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ISSN 1409-6900 | UDK 82+7     Blesok no. 25 | volume V | March-April, 2002



                     Peer-reviewed journal
Blesok no. 25March-April, 2002
Sound Reviews

Interview with Kiril Dzhajkovski

Magical Chaos and New Temptations

p. 1
Ljupčo Jolevski


Kiril Džajkovski, one of the things that contemporary Macedonian music scene is proud of, and the author whose music touches deeply everyone who once heard it, will “sign” the first really great performance in front of the Macedonian audience on 16th of March this year. With his “supports”: Shale vs. 2SP-1 and Nikola (100% Pure/Concept Fragments) and the special guest Nikola Kodzabashija, on the basis of Milčo Mančevski’s video art in Third Ear (Treto uvo) Production, that carefully prepared performance will became reality in the Hall No. 1 at Skopje Fair complex. In the eve of this happening, we document this e-mail conversation made with Kiril.

    LJ: After such a long time, first with Bastion, then with Leb i sol, and finally – with so many projects behind you, do you consider that you finally found your true type of music within yourself and in general – in your work?
: I certainly do hope that I’ll never find the answer to this question. And I don’t know if there is a need for it. I think that the very search for that “real type”, or for the “true type” of music is what makes you go on further and further, and I wouldn’t like that process to stop or to be compromised by some belief that I’ve reached it… There is a saying: “you’re as good as your recent deed is”. That saying ruthlessly defines that process.
If so, how do you see your way of development? You started with electro-pop, which, in that time, was a novelty in the areas of former Yugoslavia, and with a potential that unfortunately and from some incomprehensive reasons remained unsaid along with its new sense of visual expression (here I speak of the video-clips Milčo Mančevski made then, and they were censored in whole and forbidden for screening). Then, you were part of the definitely most commercial period of the Leb i sol band, and finally – the projects that actually brought you back to your first origins and ideas – electronic music.
Chronologically, you get the “closing the circle”-effect, as on the music-related issues, so on the people-related collaborations I’ve made, but I never think or try to see things in that way. I leave the magical chaos of the historical uncertainty to put me in front of the beautiful new temptations.
Remarkably interesting is the period of your stay in Australia.

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