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Preview: a hogon's industrial guide

a hogon's industrial guide

The cacophony of information availability and information hyperproduction depends only on where you're standing

Updated: 2017-12-07T04:14:08.636-08:00


Operating with Yugoslav 1980s cassette experimentalism memory



Operating with Yugoslav 1980s cassette experimentalism memory presentation and listening session with Nenad Vujić @ OUR Accompanyings festival

Nenad Vujić is an experimental music aficionado from Belgrade who delves into the niches of the 1980s Yugoslav DIY cassette underground and strives to provide a map of its many miniscule subscenes (includes experimental, electronic, industrial, improvisation music from the 1980s). The web site A hogon’s industrial guide strives to provide a map for art historians, pop culture archaeologists and musicologists that lays out the main features and the topology of the cassette experimentalist terrain in 1980s Yugoslavia. More recently, the platform have expanded its scope to other Eastern European regional productions, with a forthcoming release of Hungarian 1980s cassette experimentalist retrospective LP compilation and accompanying research text.

This presentation will strive to provide a short introduction into the activities of A hogon’s industrial guide and give an overview of all the technological circumstances of Nenad's research through a sort of a bildungsroman which affected the epistemology as well as the choice of the research interface. 

The presentation will be held on English.

Thursday, 27th October 2016 at 21:45
Venue: Youth Center CK13, Vojvode Bojovića 13, Novi Sad
Organization of the event:
Festival in Opposition – Art and Politics of Improvisation
OUR 'Accompanyings' 26 - 29th October 2016

See the full festival schedule at and as a PDF.

Geeking for a medal – a conversation with Bojan Đorđević and Aleksandar Konjikušić about the Nikad Robom collective


On Monday 10th of November 2014, we're discussing the contexts and practices of the Nikad Robom collective – an independent cassette label, concert promoting agency and a hometaping organization from Belgrade active on the Yugoslav alternative music scene during the latter half of the 1980s – with its founders Bojan Đorđević and Aleksandar Konjikušić.

Nikad Robom collective was active from 1984 to 1996 in various shapes and forms and was covering a spectrum of post-Rock in Opposition music – from art rock and alternative jazz to contemporary classical and the so called New Music. The duo behind the Nikad Robom collective was in the same time an instigator of the eponymous cassette edition which was one of the first independent cassette labels in former Yugoslavia, an eponymous concert promoting agency which organized concerts of numerous post-RIO and New Music bands in Belgrade as well as a eponymous hometaping operation which dealt with copying, cataloguing and distributing releases which were unavailable on the Yugoslav market, making it a kind of living open archive of Western alternative music of the time. For more information about the Nikad Robom collective read here.

speakers: Bojan Đorđević and Aleksandar Konjikušić
talk moderation: hogon
language: Serbian

date & time: 10.11.2014 / 19:30 pm
place: Centar za kulturnu dekontaminaciju, Birčaninova 21, Belgrade

The event will be recorded and subtitled for the A hogon's industrial guide archive.

Anonymously, collectively and with no material evidences – a conversation with Iztok Osojnik about an informal counterculture movement in 1970s Ljubljana


On Wednesday 17th of September 2014, we are discussing the origins, social context and practices of an anonymous collectivist movement which he initiated and was an active participant of. From 1975 to 1982, the movement carried out a string of intermedial actions, happenings and installations in which the line between a rock concert, performance art and a theatre show was often blurred. Firmly grounded on the principles of deconstruction and disidentification, the movement had a strong anti-institutional drive from the start; stubbornly rejecting any kind of formalization (systematical archiving, preserving records of activities, etc) and institutionalization (exhibitions, exposing in the space and context of art) of their work in an attempt to preclude their own historization.

Of special interest to us is the movement’s rock section whose representatives – Papa Kinjal Band and D’Pravda – are associated with the Ljubljana Rock in Opposition scene and in the same time represent a nucleus of post-hippy Ljubljana underground that survived the advent of punk and managed to retain its presence in the Slovenian capital well into the second half of the 1980s. For more information about Ljubljana RIO scene and the movement itself read here and here.

speaker: Iztok Osojnik
talk moderation: hogon
language: Serbian

date & time: 17.09.2014 / 7pm
place: Centar za kulturnu dekontaminaciju, Birčaninova 21, Belgrade

The event will be recorded and subtitled for the A hogon's industrial guide archive.

Gavrilov princip - (1998) Poseta [mc,not on label]


(A sneak preview of an article originally scheduled to be published on 28.06.2014 for the Czech online magazine Easterndaze)Our shadows will be roaming through Vienna,wandering through the courts, frightening the lords.(Princip’s prison cell inscription immortalized in a Belgrade graffiti)Today, on the 100th anniversary of the Sarajevo assassination, an event which ignited a sequence of international reactions which will lead to First World War and ultimately mark the downfall of the Habsburg dynasty, Easterndaze in cooperation with A hogon’s industrial guide is proud to present you a release which commemorates the man who pulled the trigger on the tottering dinosaur of imperialism in Central Europe.Claimed by leftists and nationalists alike, Gavrilo Princip is hard to classify by today’s criteria. He was Yugoslav nationalist who believed in national unity, the organic bond of language and blood and their progressive role which drives the world forwards[1], but in the same time he was also a liberationist, an anti-authoritarian figure who drew heavily from the anarchist tradition. From his standpoint, nationalist and liberationist ideas were not in necessary collision and, like many of his comrades from Mlada Bosna, he often oscillated between right-wing and left-wing politics in a way which may appear strange today.But rather then to further dwell upon matters resolved by serious historians 40 years ago (blissfully unaware of the forthcoming revisionist frenzies within the various micro-contexts of post-communist Eastern Europe), we propose a much more interesting alternative – a détournement.____Poseta (Serbian for "Visitation") is a 1998 self-released cassette of a short-lived hometaping group Gavrilov princip active in Kragujevac (Serbia, then part of rump FR Yugoslavia, successor state of SFRY) from 1993 to 1999.Gavrilov princip (Serbian for “Gavrilo’s principle”, a pun on the name of Gavrilo Princip) was a joint collaborative effort of Miodrag Saramandić from Aranđelovac (Serbia), a local demo veteran and instigator of a few DIY bands which remained unbeknown to majority of alternative music publics in Serbia, and Predrag Petrović alias Phantom, a legend of the Yugoslav hometaping network from Kragujevac (Serbia) responsible for a host of DIY experimental music projects like Fast Deadboy[2](1983-1993, 1995-), Rubbishmen alternative jazz (1984-1986) and Phantom (circa 1995), DIY punk/experimental labels such as Dead Tapes and Phantom Tapes as well as fanzines like Instant gladna igra (Serbian for “Quick hungry game”), Phantom and Larynx of the Fast Deadboy, etc.Phantom has been active in the Yugoslav underground since early 1980s as a versatile multimedia artist – poet, performer, painter[3], mail artist and a musician. In 1983 he started Fast Deadboy, quixotic brew of no-fi industrial music, punk-infused sound poetry and one-man dada theatre, arguably one of the most radical experimental music outfits within the Yugoslav cassette scene. Through his earliest works as Fast Deadboy, Phantom, a voracious autodidact and an electronics hobbyist, made a trademark of using modified, customized and entirely self-built music gear in addition to more or less standard set hometaping practices such as tape manipulation, using found instruments, etc[4]. However, later on – towards the end of the 1980s, Fast Deadboy entered in its ‘primitivist’ phase where he tried to limit the technological impact upon the creative process as much as possible in order to focus on basic acoustic experimenting in the best tradition of 1960s sound poetry. Although he was conceptually and ideologically close to the Fluxus movement, Phantom was a punk, who always self-described his music as punk, associated exclusively within the punk scene[5] and along with fellow hometapers from central Serbia like Larynx (Požarevac) and Pandora’s Shit Box (Smederevo), was long considered a sub-phenomenon of the thriving punk scene in Serbia.On the oth[...]

An introduction into the phenomenology of the Other Novi Sad scene of the 1980s – a talk with Zoran Pantelić


On Friday 13th of June 2014, we are discussing the origins, social context and alternative music practices of the Other Novi Sad scene of the 1980s with Zoran Pantelić. The Other Novi Sad scene of the 1980s was a unique front of self-organized artists in Novi Sad which operated entirely within the private sphere – usually houses and apartments of its protagonists. Having witnessed firsthand the Other Novi Sad scene from its onset and participated in its numerous formations (Naučnici, Dr. Zsivago Dark Stars, Pre i posle tišine, Abacus, Testa di Shakespeare, etc), Zoran Pantelić is a key informant on this niche of Novosadian sub-underground. For more information about the Other Novi Sad scene read here.

speaker: Zoran Pantelić
talk moderation: hogon
language: Serbian

date & time: 13.06.2014 / 7pm
place: Centar za kulturnu dekontaminaciju, Birčaninova 21, Belgrade

The event will be recorded and subtitled for the A hogon's industrial guide archive.

The diversity of diversity – the traditions of non-punk infused experimentalism in former Yugoslavia


For a variety of reasons, rock music in former Yugoslavia never achieved the status of a subversive underground movement it had in other communist states 1970s like Czechoslovakia. Instead, this status became the almost exclusive property of punk and its derivatives, since only with the arrival of punk did Yugoslavian pop culture managed to fully catch up with the West and jump onto the train of modernity. This added another dimension to the already messianic advent of punk in Yugoslavia and had a practical effect of defining all true diversity of the alternative music exclusively through punk. Such status of punk music is an obvious truism in the case of 1980s cassette experimentalism in Yugoslavia, where punk’s monolithicness was virtually unprecedented compared to its equivalent scenes in the West.This essay deals with the marginal phenomena of non-punk infused cassette experimentalism in Yugoslavia through the activities of Nikad Robom cassette edition and two sub-scenes it was affiliated with – the Rock in Opposition scene in Ljubljana and the Other Novi Sad scene in Novi Sad.The essay isn’t intended as a scholarly analysis of its subject matter and requires some basic knowledge on popular music (Rock in Opposition, cassette culture, etc) in order to cope with some portions of the text. It doesn’t employs any research methods nor it provides theoretical background of its subject matter, but rather aims to supply all the necessary contexts for its understanding. The text is primarily envisaged as a map for art historians, pop culture archaeologists and musicologists that lays out the main features as well as the topology of the alternative music terrain in 1980s Yugoslavia which isn’t indebted to punk in any way.The five large units are segmented into smaller reasonable units due to the incredibly dense look of the text in Blogger’s layout. The units are, together with notes and references, cross-linked through a table of contents to ease navigation. A great big thanks is due to my sources – Bojan Đorđević, Veljko ‘Papa Nik’ Nikolić, Zoran Pantelić, Siniša Nenadić, Milko Poštrak, Aleks Lenard, Bratko Bibič, Iztok Osojnik, Svi Marš na Ples crew (pop3 et al) and Alter Malter – without whose help this text wouldn’t be possible. Table of contents:I – Nikad Robom1.1. Introduction and general information1.2. Promoters of post-RIO content within a local context1.3. Label within a global post-RIO network1.4. Function, label policy and general characteristics1.5. Complete cassettography and analysisII – RIO in Ljubljana at the turn of the 1980s2.1. The historical contexts and cultural climate in Ljubljana2.2. The Ljubljana counterculture of the 1970s2.3. Radio Študent – the institutional underpinning of the 1970s youth culture2.4. Ljubljana RIO Festivals2.5. Ljubljana RIO three within international RIO context2.6. Ljubljana RIO momentum within a local counterculture context2.7. Begnagrad – theoldwones2.8. Srp – oppositional rock theatre2.9. D’Pravda – the tip of a sub-underground iceberg2.10. D’Pravda – socialist realist punksIII – Other Novi Sad scene of the 1980s3.1. Introduction3.2. Novi Sad and Nikad Robom3.3. General characteristics of the Other Novi Sad scene3.4. The historical contexts and cultural climate in Novi Sad3.5. This is the house – the emergence of the Other Novi Sad scene3.6. Local influences, creative impulses and formative experiences3.7. Tickmayer and the New Arts Festival3.8. Other Novi Sad band grouping3.9. Tibor Bada3.10. Ove Sezone Vedri Tonovi3.11. CirKo Della Primavera3.12. Legacy of the Other Novi Sad sceneIV – Nikad Robom tapes4.1. NR 002 Skeleton Crew - (1985) Esta es la victoria4.2. NR 003 Joëlle Léandre / David Thomas and The Wooden Birds - (1986) April u Beogradu4.3. NR 004 The Camberwell Now - (1987) Dejavnost v Študentskem4.4. NR 005 This Heat / Elliott Sharp Duo - (1987) Izgon bojazni iz komune4.[...]

Hometaping in Self-Management update 1.0


Just two quick notices:

1) You can finally order the LP at SpinVinyl (Ljubljana) and you can hear some mp3 samples on the Subkulturni Azil website.
2) Two remaining Hometaping in Self-Management promotions are due this week in Croatia and Serbia, respectfully:

03. 02. 2011 / Students' Centre Zagreb, Savska cesta 25, Zagreb
04. 02. 2011 / Museum of The 25th May, Botićeva 6, Belgrade

Both promotions start at 13:00 sharp.

See you there.

Hometaping in Self-Management


Dear friends, staunch supporters, occasional readers and disinterested sympathizers,We are proud to announce the release of Hometaping in Self-Management LP, the first in a series of retrospective Ex Yu Electronica compilation LPs that seek to highlight some of the most interesting happenings in the 1980s independent DIY experimental music scene of former Yugoslavia.As a regionally-focused testimony of 1980s non-academic experimental music practices, Hometaping in Self-Management is the first document of its kind in Eastern-Europe and as such it seeks to expand the known frontiers of the hometaping spectrum. There are elements of fundamentalism to the logic behind this compilation: if the phenomenon of Yugoslav tape experimentalism was globally perceived as a marginal, bordering on nonexistent within the 80s cassette culture – then this compilation treats it as a microcosm on its own right; if Mario Marzidovšek was generally regarded as an obscure person in the global network – then he is nothing short of a superstar on Hometaping in Self-Management ; if Sumanuti Jebači are considered a mere footnote on the Yugoslav hometaping scene – they are a key nexus on the hometaping scene of Croatian Banovina and so on.Hometaping in Self-Management presents 14 different projects from five republics of the former Socialist Federal Republic of Yugoslavia (with the exception of Montenegro) with 14 tracks spanning from 1981 to 1989. The LP comes in an edition of 300 copies, with a four pages full colour booklet and abundance of information about each individual project, a small introduction into hometaping in SFRY and a general project introduction by its initiator (Dušan Hedl). The LP is realized in cooperation of Subkulturni Azil (Maribor, Slovenia) NGO for culture and art publishing and A Hogon’s Industrial Guide (Belgrade, Serbia) research platform with the support of Ministry of Culture of Slovenia.The first of three promotional events planned for Hometaping in Self-Management LP will take place in ŠKUC, Ljubljana (Slovenia) on 10.01.2010. at 13h and you are all invited to come. The details on two other promotions in Zagreb and Belgrade, as well as information on distribution of the LP will come soon.All the best in 2011,A Hogon's Industrial Guide[...]

Electric Fish - (1986) Material Zvok [mc,not on label-re2001,cdr,Coda]


Electric Fish was a Slovenian electro-industrial unit of Matjaž Rebevšek and Ervin Potočnik from a little town Žalec, near Celje in east-central Slovenia. The original incarnation of Electric Fish emerged somewhere around 1983/84 in a fertile climate for audio-experimentalism, when in the Celje region operated such projects as Mario Marzidovšek, Sfinkter [later to become Strelnikoff], Lokalna Televizija, Juhuhu Stric Vinko In Njegovi, White Noise[1]. The period was also marked by a frequent collaborations with Italian improvisational group Musika from Trieste and an organization Coordinamento Musicale Il Posto Della Fragole which resulted in numerous performance happenings throughout Slovenia and the north of Italy, most of which were in the context of Antipsychiatry movement [for example, the closed-down psychiatric asylum San Giovanni in Trieste was a regular venue for these events]. Probably the most famous of Electric Fish's numerous live appearances happened in Udine, on the Friuli stadium in 1985 and on the other hand the most regular gigs were in Celje:here pictured: Electric Fish [Matjaž Rebevšek - synth, Ervin Potočnik - vocals] performing on a one-day festival with Mario Marzidovšek, Lokalna Televizija, Masaker, Narodni Dom Celje 1983/84Electric Fish's short 80es engagement was by all criteria - a product of a then-common do-it-yourself reasoning where it a was more important to work and be an active presence on the scene than to actually document what you were doing [not as a matter of a conscious decision of any kind, but more because of the very nature of the zeitgeist]. In that sense, Electric Fish left behind them only one 'official' tape - Optimalni Usodni Minimum [Slovenian for Optimal Humanely Minimum] released in 1987 on Das Synthetische Mischgewebe's own label - Alien Artists, very few rare compilation appearances - such as MML's Condotte Perturbate/Moteno Vedenje [with Marzidovšek, Masaker, Lokalna Televizija, Musika] as well as a 1986 'demo' tape Materijal Zvok. Matjaž and Ervin ceased all activity as Electric Fish by the end of the 1986, never to resurface with any other project. And it wasn't until 2001 and the Mestece Celje - Fantazme Osemdesetih [The town of Celje - Phantasms of The Eighties] exhibition in the Celje Gallery of Contemporary Art - that it was to be heard about them again. Members of the Electric Fish were approached by the exhibition curator Nevenka Šivavec to represent the group with some of its original sound material for the exhibition documenting the 80's local alternative practices and to that purpose the Material Zvok demo tape was transferred into CDR and rereleased in a small number of copies. With the same material Electric Fish was represented on the Oscilacije Zvoka [Sound Oscillations] exhibition in 2005 in Moderna Galerija Ljubljana.This renewal of interest somehow slowly led to revitalization of Electric Fish's activities and soon enough Matjaž Rebevšek started recording new material and even occasionally performing now and then as Electric Fish. One such occasion was in 2006 on a sculpting exhibition[2] of his former bandmate Ervin Potočnik, nowadays a conservator and a member of Slovenian Academy of Fine Arts. In 2007 Electric Fish released a mini-album Electric Field on Zdenko Franjić's legendary Slušaj Najglasnije! /Listen Loudest! label and with it for the first time in its 25 year history even broke the charts. KZSU Stanford's annual 2008 experimental music charts, that is. Standing in stark contrast with their 80's concrete industrial output, the new aesthetic direction Electric Fish undertook leans towards beautifully textured ambient soundscapes, strange and bewildering analogue modular electronics.Nowadays, Electric Fish can be found on Myspace: CDR / demo tape which I will present to y[...]

Aporea - (1988) Na Rekah Vavilonskih [mc,not on label]


The excitement of finding and sharing these kind of things was one of the reasons I started doing my blog 2 years ago. To find anything on this scale of importance in Yugoslav scene was unimaginable at the time when I stumbled upon it and so far, it really can't be paralleled by anything. It is a great joy indeed to share this.Talking about Makedonska Streljba in the last post was a nice innuendo for this one. On the very fringes of the Makedonska Streljba movement there were several very interesting developments most of whom remained unfamiliar even in the Macedonian public, let alone in Yugoslavia or world. Certainly the most important of these is Aporea or Apokrifna Realnost [or Apocryphal Reality, Macedonian Cyrillic: Апореа/Апокрифна Реалност] from Skopje, a multimedia project whose musical output could easily fit the best tradition of any ritual industrial bands that rose in mid and late 80es era on labels like Nekrophile Rekords, ADN, Touch, etc. What was an important influence for all of the bands from Makedonska Streljba, for Aporea it was a starting ground: the active exploration of the complex relationships with their own cultural and spiritual heritage through a specific postmodern, westernized frame of work - art exhibitions, music distributing, subcultural activity, as means of reconciling their people with the new reality they were heading to, but in the same time - finding an adequate modus viviendi for an individual's own spiritual continuance within the sociological context of postmodern Europe. In Aporea's mythology, the context in which that transition would be made possible is referred to as "New Europe" and it is best described in words of Goran Lišnjić's 1989 article "Lanterna Magica" about Aporea: "Spiritual nation becomes and remains in the spiritual homeland without borders".Under the spiritual guidance of Father Stefan Sandžakovski of the Macedonian Orthodox Church, Aporea was a loose collective of people of whom the most prominent were Goran Trajkoski, Zoran Spasovski, Klime Kovačevski, Metodij Zlatanov and Neven Ćulibrk. The remaining outer core was comprised of painters-iconographers and calligraphers Kiril Zlatanov (brother of the aforementioned Metodij) and Lazar Lečić as well as Predrag Cvetičanin, frontman of the Niš post-punk band Dobri Isak. On the eve of the last ever gig of Padot Na Vizantija, that took place in Banjaluka (Bosnia and Herzegovina) in July of 1985, Goran Trajkovski met an ardent fan of Padot Na Vizantija's work - Neven Ćulibrk (nowadays Father Jovan Ćulibrk, mentioned in the previous post), local alternative culture activist-journalist, part-time member of NEP and literature student with a particular interest in traditionalism and matters of faith. It was this friendship that made Aporea come to life and soon, in August of 1985 the first Aporea get-together was organized in Struga (Macedonia). In April of 1986 the very first public manifestation of Aporea was organized in the Pedagogical Academy of Banjaluka in the form of an art-exhibition that tackled the issues of the relationship between the East and the West, the traditional and the modern, through referencing and juxtaposting the diverse historical avant-gardes that existed in the Balkans in various periods of time [i.e. the art of Leonid Šejka or Ljubomir Micić's Zenitism] that also dealt with the issue. Until autumn of 1986 Aporea made the first and only issue of their fanzine of the same name, followed by the 1987 release of a fanzine-book "Apokrifna Realnost" that had somewhat of a role of a manifest. The only music document of Aporea "Na Rekah Vavilonskih" was recorded and distributed on a cheap cassette tape in 1988 for the occasion of ongoing TV documentary project about life and work of a painter-iconographer Lazar Lečić from [...]

Various Artists - (1988) The Cassette Played Poptones [compiled by Sestra Wazelin - reviewed by Sestra Hogon - 4 in 1]


Back in the days, this tape - The Cassette Played Poptones - was one of the seminal compilations of the so called industrial/experimental camp [huge quotation marks here as none of the bands present even comes close to all of the cliches connected with the particular genre], as it the was an attempt to bring closer some of the really interesting happenings in that part of the Yugoslav underground to a more wider audience [obviously, besides Laibach's and Borghesia's activities, respectively]. In that respect, the tape was one of the rare that was reviewed by the mainstream press [like Džuboks]. The importance of these kind of collaborative efforts in the individualist music scene of Yugoslavia is also mirrored by the fact that the there were so few of them, with the majority of authors usually preferring closely-knit acquaintances [if any] for collaboration and thus a more limited scope of influence, rather than this type of regional samplers. The tape compiler, Sestra Wazelin, was actually one of the participants Goran Lišnjić "Lis" from Osijek [Croatia] with his project Metropolie Trans, the other participants being Autopsia from Ruma [Serbia], NEP from Zagreb [Croatia] and Padot Na Vizantija from Skopje [Macedonia]. The tape came with a second issue of a fanzine of the same name [Sestra Wazelin], which I don't posses. The tape was selfreleased in 1988 in an unknown number of copies, ripped around 2008 in 320 kbps and split into two parts with 60 something mbs each: download - HERE. Originally published in four parts, but later merged into one for comprehension and aesthetic reasons.A word of thanks must be said to whoever ripped this, Sabrina P. Ramet - whose thoughts and references I used extensively, Nikola of Kinovia for making the creative ends meet and of course Goran Lišnjić for the abundance of information provided.The first band featuring on this 4-way compilation is Autopsia from Ruma [Serbia], nowadays world-renown name of postindustrial music with headquarters in Prague [Czech Republic]. What can be said about Autopsia that we already don't know? Quite a lot, actually. As the factographical data on Autopsia are particularly scarce concerning their first 10 years of operation and/or mostly coming from local storytellers often prone to memory lapses and hyperbole, this should be taken with a grain of salt.Autopsia is basically Rade Milinković and whoever he gets to collaborate with. In the early 1980es period these collaborators would often include multimedia artist Slobodan Šajin [from Aux Manir] and one elusive character S. Vukelić engaged in graphic design and music production, yet in the late 1980es colaborators would often include Zlatko Sakulski of nowadays global phenomena from Ruma - Vrelo and Dušan Đorđević-Mileusnić from Belgrade who provided much of the theoretical edge. Autopsia officially functioned as an agricultural art commune, located on a farm in a the nearby vicinity of Ruma often taking participation in art exhibitions throughout the country. Deeply rooted in within the punk scene Autopsia started out as a fringe-fanzine advocating individual selfrealisation and responsibility, but later significantly broadened their scope of activities. Autopsia is still active and can be found here.Autopsia provided three tracks for the comp, with two of them sounding like rather sketchy blueprints for further elaboration: both Kompozicija za Hor i Klavir [Composition For a Choir and a Piano] and Kompozicija za Hor [Composition For a Choir] respectively, feature a short libretto passage sung over and over again in a loop, creating an effect that quite resembles sampling, but it is in fact suppose to be performed as we are suggested by the track titles [on the other hand - if it is sampling then its really refined and clean[...]

King Nothing - (1994) Before And After The Silence [mc,Key-A-No Records]


The work in question is Before and After The Silence cassette from 1994 by King Nothing, the brain behind Demencija Prekoks duo/trio, cult experimental noise/punk outfit that was sort of beacon of Belgrade's underground culture throughout the 90es, mainly because of their chaotic live shows, but often branded as being too extreme or too outlandish for Serbian underground standards [albeit frequently referenced for comparisons within a very small circle of connoisseurs].King Nothing née Đorđe Dimitrijević is from Požarevac, a small city in east central Serbia that you could hardly call a punk-Mecca, yet it's mostly known for it's political power-struggles as it was stronghold of former Milošević regime during the 1990es as well as the backbone of opposition movement. King Nothing started Larynx there in 1983, making it one of the first home-made tape projects in former Yugoslavia. Firmly grounded in clear ideological principles, he wanted to make "first music of white youth, completely liberated from negro or oriental music elements" - as he himself has put it. In course of 6 years he released more than 60 tapes in limited editions on his private "LX Music LTD", very few of whom appeared elsewhere, with some featuring on Marzidovšek's Marzidovšekminimallaboratorium and one on Dragan Pavlov's own Crvene Kasete/Red Phoenix label. And it was upon Larynx's ashes that foundations of Demencija Prekoks were laid. But, more on Larynx's take on atonality and minimalism as well as Demencija Prekoks will be said in the next episodes of A Hogon's Industrial Guide.The first thing one notices is that Before And After The Silence is completely liberated of anything remotely resembling style, genre and alike yet in the same time quite coherent with what it is.On the A Side music is predominantly featuring overtreated, intertwined samples of pre-recorded synthesizer disabuse and rhythm-machine exhaustion mostly revolving around diluted punk patterns that are being overcrammed [per unit of time] with cacophonous outpourings of versatile instrumentation [toys and found bangaway objects included].. with the mentioned patterns usually ending up by being slowly dissolved towards the end of tune, gradually descending into total havoc before the track is over, a trademark of pure punk spirit. And that's pretty much where the attraction of Before And After The Silence lies: the manner in which he psychotically deconstructs each of his sordid creatures unearths a dilletantism [with a double "l"] so liberated of any pretension almost as if it was a creation of an infant.On B Side, music [again predominantly] creates a slightly different effect with all these overtreated tape loops getting a more psychedelic property and a certain introspective quality. Instead of bursting onto the unsuspected listener they just collapse onto self, ending in a sort of an anticlimax.The most glorious parts of the tape include 'State of Perplexity' and 'Don't Bring Me Hope' with their manic schizophrenia atmosphere and those 'epic' synthesizer sequences. Also, 'Moj Deo Muve' with that vague ska-like pattern being noised into oblivion.On a more technical note, the thickness of King Nothing's sound is probably best conveyed by a set of headphones, which makes the feeling of claustrophobia even more genuine [the rip being below standards, unfortunately].Released on his own Key-A-No Records. Thanks to Dr. Srele for the information. Download it - HERE[...]

Sound Is A Picture And Vice Versa





Artelier Mecano is glad to invite you to the opening of the exhibition "Sound is a picture and vice versa", Saturday 25 October, Salone Gemma ( in via S.Francesco 52A, Triest.

h. 18.30 corpi illuminanti e paesaggi sonori ("illuminating bodies & sound landscapes") - installation by Artelier Mecano

h. 20.00 marea_rumore di fondo (tides_background noises)
appunti sonori per derive psichiche (sound notes for psychedelic drifting) - Live performance on music and sounds of J.Berrocal, Cabaret Voltaire, Hanged up, M.Marzidovsek ecc. random selection and mix by M-VOID
length: about 40'

The installation makes use of music interventions by Maurizio M-VOID and present itself as a whole of sounds and visuals, where illuminating bodies and sound landscapes take shape through the use of minimal leftovers and industrial waste reinterpreted by the Artelier poetic. The title is a quote of Mario Marzidovsek, an explorer of the industrial/noise music scene in the ex Yugoslavia. During the Eighties Mario established the no profit label MML (Marzidovsek Minimal Laboratorium). He was also a prolific self-taught artist, dedicated to xerox and mail art.

Our project takes inspiration first of all by Marzidovsek music, but also by his peculiar and multifaceted personality. He was full of creative energy and able to establish a real network of artists and musicians around the world, thanks to an intense correspondence around and about the MML production. Inspired by Mario Marzidovsek the minimal resources available became our expressive strength.

P.P. Nikt


Yugoslav tape experimentalism is pretty much rare per se, but this is a rarity even for experimental music production standards in Yugoslavia. Formed in Belgrade during the latter half of the 1980ies, P.P. Nikt stands for Plastično Pozorište Nikt [or Plastic Theatre Nikt] and is the brainchild of Serbian filmmaker, theatre director and musician Dejan Vlaisavljević "Nikt".While his activities were primarily associated with filmmaking, Dejan Vlaisavljević also composed soundtracks for his films and theatre plays. In the beginning, around 1987, he was the only member of the group, performing live several times as a one man band and occasionally with the help of video/sound artist Petar Milić. The concerts combined video and film screenings, live instrumental music and spoken word. During that time P.P. Nikt recorded the four cassettes I will present here - Besmrtnost [Immortality], Great Movies, Private Eyes, Up and released all of them on his own label Nikt Music in 1989. In 1989 Mirko Mikulić and Dragan Ve Ignjatović joined in making P.P. Nikt a trio that performed several times in Belgrade and Warsaw. Later on, in 1990 Dejan dropped the 'P.P.' in the band name as well as the two other band members, teamed up with longtime friend and a colleague Igor Toholj and produced an album called Amazing Flight Stories. Soon, in the wake of war in Yugoslavia, he relocated to Amsterdam where he remains until today, making movies and just occasionally composing music.Music of P.P. Nikt was homemade experimentalism usually consisting of abstract, loop-based patterns [usually sampled from 50ies movies] and/or bedroom jams deploying lots of synths, guitars and other unidentifiable sound-sources. The overall effect of which is very emotional often mesmerizing lo-fi music made out of virtually no proper means, as a product of sheer enthusiasm. Double cassette release Great Movies is probably the most representative of this 'typical P.P. Nikt' sound.P.P. Nikt - (1989) The Great Movies [mc,Nikt Music] are - HEREPretty much in the vein of Great Movies - the suggestively titled Private Eyes album obviously evokes film noir atmospheres with it's cool jazz-reminiscent synths. It's probably the most diverse or the least coherent album in terms of style [for instance songs like: Elephant's Song or Happy], but that's the case with more or less every P.P. Nikt release. Sometimes the effects employed in making these albums - and this especially goes for Private Eyes - will leave a feeling of naivety, but that's just a part of P.P. Nikt's charm.P.P. Nikt - (1989) Private Eyes [mc,Nikt Music] is - HEREThe most implicit and intense P.P. Nikt album is Up, a soundtrack for the movie of the same name, an inhumanely minimalist piece of work occasionally contrasted with beautifully melancholic tracks 'Ponekad Kao I Uvek Nekad' [Once in a while as always sometimes], 'Posle' [After] and 'Jednog Dana Će Sve Ovo Biti Tvoje' [All of this will be yours one day] . This is P.P. Nikt at its best. The Up film is an informal remake of Tomislav Gotovac's 60ies avant-garde classics 'Pravac' and 'Kružnica'.P.P. Nikt - (1989) Up [mc,Nikt Music] is - HEREBesmrtnost stands out in P.P. Nikt's opus primarily because of the 'concrete' nature of the samples used: steel-mill echoes, machine hums, jet propulsion noises here constitute long drone symphonies that arouse feelings of silent perverse optimism in prospects of impending technological doom. If one hasn't been previously introduced to the highly implicit nature of previous P.P. Nikt efforts and his naturalist approach to sonic experimentalism - he could even argue that Besmrtnost is an example of industrial ambient and that wouldn't be too much of a mistake, either[...]

And meanwhile..


Here are the promised Marzidovsek tapes, carefully collected from all four corners of the globe:Mario Marzidovsek - (1984) I [mc,Marzidovshek Minimal Laboratorium,320kbs] - HERE [thanks to anonymous hero pop3 from Osijek,Croatia] Mario Marzidovsek - (1985) II [mc,Marzidovhsek Minimal Laboratorium,320kbs] - HERE [pop3] Mario Marzidovsek - (1985) 3 - Reincarnation Tetralogy (Dedicated to Klaus Schulze) [mc,MML,320kbs] - HERE [originally published by noisepress blog, should be Swiss if my memory serves me well] Mario Marzidovsek - (1985) 4 - Reincarnation Tetralogy (Dedicated to Klaus Schulze) [mc,MML,320kbs] - HERE [again pop3]__________________________________________________________[NO SCAN, HELP PLEASE]Mario Marzidovsek - (1985) Brutal-Minimal [mc,Marzidovshek Minimal Laboratorium,128kbs rip] - HERE [thanks to Atrax Morgue,Venezuela]__________________________________________________________[take notice : the picture doesn't portray the city Maribor in Slovenia or 'Marburg am Drau' as Germans call it, but probably a german town called Marburg!]Mario Marzidovsek - (1986) Marburg [mc,?,256kbs] - HERE [kindly donated from an excellent Slovak blog - Dualtrack][thank you, mr. De Waard for filling us in with the cover]Mario Marzidovsek - (1987) Live On The Air - Nijmegen 17.09.1987 [mc,Art & Noise Editions,128kbs rip thanks to Atrax Morgue,Venezuela] - HEREMerzdow Shek - (1987) Suicide In America & Bavarian Aquarels [mc,Staalplaat,256kbs rip] - HERE+ bonus:                   Various Artists - (1985) Steyer [mc,Marzidovshek Minimal Laboratorium,256kbs rip] - HERE [pop3]Also i owe a big thanks to Gramofonije Plocanovic for the info and huge one to Rajko Muršič for the precious article. Needless to say, if somebody would like to contribute with more Marzidovsek or MML tapes - I'd be more than happy to put them on my blog.[...]

presenting Mario Marzidovsek


Mario Marzidovšek is one of the key figures of the Yugoslav 1980s underground: an old-school industrial musician, cassette culture pioneer, versatile artist, scene organizer and a unique personality from Slovenska Bistrica (SR Slovenia). Even though he had been engaged with audio experimentation since the beginning of the 1980s, Mario Marzidovšek started releasing tapes only in early 1984. In the international casette network of the late 1980s he was a relatively familiar name having contributed to around 120 international cassette compilations (by his own account). Among his best known exploits were two solo cassettes published for two Dutch experimental music titans – a studio recording titled Suicide In America & Bavarian Aquarels (Staalplaat-Amsterdam, 1987) and a rare live show titled the other Live on the air (Art & Noise Editions-Nijmegen, 1987) ‎– as well as several appearances on various nowadays-legendary cassette compilations like Thee Book (Graf Haufen Tapes-Berlin, 1984) or Insane Music for Insane People vol. 23 (Insane Music-Trazegnies, 1988).As was often the case with 1980s hometapers, Mario Marzidovšek started out as a member of the mail-art network involved in xerox art, collages, concrete poetry, etc. As an artist, as well as a musician, he was strongly influenced by a variety of contemporary ideas, especially conceptualism. In that sense, Mario Marzidovšek perfected a whole array of Cagean stunts for extracting sounds with non-musical objects that he used in his performances. He even used to ‘make sounds’ in Laibach shows for a period of time. From 1984 to 1988, Mario Marzidovšek ran his legendary Marzidovshekminimallaboratorium (or MML) label which was responsible for more than 80 tapes in total. Mario Marzidovšek’s MML proved to be crucial in connecting and solidifying diverse scenes within former Yugoslavia – from punk and hometaping communities to people engaged in mail art and sound poetry, as well as serving as the only link of Yugoslavian hometapers to the worldwide network of hometapers and vice versa. He was also the author of the fanzine Štajerski poročevalec, in which he published his essays on music and art. In 1988 or 1989, Mario Marzidovšek aborted all his artistic activities, quit his day job as a technician in the chemical plant in Rače (SR Slovenia) and moved to Netherlands and later Germany. Not much known about his whereabouts in Western Europe, apart from the fact that he rarely performed there. Eventually, in 1990 or 1991, Mario Marzidovšek returned to his native Poljčane, a hamlet near Slovenska Bistrica, where he removed himself from public life. ___________Rajko Muršič’s excellent 1996 essay On the relationship of Global and Local Music Production: Mario Marzidovšek and his Independent Label Marzidovshekminimalaboratorium presented here is without question the single-most important resource on Mario Marzidovšek available to researchers. Hope I'll soon have some of his publications that I could share. Meanwhile, I'll post some of his tapes.Table of contents:I – MML as a catalyst of a local sceneII – MML: The hatchery of the alternativesIII – Mario Marzidovšek, his work and his nerve destroying industrial musicIV – Impact of the MML, "the first private independent label/production company" in the former YugoslaviaV – AfterwordVI – Notes and references6.1. Notes6.2. Notes by A hogon’s industrial guide6.3. References6.4. BibliographyI – MML as a catalyst of a local sceneSedanji čas vnaša šizofreničen nemir v naše napumpane duše./Present time is bringing schizophrenic unrest in our pumped souls./Mario Marzidovšek(From [...]

Abbildungen Variete - (1983) Abbildungen Varieté [mc,Galerija ŠKUC]


Abbildungen Varieté is the second most important name in Yugoslav/Slovenian oldschool industrial scene of the 1980s besides Laibach. They hailed from Slovenia's second largest city Maribor in the northeastern-most part of Slovenia, then one of the biggest Yugoslav heavy industry centres. Unfortunately, little is known about Abbildungen Varieté. We know that it that existed in the period between 1982-1987, that it was close to the Neue Slowenische Kunst (German for "New Slovenian Art") movement and that its members were Marko Ornik, Igor Zupe, Goran Majcen, Leonard Rubins and Branko Mirt. Besides the eponymous cassette release Abbildungen Varieté (Galerija ŠKUC Izdaja-Ljubljana, 1983) cassette-release, the 84 (ZKP RTVL-Ljubljana, 1984) LP compilation contribution with the track Ishodišče subjekta and a couple of cassette-demo recordings - there were no other recordings of Abbildungen Varieté. The Abbildungen Varieté release came out in November of 1983 in an edition of 230 copies and for the most part is a live-recording with a couple of studio tracks thrown in.

When compared to the rest of industrial scene back then, Abbildungen Varieté was a rare bird and defining them is certainly not an easy task. They had a strong smack of ritual-music, which is also present with Laibach and Strukturne Ptice as an inkling and played a vital role in early Autopsia. So the pool of bands we could draw parallels to would be from that milieu: Last Few Days, Ain Soph, maybe even Het Zweet. Sound-wise it's quite diverse: a bit of sinister tribal drumming with frantic clamor, a bit of solemn ceremonial chanting and a bit of ominous funeral dirges for the banishing of the Dead. Rip encoded in 320kbs by pop3.

Download it HERE.

introductory note


this blog will hopefully be an interesting place for all those on lookout for rare 80ies cassette culture gems, experimental music (and film !) aficionados and proto&oldschool industrial listeners. i personally don't have any tapes and wouldn't know how to rip them but am just driven with a feeling of what could be important. also, i'm into categorization & careful listening so that might be helpful.

hope i'll soon change this obnoxiously boring blog title.

welcome everybody :)