Artist: Društvo mrtvih pesnikov (DMP)
Label: ZKP RTV Slovenija
Released: 2010
Duration: 56:17
Rating: 4/5
What I’m holding in my hands is an unexpected leap in artistic daring and courage, a band exploring itself. How can Društvo mrtvih pesnikov, a band that’s been on the Slovenian rock scene for 25 years, whose name sits solidly and safely in it, with a nice number of loyal fans, catch up with the sound of contemporary, alternative-leaning music? Can we call it indie rock, one that draws inspiration from the post-punk of the second half of the eighties without a shred of shame?
There’s no special formula. You just need desire and drive. Ideas, motivation. What I’m holding in my hands is a big surprise for the Slovenian scene. How do you stay true to your fan base, who know you for a few evergreens, “overplayed” ones that have been echoing in their creators’ heads since forever, while at the same time taking a qualitative step up and staying competent in what you do? Even more: closing the book on the past, leaving it behind and stepping onto the start of a new road. The album is called “Krog” (Slovenian for “circle”). It’s hard to find a more fitting name this time around.
With “Krog”, DMP have left their earlier body of work behind, which means the circle has closed and they’ve swung into a new one. A new circle of learning! The album’s 13 tracks (three brand new, ten re-arranged for a new era) present DMP in 2010 as a reborn band, one that “Krog” lets us confidently file under mature indie rock, relevant even for the foreign “mainstream” market, had it been sung in English. You’re probably gasping for air by now, but that’s how it is.
The know-how to play and re-arrange 25 and Rabim from scratch, so that both become listenable and accessible to different generations in 2010, and to rework them so that it’s not always just those same 100 crazy Dolenjska girls screaming and pulling their hair out when either song comes on? “Krog” gives the answer. From shallow little pop tunes you get the alt-pop trendiness of Killers, Snow Patrol, Editors,… A simple mid-tempo to up-tempo dance rhythm that you cement with programming and lift the atmosphere to the level of a dreamy sailing adventure. Short, considered moves. Musical levers of minimalism, to achieve conciseness and put the essence on display. But in a completely new light, not the one you’d be used to or expect from DMP based on their earlier work.
The turning point, besides the fact that Vitezič and company were craving change, is the arrival of guitar ace and unique musical wizard Peter Dekleva. Peter Dekleva confirmed this year, if not before, that he’s a perfectly hyperactive creature and a true musical workaholic, since “Krog” is his third studio release this year, and with a third band (before DMP came Adam and Srečna mladina). Dekleva is the creative genius who develops a totally unique approach to playing guitar and who, just by joining some, let’s say, random alt rock band, can turn the style around and add a touch of intellect with high musical messaging, which on “Krog” paints a new musical expression on DMP’s face. As I said. This new face won’t please just the standard crowd of screaming Dolenjska girls (DMP outgrew them with “Krog”), but also spoiled music gourmets who feast on sonic purity and perfection. Dekleva is versatile, and with great feel he enriches every transition with guitar ornaments leaning on a palette of sound effects, which contribute the bulk of the novelty in DMP’s reborn sound. Peter is one of those rare guitarists in Slovenia who always gives the impression he could fit right in in any genre waters when it comes to rock music.
As mentioned, programming played a hugely important role on “Krog”. And the three new songs? Kaviar is the most rock-stripped-bare track on the album, directly bringing the band’s novelties close to the vibe of Siddharta’s album “Saga” (2009). Personally I’d suggest this track as the second single from “Krog”, and at this point on the album, among other things, the song doesn’t hide DMP’s expressive kinship with Dan D. Pingvin, alongside Kaviar, is a hint of what we can expect from DMP in the future. Modern indie rock. Made for free airplay on MTV, in the rhythm of waddling penguins. A simple, concise approach. Short but teasingly meaningful moves. Nebo nad Berlinom is an example of an excellent confessional ballad from guys reborn in maturity (in an artistic sense).
Of the older material that got an arrangement rebirth, Pod oblakom is ideal. Great listenability, high atmosphere, a veil of longing and melancholy, and a high melodic compactness that gets under your skin from the first listen. A perfect indie rock contour. The band realized this and already released the song as a single (bravo!). The first shock of “Krog” is served up by the masterfully dynamic Ko prižgeš nov dan (“Simple Minds meets Coldplay”), which opens the album. Thanks also to a vocal experiment that settles perfectly into the song’s framework. V tvojih rokah follows a similar vibe to Pod oblakom, but in its new outfit it sets the mood for the girl even better, so she gets the subtle message of an evening peak in bedroom games of devilishly wet lust and the tickly temptations of a lush imagination.
One of the more interesting metamorphoses for the new era was undoubtedly undergone by the ancient Vse reke tečejo, from the studio debut “Iskanje” (1993). The song floats on synthesizers and is led by the vocals of bassist Tomaž Kancilje, while the barely three-year-old Naftalin got a total slowdown. In between sits one more dreamy tune, Jaz grem s tabo. The album closes with Ti si vse, sung by Slovenski oktet, without DMP’s participation.
Right around the ending of the album there are a few gripes. After Rabim 2, the ninth track, the album drags a bit because of the similar vibe across tracks 10 through 12, while Ti si vse, performed by Slovenski oktet, is one move too many, since it departs so far that it would only be fit for the B-side of any potential hit single taken from the “Krog” record. Not that there’s anything wrong with the tracks in the closing stretch. No. We can still enthusiastically note the band’s big success in daring and courage, ready for rebirth and the start of a new story of artistic development. But here the monotone vibe of the ending should have been broken up. By, say, wedging songs like Kaviar or 25 and Rabim II (in new outfits) in among the “dreamy tail of the album”, thus keeping the consistently high dynamics of the first two thirds of the record.
However I turn it, a new band is standing in front of us. I could simply call it “DMP II.” The guys went through the metamorphosis without any serious jolts. They feel comfortable in the new outfit and enjoy the new skin of an artistic image for original music. “Krog” heralds new creative feats that will appeal to more demanding listeners too. DMP have matured artistically. So it’ll be tremendously interesting to see what they serve up with the new, first real studio album after this pivotal rebirth, which was more than successful.
Lineup
Alan Vitezič – vocals, guitar, keyboards
Peter Dekleva – guitar, programming, backing vocals
Tomaž Koncilija – bass guitar, vocals
Marko Zajc – drums, percussion, backing vocals
GUEST MUSICIANS:
Žare Pak – programming, guitar, backing vocals
Martin Janežič (Buco) – percussion
Maja Martina Merljak – vocals (track no. 9)
Slovenski oktet
Production
žare Pak & Jože Vidic (track no. 13)
Track list
1. Ko prižgeš nov dan
2. Pod oblakom
3. Nebo nad Berlinom
4. V tvojih rokah
5. Tvoj svet
6. Kaviar
7. Pogum
8. 25
9. Rabm 2
10. Vse reke tečejo
11. Jaz grem s tabo
12. Naftalin
13. ti si vse
