ZAGORO MOJA
Ante Tešija
Hrvoje Bubić: Intervju s Ivan Mirkov Vinski
Hrvoje Bubić
Ivan Mirkov Vinski je gitarist kultnog post punk/noise sastava Trobecove Krušne Peći. Za Solin Live nam govori o Zagrebu 80’ih, nazivu benda kao i kontroverzama vezanim koje ime benda izazvalo, projektu Vivo Glorio i o live albumu Ether.
Kao uvod, možete li nam reći o samim počecima Trobecovih Krušnih Peći, kao i problemima vezanim za ime benda. Kakva je bila atmosfera Zagreba 80′?
Kada si mlad, načitan, naslušan, drzak, neobuzdan, bez dlake na jeziku, sa potrebom i krikom u grlu za pravednijim svijetom i željom do to čuju svi, stvori se i energija koja u taj, danas bismo rekli Cloud, privuče i generacijske istomišljenike. Bara (Mario Barišin – bass) i Bega (Darko Begić – vokal), školski prijatelji, susjedi i zaljubljenici u Rock n’ Roll, 1981. g. odluče osnovati bend. Bega predloži ime Trobecove Krušne Peći (ime je uzeto po tadašnjem serijskom ubojici koji je svoje žrtve spaljivao u krušnoj peći o čem se digla velika medijska prašina u tadašnjoj državi od 22,5 miliona stanovnika). U komunističkoj Jugoslaviji nije smjelo biti zločina, pogotovo ne takvih razmjera, o tome se šutjelo, vladao je totalni medijski muk, to je naprosto bilo strogo zabranjeno … i onda, neka omladina još po tome imenuje svoj bend … i to MORA biti sankcionirano. Ali, da se vratimo. Dakle, nakon niza promjena u postavi, bend se ustalio u sastavu: Bara, Bega, Dorvak Gordan (bubnjevi) i Damir Kolarec (gitara) – počinjemo sa ozbiljnim radom i ambicijama. 1983. g. nastupamo na 12. Muzički biennale Zagreb, hrvatskom festivalu suvremene glazbe međunarodnog karaktera i imenom benda sablažnjavamo široki auditorij i šokiramo prisutne sa pjesmom Lutka, u kojoj Bega u naručju drži lutku koja na francuskom pjeva neku dječju pjesmicu. Ta fotografija se nalazi na naslovnici LP-ja “s mukom žvaču trubadurov vrat”. I tako postanemo trn u peti ondašnjeg komunističnog režima (SFRJ), privode nas, ispituju, skidaju plakate, zabranjuju koncerte, itd. … Ubrzo, nakon tog nastupa, dolazi do promjene u bandu, gitaru preuzima Ivan Vinski, a kasnije, kao gost dolazi i saksofonist Damir Kafka Prica – Capri. U toj postavi (Bara, Bega, Dorvak, Vinski i povremeno Capri) nastaju sve pjesme koje su zabilježene na bogato opremljenom albumu “s mukom žvaču trubadurov vrat”, koji je eto, zaslugom divnih ljudi koji su pronašli sav taj pogubljeni materijal tijekom svih ovih nesretnih ratnih godina, ipak ugledao svjetlo dana.
Pitaš za atmosferu Zagreba 80-tih? Pitaš za grad koji nimalo ne liči na današnji Zagreb. Puno ljudskiji, otvoreniji, topliji, grad sa kojim smo bili u nevjerojatnoj intimnoj vezi. Imao je karakter i stav. Imao je moralne kvalitete. Taj Zagreb nije imao nikakve šerife. Vrvio je istinskim životom. Tete za šankovima, pogotovo u Tinovom Blatu su bile naše frendice, pekari u noćnoj smjeni su nam bili prijatelji. Tramvajci, boemi, brijači, mačke, bakice, taksisti, platane, golubovi, ranojutarnji besplatni jogurti, profesori, studentice, kolporteri, osobenjaci … … svi smo bili prijatelji. I puno, puno toga lijepoga, ali bi preplavilo ovaj naš razgovor.
Napravili ste dosta demo snimki plus snimku koncerta Ta Krvava Prošlost, dok prvi, pravi album, S Mukom Žvaču Trubadurov Vrat je izašao tek 2013 . Recite nam nešto o tim snimkama, kao i o albumu S Mukom Žvaču Trubadurov Vrat.
Vrlo je važno naglasiti da su sve društvene strukture 80-tih bile duboko impregnirane tadašnjim režimom, koji nas je odgurao na rub ilegale i samim time zatvorio sva vrata izdavačkih kuća. Bilo je i pozitivnih reakcija, konkretno iz ondašnje Slovenije … ali nakon kratkog vremena bi se svi razbježali iz straha da im režim ne zatvori neke špine. A, čime smo sve to zaslužili? Imenom? A tko smo mi? Pa, četvorica mladih kreativaca koji kroz umjetnički izričaj ukazuju na nepravilnosti društva. Sada to možemo reći, a onda bismo za ovo preko noći završili na Golom otoku. Pjesma “Armija” je naaajveća šamarčina trećoj po veličini armiji (kako su je nazivali), u vremenu kada ti ode glava ako samo nešto zucneš protiv nje. Teško je to razumjeti ljudima rođenim nakon 1990.g. Krušne peći su tvornica za proizvodnju kruha, simbola života i mira, koju je pomahnitali direktor pretvorio u tvornicu Zla. Na svoj prvi plakat smo stavili sliku iz njegove osobne karte, dakle javno, ukazujući na sve zločinačke direktore ondašnjeg i današnjeg realiteta. Sve što smo radili u 80-tima radimo i danas, a to je veličanje ISTINE, ISPRAVNOSTI, MIRA, LJUBAVI i NENASILJA; točno tim redom. Kada Istina postane čovjekov dom on postupa Ispravno i u njega se useli Mir, preplavi ga Ljubav i Nenasilje. Trobecove Krušne Peći su zrcalo, ogledalo stvarnosti. Tko to ne razumije, “neka ide doma”.
Malo sam zabrijao, da se vratim tvom pitanju.
“Ta Krvava Prošlost“ je snimka koncerta održanog u Kopru, Slovenija 15.05.1987. g., objavljena na kazeti koju smo sami opremili.
“S Mukom Žvaču Trubadurov Vrat” (stih iz pjesme “Boje noć u krv”) je kompilacijski paket i prava priča na 180 gramskom vinilu sa dva CD-a na kojima se nalaze sve dostupne demo i koncertne snimke nastale od 1981. do 1987. te DVD materijal koji nudi snimke s koncerata (Zagreb, ’82.; Ljubljana ”85.), snimke uživo, demoe i videospotove. Dakle, u paketu se nalazi “Ta Krvava Prošlost“ live iz Kopra i “85”-tica, materijal snimljen u studiu Boruta Činča (član “Buldožera”) u Ljubljani u razdoblju od 09-16. 04.1985. g. I to sve zahvaljujući enormnom trudu Kornela Šepera i Igora Mihovilovića koji su nakon višegodišnjeg prekopavanja po arhivima, po gradu i tko zna gdje i kako prikupili sav taj opsežni pogubljeni materijal.
Nevjerojatno, ali je istinito – nakon 30 godina su nam izdali ljudi album. Bez obzira na to što je izdavač “Dirty Old Label”, u realiziranju ovog, neznam kako bih ga nazvao, čuda, pomoglo je 15-ak nezavisnih etiketa, te niz privatnih osoba.
Da li naslov albuma “s mukom žvaču trubadurov vrat” koji je dobio ime po stihu iz pjesme “Boje noć u krv” ima neko posebno, za vas dublje značenje. Kakav bi po vama bio prijevod?
Ne postoji prijevod. Značenje je slojevito i intimno. Svaki slušalac pjesme, svojim tajnim ključem otključava skrivena vrata sobe pod imenom “Boje noć u krv” i ulazi kao istraživač u egzotičan svemir zla i iz njega izlazi obogaćen jasnijim shvaćanjem sebe i svijeta oko sebe., kad got osjeti potrebu za proširenje uma služeći se apstrakcijom. Dotični Psihopat, koji je krušne peći koristio za svoja luđačka orgijanja je Trubadur koji je sa seoskih zabava u SLO zabiti, obučen u zalene hlače i žutu jaknu, zavodio žene i odvodio ih kući na svom mopedu, svojevrsnom batmobile-om na After Party.
Tijekom 2005. ste se okupili pod imenom Viva Glorio, čiji je materijal producirao Andy Gill iz Gang Of Four. Kažite nam malo više o Viva Glorio projektu, kao i povratku starog imena benda?
Da, Viva Glorio je pokrenut na želju Damira Kolareca (gitarista od 1981. do 1983.) Potpuno novi materijal koji smo napravili za album rezultirao je odlukom da to radimo pod novim imenom, sa stavom; “Prošlost ostavljamo strvinarima, budućnost vračarama a sadašnjost je naša” Sama glazba je bila drugačija, nismo svirali stvari od TKP. Andy Gillu smo poslali materijal, dopao mu se i tako smo ostvarili suradnju. Drago nam je da smo imali priliku upoznati tog čovjeka.
Ponovnim okupljanjem, u originalnoj postavi koja je radila i snimala u vremenu koje dokumentira prvi album, nastavljamo rad pod imenom TKP
Bili ste u Splitu 30. 1.2015, u klubu Kocka, što je snimljeno kao live album Ether. Primjetio sam da su na tom live albumu pojavljuju pjesme kojih nema na albumu S Mukom Žvaču Trubadurov Vrat, možete nam kazati više o tome?
U Kocku smo došli 30.1.2015. na poziv Nataše Kadin. Susretljivi ljudi iz tehnike (Sula) su nam predložili da snime taj koncert, jer su dopremili i namjestili sve potrebno da se to profesionalno odradi – ako se mi slažemo. Bili smo ugodno iznenađeni jer u toku dogovaranja koncerta o nečem takovom nije bilo niti riječi. I naravno, pristali smo. Nakon preslušavanja materijala smo se odlučili da taj odlično urađen posao stavimo na vinil. Snimanje u Kocki, i kasnije producentski posao, je odradio Hrvoje Pelicarić u Funhouse Studiu u Zagrebu, u kojem nismo dodatno dosnimavali niti jedan ton. I da ne ostane, da baš nismo, snimili smo na jednome mjestu tri E tona na klaviru, na “Moj slučaj”.
Što se tiče drugog dijela pitanja, ovako, “Trobecove Krušne Peći” su stvaralački bend, ne bend koji parazitira na staroj “slavi”. Okupili smo se 2012.g. kako bismo promovirali album “S Mukom Žvaču Trubadurov Vrat“, i taj koncert se i dogodio 25. 05. 2013. u klubu Močvara u Zagrebu, otada ne možemo jedni bez drugih :). Eto, radimo nove stvari i do sada smo odsvirali puno koncerata; npr. sve ljubljanske klubove, sve zagrebačke klubove, više puta BG, Osijek, Šibenik, Novi Sad, Koprivnicu, Čakovec, Tam Tam u Sućuraju, Žedno uho u Primoštenu … i još toga, zovu nas u Grčku, imamo ponude za Slovačku, Mike Watt (Minutemen, Dos, Firehose, Big Walnuts Yonder, Banyan, The stooges) nas jako voli i zove u LA, John Robb (The Membranes, Goldblade) u Englesku … ali sada je svijetom zavladalo ludilo i sve je stalo, propalo nam je 5 dogovorenih koncerata tijekom 3. i 4. mjeseca; čekamo.
Za kraj, koji su Vam budući planovi, novi album? Kada ćemo Vas ponovno vidjeti u Splitu?
Novi album je u pripremi. Materijal je snimljen u Autonomnom kulturnom centru Attack u Zagrebu, pod vodstvom našeg dragog tonmajstora Igora Ivankovića, na drugačiji, poseban, egzotičan način … kao kuriozitet, za tvoje čitaoce – bubnjevi su snimani u ogromnoj dvorani sa 18 mikrofona, pomno raspoređenih, gitara isto tako – na pravom stage-u sa 4 mikrofona … uglavnom, puno lipih stvari, ma nesmin kazat. Veoma smo zadovoljni kako je tome pristupio.
U Kocki (ST) smo trebali svirati prije ljeta, ali eto. Inače, u Kocki smo svirali dva puta ,prekrasno iskustvo i uspomene i radujemo što skorijem druženju sa sjajnom splitskom publikom.
ENGLESKI PRIJEVOD
As an introduction, can you tell us about the very beginnings of Trobecovi Krušnih Peći (Trobec’s Brick Ovens), as well as the problems related to the band’s name. What was the atmosphere of Zagreb 80 ‘like?
When you are young, well-read, listening, impudent, unrestrained, without a hair on your tongue, with the need and cry in your throat for a fairer world and the desire to hear it all, an energy is created that attracts generational like-minded people to that, we would say Cloud today. . Bara (Mario Barišin – bass) and Bega (Darko Begić – vocals), school friends, neighbors and lovers of Rock n ’Roll, in 1981 decided to form a band. Bega suggested the name of Trobecove Krušne Peći (Trobec’s Brick Ovens, the name was taken after the then serial killer who burned his victims in a bread oven, which caused a great deal of media dust in the then state of 22.5 million inhabitants). There should have been no crimes in communist Yugoslavia, especially not of such proportions, there was silence about it, there was total media silence, it was simply strictly forbidden … and then, let the youth name their band after that … and it MUST be sanctioned.
But let’s go back. So, after a series of changes in the line-up, the band settled down in the composition: Bara, Bega, Dorvak Gordan (drums) and Damir Kolarec (guitar) – we start with serious work and ambitions. In 1983 we performed at the 12th Zagreb Music Biennale, a Croatian festival of contemporary music of international character, and with the band’s name we offended a wide audience and shocked the audience with the song Lutka, in which Bega holds a puppet in her arms singing a children’s song in French. That photo is on the cover of the LP “s mukom žvaču trubadurov vrat” (“chewing the troubadour’s neck with difficulty”). And so we become a thorn in the side of the then communist regime (SFRY), they arrest us, interrogate us, take down posters, ban concerts, etc … Soon after that performance, there is a change in the band, the guitar is taken over by Ivan Vinski, and later, as saxophonist Damir Kafka Prica – Capri is also a guest. In this line-up (Bara, Bega, Dorvak, Vinski and occasionally Capri) all the songs recorded on the richly equipped album “with difficulty chewing the troubadour’s neck” are created, which is thanks to the wonderful people who found all this executed material during all these of the unfortunate war years, yet saw the light of day.
You ask about the atmosphere of Zagreb in the 80’s? You ask about a city that does not look like today’s Zagreb at all. Much more human, more open, warmer, a city we were in an incredibly intimate relationship with. He had character and attitude. He had moral qualities. That Zagreb did not have any sheriffs. He was bustling with real life. Ladies at the bars, especially in Tinovo Blato, were our friends, bakers on the night shift were our friends. Trams, bohemians, barbers, cats, grandmothers, taxi drivers, plane trees, pigeons, early morning free yogurts, professors, students, colporteurs, personalities … … we were all friends. And a lot, a lot of nice things, but it would overwhelm this conversation of ours.
You made a lot of demos plus a recording of the concert “Ta Krvava Prošlost” (That Bloody Past), while the first, real album, S Mukom Žvaču Trubadurov Vrat was released only in 2013. Tell us something about those recordings, as well as about the album “S Mukom Žvaču Trubadurov Vrat” .
It is very important to emphasize that all the social structures of the 80s were deeply impregnated by the then regime, which pushed us to the brink of illegality and thus closed all the doors of publishing houses. There were also positive reactions, specifically from the then Slovenia … but after a short time, everyone would run away for fear that the regime would close some spins. And how did we deserve it all? By name? And who are we? Well, four young creatives who point out the irregularities of society through artistic expression. Now we can say that, and then we would end up on Goli Otok(Goli Otok is a barren, uninhabited island that was the site of a political prison which was in use when Croatia was part of Yugoslavia) for this overnight. The song “Army” is the biggest slap in the face to the third largest army (as they called it), at a time when your head is spinning if you just say something against it. It is difficult to understand this for people born after 1990. Bread ovens are a factory for the production of bread, a symbol of life and peace, which the mad director turned into a factory of Evil. On our first poster, we put a picture from his ID card, that is, publicly, pointing to all the criminal directors of the then and present reality. Everything we did in the 80s we do today, and that is the glorification of TRUTH, RIGHTNESS, PEACE, LOVE and NONVIOLENCE; exactly in that order. When the Truth becomes man’s home, he acts Rightly and Peace moves into him, overflowing with Love and Nonviolence. Trobecove Krušne Peći are a mirror, a mirror of reality. Who does not understand this, “let him go home.”
I thought a little, to get back to your question.
“Ta Krvava Prošlost“ is a recording of a concert held in Koper, Slovenia on May 15, 1987. g., published on a cassette we equipped ourselves.
“S Mukom Žvaču Trubadurov Vrat” (a verse from a song “Boje noć u krv”; They paint the night in blood) is a compilation package and a real story on 180 gram vinyl with two CDs on which are all available demo and concert recordings made from 1981 to 1987 and DVD material that offers recordings from concerts (Zagreb, ’82; Ljubljana ” 85.), live recordings, demos and videos. So, the package includes “Ta Krvava Prošlost” live from Koper and “85”, material recorded in the studio of Borut Činč (member of “Bulldozer”) in Ljubljana in the period from 09-16. 04.1985 Mr. And all thanks to the enormous efforts of Kornel Šeper and Igor Mihovilović who, after many years of digging through the archives, around the city and who knows where and how, collected all this extensive executed material. Unbelievable, but true – after 30 years people released us an album. Regardless of the fact that the publisher is “Dirty Old Label”, in the realization of this, I do not know what to call it, miracle, helped by about 15 independent labels, and a number of private individuals.
Does the title of the album “s mukom žvaču trubadurov vrat” (Chewing the Troubadour’s Neck with Difficulty), which was named after the verse from the song “Colors of the Night in Blood”, have a special, deeper meaning for you. What do you think would be the translation?
There is no translation. The meaning is layered and intimate. Every listener of the song, with his secret key, unlocks the hidden door of the room called “Colors of the night in blood” and enters as an explorer into the exotic universe of evil and leaves it enriched with a clearer understanding of himself and the world around him. by abstraction. The Psychopath in question, who used bread ovens for his crazy orgies, is the Troubadour who seduced women from village parties in SLO, dressed in green pants and a yellow jacket, seduced women and took them home on his moped, a kind of batmobile at the After Party.
During 2005, you came together under the name Viva Glorio, whose material was produced by Andy Gill from Gang Of Four. Tell us a little more about the Viva Glorio project, as well as the return of the old band name?
Yes, Viva Glorio was launched at the request of Damir Kolarec (guitarist from 1981 to 1983) The brand new material we made for the album resulted in the decision to do it under a new name, with an attitude; “We leave the past to carnivores, the future to sorcerers and the present is ours” The music itself was different, we didn’t play things from TKP. We sent Andy Gill the material, he liked it and that’s how we collaborated. We are glad to have had the opportunity to meet this man.
By reuniting, in the original lineup that worked and recorded at the time documenting the first album, we continue to work under the name TKP.
You were in Split on January 30, 2015, at the Kocka club, which was recorded as a live album Ether. I noticed that there are songs on that live album that are not on the album S Mukom Žvaču Trubadurov Vrat, can you tell us more about that?
We came to Kocka on January 30, 2015. at the invitation of Natasha Kadin. Friendly technicians (Sula) suggested that we record the concert, because they delivered and arranged everything necessary for it to be done professionally – if we agree. We were pleasantly surprised because there was not a word about something like that during the concert. And of course, we agreed. After listening to the material, we decided to put this well-done job on vinyl. The recording in Kocka, and later the production job, was done by Hrvoje Pelicarić in the Funhouse Studio in Zagreb, where we did not record a single tone. And not to be outdone, if we hadn’t, we recorded three E tones on the piano in one place, on “My case”.
As for the second part of the question, like this, “Trobecove Krušne Peći” is a creative band, not a band that parasitizes on the old “glory”. We gathered in 2012. in order to promote the album “S Mukom Žvaču Trubadurov Vrat”, and that concert took place on May 25, 2013 in the Močvara club in Zagreb, since then we can’t do without each other :). Here, we are doing new things and so far we have played a lot of concerts; eg all Ljubljana clubs, all Zagreb clubs, several times BG, Osijek, Šibenik, Novi Sad, Koprivnica, Čakovec, Tam Tam in Sućuraj, Žedno uho in Primošten … and more, they call us to Greece, we have offers for Slovakia , Mike Watt (Minutemen, Dos, Firehose, Big Walnuts Yonder, Banyan, The Stooges) loves us very much and calls us to LA, John Robb (The Membranes, Goldblade) to England … but now the world is in a frenzy and everything stops , we missed 5 scheduled concerts during the 3rd and 4th month; we are waiting.
Finally, what are your future plans, a new album? When will we see you again in Split?
A new album is in preparation. The material was recorded at the Autonomous Cultural Center Attack in Zagreb, under the direction of our dear sound engineer Igor Ivankovic, in a different, special, exotic way … as a curiosity, for your readers – the drums were recorded in a huge hall with 18 microphones, carefully arranged guitars also – on the right stage with 4 microphones … mostly, a lot of nice things, I can’t say. We are very pleased with how he approached it.
We were supposed to play in Kocka (ST) before the summer, but here we are. By the way, we played in Kocka twice, a wonderful experience and memories and we are looking forward to spending time with the great Split audience as soon as possible.
