Partibrejkers

Red bi bio da se odradi recenzija ovog jako bitnog album sa podrucja bivse Jugoslavije. Rekao bi da je debitantni album Partibrejkersa jedan od prvih albuma koji su definirali mračni Beogradski underground zvuk od druge polovine 80ih, na koji je dijelom uticao "heroinski boom" i generalni ekonomski pad.

Cane, vokalist i tekstopisac, nikad se nije oslanjao na dop kako bi stvarao pjesme. Sta vise, prezirao ga je. Zbog toga, imam osjecaj da njihovi tekstovi, i njihov zvuk generalno, su vise dolazili iz nekog iskrenog mjesta bunta i ostre kritike.

Ako Si... je odlican pocetak, a 1000 Godina je himna urbane generacije, dok je Stoj Dzoni omaž njihovoj inspiracijij, Chuck Berry-ju. Zajedno sa unikatnom postavim vokal-2 gitare-bubanj, i utjecaja bluza i psihodelicnog roka, za razliku od kolega koji su najvise vukli inspiracije of Sex Pistolsa i Clasha, stvorili su atmosferu koja je i lo-fi i jako dinamična, iako postava govori u prilog plitkoci zvuka.

Mala digresija za kraj, drago mi je sto su Croatia Records i Cane uspjeli doci do sporazuma da se ovaj album reizda. Po mom misljenju, ovaj album je kljucan za Jugoslovenski kanon (kao i njihova naredna dva), i svakom preporucujem da ga poslusa ako zeli da cuje stvaranje ovog zvuka.
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I’d like to do a review of this very important album from the former Yugoslavia. I would say that Partibrejkers’ debut album was one of the first records to define the dark Belgrade underground sound of the late 1980s, shaped in part by the “heroin boom” and the general economic decline.

Cane, the vocalist and lyricist, never relied on drugs to write songs. On the contrary, he despised them. Because of that, I feel their lyrics—and their sound overall—came from a more genuine place of rebellion and sharp critique.

Ako Si… is an excellent opener, while 1000 Godina stands as an anthem of the urban generation. Stoj Dzoni is a direct homage to their inspiration, Chuck Berry. With their unique lineup of vocals, two guitars, and drums, and with influences from blues and psychedelic rock—unlike their peers who mostly drew inspiration from the Sex Pistols and The Clash—they created an atmosphere that was both lo‑fi and highly dynamic, even though the setup might suggest a thinner sound.

A small digression to end on: I’m glad that Croatia Records and Cane managed to reach an agreement to reissue this album. In my opinion, this record is essential to the Yugoslav canon (as are their next two), and I recommend it to anyone who wants to hear the birth of this sound.