VLATKO STEFANOVSKI

Hmmm... I do not think that this CD please me. First because the music is not Prog. Second because modern. But if I am sincere this CD is important in my discography because it is a Vlatko Stefanovski's CD with Manu Katche (drums) and Gibonni (vocals). However, this does not mean that 'Kula Od Karti' succeed enjoyed me. But rather because 'Kula Od Karti' is very modern and, I believe, POP.

Sure 'Kula Od Karti' contain very good songs: 'Pesna za prijatelot', 'Nostalgija', 'California', 'Daydream' and 'Goodbye George'. But this fact does not change slightly my opinion.

Yet this CD in the car becomes very interesting. This because the songs are written in a good manner.

This 'Kula Od Karti' transmit me and this is my point of view about 'Kula Od Karti'.

This compilation is the best of Vlatko Stefanovski OST for these films: 'Suicide Guide', 'Gypsy Magic', '3 Letnja Dana (Three Summer Days)', 'Journey To The Sun' and 'Skyhook (Nebeska Udica)' (all these films are unknown by me).

The style is various, also if the Folk component (Balkan Folk) is not always recognizable at first listening, is clear that 'Kino Kultura' is an album without POP songs. For a correct view, without knowledge the films, it is difficult to judge the songs. In this sense some songs seems not good but only because functional as soundtrack and this fact penalize a proper understanding.

But believe me: in a certain sense these songs are not simple. In fact the construction of these songs is extreme close to Jazz, also if I speak of composing manner because the style is not Jazz. If you know the style of Goran Bregovic's OST you note that Stefanovski's OST are more dark, reflective and... Untidy. In general if Bregovic is the day, Stefanovski is the night. And this is not only cause because the films are from different genres. Certainly the level is the same: too high.

My view of 'Kino Kultura' is also my consideration of 'Kino Kultura': a great example of World Music, extremely Prog but not Prog.

(P.s.: Probably if I speak of a definition of modern Prog Stefanovski is a good example).

This is the first album in series with Vlatko's collaboration with classically-trained guitarist Miroslav Tadic. Collaboration (and album itself) was (and still is) a huge success in countries of former Yugoslavia (and not only there), partly because of Stefanovski's comeback to the musical scene, and partly because collaboration of these two skilled guitarist turned out to be a perfect amalgam of something completely new on world-music scene.

It's absolutely unnecessary to describe Stefanovski's astonishing guitar technique(s) because thousands of pages of reviews worldwide described him (with lots of "oohs" and "aahs") already as extraordinary virtuoso, but the name of Miroslav Tadic is the new boy in progressive rock town. He is an extraordinary technician as well, and it's really difficult to imagine any other world-class guitarist that will fit in the picture better. Tadic proved he is the perfect man for making gorgeous tapestries among Stefanovski's expressive solos. He (Tadic) is one of those rare musicians who is capable to create lovely, dreamy, floating (but not "new-agey" and dull) backgrounds using unusual chords and chord progressions without sounding "avant-guarde" or "dissonant".

To be very honest, this album is got almost nothing to do with progressive rock. Why? It's without any doubt progressive (and "progressive" if you want) but you will find "rock" (in widest possible context of that term) only in traces. Okay, Stefanovski occasionally uses E-bow on his dobro (He's plays classical, acoustic C&W and dobro guitars) and you may spot few blues-like string bendings, but that's about it.

So what's going on inside the sleeve?

Well, all the compositions are instrumentals, guitar duets. No sign of percussions (except for the guitars themselves), no sign of keyboards, bass or any other instrument from the rock heritage. Just loads of reverberation.

All the tracks are old Macedonian folk songs, just adopted by the duet. To understand why is this album considered progressive, and not the sheer world-music piece, you must know that Macedonian folk music itself is almost prog. It's full of irregular time signatures and strange shifts in tempo. Time measures such are 5/8, 7/8, 9/8, 5/4, 11/8 and even 13/8 are not unusual, and Stefanovski-Tadic interpretations hitted the bull's eye.

One must know that this album is not just an exhibition of an ultra-fast outstanding technique, it is technicians delight though, but emotions are the strongest aspect of this fine work.

Performances are soulful and passionate. However, I focused this review more on technical and theoretical side of playing simply because if someone tries to describe the passion, world will fail him.

I'm giving five stars to "Krushevo" for two reasons:

1) Because it IS a masterpiece, 2) and I think this will became a new chapter in music history. Time will tell.

Vlatko Stefanovski, excellent Macedonian guitarist of LEB I SOL fame, started with his solo career before LEB I SOL disbanded, but this is the first album of his VLATKO STEFANOVSKI TRIO and logical continuation of LEB I SOL's work.

The alum is -of course- guitar-oriented, extraordinary combination of hard-rock, fusion and Macedonian folk music. Production is excellent, although a bit too "modern" for my taste.

Along with standard acoustic and electric guitars, Vlatko is playing a MIDI guitar, triggering sounds from the Roland's sampling unit, so all the flutes, Hammond organs and ambiental pads that you can hear are actually crafted with Vlatko's fingers and his guitar. But don't worry, there is no exaggeration, all the sounds are tastefully dosed.

The album is opened with "Igri Bez Granici" (Games Without Frontiers), excellent contemporary rock utilising almost rap vocals (don't run away!) about political changes and general changes in nation's consciousness after the Yugoslav wars.

The following "Kalajdzisko oro" (oro is a type of Macedonian dance with very complex rhythmical structures) is a usual concert-opener since his LEB I SOL days, and pretty much in their style. Vlatko's technique is brilliant. One more proof that he is world class guitar player. B y the way, tune is in 11/8.

The third track "U.F.O." is humorous instrumental, reaction on work of artists like VAI, SATRIANI, MALMSTEEN and the like.

"Vlatkovo oro" (Vlatko's Oro) is another instrumental with lovely, expressive solo, while "Gluvo Doba" is catchy mainstream pop-rock, (obviously influenced with Croatian mainstream pop-star Gibonni, to whom Vlatko is collaborating with) but extraordinarily well played. In 7/8 :)

The next three songs ("7/8 Oro", "Urban-Kurban" and "Ne Si Go Prodavaj Koljo...") are excellent instrumentals with nice solos and interesting use of dissonant harmonies. "Thailand" is another instrumental, much slower and with meditative atmosphere. Lovely. "Pustelija" is closing the album, a hard rock tune with excellent social message.

By the way, all the songs were sung in Macedonian. Why am I mentioning this? Because all of the LEB I SOL lyrics were written in Serbian (occasionally Croatian) to attract wider audience of the former Yugoslavia. (You can find similar cases with Slovenian bands, BULDOZER, for example).

Sorry I didn't translate all the track's titles, my Macedonian is not that good.

Conclusion: excellent album, perhaps missing the diversity of first LEB I SOL albums, but diverse enough from guitarist's point of view and luckily he's not delving too deep into pointless guitar solos; he's brief and effective.

If you are guitar-oriented progger (Allan HOLDSWORTH is all-times Vlatko's guru) this is well worth giving it a try.