POSLE KRAJA

After they split up in 1979, S VREMENA NA VREME were mostly forgotten in the Yugoslavian music scene. Asim Sarvan formed in early 1980s the folk rock group MUZEJ SARVAN, while Ljuba Ninkovic joined the mainstream rock revival band TUNEL. Both endeavours proved to be unsuccessful commercially as well as artistically waste of their talents. Then, in 1990 they got together as duet (without Djukic bros.), recording again some of their old hits from the 1970s and issued an album under the title "Ljuba i Asim: Najveci hitovi grupe S vremena na vreme". During the dissolution and wars of former Yugoslavia, S VREMENA NA VREME appeared at a charity concert in Belgrade 1993 and decided to re-group and even to record a new album, the first new material since "Paviljon G".

"Posle kraja" (Eng. "After the End") was released in 1995 to a half-hearted reaction of the public. The time and the political moment were not friendly towards rock music in general, so the media simply ignored the disc. However, this album is excellent and its ill- tempered appearance only adds to its value, especially when contrasted with awful situation in their home country Serbia and surrounding ex-Yugoslav republics. The general feeling of pessimism and regret for the past is most evident in the upbeat opener, "Povratna karta" (Eng. "Round-Trip Ticket") with catchy rhythm tracing the TALKING HEADS' "Life During Wartime", folksy percussion-lead "Tavan" (Eng. "The Attics") and the lament for the passed rock icons in "A ja" (Eng. "And Me"). Sound of the album is excellent, production is crisp clear and performance is impeccable. Most of the songs feature acoustic guitars, their signature prim-tambura, percussion and tasty background organ and keyboards. The famous session player Pera Joe contributes with fine harmonica in three songs, while ballad "Spavaj" (Eng. "Sleep") contains female lead vocal by Marija Mihajlovic. The album presents the second version of the track "Maskenbal" (Eng. "Masquerade"), originally recorded for the previous album "Paviljon G", but this time in not so interesting country-rock manner. Beautiful guitar chords (sometimes in the vein of the guitar pop wizard Johnny Marr of THE SMITHS) and wonderful vocal harmonies of these old gents prove that they still had lot to offer. Literally all the tracks, with possible exception of "Spavaj" and "Maskenbal", are first rate folk-rock compositions; if not entirely "progressive" they are extremely seriously composed and arranged with genuine artistic approach.

"Posle kraja" is one the major pleasant surprises from the post-Yugoslavian prog rock scene, therefore I can highly recommend this album. It deserves almost 4,5 stars.

While this is the only readily available recording of the classic Yugoslavian folk prog group and represents a reformation of the band 20 years after its acclaimed debut, it holds enough interest to motivate one to seek out the earlier classic. First of all, I must say the language as delivered by the multiple vocalists, is not unpleasant to the ears, and recalls other Eastern European bands like PHOENIX, but superior reference points may exist, and unfortunately my knowledge of folk music from this region is not as extensive as I would like.

This is indeed folk music that doesn't stray far from its indigenous acoustic roots, even as it incorporates older rock, blues, and even country, and not a lot of prog experimentation is evident. Three of the ten songs are outstanding, these being "Kao ja i kao ti", "Moja stara", and its successor, the "Sunce iza grada". All include exemplary melodies, stellar harmonizing and the mandolin-like tambura imparting a wistful timbre. Occasional synthesizer embellishments are applied in the right concentrations. The overall mood is dignified and elegant without artifice. This is clearly the medium in which S VREMENA NA VREME thrives. "Povratna karta" and "Tavan" are more buoyant, and, while not quite as gleaming, are still enjoyable.

Unfortunately, the second half of the disk falters markedly, relying more on the less convincing rock and blues aspects. Only the sunny "Kad Nestanem" succeeds,. and mostly thanks to a sublime (electric?) piano break that hints at viable alternatives to the straightforward folk rock for the group. The low point is surely "Aja?", which is not a STEELY DAN" number but more of a novelty song about some of the vanished rockers of the 1960s. These rarely work well and frequently sink decent musical arrangements in their banality, and this track is no exception.

Given the political conditions in this part of the world during the 1990s, "Posle kraja" is defiant in its mere existence and worth checking out if you enjoy uncomplicated Balkan folk rock with deceptively simple arrangements and exquisite harmonies.