STOKA CD (Zoon rec., 1993)

STOKA CD

This CD consist of music done by musicians and actors of theatre group STOKA and originally was released back in 1993 on CD and cassette on Zoon rec, one of the first independent label in Slovakia.

Info: https://www.discogs.com/Stoka-Stoka/release/2916960


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STOKA was (and still is) an alternative theatre from Bratislava. Today they are working with new generation of actors. Director Blaho Uhlar is only one who stayed from old line-up. Musicians and actors whose playing on this CD still continue with their activities, but in different projects.



Musicians on this release:

















Príspevok je venovaný hudbe divadelného súboru STOKA. Toto CD vyšlo v roku 1993 na vydavateľstve Zoon records.

Nahrané v januári 1993 v divadle Stoka v Bratislave, skladby 7, 12 boli nahrané na živom vystúpení. Mixované v Rádiu Ragtime, zvuk: Miloš Spišák, Ľubo Burgr a Mirek Pich. Obal: Miloš Spišák a Ľubo Burgr.

Vydané v roku 1993 na CD a MC. Mám obe verzie.


Tu je krátky vhľad do histórie divadla za ktorý vďačím môjmu bráchovi (je to v surovej podobe, ešte štylisticky/gramaticky neupravené, no informatívne hodnotné)


Divadlo Stoka vzniklo v januari roku 1991 ako výsledok dlhodobeho snaženia a iniciativy rezisera Blaha Uhlára a vytvarnika Miloša Karáska. Pocas prveho roku existencie vyuzivalo spolocny priestor s divadlom GuNaGu v klube Cierny havran, kym nenasla vlastnu "domovsku" scenu v miestach byvaleho odborarskeho klubu Dopravneho podniku Bratislava. A prave tu, v post-industrialnych priestoroch umeleckej "periferie", vznika platforma pre rozvoj roznorodych alternativvnych umeleckych aktivit. Reziser Blaho Uhlar tu so suborom realizoval viacero uspesnych divadelnych predstaveni, v ktorych uplatnil rezijne postupy, uz v 80-tych rokoch deklarovane vlastnými divadelnymi manifestami ( uvadzam poucny priklad...pre zaujimavost:):





Tento obrázok je ukradnutý z brožúry "Uhlarová nekonformná réžia" 1990

(I. slovenský divadelný manifest

Súčasná dráma v svojej kauzálnej konzekventnosti a fabulačnej závislosti nemôže reflektovať komplikovanosť interpersonálnych relácií, permanentnú variabilizáciu reality, nemôže vyjadriť to metaverbálne a doteraz nepomenované čo determinuje sociálnu interakciu súčasníka.
Dekompozíciou, motivickou difúznosťou, polytematizáciou, nedeterminovanosťou sa vytvára nová estetika dramatickej tvorby.
Motivická difúznosť je symptomatickým znakom nielen divadelnej reality. Dekompozícia artefaktu vyúsťuje logicky v jeho polytematizáciu.
Na tomto stupni vývoja hereckej tvorby je už javisková postava škrupinou, ktorú musí herec rozlomiť, aby mohol zaujať osobné stanovisko. Dekompozícia javiskovej postavy je kvalitatívne nová fáza jeho tvorby.
Poslaním umelca nie je potvrdzovanie jestvujúcich hodnôt, ale ich permanentná verifikácia.
Blaho Uhlár)


Supersubjektivizmus, dekompozicia ci autorske divadlo sa stali zakladnym formalym posupom predstaveni suboru. Etablovanie na domacej scene zabezpecili predstavenia ako Kolaps, Impasse, Eo Ipso, Dno ci Komisia. Hoci Stoka takmer sustavne zapasila s nedostatkom financi a podpory od statu, dokazala prinasat progresivne a aktualne divadelne svedectvo o dobovej i nadcasovej problematike. V roku 1997 vznikla pri divadle krčma, ktora sa stala hlavnym "finančnym partnerom" divadla. Subor ktory si postupne vybudoval, v kontexte slovenskej alternativnej divadelej sceny, svoju prestiz sa v roku 2000, po osobnych nezhodach rozpadol. Lubo Burgr (kapely: Ali Ibn Rachid, Pozon sentimental , Vapori del Cuore,a.i... komponoval hudbu do vacsiny predstaveni divadla), Zuzana Piussi (v sucastnosti sa venuje hlavne filmovej rezii: filmy: Vymet, Koliba, Babicka) Ingrid Hrubaničova a Vlado Zboroň zalozili divadlo Skrat, Lucia Piussi sa venuje kapele Žive kvety, Laco Kerata posobi vo vlastnych divadelnych projektoch. Stoka pribrala do suboru viacerych mladych hercov a priaznivcov suboru. V roku 2006 prislo divadlo o svoje domovske priestor, z dovodu vypovedania zmluvy. Dnes sa na tomto mieste buduje velky nakupno-administrativny komplex. Poslednym predstavenim v starych priestoroch bola hra Strata ako memento za predchadzajucim posobenim. Pocas jeho 15 rocnej existencie sa tu odohralo, okrem divadelnych predstaveni, mnoho koncertov (prevazne alternativnej, punkovej, jazzovej hudby), prednasok, diskusi, umeleckych performance, Stoka sa stala domovskou scenou alternativnych kapiel Zive Kvety ci Med...krcma centrom stretavania mladeze, vysokoskolakov, intelektualov ic punkacov...bola dejiskom pravidelnych pondelkovych Blues koncertov a nekonecnych nocnych rozhovorov.
Dnes funguje obnoveny a omladeny subor v priestoroch byvalej Cvernovej tovarne a realizuje svoju tichu "kolovratkovu" revoluciu:) Drzime palce:)

J. Kralovič

gallery 2

so, today just few drawings...some musicans...enjoy

mišo

http://stilon-c60.blogspot.com/

...muzyka naszej młodości z kaset magnetofonowych i nie tylko. szeroko rozumiany polski punk, awangarda i nowa fala lat osiemdziesiątych...

...so, here is more about "polski punk" a "nie tylko".
http://stilon-c60.blogspot.com/ is one of the blogs that I really like. Why? You can find here so many well/known, but also forgotten bands from Poland. I really like polish bands,their sound, language, feeling. I know few of them and this blog open for me new discoveries on field of alternative music.

I wrote few questions for Arturro who running this blog/page.



Questions: mišo
Answers: arturro

1. What was/is main idea of you blog? Stilon C. tape was one of symbol of Polish music back in 80s? What do you prefer - tape or vinyl?

Idea of my blog is remind to people the old polish punk/new wave/reggae/avant-garde bands from 80-ies. Some of them still playing on, some of them splitted up many years ago. Some of them are forgotten bacause they no left any official recordings. In 80-ies we had maybe more than 10 records with music that I prefer, so cassettes/tapes were most popular in Poland. Stilon Gorzów is a name of one of the most popular polish cassette in 80-ies. Because there were not so much official music publication I try to present recordings from demos, rehearsal and gigs.

2. Polish scene were so huge in 80s. Where did you searching/digging these recordings? they are from you collection? What do you thik is one of most ignore or forgotten polish band from 80s? and some of you memorable concert back in 80s?

Polish scene in 80-ies was very strong and people still have really huge archive of music. Most of recordings on my blogspot coming from my archive, some of them I get from friends and some have been found on internet. Sometimes ex-members of old bands sending me stuff as well.
With presentation of bands I'm first choosing music that I like and I know - that's my blog and I've got to right to do that. Doesn't mean I ignore other bands. Just sometimes I have not their recordings at the moment.
Old gig of some forgotten stars? Why not, but personally I'm against re-union of old bands that doing this very often just for money and getting profits from their old legend. We've got differnet time now, different people and other trends of music. It's destroying our memory of them and our respect to their old achievements. Plenty of re-unions are really crap anyway.

3. Do you have some feedback to your archive work? Are you try contact also members, ex-members of these bands? What gives you motivation for continue?

Estimate of my work is popularity of my blogspot (sometimes too big), lot of comments of people who still remember old polish music. Sometimes my blogspot is
only one place for many people to speak about music like this. Couple of old bands sent me messages with thanks that some people still remember them.
Personally I don't make contact with old bands, because many of them have a strange attitude with their old productions from 25 years and sometimes it's
causing lot of problems.
I'm doing my job as anonymous person, I don't care about personal popularity, making a hero or guru from myself. It reason why is a first and last interview.
I enjoy making my blog and it's giving lot of delight to other ones. It's very good motivation to carry on.

thanks for Pablo (Punk as fuck - blogspot) for translation
(by the way, this is another great music blog, check it out:http://pablopunkart.blogspot.com/

so, to the end, one forgotten band:
Ivo Partizan - "jeden z czołowych przedstawicieli polskiej zimnej fali."

Ivo Partizan was formed in Mogilno, Poland in 1984. Band was named after Yugoslavian partisan leader Ivo Lola Ribar, killed in 1943. Their music was influenced by Joy Division and Bertold Brecht. Group is almost unknown even in Poland. Ivo Partizan decayed in 1987 and played 13 concerts only.
They never made any official release.

http://rapidshare.com/files/204736720/IVO_PARTIZAN_-_Archiwum_1985-86.zip

Mišo

Supreme Echo label

Supreme Echo is music label from Canada which is running couple of years. It is define itself as "EXTRAORDINARY UNDERGROUND ARCHIVES". The man behind is Jason Flower, music freak, who is really into many genres of music. We meet two times before - first time in Poland, in Wroclaw on d.i.y. punk music festival and second time this summer in Slovakia. Jason is great guy, and absolutelly loves talking about music. So we spend our time thatway. When you are open to trades vinyls try to write him. He is interesting mainly about East-European punk/metal/new wave but also jazz and many, many other styles too. Contact you will find on Supremeecho myspace.

Supreme Echo is my lovely label, therefore I want to give it a space on my blog.

So here are interview with Jason.


m: Introduce little bit your self...



j: My name's Jason. I've been writing, recording, archiving, producing, and playing music since 1984. The first real band I was ever in, Dementia will be released on Nuclear War Now Productions later this year. I guarantee it to be some of the most painful, evil and juvenile noise anyone has ever heard. As for 2010, my band Mexican Power Authority will be recording and releasing a new LP of heavy rock music inspired by metal & punk.



m: What is main idea of your label? Introduce it little bit...How did you found title: "Supreme Echo"?



j: The main purpose of Supreme Echo is to document little known and forgotten music groups from a few specific regions of the world which I am most fascinated with, as well as the region of Canada which I am from. So far: the former Socialist Republic of Poland, the Republic of Georgia, and my home province of British Columbia. The label name was inspired by a defunct cassette label from Southern India. All my releases are 100% authorized based on visiting & working directly with the artists.



m: You had the label BREAK EVEN before, and you’ve put out many records. There is some different between these labels?



j: Yes, everything is different. Firstly I’m maintaining a very high standard of re-mastering, restoration, graphic design, written information, printing and pressing. Secondly, Supreme Echo creates archival documents; no modern groups. I don’t have the time or money to promote active bands. The label is not a profit making venture, but simply a passion. It takes a long time to complete each title because I am very meticulous in gathering complete information, only using original images and recordings, and travelling to meet the musicians.



Break Even was originally a label to represent my friends self-releasing their own cassettes of their groups, which I recorded in my basement. I started recording bands in 1988, and in 1989 began to help produce cassettes and vinyl in small quantities. These releases were in fact self-financed by each individual group which all agreed to the "Break Even" label slogan simply to further legitimize their product and its promotion. It allowed many local bands to create the illusion of being on a label, and it helped promote them internationally. Some notable musicians I recorded later went onto be in such groups as: Submission Hold, 3 Inches of Blood, Ghosts, Kinnie Starr, and Hot Hot Heat. Break Even eventually took on a life of it’s own and helped create a total of roughly 70 individual releases on vinyl, cassette, and cd.


m: Tell briefly about your releases and about your future plans.



j: http://www.myspace.com/supremeecho


JERK WARD "Too Young To Thrash" 1982-84 12" Maxi-LP. SE 2009.

$22 / $25 / $30 PPD WORLDWIDE

17 song teenage adrenalin overdose of blazing hardcore thrash with guest appearances by the Neos! Contains full "Flesh & Bones" '84 demo except one song replaced by an early version from "BYO - Medium Raw" Comp Tape '82, and an unreleased track. Packed with all original artwork + photos circa '82-84, plus a booklet with interview + art. All songs professionally 24-bit remastered. Deluxe 140 gram 12" virgin vinyl, cut at 45 rpm for extra volume and power. Hand numbered first pressing of only 300! http://www.myspace.com/jerkward

RETSEPTI "Anthology of Georgian Underground, Tbilisi 1987-92" CD. SE 2006. $15.00 PPD WORLDWIDE

10 songs (full repertoire) of well arranged dark-punk and cold-wave with raw Georgian vocals, recorded 1989-90. "A dark, desperate feel, interesting guitar work, and a twisted vocalist! Check this out." (MRR - Oct. 2006). "...very glad to have it" - Middle Eastern Division, Harvard University (May 2009). Deluxe gatefold ecopak cover, hand stamped inner-sleeve, plus 16 page booklet with lyrics / photographs / interview & history of underground music in the ex-soviet Republic of Georgia. All songs professionally 24-bit re-mastered.


ALL YOUR EARS CAN HEAR: Underground Music in Victoria, BC, 1978-84



A professionally printed 80 page soft-cover book packaged with 2 CD’s containing 79 songs by 46 bands (over two and a half hours of music). It features loud punk rock, new wave, psychedelic hippy left-overs, power-pop, and hardcore thrash.

VICTIM OF SAFETY PIN "Polski Punk Underground 1977-82" LP. SE 2003. SOLD OUT (but collectors can write to me and I can try to get you one).

The critically acclaimed, first and most accurate documentation on the development of punk, new wave, and hardcore in the former People's Republic of Poland. “This document provides not only in depth history's of each band featured, but also a well constructed history of rock and roll in Poland, and it's eventual evolution into punk - and how it all fits into the sociological, cultural, and political world around it.” “Seriously, I feel that this is one of the most interesting and crucial pieces of punk rock's forgotten history, and I recommend it most highly.” (MRR - Nov. 2003). 17 songs, 14 groups, 20 page booklet with massive essay and biographies. 1100 pressed.



I’ve also written a thorough biography for Armoros, which is released in their 3-CD boxset released by Marquee Records from Brasil.



UPCOMING RELEASES:

ARMOROS (1986) LP = alternate mix of demo + 3 rare songs.
NEOS (1981-83) LP/CD = full discog + rare songs, remastered.
BEYOND POSSESSION (1984) LP = White Noise + debut BP demo.
v/a QARTULI 70's LP = Anthology of Georgian psych, fuzz + groove.
v/a QARTULI 80's LP = Anthology of Georgian punk, new wave, + metal.



I make no promises about when these will get done!



m: What’s your most successful release? What about feedbacks to your archival work?

j: v/a Victim of Safety Pin on Supreme Echo was the fastest to sell out. Neos 7” + CD on Break Even did very well, also some cassettes had to be repressed many times, such as: Mexican Power Authority and Empty. As well, the book I helped create, titled All Your Ears Can Hear, won an award for best non-fiction in our city in 2006.



Based on the depth and detail that each release has, I’ve received praise and positivity from both critics and consumers alike. The only negative feedback I’ve ever received was from a reviewer who really couldn’t comprehend that Soviet-era underground music was not to be compared to the West, but rather to be seen as something which like all underground music, has taken on a life of it’s own and evolved as such. It’s only been in the past 5-10 years that anything “exotic” to the Western ear has become “cool” and “hip”. In the past, most Western ears completely ignored non-Anglo sung music, and I refuse to accept the ignorance of simply seeing and hearing the world through a Western prism.



m: How did you chose bands which you want release on you label? Which criteria?

j: I read a lot and occasionally discover music which nobody else has yet exposed, then I become obsessed with presenting it to the world. In the case of Poland, it dated back to when I discovered Polish jazz and punk in the 80’s. I realized that the first era of punk in Poland had never been properly documented, so I did it. Since then, many archives have been released by Polish labels and many old groups have reactivated.



…for Georgia it happened through discovering Mzetamze – a women’s folk group which intrigued me to travel there with my wife…where we spent 5 weeks interviewing musicians from the 50’s to present and collecting music. We LOVE Georgia!!! Me vedzakhis Sakartvelos!



With my hometown of sleepy Victoria, it’s a matter of documenting something that (in my opinion) nobody else has yet done thoroughly nor accurately enough. With Victoria, I’m merely animating projects which are everyone’s baby and that everyone has the right to contribute to. To me, Supreme Echo archives are soundtracks to forgotten scenes of the past.



m: I know that you love different kind of music from different parts of world. Can you put some few names - the most ignore or forgotten bands (scenes) according to you - from past and from present?



j: No; that’s really the hardest question to answer…but I will say that there were rock bands everywhere in the 60’s. Now it’s 2009, and you can imagine there are still underground groups everywhere, even more than ever thanks to the internet and all the technological break-throughs. Get out a map, type a country name and a music genre into an internet search engine and find it for yourself. The world is yours to discover.



Thanks Miso, see you next time in Trencin!


ok, that was Jason. And I just put here info about bands where he played: (just for better imagination for his passion for music)

"A 'work in progress' list of the bands I've played with in Canada and Europe. I've played in over 20 groups, but I'll need some time to remember them all! Abbreviations signify my role in the group: Vocals, Guitar, Bass, Drums."


B.A.T.T. (1984) - pre-teen noise influenced by Venom and W.A.S.P. V

DEMENTIA (1987-88) - evil death metal. aka XANIMATION. V
Released: 1 demo tape. Soon released by Nuclear War Now! Productions.

TOMORROWS HOSTILITY (1988-89) - classic Canuck style hardcore thrash/punk. V
Recorded: 1 demo tape. Some masters lost, some remaining.

S.P.C. (1989) noisecore. G
Rehearsal recordings only; not sure if they still exist.

CON-FUSION (1989) crossover. G
Short-lived group that didn't do anything.

STICK FARM (1989-91) crossover group; hardcore & metal. G
Released: 1 demo tape, 2x 7", plus 2 vinyl compilation appearances.

MENSTRUAL SPONGE (1990) female fronted noise novelty group. G
Released: 1 demo tape without me.

DAYWORLD (1990) my friends funk band that needed a singer. V
Released: 1 mildly embarrassing demo tape.

PEZ (1990) fast melodic punk rock. B
Recorded: 1 unreleased demo tape.

CROTCH (1991) grindcore. G
Rehearsal recordings only.

MEXICAN POWER AUTHORITY (1991-1997, 2007-present) underground mish-mash. aka MPA. V
Released: alot of tapes, vinyl, and cd's; see MPA myspace for full discography. Active.

BLACK KRONSTADT (199?) Anarcho-crust. D
Original line-up, played live once in Vancouver; rehearsal recordings only.

ARE YOU THERE GOD? IT'S ME MARGARET (199?) early version of Enfa / lak. D
Recorded: 1 horrible unreleased demo tape.

ENFA / LAK (199?) riot grrrl art-punk noise. D
Released: 1 horrible demo tape.

SEAT BELT (199?) post-everything. G/V
Released: 2 demo tapes.

BOUNTY, THE HIGH TASTE OF ADVENTURE (199?) stoner jamrock. G
Recorded: 1 unreleased demo tape.

HERMIT (1994-99) noise. D
Released: a few tapes and records.

THIRD WORLD PLANET (1995-99) power-violence before it had such a name. aka TWP. D/V
Released: alot of tapes and vinyl.

ATAK (200?) heavy Polish hardcore punk. G
Live recordings only.

AUTOMATON (2005-06) beat & new wave influenced Polish rock. D/V
Recorded: 1 demo, planned to be issued as a postumous 7" EP.

on the end I posted two pages from booklet "Victims of safety pin" LP.




by the way - soon more about polish punk on my blog!
support underground hidden treasures!

mišo

ĽAHKÁ MÚZA "Tieň bolesti" CD (1992)

Tretí album ĽAHKEJ MÚZY. Vyšlo ako CD/LP na Zoon records. LP verziu sa mi žiaľ stále nájsť nepodarilo.




Nowday post is dedicated to Slovakian goth/industrial/alternative legend ĽAHKÁ MÚZA.
Last sathurday I was on their concert here in Bratislava. It was dark, sad, atmospheric. So I would like to share some atmosphere with you. And also they´re celebrate 25 anniversary this year, so it is also opportunity for some retrospective. I posted their album "Tieň Bolesti", which was released back in 1992 (on CD/LP Zoon Records, Czechoslovakia).

http://rapidshare.com/files/278242941/ae_ahk___m__za.rar.html

Info:

https://www.discogs.com/%C4%BDahk%C3%A1-M%C3%BAza-Tie%C5%88-Bolesti/release/4435169


(part of) History

In 1984 the foursome young musicians (Gudrun, 677,German H. and Dr.K) found their band. On a post punk euphoria and new wave ground arise first songs of Ľahká Múza. The band has traditional set-up: vocal, guitar, bass and drums. Although the band came into being in a period of culminating communism, “where everything, that was having any breath of “western“ art, was defective“, it did find its place with its new wave production on czech underground scene, that was supporting all “unofficial“ arts. In this period was releasing of records to any unofficial artist impossible and therefore all such music used to be recorded only on tapes. This way comes out in 1988 first live album “Schizofónia“.
At the end of 1990 bass guitar player German H. leaves the band. In this period goes the band through significant transformation of musical orientation, it definitely waives from new guitar sound and tends to raw minimalistic “guitar“ industrial. This period maps studio recording “Nevinnosť“, which until now belongs to the “rawest”, that the band ever released. Black Point shows an interest to release both albums and so are “Schizofónia“ and “Nevinnosť“ released on this label in 1991.
However, despite all artistic success, at the end of 1991 leaves the band also its drummer, Dr.K. Ľahká Múza is now only a duo: Gudrun + 677. In this period they limit their concert work and start to prepare their new album “Tieň bolesti“. In 1992 it appears as their CD debut on a slovak label ZOON RECORDS.
In 1993 Czechoslovakia falls apart and that brings along unpleasant results to band, that is well run in czech part of previous federation.
At the turn of years 1994 – 1995 the band reaches to the very edge of “minimalistic“ industrial processes and it is looking for a way to new arrangement mains and to the overall sound expression.

And present? You can find bilingual info here:http://www.lahkamuza.net/ or http://www.myspace.com/lahkamuza

Mišo

Gallery

Some more pics today...

Also lyric of F.P.B. (great Czech band from 80´s) included.

Mišo

ART/MUSIC/ART

When music is inspiration for picture...


I just listen James Chance, also known as James White (born 20 April 1953 as James Siegfried in Milwaukee, Wisconsin), is an American saxophonist, songwriter and singer.

A key figure in No Wave, Chance has been playing a combination of improvisational jazz-like music and punk in the New York music scene since the late 1970s, in such bands as Teenage Jesus & the Jerks, James Chance and the Contortions, James White and the Blacks, The Flaming Demonics, James Chance & the Sardonic Symphonics, and James Chance and Terminal City.

Chance differed from some of his No Wave compatriots by possessing (and demanding from his band) a certain level of musical skill and talent. His music can be described as combining the freeform playing of Ornette Coleman with the solid funk rhythm of James Brown, though filtered through a punk rock lens.

(stolen from Wikipedia)

http://www.youtube.com/watch?v=b9YVoU1ikUQ&feature=related

http://www.youtube.com/watch?v=uCI24Lt9aNQ





Mišo