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ISSN 1409-6900 | UDK 82+7     Blesok no. 19 | volume IV | February-March, 2001



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                     Peer-reviewed journal
Blesok no. 19February-March, 2001
Sound Reviews

Brave Silly Songs

Macedonian pop-rock scene, 2000


/5
p. 1
Ljupčo Jolevski

The facts on paper offer pink, but at the same time disturbing sound image. And, in the year that went by, we weren’t touch by the energy of the desired new generation’s youth rebellion.

    As first, let’s get clear from the start. This text’s intention and ambition isn’t to make some wide analyses on the products of the domestic music production in the very peak of its self-sufficient “stardust” shower bath all over the media. Simply, the things are clear on that particular field. In this year that passed – the primate was maintained by the stars of the AVALON Production: AREA, Toshe Proeski, Karolina Gocheva, NOKAUT (KNOCKOUT)… Anyway, above-mentioned were merely the only ones that knew how to take advantage of their performing qualities and to offer musical editions that mainly respect the standards of the popular music adapted on our Balkan conditions. Without much of a philosophy and with songs (not necessarily reflected on any “worldwide known” production) that were recognized (read: accepted) by the common pop-consumers. This especially relates the example of the band AREA: this year’s album of theirs is loaded by many full-blooded hits, and their successful concert tour did a strong blow on our contemporary prejudices that the “catchy cover” (read: bad or “copycat” song, stupid video clip, “fly swallowing” on the playback-manifestations and similar stupidities) is the only way to enforce the attention from the audience. So, that’s it what concerns the lecture that will be (and then again, may be not) mentioned when the massive producing of the chart “sheets” and the “creating” of the ranking lists will be done – in order to establish “who is who in the pond” and who stands on the highest spike of the picket fence…
    In the context of the all mentioned above, a special accent deserves the “subversive” acting of NOVOGRADSKA (only because of the – for our conditions – disputable collaboration with Karolina Gocheva that resulted with instant-hit “Let’s Fly!”), as well as SUPERHIKS, the punk-ska band with their hit “Silly Songs”, a song which has strong retro-contagious rhythm, only in order to fulfill its function of getting the attention of the audience on the potent material of the band. The documenting of that material can promise certain positive exodus in the coming period. Here we emphasize their ability for (only allegedly) “swimming in the waters of the show-biz” only because it means skillfully planned






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