CØLØVRS (formerly C L VRS)
A maverick drag/screwgaze/post-dubstep artist of unknown identity and permanent address, mostly circulating Serbian towns and cities, reportedly Niš, Belgrade and Vranje, with some activities recorded in Priština, Kosovo.
Whether or not dense okkvlt aura is a fad residual from his (her?) obvious love of recent witch house meta-genre, with apparent influences such as Salem, oOoOO, Holy Other, ϟ†Nϟ, Blvck Ceiling, Unison or early Summer of Haze (as well as 90’s industrial dance music, shoegaze and haunted sci-fi scented post-dubstep of Kuedo), or a manifestation of some deeper engagement with alternative religion or cultist worldview is not clear, but it does seem to be the drive behind this artists creative persona.
So far, C L VRS tracks were featured on a No Conclusion mixtape by Textbeak (of TXTBK’s CHVяCH XV BяXK3N 7ANGvAG3) & Kachina and Serbian indie compilation The Black Wave, while influential blog I Vacation in Your Hell included last year’s EP, Dя1F†, as a recommended listen. C L VRS runs a Souncloud group dedicated to lesser known similar artists, does occasional DJ sets (usually unannounced and incognito), is known to have remixed Serbian underground bands (notably darkwave outfit Katabazija and synth pop/industrial female project G.), has so far published two singles available for free download at artists official Bandcamp page, and contributed a mix to Cvlt Wave Radio (a WFKU channel) recruitment mixes series.
“CLVRS brings many different ingredients to the cauldron on this strong debut DЯIFT. Instrumental in scope and darkened by the influences of trip-hop, horror-score, electro-glitch. This 6-tracker is a odyssey that takes you to many destinations in one listen. One moment you feel like you are floating in a sci-fi lab of an abandoned building blanketed by darkened corridors of solitude, the next moment you are lost in a maze of musical mesmerization. There are moments when the witch surfaces, but this album is mostly a showcase of the journey of sound. Makes me proud to know bitches are making music this beautiful. Carry on.”
Dunduew is Belgrade based performer, composer, conceptual artist, living artist and maniac born on Thee Sixth ov August 1980. His house on the hill was main meeting place for Belgrade underground artists thinkers, punks and whores for more than a decade. His postindustrial flavored audio work starts with year 2005, and since then he recorded 4 albums and several EPs but he only put some of it on line for people to listen and he did that after 5 years keeping them for himself and his closest friends. From the early childhood, he was made by two viola players, he was surrounded by art history, esotery and music. His mother Branislava raised him in the spirit of freedom and strong individuality and took him to summer trips to Getheanum in Dornach when he was 8 and 9. He also composed for theater and movies since 1999, and his first bands started on BG HC scene in 1994. He collaborated with lots of artists. Had lots of bands since then (Klan, Fire to flames, Punch Line, Sve po spisku, Beli Talas, Srce Komete, Burning Plane, Summer Somber, Let’s All Give a Big Meow for the Kitten) and worked with many more. He is experimenting with many things. He is a multi-instrumentalist and he likes to think he is some sort of demigod, when he is manic. He is a Symbolist at times, and sometimes he is nothing. He is a poet of nihilism when he is angry and pure love when he is himself. This /INOI: a 93.93 Album/ will be his first release for a compilation ever. He is anarchist who believes in only one law: “Do what you will and let that be the only law”
(artist biography provided by M.M.J.)
Pt/Tearpalm is a collaboration between Željko Ljubić Pt, Serbian guitar player known for his work with a number of indie bands, most notably Goribor, of which he is a founder member, and which gained significant fame on ex-Yugoslavian spaces, and experimental electronic outfit Tearpalm, occult-driven postindustrial music project with a psychedelic bent.
Started as a collab between friends who for a long time wanted to do some music together, initially untitled project resulted in a debut album, released (as most of Tearpalm and Goribor music so far) with pioneer Croatian indie label-turned-DIY-promotion vehicle of it’s sole member and owner, Zdenko Franjić (responsible from some of the edgier punk and garage rock records of the 80’s in Yugoslavia, some of them by still influential musicians like Majke, Messerschmitt, The Spoons or late and infamous Satan Panonski). CD was recorded in a single session at Pt’s home, and mixed, mastered and produced at home by MMM of Tearpalm, who also designed a cover for the release. Despite having a disclaimer “MUSIC ON THIS CD MIGHT NOT MEET YOUR EXPECTATIONS” – point being that music was to reflect both musicians’ voluntary drift from their previous projects, album received mixed reviews, mostly due to its violent dissimilarity to both Goribor and Tearpalm.
Somewhere during spring of 2014. duo decided on making a new album, this time moving away not only from their earlier work within respective bands, but also from the previous album’s jazzy krautrock feel, moving more towards their own exploration of ‘avant-garage’ (term coined by mutual favorite Pere Ubu to describe their own early work) and contemporary psychedelia.
Since joining 93.93, project released two promotional videos for songs from their forthcoming album, to be released with us most probably by the end of Summer. One of the songs is a cover of Legendary Pink Dots‘ Needles (Version Sirius), adapted to Serbian and accompanied by a piece of video dubbed Afore the Trip, tying mass suicide thematic of the original to overwhelming austerity of modern everyday life in Serbia. All videos can be found at official 93.93 Publishing YouTube channel.
Tearpalm is a main musical vehicle of Marko Dabetić (often abbreviated as MMM), writer, art historian and electronic musician. Influenced by kraut/space rock sound of late sixties and early seventies, early British industrial and New York guitar noise of the eighties, it was formed in Niš, in 2007, as a one-man studio project. While in this phase, Tearpalm released two full-length albums with pioneer Croatian indie label Slušaj najglasnije, and one transitional, download-only, release for Crime:Scene Records (formerly Dark:Scene Records) based in Novi Sad.
Tearpalms 2008. debut, Prijatelj sa Duhovima Mesta, had a good run on KZSU‘s (official radio of Stanford University) top ten list for classical, electronic & experimental albums, alongside current releases by Emeralds, Olafur Arnalds and Ivan Čkonjević. Album featured a bonus disc, containing Tearpalm’s material remixed by fellow Serbian electronic artists and bands: Margita je mrtva, Lezet, Figurative Theatre, DeepArtMent and THIRD I.
During 2009, apart from releasing a second full album, Tearpalm also contributed tracks to several compilations, most notably That’s Romance, a tribute to legendary industrial musician John Zewizz, curated by Brad Miller, a man who established John Zewizz Appreciation Society, and approved by Zewizz himself. Money raised from selling the compilation in U. S. went to polar bears benefit action. That same year, Tearpalm took part in Clyde Parker Sessions, a multi-national project by French electronic artist Monolith & Cobalt.
Moving to Belgrade in 2009. saw Tearpalms live incarnation, primarily as a trio consisting of MMM on computers, guitar, keyboards and occasional vocals, Miloš Dabetić on bass, and Dimitrije Cvetković (also known as ambient / breakbeat / contemporary jazz act Plavo Tkivo) on keyboards and various effect boxes. Since then, Tearpalm plays on almost regular basis in Belgrade’s clubs and venues open to alternative sound, including Žica, 20/44, SKC LivingRoom, Underworld, UK Parobrod, Fili, Fest, etc. – alongside a variety of bands and electronic artist ranging from stoner and rock (Jewy Sabatay/Brigand, Sensitive Noise) to industrial (Figurative Theatre, THIRD I) and abstract electronics (Dunduew, [C. T. D.], Disphilharmonia from Skopje and Asino Elettronico’s Nemanja Lazić).
2011. saw first gigs outside Belgrade area – CK13 in Novi Sad and Dom Omladine Pančevo (latter under the wing of Novo Doba festival), sharing a stage with Vladimir Lenhart (Lenhart Tapes) and short-lived Kosmodrom.
Concert activities of 2012. included live collaborations with Damjan Brkić (guitarist and founder member of major Serbian alternative band Klopka za pionira, and a versatile musician on his own), Lebdi & Koneyn and foreign guests Hippy Death Suite (BE) and E. U. E. R. P. I. (BG) Also, Tearpalm’s live edition, albeit open to ad hoc personal changes and spontaneous guest appearances, boiled down to a steady duo: MMM and Dimitrije. A number of live shows incorporated VJ sets by Belgrade-based artist Marina Rajić (also known as MM).
Second half of 2012. brings five new releases by Tearpalm: drone ambient piece Ghost Cumulus in Belgrade Night Sky (contains a remix track by reclusive Serbian avant-garde musician Gianni / Druid, exclusively done for this release) and 5th anniversary compilation 5, both released through Serbian independent label Ne-Ton; private release 2, consisting of two previously unreleased early tracks, offered as a free download via band’s Bandcamp page, to honor the Mother’s Day; Tearpalm vs. Crocodile Tears, live album recorded at Club Fest, Zemun, released with south-Serbian netlabel Black Planet Records; and, most recently, Osvit, a collaboration with Željko Ljubić Pt, lead guitarist and founder member of influential and widely known Serbian alternative rock band Goribor, released on CD with Slušaj najglasnije!.
Also, Tearpalm contributed tracks and remixes to several releases in 2012: compilations Industrial Sabotage (release by CyberfArts, track Wake Up ‘n’ Smell the Coffin) Underground Alliance Trilogy Vol. 1: Heaven (track Crna ogledala), and Asino Elettronico’s 5th anniversary Fusion Mutation 2 (track That Loathsome Tenant / Out to Get Some); remixes for reissues of two albums by Serbian electronic projects Syphil and Plain Sessions, and a remix for alternative rock musician Velibor Nikolić, as a bonus track for his solo album.
MMM of Tearpalm contributed cut-up string synths arrangement to track Tiho/Bajka, Karmakumulator’s cover of Satan Panonski.
The very end of 2012. saw the release of The Complete Tale of the Karma Sleuth with Black Planet Records netlabel. This remix project contains various takes on Tearpalms prehaps “catchiest” song, Karma Sleuth Eats the Fist, done by Serbian underground electronic bands and projects, such as Mr N0b0dy, Crocodile Tears, G., Nikola Nežit, Mother Beth vs. Blondie, Koneyn and Plavo tkivo, as well as a live version of the original and two previously unreleased retakes by Tearpalm itself. Live activities were expanded to Macedonia, with gigs in Wire club, Kumanovo and Kanal 103, independent radio from Skopje.
2013. for Tearpalm begun with re-release of Ghost Cumulus in the Belgrade Night Sky (originally released as a single-track one hour drone piece with Ne-Ton, and containing a bonus track), now divided into seven pieces and titled Ghost Cumulus in the Belgrade Night Sky: Seven Movements of Disquiet. Rest of the year was somewhat of a hiatus, broken only for a show on 1st Psychedelic Fair in Belgrade, sharing the stage with Zontag, local post-punk legends White Rabbit Band and doom / sludge metal band Consecration.
Realeased in August of 2014. on bands Bandcamp exclusively, Humpty’s Rergrets: Compilation Tracks 2008 – 2014, collecting various non-album appearances, lacking only a cover of Faust’s Krautrock done exlculsively for On the Way to Wümme, tribute album, approved by Jean-Hervé Péron of Faust, who contributed a liner note. Released approximately at the same time, M. Y. M. Y. M., sort of a best of compilation, released with Novi Sad-based Crime:Scene Records and containing loads of previously unreleased live versions of some of more successful tracks, and aiming to present Tearpalm as a primarily live outfit, given that from 2010. on most of the music was developed through numerous concerts by MMM and Dimitrije, shifting creative focus from a one-man project with ad hoc live crew to a duo thing with occasionally fortified with guests, with Dimirtrije contributing a great deal not only to a sonic and improvisational dimension of the band, but to it’s essential artistic direction as well.
Their forthcoming album, about to be released with 93.93 Publishing this Fall, contains parts played by Dimitrije on almost all tracks, for the first time in history of Tearpalm full-length releases.
“Original one man project from Serbia. […] delivers astonishing phasing processed electronic vibes with guitar noises and psych-echoing tonal dreaminess.”