nedeľa 29. novembra 2009

Icelandic punk

Icelandic punk! I want to share here some interesting links to punk bands from Iceland, what is more or less isolated county. But back in late 70s punk virus came also there. And these bands sounds great to my ears!

Some good links:
You can listen some bands there, also I took info from there...

The Icelandic Rock-Phenomenon 1979 - 1983
Some of the most important bands of that era were:

Fræbbblarnir ("The Stamen") formed in 1978 were probably the first punkband to arrive on the scene, they played melodic songs fast and raw with a jolly undertone. Their sound was very inspired by the Ramones and the Stranglers.
The 1981 released record "Bjór" (The Beer EP) was the band's statement for the right to drink beer which was prohibited in Iceland at that time.

Taugadeildin (The Neurotics Ward) were a short-living band from the suburbs of Reykjavik, their sound was very fresh and melodic. There were plans to perform a show for the Rokk I Reykjavik documentary but the band had finally split before it happened.

Þeyr (also known as Theyr) was a renowned Icelandic New Wave band from the early eighties. Shrouded under a veil of mystery, their three-year existence was characterized by a deep interest in ancient wisdom. Þeyr helped bring about the New Wave movement in Iceland and became one of the first Icelandic bands to be known abroad.

Utangarðmenn ("The Outsiders") was the band of Bubbi Morthens, the man who made this style of rock-music popular in iceland.
Utangarðmenn played rock with influences of reggea music. Bubbi Morthens left the band after the fourth album, and formed a new band called Egó, the other band members continued playing, but under the name of Bodies, which was a tribute to the Utangarðsmenn song "We are the bodies".

Bubbi Morthens' second band Egó was like Utangarðmenn more rock-orientated, their first album "Breyttir Tímar" is one of the most successful albums in the Icelandic music history; it also includes imo one of the best Icelandic rock songs: Stórir Strákar Fá Raflost.

After her first LP in 1977 Björk get in touch with punk and began to play in several short-lving punk band's like Spit and Snout and Exodus.
This band with the strange name Tappi Tíkarrass, meaning “Cork the Bitch’s Arse”, was Björk's first record releasing band, they played a quirky style of punkish rock added with elements of funk, disco and jazz. The band's only song in English is called "London" and it's one of their punkiest songs too.

Grýlurnar ("The Witches") were the first Icelandic group exclusively with female members, they played a very poppish style of new wave.
After the split of the band, the singer Ragnhildur Gísladóttir became a member of Stuðmenn, a nowadays successful and well-known band in Iceland.

KUKL ("Witchcraft") was clearly the most experimental and uncompromising band ever came from Iceland. Their first release was a 7" Single called "Söngull", which is in fact the Icelandic version of "Dismembered", a track wich appeard on their first Album "The Eye" in 1984 (on Crass records).
The band released another album in 1985 called "Holidays in Europe". A crazy musical journey across Europe including all sorts of paranoia.

It is very hard to put KUKL's music into words but Björk herself descibed the music as "Hardcore existential punk music!"

Here you can listen their album "Eye" from 1984


some links - fragments from document about Iceland punk/wave - Rokk í reykjavík

And few words about document:(from
Rokk í Reykjavík (Rokk í reykjavík.ogg pronunciation (help·info)) was a documentary directed by Icelandic Friðrik Þór Friðriksson during the Icelandic winter of 1981-1982 and released for the local television the same year.
With this documentary, Friðriksson showcases the alternative music scene through several performances of the post punk/New Wave most important bands at that time taken from different concerts and accompanied by, some times, short interviews with musicians, and it portrays the lifestyle of the Icelandic youth faced to the establishment and advocated to anarchy, who were trying to find their own identity.

and from

Rokk í Reykjavík is an excellent documentary about the Icelandic post-punk scene in the very early eighties. The film strings together interviews and concert footage from a couple dozen post-punk bands, including Þeyr (started by Hilmar Örn Hilmarsson, later to collaborate with Psychic TV and Current 93) and a very young, pre-Sugarcubes, pre-KUKL Björk.

Though the film is apparently impossible to buy, you can probably find it if you really want to. And it’s well worth the search. The music scene documented in the film is much more exciting than anything that came out of England or the American Hardcore scene—imagine if gray Manchester was built on a Viking burial ground haunted by elves and pixies, and you’ll get a fair idea of the type of energy that pours out of the young bands depicted in the film.

Bands portrayed run the gamut from gutter punk to Hermann Nitsch-style performance dread, with a lot of politics (both extreme left and extreme right) and tongue-in-cheek button-pushing (Þeyr marching around in self-parodying Nazi regalia and playing in underground bunkers comes to mind).

My favorite moment in the movie, however, has to be the appearance of a band of four twelve-year-old crusties who look like a cross between punks, a kid street gang and reincarnated Viking berserkers. After concert footage of the crazed prepubescents raging into a couple of pretty good jams and then attacking their instruments with steel hatchets and lighting shit on fire for an appreciative audience, we’re treated to an interview with the lead singer, who speaks with the weary, jaded voice of a man three times his age about how much the band loves to snort glue and all the times they’ve had to fight to keep the local police from confiscating their glue and paint thinner stash. They’re the hardest punks I’ve ever seen.

In all, the movie is a rare glimpse into a little-known scene, one that spawned some of the most creative acts in the music world but which has been seldom documented or even heard of outside Iceland. Well worth the time spent tracking down.

...a ešte jedna strana z knihy Bjork od autorky Evelyn McDonnell, ktorá vyšla vo vydavateľstve Volvox Globator, v edícii Evokace.


p.s. please, if somebody knows more about this topic, let me know, leave the comment, link, anything. thanx

Alle 55 Kort tape compilation 1985

Hardcore/punk as it´s best. I just love european HC. Here is great compilation tape (that I found on some great blog:, where you can find many obscure experimental/noise music, but also some Dutch punk records.)

So 55 bands, 55 tracks by Dutch and Belgium hardcore bands from the mid 80s. Enjoy!


Kazetová kompilačka zložená z holandských a belgických hardcore/punk kapiel z 80tych rokov.


sobota 28. novembra 2009

O.P.N. (ORA PRO NOBIS) "Demos" (1982, 1988)

O.P.N. (Ora Pro Nobis) was Czech underground band. Their beginings we can find back in 1974, but first concert they had in 1978. Important moment was in 1977, when poet and saxophonist J.H. Krchovský join the band.
J.H. Krchovský is now well-known poet who write with unique style. His poetry is grotesque, decadent,very strictlly rhymed. Main topics are death, pain and misery mixed with erotic feeling.

here is the first demo from 1982 (Krchovský on this demo played acoustic guitar and one of the vocal) (sorry, no cover)
track list:


+ here is second demo from 1988 (without J.H. Krchovský) (sorry, no cover)

track list:
1.Cesta spravedlivého jest cestou kříže
2.Malá astra

Here are some english translations of Krchovský poetry:


(Translated by O. T. Chalkstone)



drowning in the river won’t be my case

- I’ll lay my lazy bones

in a bath full of acid at hom

While I get the water running

I tame my anxiety mulling:

- how when I’m all dissolved

will I unplug the tub hole?

I’ll employ mechanical power!

- linking the plug to the door knob with a wire

and when they open the door later

I shall need no undertaker

I am sure that all in all

the bath tub will retain my soul...

through the hole as I flow down

my soul asleep nirvana bound

A piece of shit cannot be soaped...

what there is not cannot be broke

only the petty nothing that troubles the brain

will never go down the drain...


On the bus out there she already caught my eye

age perhaps twenty, slim, rather slight and shy

and surely beautiful Emanating a sense of inner affinity

(...her trousers deeply cut between her lips of her pubic cavity)

Buying outside the ZOO gate she stood behind

I felt the glow of her chilling gaze landing on my spine

driven insane by the call of her body (and not only that)

coward, to the wild beasts’ pavilion I quickly fled

...Lust giving me the shakes, spinning my mind disengaged

I gape like an ox into ocelot’s empty cage

Shall I or shall I not?! – It’s clear to me she wouldn’t mind...

Make a move you twit – I can hear the rousing words of mine

Out in the daylight, again I briefly paused

yet I keep going, drawn by a mysterious, darksome voice

- then suddenly I saw her: blushing her eyes coyly down

wet in her crotch she walked out of the monkey compound


we boarded the streetcar, my weary dog and I

(by myself no way I would take such a step!)

to be faced with twelve crosses – twelve stops to dread

Still half way to go, by now worn to the frazzle

I can take it no more, beads of deathly sweat on my forehead dazzle

- why doesn’t it go?! I want to get off! Get going you wimp!

I’m spent, the dog is asleep, if a little limp...

Then abruptly a horrid sound! Not unlike a moan

appalled they all looked at my bitch in scorn

thinking what a vile fart she broke

- but that pained groan came from my throat


though otherwise I balk at straightforward talk

all is revealed, by what our gazes impart

you want something there and I want it somewhere

still to be sure my eyes do quiz

whether right now, right here with this

If you want more music from O.P.N. or other Czech underground bands, you can order it thru:


ešte jedna strana z časopisu VOKNO č.19, kde bol o Krchovskom článok:


piatok 27. novembra 2009

SPRÁVNY SMER - 7" ep 1995

SPRÁVNY SMER - one of the first D.I.Y. HC band that I saw live. It was back in 1996 and they played in garage (common gig with HERMIT, WALDRAND and JALOPAZ - noise bands). I don´t like them too much musicaly, but I really like their attitude, artworks, and D.I.Y. spirit. Influential band for me! This two-piece band released demo tape in 1993, two 7" vinyls later and they were include on some compilation tapes. And there was also released a tape on Forest records from Japan with recordings including demo, 7" ep and live.

sorry, I do not put complete booklet here, just part of it

So here you can enjoy their 7" EP from 1995! Moshy-DIY-HC/Crust!!!from Bratislava.

thanx for link to


SPRÁVNY SMER - dobrá hardcore skupina z Bratislavy s prístupom "Urob to sám" a proti-fajčiarskym postojom. Žiaľ, skončila asi tak pred 10 rokmi. Tak si aspoň môžeš vypočuť ich prvú sedem-palcovú platňu.


štvrtok 26. novembra 2009

Hippies v Poľsku

Ešte jeden článok o hippies. Je prevzatý z časopisu Mašurkovské podzemné č. 21, rok 1998, myslím.
Pojednáva o históri aj súčasnosti (vzhľadom na rok uverejnenia) tejto subkultúry v Poľsku.

článok tu:

Hudobný doprovod je tentokrát Janusz Reichel, čo nie je teda asi úplne hipík, ale jeho hudba a idey v nej sú určite s hippies príbuzné. Jenuzs Reichel je poľský folkáč/punkáč,protest-singer aktivista, atď...skrátka ako sa píše v blogu "Janusz Reichel - bard polskiego undergroundu.
Piosenki zaangażowane, ciepłe i refleksyjne, śpiewane głównie przy akompaniamencie gitary. Doskonała pozycja dla fanów punku czy poezji śpiewanej. Geniusz Janusza pozwolił doskonale połączyć pewne cechy obu gatunków.

muzika tu:


One more atricle about hippies movement - in Poland this time. Sorry, only in Czech.
Music: Janusz Reichel - eko-folk/punky singer


utorok 24. novembra 2009

PIECKA AE -neskoršie obdobie / later period...year???

PIECKA AE - Slovakian alternative-rock gem

These 4 songs came from their later period. Mid 90´s, I think.
Enjoy their reggae-ish/skalternative rock.
More info about band you can find somewhere in previous posts of this blog.
Sorry - no cover, just my drawing


pondelok 23. novembra 2009

Hippies v ZSSR

Našiel som doma pozabudnutú brožúrku Historie hippies v SSSR od (tuším bieloruského) hipíka Voloďu Borodu. Koho zaujíma história subkultúr v post-totalitných štátoch, ten sa môže pustiť do čítania. Vyšlo v r. 2000. Chlapík mal myslím v tom čase problémy s českou políciou, neviem ako to nakoniec odpadlo...takže nezabudnite - sloboda nie je samozrejmosťou!

A aby bolo aj trochu muziky, dal som sem album od ruskej pesničkáry Janky, myslím, že sa ako doprovod ku čítaniu veľmi hodí.
Today I posted samizdat History of hippies in USSR, written by (bela?)russian hippie Voloďa...but it is in Czech, hmmm, sorry...

but also is here great album of russian hippie-folky-punky female singer Yanka Dyagileva - "Prodano!" / Янка Дягилева "Продано!" [1989]

Here are article about Yanka from Alina Simone:

Yana Stanislavovna Dyagileva’s extraordinary career lasted only four years, from 1987 to 1991, but it was long enough to establish ‘Yanka’ as an underground rock icon in the waning days of the Soviet Union. She was born in the industrial Siberian city of Novosibirsk on September 4, 1966 and grew up in a one-story wooden house without indoor plumbing. This much is known about Yanka’s youth: she preferred boots to high heels, took piano lessons before switching to guitar, she kept to herself and filled notebooks with poetry. After high school, Yanka enrolled in a local engineering institute, in part to stay close to her mother who was dying of cancer. The technical coursework did not hold her interest. She quit the institute in her second year and began immersing herself in the local punk scene. In 1985, at a house show in Novosibirsk, she met legendary punk-folk singer Sasha Bashlachev, and this friendship both changed her life and drew her deeper into the Russian rock underground. But it was Yanka’s complicated relationship with another man, Igor Letov, lead singer for the seminal Siberian punk band Civil Defense, that led to her musical career.
They met at the first Novosibirsk Rock Festival in 1987, and a few months later Yanka joined Letov in his native city of Omsk. It was a short stay; Letov ran into trouble with authorities from the local Department for Internal Affairs and, shortly after Yanka arrived, she and Igor fled Siberia together. According to Letov’s recollections, they “travelled the whole country, lived with hippies, sang songs on the street, ate whatever God provided, stole food from the markets….” Yanka and Igor lived on less than 40 cents a day, eating in municipal cafeterias and sleeping in basements, abandoned train cars, and attics.
It was on the road with Letov that Yanka began performing in public as a backup vocalist for Civil Defense. By the end of 1987 she was writing her own songs. Once it was safe to return, she made her first recordings in Siberia, with Letov’s help, and also formed her own short-lived band, the Great Octobers. This marked the start of four feverish years spent crisscrossing the Soviet Union by train, first accompanying Civil Defense and later simply as Yanka, performing mostly in people’s apartments, dormitories, and the occasional local House of Culture. She recorded when she could, and the best versions of many of these songs survive only as live takes captured on a cheap portable cassette player. None of Yanka’s recordings were released commercially during her lifetime, but they circulated hand-to-hand as samizdat and she acquired a devoted cult following.
And the music? You could compare Yanka’s brash vocals to Patti Smith’s, or trace her breathless strumming to the Russian bard tradition. But Yanka truly created her own genre, a hybrid of Siberian punk, traditional Russian folk, and western rock. She married surreal lyricism to haunting melodies, mirroring influences that ranged from the Velvet Underground to field recordings of the Russian folk songs she collected in Siberian villages. Her songs are ironic tangles of communist slogans, Russian fairy tales, Soviet army anthems, and apocalyptic impressions of a faded nation. They conjure the low ceilings and teacup-strewn kitchen tables of shabby Khrushchevkas. These songs are postcards of Yanka’s inner state, deeply personal and perhaps, by definition, untranslatable.
As Yanka’s fame grew, the Soviet Union unraveled. So did her closest friendships. Sasha Bashlachev committed suicide in 1988, and Yanka’s relationship with Letov, which was never easy or well-defined, fell apart a year later. She continued to tour and record, but battled heavy bouts of depression. After what would be her final public performance, at a rock festival in Irkutsk, Yanka returned home to Novosibirsk. She made her last recordings there in 1991. Eventually she moved back to the wooden house on Yadrinsovskaya Street where she had spent her childhood, becoming increasingly isolated and turning down invitations to perform. On May 9th, 1991, Yanka disappeared while taking a walk near her father’s summer home. It is believed that she drowned in the nearby Inya River. She was 24 years old.

What remains in the wake of this remarkable life? Twenty-nine original songs, a handful of covers, and a book of poetry. I am but one of a legion of fans, and it is honestly beyond me to encapsulate or explain Yanka’s legacy. The only way I can describe what Yanka’s music means to me is to say that it is the sound of a woman who struggled to define herself, against every expectation, and won. –Alina Simone

Alina Simone
was born in Kharkov, Ukraine. Her family emigrated to the United States after her father refused resisted recruitment by the KGB and was blacklisted for "refusal to cooperate." Simone grew up in suburban Massachusetts (where she watched Mary Lou Lord singing in subway stations), and after college she hit the road. She began her musical career busking on the streets of Austin, then moved to New York City and performed with local rock band Emma la Reina before moving to North Carolina. Wherever she calls home, Simone spends a part of each year in Russia, often traveling to Siberia.


nedeľa 22. novembra 2009


Just few pictures today:

I am working as Social Therapeut/Working Assistaint in Labour And Socialized Centre For Mentally-challenged Adults here in Bratislava. Here are few drawings of "Musicans" spontaneously done by one of my clinet.


sobota 21. novembra 2009


I would like to advertise one book today. It is called DISCOGRAPHY OF EASTERN EUROPEAN PUNK MUSIC 1977-1999

Includes countries:
Albania, Armenia, Belarus, Bosnia-Herzegovina, Bulgaria,
Croatia, Czech Republic, Estonia, Georgia, German
Democratic Republic, Hungary, Kazakhstan, Kosovo, Latvia,
Lithuania, Macedonia, Moldova, Poland, Romania, Russia,
Serbia & Montenegro (FRY), Slovakia, Slovenia, Tuva,

Bonus: Cuba and the People's Republic of China!

220 pages, 1200+ bands indexed, contact addresses,
bibliography, full listing of vinyl and CD's, selection of
cassette-only releases, including song titles.

It was completised by Luk Haas from Tian An Men 89 records.
Yes, many bands missing, there is lots of grammar mistakes and some inaccuracies, but this book can be really helpfull for collectors or for those who want to know more bands from East-europe countries.

You can order it thru Darbouka records, it is friend-label and distributor of TaM89, here is contact:


Now some info about label:(taken from their web-site:

Tian An Men 89 Records was created in 1993 in the purpose of releasing
punk music from parts of the world where, due to financial reasons, civil
wars, or lack of record factories, there is no possibility for the bands to
release their music on vinyl.

We got the idea after extensive travelling and meeting great bands in
various corners of the world. Our idea of punk is to accept that exist
different definitions of it in different places. Punk is universal and
transcends cultures. It is definitely not a sterile, narrow style, monopolized
by Westerners, as some would like to believe.

We release limited editions 7" vinyl EP's (500 copies) (and 12"LPs too now)
coz it seems that's been enough so far for the worldwide underground
punk network which is usually more into the latest MTV cloned punk stars.
We don't care coz we know WHY we do this and that's certainly not for the
money! 20% of each release pressed is sent to the bands as their share, so
that records are also distributed in the country of origin. Our records (and
books!) are not distributed through the commercial circuit. DIY network
only. Tian An Men 89 is non-profit and fueled by passion and friendship

Tian An Men 89 believes individual positive actions and international
solidarity can make a change towards a fairer and more beautiful world.


I tried few times to contact Luk Haas and asked for interview, but alwas just short mail answer - sorry, I am busy... I I put here this very good interview from MAXIMUMROCKNROLL zine no. 307/2008. Enjoy!

and here is Luk´s answer to questions: "What made you become a punk?"
"What keeps you attracted to punk?" from Swiss zine "Slaughtered Trees and Toxic Ink" no.4. done by Pablo:

+You can also download and listen radio show with Luk, where you can hear bands from different countries all over the world!

...a nakoniec ešte úryvok z knihy Kytary a řev...
kde Luk Haas odpovedá na otázku: "Punk v Československu pred rokom 1989 - čo sa ti pri týchto slovách vybaví a akú rolu hrá punk rock v tvojom živote dnes?"


piatok 20. novembra 2009

PSÍ VOJÁCI "Nalej čistýho vína, pokrytče" 1991

PSÍ VOJÁCI are one of the most recognized alternative Czech band. They are playing since 1979 till now. Their first concert was on Prague jazz days in 1979 organised by Jazzova sekce. During the communist times they can´t play legally, so they use pseudo-name P.V.O.

Current line up: Filip Topol - piano, David Skála - drumms, Luďek Horký - bass.

So, this is their first full-lenght album from 1991.


...and their name came from war-group of one indian tribe.

Filip Topol playing on piano


štvrtok 19. novembra 2009

MAŤKOVIA 1982 - 1986

front cover


MAŤKOVIA (Mathews) were more or less free studio group of musicans working in Slovak Broadcast in that times. They feel emptyness of soc-real pop music and also they were influenced by punk, new wave or R.I.O. bands. So Maťkovia making "infantile", ironic songs with different music genres subbases. Mainly it was alternative rock, we can say. Songs were recorded in legal studios in 1982-86. I think that this is one of the best slovakian alternative album ever.
It was released as LP on Zoon records in 1991.
One of lead musiacan - Martin Burlas - is music composer, who still continue with different music activities to present times.

album is here:

Platňa sa myslím ešte dá zohnať - napríklad v bratislavskom kníhkupectve Artfórum, za pár Eur. Oplatí sa.


streda 18. novembra 2009

TUBLATANKA live in Praha 1988

Tublatanka were good 3-pieces hard rock/ melodic metal band from Slovakia. I am not too-much-metal fan any more, just lightly, but I posted this live concert from Prague for those who are into it. Humm, but I like Tublatanka anyway. They really rules in late 80s. So let´s rock!

They´re start to formed back in 1982 under of influences of Led Zeppelin, Deep Purple, Thin Lizzy, Nazareth, The Who, Yes, Pink Floyd etc. And also 3-memebers bands were their idols like: Cream, Jimi Hendrix's Experience, Emerson Lake & Palmer, Police...
but they created their own style with good singing of leader Maťo Ďurinda and they have also specific image - they wearing not leather jackets, but garbes, stems from national tradition. Name of Tublatanka came from story of Tarzan - there was of one character in the book - monkey-man Tublat.


p.s. thanx to Mato/punkovy zberatel for this recording.

utorok 17. novembra 2009

20th Anniversary Of Velvet Revolution In Czechoslovakia

Today is the twentieth anniversary of Velvet revolution in Czechoslovakia.

This was one of the popular song of that times:
"We promise love each to other, we promise telling just the truth..."
singing by Ivan Hoffman, slovakian folk singer.

some political posters from that times on the streets
video from that times


nedeľa 15. novembra 2009

F.P.B. "Kdo z koho, ten toho" 1990

F.P.B. (Fourth price band) was original punk band from Teplice, Czech Republic. They were founded in 1980.
Their unique style was influenced by first wave of punk and some bands from R.I.O. movement. F.P.B. have also charcterful and poetic lyrics.
Album "Kdo z koho, ten toho" was released also on LP with big poster + 7" were are two more songs - covers from KILLING JOKE and RESIDENTS but with czech lyrics. (missing here!)

album here:

I put here some articles where you can find more informations:

this is foreword by M. Vanek in bilingval Engl./Czech book "Kniha přání a stížností" - you can get this book + 3 CD with many songs + lyrics of F.P.B. thru

profile from book "Kytary a řev...

tu je profil z knihy The Residents/Eyeball to eyeball/Medzi čtyřma očime vydanej na Argo.

profil z knihy Excentřici v přízemí

+ tu nájdeš 9 stranový rozhovor z časopisu Mašurkovské podzemné č.26/2003: