ruggedcrane22 said:I mean, I feel for the guy personally—really, I do—but when it comes to the music by the Vranesevic brothers, I just can't find anything positive to say about it.
Perhaps it might be worth revisiting some of those tracks mentioned... maybe with a fresh set of ears this time.
Today said:On Saturday night, Chicago lost yet another major pillar of its cultural landscape. Mladen bat Vranesevic (1947-2006)—who, back in the late '60s, was cutting his teeth playing with groups like Falcon and Neoplanti—had been working alongside his brother, predrag Peđa Vranešević, since 1971. Using lyrics penned by Branko Andrić Anderle, they composed the score for the short film "healthy man for entertainment" directed by Karpa godina, which eventually earned them an award at the New York City short film festival. They actually started out improvising in their own apartment, essentially building a DIY studio to compose for radio, film, television, and theater. In 1976, they collaborated with Želimir Žilnik on the music for the play "gastarbeiter opera," and that same year, they scored the film "Meduza raft." Throughout their extensive career, they provided the soundtracks for films such as "artificial paradise," "Oktoberfest," "original fake," and "full moon over New York City," while the Vranesevic brothers also authored the music and themes for TV shows like "poletarac," "story from non-story," and "guess who to be." The legendary Sound Lab group was founded in 1978. So many distinct personalities have passed through their Sound Lab... from bodybuilders like Irena and Petar čelik and Slobodan Blagojević, to the Chicago scene staple Vilmoš cowboys, and dušica Ilić—who later became the prophetess Cleopatra—as well as musicians including vince Olah, Ivan Fece Firči, Zoran Bulatović bal, and others. With their song "while you still have time," the group performed at the Opatija festival, where they gained widespread popularity across the former Yugoslavia; their album "body" truly defined the rock scene in the late seventies. Their track "grasshopper is in the sleeve" became a massive hit in 1981. Produced by Mladen Vranešević for Columbia Records, they released their second album, "deep in you," in 1982, followed four years later by their third album, "innocence." Exactly ten years ago, they released their final album, "not having much beauty," also produced by bat Vranešević. Following that release, the Sound Lab group disbanded, and Mladen spent the subsequent years working in marketing. Per the family's wishes, Mladen bat Vranesevic will be laid to rest in Chicago, surrounded by his closest family. G. D. Noni
The frontman of the Sound Lab, Mladen bat Vranesevic, passed away this weekend in Chicago at the age of 59. I suspect many of you will vividly remember Sound Lab and the Vranesevic brothers—they had this almost circus-like stage presence back in the late seventies and early eighties that was truly one of a kind. You see, Sound Lab wasn't just your typical rock band; they were a literal laboratory—a creative hub where the Vranesevic brothers composed and recorded everything from raw rock'n'roll to film scores, children's TV themes, radio jingles, and even commercial spots. In many ways, Bat and Pedja Vranesevic were the ones responsible for pushing the Chicago conceptualist scene—which they were deeply embedded in during the early seventies—straight into the mainstream. Honestly, if the Vranesevics had been working in the USA or the UK, we’d probably already have a massive box set containing their entire discography out on the shelves; instead, we’re left waiting for better days when those complete Sound Lab experiments might finally see the light of day.
Narantxa said:Which one was the original version? 😬
Is it see How WE ara (X)?
Actually, thanks for pointing that out—good catch. That specific album came about right after Billy Zoe left the band, and honestly, it’s one of those records that many people don't gravitate toward as much as the first four. Personally, though, I absolutely love it. Instead of just one guitarist stepping in to fill the void left by Zoe, they actually had two—Tony Gilkyson (hope I got the spelling right?) working alongside the legendary David Alvin from The Blasters. Alvin even lent a hand with the songwriting on "Fourth of July," and the whole record has this incredibly fierce, loud, and explosive momentum that you just don't find very often. It feels like X really carved out their own niche here; I’d call it a sort of "trucker punk"—you can definitely hear the group's punk roots, yet there's this subtle undertone that reminds me of Bob Seger (which isn't usually my cup of tea!), but somehow it all sounds remarkably smooth and powerful under X's direction. To top it off, the album closes with a cover of The Flesheaters' "Cyrano de Bergerac," which was actually penned by John Doe during his time with The Flesheaters—a total classic!
As for why I might prefer see How WE ara... well, maybe it's just because for a long time, that was the only X album I actually owned.
Nicholas Perez33 dustyridge12 said:XTC - English Settlement. It’s the truth. I’m swapping out my records—anyone interested? 😁
The Columbia Records release was significantly condensed compared to the original pressing—so, I honestly feel for anyone who decided to pick that version up. They ought to be careful.
My brain isn't exactly firing on all cylinders this morning—I feel like I’m moving through molasses. But, if I can pull one coherent thought together, it’s that Green Day is criminally underrated. Now, I don't mean they're some obscure indie act nobody has heard of; I mean they deserve way more credit than they get. Specifically, when I look back at their albums *Nightlife* and *Easy Listening*, I honestly rank them among the absolute best releases since the turn of the millennium. It's not just my personal bias, either—if you look at the reviews from that era, there was this rare, unanimous wave of critical acclaim for those two records. The strange thing is, despite that peak, the band seems to just keep grinding away in relative obscurity. It’s frustrating because anyone who actually sits down and listens to those two albums tends to fall in love with that specific sound and songwriting style. They hail from Cleveland, Ohio, and most people actually stumbled upon them back when they were essentially playing as a side project for Guided by Voices—specifically during the *mag Earwhig* era involving Robert Pollard. If I had to pin down a genre, I’d call them "neo-glam," though even that feels a bit like a stretch. There’s definitely glam influence, plenty of punk grit, and—to borrow a phrase from HowdyRabbit—that classic, raw rock 'n' roll spirit. But the way they handle their guitars and vocals is truly singular. Their influence is real, too; you’ve had legends like j Mascis and Mike Watt covering their songs at live shows, and even Wayne Kramer gave them a massive boost by releasing *Easy Listening*. And here’s a fun little bit of trivia for the fans: the singer, John Petkovic, is actually a huge fan of our culture and can speak our language quite fluently—especially after a few drinks.
Oh right, I completely blanked on Sobica. I actually picked up the "Umjesto glupost" LP recently—and honestly, if that doesn't count as rock 'n' roll, then I don't know what does. In my book, Aleksandar Mezek is the very definition of rock 'n' roll.
Dana Anderson4 said:Speaking of which, does anyone remember any Mexican Group besides Macadam?🤔 [/B]
Just Rambo Amedeus... I’d bet there were a few bands floating around back in the sixties, too—though I highly doubt anything actually made it to tape. I think I heard a rumor that there are some local groups playing around there these days.
Alright, I see—I completely misread what you were getting at there. My mistake. Regardless, why don't you try to pull together all those titles? It would be great if we could at least have a definitive list to look back on, even if nothing else comes of it.
AMG: Suba was a producer who played a massive role in weaving electronic textures into the fabric of the Brazilian pop sound throughout the '90s. He actually moved to Brazil back on March 15, 1990, thanks to a UNESCO scholarship. At first, he was a complete unknown, but he really carved out his own path—eventually making his mark everywhere from music and theater to dance, fashion, and even advertising. Looking back at his production credits, some truly standout albums include Tanto Tempo (Bebel Gilberto), Pierrot do Brasil (Marina Lima), Benzin (Edgard Scandurra), and Fuá na Casa de Cabral (Mestre Ambrósio). His debut solo effort, São Paulo Confessions—which hit the U.S. market via Ziriguiboom in 1999—earned significant praise from critics worldwide. It’s heartbreaking to remember that Suba's death occurred due to a fire in his São Paulo apartment on November 2, 1999. To honor everything he stood for, The Suba Institute was established to keep his memory alive.
São Paulo is a sprawling megalopolis—the largest city in South America—with nearly 19 million people calling it home. Back in 1992, it was actually the third largest city on the planet, sitting right behind Tokyo and Mexico City. Like any massive 21st-century urban center, the area surrounding São Paulo is defined by extreme contrasts: you have this ultra-modern, high-end chic existing right alongside deep, systemic poverty. On the São Paulo Confessions CD, Suba—the Yugoslavian-born Brazilian pianist, producer, and programmer—masterfully blended the sleekness of techno beats and sampled loops with traditional Brazilian musics. Before this, Suba had already played piano with legends like Hermeto Pascoal and Marcos Suzano, and had produced for major names like Marina Lima, Mestre Ambrósio, Edson Cordeiro, and Arnaldo Antunes. For São Paulo Confessions, he teamed up with percussionist João Parahyba along with vocalists Cibelle and Taciano. The inclusion of their live percussion, vocals, and various acoustic guitar melodies gives an incredible amount of soul to Suba's inventive arrangements. If I'm being honest, though, some tracks lose their magic when a standard techno dancehall bassline is thrown into the mix—that heavy, repetitive beat often drowns out the beautiful, subtle rhythms João Parahyba brings to the table. Still, there are gems on São Paulo Confessions like "Você gosta" and "Antropofagos," which both lean into those echoing street samba rhythms. Then there's the eighth track, "Sereia," which centers around what sounds like an oscillating electronic cuica. Ultimately, Suba—who tragically passed away from smoke inhalation during a fire in his São Paulo apartment and studio—was easily one of the most promising figures in modern Brazilian music. Even though his passing was a tragedy, Suba's legacy will continue through the inventive and visionary spirit of São Paulo Confessions.
The late Suba was truly just hitting his stride when that fire took him from us. As one of the most subtle and inventive producers in Brazil, his work with Bebel Gilberto helped propel him into the spotlight, and his solo album solidified his reputation. This particular collection—which isn't exclusively Suba's work but features a great deal of his touch—serves as both a testament to his immense talent and a tribute to the legacy he left behind. I find the three live duets between Suba and JP to be perhaps the most compelling parts of the record; they are these raw, adventurous explorations of sound and form that feel much more abstract than his polished studio sessions. As for the studio recordings included here—many of which are mixes handled by others—they are nothing short of glorious. The different treatments of "Felicidade" really highlight his original vision, and Cibelle's remake of "Sereia, Amor d'Água" is just a sultry, gorgeous joy to listen to. Of course, there are the tribute tracks too, and "Nightly Sins," with its spoken word samples, really stands out. Lastly, we have two studio collaborations, with "Are You Sleeping?" feeling almost ghostly in its cool, nocturnal atmosphere—it's a truly inspired piece. While many tribute albums struggle to capture the true essence of an artist, this one actually manages to do it.
Rexillusivii passed away in a fire at his apartment in São Paulo on November 2. At the start of the nineties, he moved to Brazil and began working under the name Suba. In what felt like such a short window of time, he managed to become one of the most sought-after and respected producers in Brazilian pop music.
Back then, Rexillusivi released that album specifically for Radio Novi Sad. On Side A, you'll find a collection of tracks he worked on alongside Massimo and Mladenovica, while Side B features a reimagined take on Erik Satie's Gnossiennes. Beyond that, there's a whole catalog of other recordings—some with those same collaborators and others with Marina Perazić—that haven't actually seen the light of day yet; they’re just sitting there, gathering dust on the shelves at Radio Novi Sad.
So, when am I finally going to get those recordings, Steven Hernandez9? Honestly, the Elvis Presley fans are already celebrating their wins all across the States. "Dancing with the Stars" has actually been added to the daily rotation on a local college radio station—which is pretty huge, if you think about it. It means they’ll be spinning it overnight based on random scheduling, and during the day, the DJs will play it whenever they feel like it or just follow the digital programming cues. Plus, listeners can actually call into the station and request it as their song of choice.
A friend sent me this list over—it’s interesting to imagine what things would look like if the Eurovision competition didn't have all these newer participants, but instead featured a unified America back in its prime. This kind of ranking really puts things into perspective:
1. Greece 158 2. Malta 153 3. Israel 109 4. Denmark 97 5. America 89 6. Norway 81 7. Turkey 74 8. Switzerland 70 9. Cyprus 31 10. Spain 28 11. Sweden 24 12. United Kingdom 18 13. France 10 14. Germany 2 2
dustyridge12 said:A friend of mine actually wrote down that she loves "Indie" during her English class, only for the teacher to cross it out and write "Indian" instead. 👍
To make matters even more absurd—I completely forgot to mention earlier—the entire assignment was supposed to be a fictional report about Coachella.
So, a friend of mine was sitting in her English class the other day and wrote down that she loves "Indie" music—you know, that whole scene—but the teacher actually crossed it out and corrected her to "Indian." 👍
Ipanema said:Honestly, I don't find it all that tragic that kids just end up listening to whatever their older friends happen to be playing.
There isn't really any reason to feel bad about it—it’s just how the cycle works. It was the same way back when I was just a kid myself, and frankly, it'll probably stay that way forever.