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ISSN 1409-6900 | UDK 82+7     Blesok no. 20 | volume IV | April-May, 2001



                     Peer-reviewed journal
Blesok no. 20April-May, 2001
Sound Reviews

Kiril: Religion and/or Sex?

p. 1
Ljupčo Jolevski

With the last album RELIGION & SEX, first for the “Third Ear” Production label and the soundtrack for the Milčo Mančevski's film DUST, Kiril Džajkovski finishes the circle which drawing started (in the midst 80's) with the first Macedonian electro-pop band BASTION. Finally, his music, that incredibly exciting juncture of contemporary electro “loops” with the emotional heights of the Macedonian folklore and ethno legacy, is a noticeable segment of the whole contemporary global sound offer.



    “We don't live in vacuum. We are not stupid. We think! Our music begins from the rhythm, but it doesn't ends there. It's in our hearts and it's in our heads. It has its own and unique universal message” – among the other, Kiril Dzhajkovski would say in one of his interviews, on the eve of the promotion of the first (and only) album called “Bastion” in 1984, by his first serious band BASTION (his previous bands POST SCRIPTUM and BERZA were nice high-school fun with the friends and nothing more than that). This band is probably the first that suffocated the primitivism and conservatism in our environment in the 80's. Besides Kiril, the other members were Ljubisha Stoisavlevic – Kuchkar and the actress and singer Ana Kostovska. But, the significant part in the work of this band has, also, Milčo Mančevski. Then, the young director Mančevski, who gained his education and profession on the other side of the Atlantic, worked on the texts for the album, filmed two video-spots (Hot day's in Mexico and Colors). The video clips were banned immediately (?!) by the eager “defenders of the order” from the National TV Channel. So, it's understandable why Mančevski was considered as a fourth member of the band. Also, BASTION did the music score for the Mančevski's short feature Musaka, a feature that (you already guess) from unknown and unclear “financial or else” reasons (claimed by some “authorities” here), remained on the stadium of a script. Such a fuss was made that this feature ended in a “bunker” till today… BASTION, in spite of the desired (and necessary) media support, and in spite of the very good reception by the critics in former Yugoslavia, soon and unexpectedly quick, ended its adventure. “The highest, the invincible citadel tower” remained to be testimony of some different (and not only sound) thoughts of one generation whose restless rebellion couldn't be burnt to ashes by those – blinded and

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