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Begnagrad
Mio
Though the policies of containment kept the political and geographicalboundaries of free thought and fascist oppression clearly defined inthe early 1980's, the strength of the iron curtain was not enough toprevent ideas from crossing into and beyond the bloc. Begnagrad iscomprised of members who were all exposed to the burgeoning punk andprogressive rock music scenes in their hometown of Ljubljana, Slovenia,then part of communist Yugoslavia. The band is the product of fivedaring multi-instrumentalists who combined Alpine and Eastern Europeanfolk concepts with modern rock, free-jazz influences and a distinctsense of whimsy. Their self-titled album, originally released in 1982,is a fascinating example of the creative minds and wonderful ideas thatflourished in less pleasant times and circumstances. The tracks theyproduced are impressively intricate, with numerous instruments spinningoff around each other in a complex weave of sound and rhythm. "Pjan ska/ Drinking One" begins with a swirling arrangement, accordions andwoodwinds etching out those alpine peaks as they rise and fall beforelaunching into a full steam ahead horn sprint, as if James Chance werefronting a Bohemian (geographically, that is) dance ensemble. Finallyspliced with the enthusiastic mock yodeling of the band members, "Pjanska" spends itself in an amusing gasp of grinning energy. "Bo Ze (CeBo) / All's Good (Maybe)" is a relentlessly charming track, whoseloping, oscillating bass rhythm inspires the urge to make jaunty,whirling circles, arms linked with another in the midst of coy, flirtydance. What makes Begnagradsuch an engaging, satisfying listen is the pure joy that emanates fromthe music, a sense of deeply passionate humanism that can often be lostin experimental, fusion, and avant-garde music. This feeling isexemplified in two live bonus tracks that document the band on aEuropean tour. "Tazadnatanova / Thelastnewone" is an intense,rollicking piece that is driven by a furious punk rock energy, squallswith saxophone riffage and sputters about on jagged, post-punk guitars,but ultimately is fully entrenched in the warmth and togetherness ofthe band's folk-troubadour roots. The band launches into a frantic jig,pushing themselves and their audience to clap along and dance withmanic energy. The crowd can be heard clapping, whistling, hooting, andpouring themselves heart and soul into the song. Potentially thehappiest record I have heard in a very long while, Beganagradmanages to be progressive by utilizing the past, finding the originalmotivator for musical expression: to entertain, to bring peopletogether, and make them feel as if they are involved in somethingbeautiful.
Though the policies of containment kept the political and geographicalboundaries of free thought and fascist oppression clearly defined inthe early 1980's, the strength of the iron curtain was not enough toprevent ideas from crossing into and beyond the bloc. Begnagrad iscomprised of members who were all exposed to the burgeoning punk andprogressive rock music scenes in their hometown of Ljubljana, Slovenia,then part of communist Yugoslavia. The band is the product of fivedaring multi-instrumentalists who combined Alpine and Eastern Europeanfolk concepts with modern rock, free-jazz influences and a distinctsense of whimsy. Their self-titled album, originally released in 1982,is a fascinating example of the creative minds and wonderful ideas thatflourished in less pleasant times and circumstances. The tracks theyproduced are impressively intricate, with numerous instruments spinningoff around each other in a complex weave of sound and rhythm. "Pjan ska/ Drinking One" begins with a swirling arrangement, accordions andwoodwinds etching out those alpine peaks as they rise and fall beforelaunching into a full steam ahead horn sprint, as if James Chance werefronting a Bohemian (geographically, that is) dance ensemble. Finallyspliced with the enthusiastic mock yodeling of the band members, "Pjanska" spends itself in an amusing gasp of grinning energy. "Bo Ze (CeBo) / All's Good (Maybe)" is a relentlessly charming track, whoseloping, oscillating bass rhythm inspires the urge to make jaunty,whirling circles, arms linked with another in the midst of coy, flirtydance. What makes Begnagradsuch an engaging, satisfying listen is the pure joy that emanates fromthe music, a sense of deeply passionate humanism that can often be lostin experimental, fusion, and avant-garde music. This feeling isexemplified in two live bonus tracks that document the band on aEuropean tour. "Tazadnatanova / Thelastnewone" is an intense,rollicking piece that is driven by a furious punk rock energy, squallswith saxophone riffage and sputters about on jagged, post-punk guitars,but ultimately is fully entrenched in the warmth and togetherness ofthe band's folk-troubadour roots. The band launches into a frantic jig,pushing themselves and their audience to clap along and dance withmanic energy. The crowd can be heard clapping, whistling, hooting, andpouring themselves heart and soul into the song. Potentially thehappiest record I have heard in a very long while, Beganagradmanages to be progressive by utilizing the past, finding the originalmotivator for musical expression: to entertain, to bring peopletogether, and make them feel as if they are involved in somethingbeautiful.
Greg Davis, Ben Vida (Bird Show), and Keith "Hrvatski" Whitman
Greg Davis, Ben Vida, and Keith Fullerton Whitman each have new albums on Kranky and are on the road, touring and playing together as a trio for the first time. While we settled on the name of this Eye segment as "Nightcrawlers," rejected titles included "Menage a' Beard," "Friends That Play Together Stay Together," and "Banjovi." Hopefully we can look forward to an amazing album from the three eventually.
