of the original version – making most of these attempts sound like mere “remix” improvements, which remain loyal within the electronic music’s underground field; Pankow, for example, did their own version around 1989. Maybe that one is the singlest rare document I was aware of at one point, besides the one that made Grace Jones’s the most unique back in 1980 (she even titled a whole album of covers after Miller’s synthie masterpiece, and mind you – there was also “Living My Life” which dared striping off DAF’s “Alle Gegen Alle” to an elegantly tough version). In 1985, Glenn O’Brien commented, somewhat subjectively, how “her cover of “Warm Leatherette” makes the original totally obsolete. She makes you feel what the song is about.”

But besides Grace Jones and Pankow’s (for me personally, rather shallow) take, there was a cast of thousands who were fascinated by – or simply stalked – “Warm Leatherette” for their own ends. Among them, Die Tödliche Doris made the most critically amazing “anybody-can-do-it” version, deliberately stripping it down to a 50 seconds snapshot, rid of any melody/rhythm structure to hysterically humouristic results.

Then there was Sleep Chamber – releasing their own version in mid-80s, even adding their own extra lyrics to the original, but as far as it goes, it’s just a typical cover of its time by a band that fancied Clint Ruin (who later turns out to have also produced a cover of “Warm Leatherette”) and/or Steve Albini. Then there was a Canadian group called Prayer Tower providing their own version, a little closer to that of amazing Grace – slower, sensual, yet cold still, EBM drum pattern accompanied with indifferent vocals on top. Club 69 were also in it but their version (or say, number of versions) is sadly done for exploiting the dancefloor for dancefloor’s sake, losing the song’s essence (but then again, it’s probably one of those rare, brave attempts to give the original some new auditive meaning). In a rather messy list of further attempts (courtesy Wikipedia), “Warm Leatherette” obviously became over-exploited as 2000s started kicking in – Chicks On Speed and DJ Hell, Richard X, Takkyu Ishino, Signal Electrique, Vitalic, Destruction Unit, Erik Friedlander with Teho Teardo, Zombie-Zombie (one of the most irritating), BlizzFrizz, Trent Reznor and Peter Murphy with Jeordie White and Atticus Ross, even Duran Duran suddenly became aware of its potential performing it live (mashed up with their own hit “All She Wants Is”), plus HIV+, Rubin Steiner, Depressed Children, Genevieve Pasquier, Mindburner, EchoHALO, Tarsus, Naith Vault and finally – Laibach (whose version I’ve heard on their live concert performed last year).

Somewhere down the leatherette line, Mute Records shortly presented online an interesting snippet of “Warm Leatherette” performed by its selection of protegés in “band aid” fashion – Nitzer Ebb, Frank Tovey (!) and (currently reformed) Yazoo – strangely enough, this snippet disappeared suddenly. Alan Wilder has also performed it live recently in his Recoil live sets. Among this mess of personal 2-minutes-of-fame deliveries, Velocity Star or Boyd Rice with Giddle Partridge didn’t even bother to create their own music for “Warm Leatherette” – besides vocal takes, for most part, their versions are pointing out how pointless such a cover can actually be. Velocity Star features Rose McDowall, and probably fares much better than that of Rice/Partridge fame. Boyd Rice, the prank master, simply added some discreet reverb to Miller’s basic track and the pair lazily masturbate all over, which makes it sound like a very bad karaoke. In cases like these, using original segments, Analogue Brain did a far more decent job of actually “remixing” it – injecting fresh blood by brutalising Daniel Miller’s choice of words with overlayered synthetic noise.

Among the lot, there is also Dirk Ivens, a true (and rather obsessive) enthusiast regarding minimal electronics’ art brut who’s had his own vision of the song with Dive, Blok 57 and Absolute Body Control respectively. However, Ivens, despite creating otherwise fascinatingly aggressive minimal electronic music himself, simply intended to do literal stripped down tribute versions – although this was not the only such attempt of his – on Dive’s cover set called “Extended Play”, Ivens payed respect to a selected list of influences, but most of these covers rely on minimalism to emulate rather than improve. Usually, there is just too much over-exaggerated, drilling distortion (especially in the vocals) which provides a boring listen to an otherwise irresistible speed pattern – which Ivens repeats with his set of “Warm Leatherettes”. In the end, “Warm Leatherette” traps itself – either in original form or occasional cover attempt. I am not familiar whether it was ever used for a cars TV commercial. I wonder if any of today’s mainstream acts would dare touching the sacred cow and cut a slice for themselves. As long as it’s not countless Spearses or Germanottas. I guess, that would reach its peak – at the same time being the ultimate failure – and the ultimate triumph in the wake of already established, deserved cultural impact. Grace Jones still remains one and only in the latter’s favours.

1/2, May 2012

 

The Normal’s “Warm Leatherette” originally written by Daniel Miller.
Released on the 7” single (STUMM1, Mute Records, 1978).

J. G. Ballard’s “Crash” first published in 1973 by Jonathan Cape

Negative image: from a portrait of J. G. Ballard by an unknown author

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Sometimes it seems a cover of a song is delivered out of jelaousy, just as out of personal respect. You wish you were there first, you wish THAT song was yours. The original is the cause of both – fascination and frustration – by which to recapture its essence. You can do better – or worse.

What is there to prove? Where does obsession with classics come from? Why the challenge of competing with? Why “tributes to”?

Hearing the original that good is purely orgasmic experience. Mere minute into a song and you know its reaching into you  – the melody and the voice. The case of Bill Nelson seems a funny thing, knowing about the legend and staying so ignorant of his legacy. All of a sudden, “Chimera” opened the door into a secret garden. In all of its liberating, melodic and lyrical beauty – one of the early 80s’ sums of Bill Nelson’s, overall amazing music career. Introduced to it through a friend seemed such an epiphany, ever since wondering, how on earth could such a music genius be missed. Well, for all the temptation of it, there happened a modest re-interpretation by Split Personalities – a tiny studio project dealing with “the disembodied self”, by audio manifestation of “multiple personality disorder”, a somewhat ironic perspective that we can all be someone else, in this particular case, in the world of music.

For some strange (or fascinating) reason, there are two songs that fitted in with the theme – “Sorry For Laughing” (originally by much fancied Josef K and then covered by the super-group Propaganda) and of course, Bill Nelson’s opener to “Chimera”, the beauty and the beast that is “The Real Adventure”. While the first one seems to deal with the prospects of manipulation and indifference, the second explores one’s emotional struggle and enthusiasm. The noisy guitar in the original version of “Sorry For Laughing” gorgeously rids the song of any reliable melody – it plays with the idea of being daft to the extent of losing common sense by a simple act of laughter at most undesirable situations, in which apologies become mere excuses. Paul Haig complements it with his image of a cool observer, while Propaganda re-pour it into the more melodic, albeit heavy, dancefloor friendly mould. The Split Personalities’ version is probably lost somewhere between both these versions but heavily leans towards the latter. The only leitmotif reflecting Josef K’s genuine noise is the deadpan bassline, discreetly warping Propaganda’s sophisticated arrangement, occasionally hitting the wrong key. The result is, as Labosh would prefer to say – accidentally gothic.

“The Real Adventure” on the other hand cuts even more straightforwardly into the somewhat clichéd electronic pop sound of a certain era, say 1981. How would it sound if it were a “demo”? Although it was not the intention to go too close to a carbon copy, the  outcome is a nice, naive tribute to an absolutely superior original version – which relies on melodic simplicity yet offering such diversity. Of course, the cover lacks one of the original’s great components – the marimba, very evident in some of Bill Nelson’s work, offering images of a beautiful, distant shore – pure oriental ambience.

 

Josef K’s “Sorry For Laughing” originally written by Malcolm Ross and Paul Haig.
Released on the 7” single (TWI 023, Les Disques Du Crépuscule, 1981)

“The Real Adventure” originally written by Bill Nelson.
Released on the mini-album “Chimera” (MER B 19, Mercury, 1983)

Cover versions produced and arranged by Split
 Personalities in The Room,
betw. March-June, 2012

Image collage from a photo of Paul Haig by Hennebert (1982)
and of Bill Nelson (courtesy of the artist)

Out there in the blogspots is a divine monochromatic creative soul that is Natascha Plum. Her secret world is now about to be revealed. A Pierrot among today’s clothes enthusiasts, Natascha’s views seem to deal with terms of orthodox decor, austere scalpel precision, sense and sensuality – sheer elegance with adorable guerilla touch. Currently working on a new collection for women, she is now in retrospect systematising and verbalising her history. In regards, here is a tiny interview with the genius of black, white and grey – that dares dream in discreet flashes of colour.

SD: Do you believe in anti-fashion or the future of fashion? 
NP: I believe and support everything anti-established.

SD: How many of your ideas arrive out of curiosity or reaction, rather than inspiration?
 NP: It depends, really. Sometimes it is  contemplating new impulses, start from scratch, then exploring and repeating these. After that comes reassessment. What I learn and discover daily is interwoven to the fabrics and imprinted in shapes or letters I use. But after all, it merges into one big puzzle I have to put together.

SD: Do you consider yourself an activist? NP: Now when you say it,  yes. Thank you for that question! Everything I do, be it the clothes, photographs or editing  certain content on the web is driven by a cause. To challenge. To get some internal discourse about important issues; be it on process art,  gender identity, deconstructing social constructs (morals, affirmation, shame, etc.)… I like paradigm shifts.

SD: Your creations seem to carry out the qualities of good installation art – an interaction between the traditional and the experimental. How inevitable  for you is the mixture between fashion and other areas – like music, film, arts, literature,…? NP: I think this became integrated in my clothes nowadays. I wish this to be more/less obvious. I can – for instance – tell, in 95% accuracy through work of other designers if we’d share the same influences. It is of big importance to me. I guess, that’s why youth culture and subcultural clothing interested me in the beginning, years ago.

SD: How would you describe your approach? Does life experience also bring influence to your creations? NP: Life can be good and cruel. I regard art per se as counter balance to life. My approach in my work is therefore artistic…

SD: Which shape and colour is your favourite, that inspires you the most? 
NP: Light and the absolute absence of it, in various shapes and proportions…

SD: From your perpective, is fashion something to be of intellectual rather than aesthetic purity? NP: Again an interesting question. Aesthetic must have an intellectual premise for me. In that sense, yes there was art before conceptual art and so clothing design should be able to communicate insight and imagination. The production process isn’t as important as the awareness moment. The underlying sign language of the aesthetic is what fascinates me.

SD: What material you find the most comfortable to work with? Do you prefer the fabric is more natural or more synthetic? NP: Well, I do use both. Just for the sheer caprice of it. But certainly natural fabrics, bring out the best attributes of a garment. I especially love to work with fine wool for suits. It’s miraculous what wool and iron do together. This fluidity in perfectly cut fabric is a very traditional sartorial delight.

SD: Do you have a specific target group of people to wear your clothes? NP: Let me think, so far it proved to be creatives, 20-30-something plus the over-50’s men. Non-locals.

SD: How thin is the line between excellence and arrogance in the world of fashion? 
NP: If we talk about the [big] industry, that line can be hair thin. The more money is involved the less you’re in charge as a designer. You have to understand what your job is. But mostly competition and vanity break loose.

SD: What is it that you appreciate and what is it that you despise the most in today’s fashion in general? NP: Mostly, I’m just bothered when somebody says fashion. That’s why I always prefer to talk about simply designing clothes. And for some reason that seems to become the tendency in a very literal sense. Globally the demystification of fashion and rigid trends itself. If you basically look at the average facilities of big corporate vendors and the way all possible styles, shapes and colors are displayed. From season to season, inbetween, and amidst. Today, it’s Simons for Dor, tomorrow it’s Margiela for H&M. Everybody will get his “everything” in this ludicrous postmodern era. So, in a very cynical  way (we’re talking high consumerism here), I like this defragmentation, because it gives us insight into the diversity of sign language in clothes.

SD: Is snobbery a good or a bad thing? NP: It’s ridiculous. One of the good sides about people here is the almost complete absence of snobbery or elitism. Be it either modesty rooted in that deep patriarchic tradition or a simple residue of socialist politics, but their essence is brave openness (exceptions being little burgoise like everywhere). SMRT FASHIZMU!

 

Further information: 
nataschaplum.blogspot.com
Images (in order of appearance):
Aleksandra Žiravac (“Death Mask of Living ME”),
Jovana Četković & Predrag Vranić; Natascha Plum

How does one imagine his/her individual death? Is it going to be slow and painful? Will it happen during sleep? Zagrob deals with both, fascinations and clichés of what is proposed in the form of “afterlife”.

A corpse melting into the ground, transforming itself from fears and misconceptions about dying, in order to find true romance in the posthumous world. Rotting fresh from release on French label Athanor, Zagrob delivers a masterpiece mini-album called “Vječni stan” (meaning “Eternal Tenement”), a menacingly haunting, black-humourous study on traditional and spiritual unnature, once again revealing his a/spiritual self.

SD: What is it with death and decay that you find most fascinating? Z: I’ve always been fascinated by philosophy of death and afterlife, even as a child I was magically drawn by skull imagery. I can’t fully explain this obsession, except to say that it is a manifestation of my curiosity and craving for inner knowledge of the unknown.  We are decaying throughout our lives, it’s just a transformational process that brings us closer to divine rebirth.

SD: When the time comes, would you prefer to be cremated or buried to rot in the ground?
 Z: I never thought about that as something that really matters to me. I don’t really care. Maybe a taxidermist could stuff me with bonbons and place me in some cathedral as a suspended saint piñata for kids to play, that would be nice. Just kidding, I couldn’t care less, I died and death goes on – my soul will not need my body anymore, this is just a temporary vessel for my entity that will be merged into the whole. I would prefer a shrine though, but during my life, I’d like to be a part of any sacred ceremony… when I am dead it will be too late. Someone should invent a pre-death annual ceremony, like birthdays but more gloomy and heartfelt. Mourning and weeping is totally in this year.

SD: To you, what is the most ironic thing about life on this planet? Z: Most ironic thing is that most people live their entire lives without actually living. Fearing the inevitable, bounded and constricted by fears and traumas which accumulate with ignorance and blindness. Spirituality isn’t about going to church and obeying the rules imposed by dogmatic religions, nor is it going to a techno party and having a religious experience on a half of ecstasy. The word freedom is taken for granted, the values have sunk completely and many people live in a herd of this false security.
To most people raison d’être is found in materialistic realm, which has no value to the Grim Reaper. Career, money and assets… none of this really matters. That’s just to name a few, but what is the cause of this?! I could write an entire book about wrongdoings of humanity, but that’s a battle for helpless cause. I decided to abandon humanity and devote to myself and the people I love.

SD: How black is your humour, how deep is your love? 
Z: I’ am deeply in love with black humour and brutal sincerity it has to offer.

SD: Are you a mystic? Do you prefer black or white magic? Z: I am an ever changing self-aware entity, my mind manifests in many forms, in many vessels. I really cannot speak about polarities of magic, because I see them as a whole, the universe has no moral boundaries and it is ambivalent in nature. Destruction leads to creation and vice-versa – for me, the word magic just describes the process or bridge of that transformation of energy. I pour the holy water in the grail, then I drink the water… and you can assume what comes next….Some call it the golden shower.



SD: Regardless of religion and its typical dogma, do you believe there is a certain heaven or hell? Which one do you think is more fun? What would your personal “heaven” – or “hell” – seem like?
Z: Heaven and hell are right here, right now. Both are equally important – through hell, we learn and obtain dimensionality and through heaven, we harvest the fruits of knowledge. They are two opposed contrasts and one does not exist without the other – just like love and hate – the more you are able to hate, the more you are able to love. Without suffering, we can never reach the heights of heaven and without knowing limitless pleasures of heaven, we can never sink to depths of the abyss. By extending two extremes through exploration, we bite into life with full potential, we extend the palette of life. Embrace the darkness and you will see eternal light.

SD: How far do you go with your music in terms of dismissing society’s prejudice, or better, fear about death – is Zagrob’s music a wake up call? Like one artist once said – “… there’s nothing wrong in dying, after all – it’s just a game…” Z: Well, I wouldn’t think of my music as a wake up call, because no music can awaken the dormant spirit if the host doesn’t have an inner call to do so. I don’t see myself as a preacher, I merely make music for my own sake, it has awoken some parts of me. Music can accompany one in his study of self, it can guide one’s spirit and even illuminate, but not without one’s own effort and will.

SD: With “Vječni Stan” (“Eternal Tenement”), you’re addressing the absurdities of the living, who seem to subordinate everything to their traditional beliefs and rituals as “fact” – for you, how destructive is any form of custom servitude? Z: The more we serve the inheritance of humanity, the more we are drifting apart from our core. Everything we were taught has to be questioned, and in many cases disregarded as indoctrination. Humanity is cursed by rigidity of mind and global predominance of the left brain hemisphere. I like to think there is a global transformation on the rise and that many people will be left behind, people who are irreversibly trapped inside their eternal tenement, who are already dead inside. Maybe I am just a daydreamer; let’s hope that I am not.

SD: Do you believe in conspiracy theory? Which one is your favourite? Z: I don’t believe, I observe from many viewpoints and refuse to know anything as fact. I know that I don’t know, which most certainly gives me more space to explore. Will the sun rise tomorrow, you ask? Well, maybe… for some, it won’t.

SD: How symbolic is the character of Zagrob, and on the other hand – how real do you believe it is to be? Z: Zagrob is the dark shadow of my psyche, the dark side of the sun, darkness that is engulfed by flames. Zagrob is very real, more real than most things people believe in. I don’t have to believe it, I just am – a part of me is, like many other things, that I create inside my head. It is the centre of the universe, a black hole of illumination.  Zagrob is more real than Jesus nailed to a cross, I can show you some photos…

SD: Have you ever seen a ghost, or had an unlikely, ghostly experience? Were you aware of it?
 Z: I’ve heard a woman’s scream once in the middle of the room, not too pleasant either, but I couldn’t be bothered, I have no problem with ghostly creatures even if they exist.  I think the presence was offended by my indifference and left the premises. Shortly after, I found a note beside me, that stated written in blood: “How dare you question my existence?! You will never hear from me again!!!”

 

Zagrob’s “Vječni stan” is available from Athanor (ATNR 037, 2011)

Further information:
zagrob.webs.com

athanor23.blogspot.com

Images manipulated from portraits by Nieuw NDG

No, they are not a squad of demented old ladies, nor “desperate housewives, trying to imagine the devil under every bed”, but a group of women more fascinated with the concept of lucky charms, flower-power and positive witchcraft. Presenting you Dreamy Swastikas – a happy all-time girl group, who have just returned home from their megahillarious performance in Sweden. Darinka, Iris and Dijadora talk about scent, potion and Wizards of Oz, in an exclusive interview by their producer and haiku-comics guru, Miro Župa.

MŽ: Hello Dreamy swastikas can you please tell me something about your three selfs? 
DS: Well first of all there are much more of us than just three you silly guy… imagine just how dreamy and mellow weather was for us about three thousand years ago…huh? You can not imagine that?…That is because you live in your little flat with your little stroboscope light always on… well that is actually how we three started in first place by shutting down stroboscope lite in our village and starting singing between goat soup dinners at golden table of our psychical great grand father… thats wright!

MŽ: So can you please tell me something more about your music and lyrics? I am sure that the people here in Sweden would more than interested in knowing a little more about you…because they all are still little bit shocked after your last performance here when you three swallowed each other and than than stated farting in subliminal-three level stench toward the audience while singing Romanian national anthem… DS: Yes… our music is well… just the kind of music that you can get by not listening to anything than rumble of your ear wax down your trousers during Christmas… but that is sound for our enemies….our friends can hear something like glue sniffing organ sound with elements of acapella murmur down the walnut three of their childhood misfortune yeah!  Oh… Sweden Sweden your minimalistic eyebrows have put the bombastic color for the toothbrush on our arrogant little ass…that is how we three see your quantum design and your slow started shame because of your grandfather sickness… Can we three ask you something? MŽ: Yes I will be more than happy to help you with any kind of answer!

DS: Do you still chew squirrels here in Sweden? and do you still make money by putting plastic between your ears and knees? MŽ: Yes we still do all that but now in little more subtle way…you see we started about year ago to introduce ourselves with more kinky nature of reindeer in northen parts of Yucatan… so large number of them have been deported here,and we started to communicate very religiously about subconsciousness of our fatherly frogs…we discovered that we share the same sense for logic.

MŽ: Now my next and last question for you is what is your plans for the future…after your great debut album – ’’Sneaky Teo’’ what are your plans? DS: First when we arrive home in Croatia in our home town Bjelovar we will bury forks and spoons in backyard of our houses.. a little sacrifice is needed for good fortune with everything that we do,or not do…the three is one… the one is everything… the two is just a half of everything with its perpetual leading toward the suburbs of all…six is the water…. so lets make the water turn black! that is the first thing to do in Bjelovar when we arrive-in astral term of sense…Them we go to our daily job, I work in police squad… Darinka is catechism teacher and Iris is waitress in bar – Deep throat… we will start to record our next album two years ago so that will be even more surprise when it comes out… a year before our debut album! See you never know where or when Dreamy swastikas are… we just don’t want to mess with too many civil or terrestrial links, we are above and below… but mostly in the background of everybody’s forehead.

MŽ: Thank you Dreamy swastikas! hope to see you soon here in Sweden!

DS: Thank you! hi, hi, hi, hi, hi, hi, hi, hi…!

 

Dreamy swastikas’ “Sneaky Teo” will be available in the two years ago time, so check it out.
Further information and reading: http://www.komikaze.hr/author/miro-zupa

DS models: fear of the (vintage) unknown
Leisurely to dreamy: Darinka, Iris and Dijadora,
in one of their rare
coffee moments at the golden table of their psychical great grand father.

“You know… I’ve gotta funny feeling I’ve seen this all before!”
(Laurie Anderson)

Announcing the 12th anniversary of “Dejavu” – Muzikfantastique’s clubbing programme for the 2000s.

1/2, July, 2012

I’ve experienced it around 2001, I think it was. I was asked by Ivan Krželj to do a poster for his then-newly established audio-video clubbing night, dedicated to the everlasting potential of 80s and 90s era of music. Actually, it was Miss Kittin & The Hacker to blame, after a song of theirs – “1982”, from which the line “DJ plays Dejavu” Ivan decided to adopt. Of course, it was a perfect moment with Electroclash already kickstarting big.

While focused on retro, all of a sudden it was inevitable for “Dejavu” to study all current affairs for the dancefloor test; Adult., Solvent, Dopplereffekt, Fischerspooner, DAT Politics, Figurine, Crossover and many more – especially, and most notably, exploring the very International DJ Gigolos’ catalogue… Many legends decided to resurrect – among them Soft Cell and Fad Gadget came back to a deserved spotlight, although it was sadly ten years ago for many to see Fad alive and kicking for one last time – Depeche Mode visited Zagreb for the first time around late 2001, promoting their then-fresh-from-grabbing-hands album called “Exciter” and I really hoped for Fad Gadget to join on that leg of their tour. Instead there were two beautiful and shy girls supporting, presenting themselves as “Technique” – musically forgettable at that point, only later to resurrect as the gorgeously incorporated duo-come-trio, “Client”, whose early dub versions of later songs I absolutely love.

In all that creative retro-mess of past, present and future, “Dejavu” couldn’t have picked a better moment to revive the interest in the new new wave – mixing old and new stuff, it turned into a prosperous venue, well packed in for the next couple of years. Given prime time in one of the leading underground clubs in Zagreb, it was a mixture of video and live presentation plus adorable DJ work by Ivan Krželj himself.

And I must admit that in many ways, seeing Ivan communicating by music so eagerly, projecting all the sound and vision towards the audience – at least in my personal view – is a very rare situation, without the necessary skill-demonstrating evils of seamless playback exhibitionism by (too) many DJs. Because, “Dejavu” remains a pleasant, if nowadays on pretty rare occasion, newsreel in the wake of imaginary “radio station”, featuring live dancing audience. In the next issue of “Small Doses” it is expected to have a fully accomplished interview with one of the most overtly honest enthusiasts and presenters of the unknown music… If sometimes, a little too much. But then again, to quote Last Few Days – “Too much is not enough”… Never was. We want more.

Further information: 
muzikfantastique.com
Image dotted from “Muzikfantastique” 
archives originally by Davor Aleksovski