HO-RUK

They had just established a sort of a small popular following, only shadowed by enourmous popularity of their fellow townsmen BIJELO DUGME, recording several successful singles in mid-1970s. Although TESKA INDUSTRIJA also employed certain folk-inspired themes on DUGME's model, thanks primarily to leader organist Gabor Lendjel they pursued more prog and symphonic ambitions in their sound. In spite of solid guitar player Vedad Hadziabdic, the dominant instruments are Lendjel's Hammond organ, Moog, Clavinet and assorted keyboards. Of course, the second strong peculiarity of their music is a nasal, harsh barriton of singer Seid Memic Vajta (something like a cross between R. Chapman and C. Farlowe), surely one of the best vocalists in ex Yugoslavia at the time. Unfortunately, he would leave INDUSTRIJA after this album and waste his talents at the MOR pop scene. "Ho-ruk" doesn't bring much innovations into the music scene, but the album is a fine example of symphonic prog, done in a more "hard-rocking" manner. URIAH HEEP or MANFRED MANN's EARTH BAND come as usual markers of the style.

"Od Olova do Trnova" ("From Olovo to Trnovo") and the title track contain lyrics and melodies inspired by folk, especially evoking traditional stories of countrymen, shepherds and lumberjacks, which are not done with so outragous, cheap camp stylings like BIJELO DUGME did. "Bijeg" ("Escape") is a fine prog ballad with lots of organ and Moog moments. "Koncert trocinski" ("The Concert of Three Acts") is a lengthy multi-part track with typical heavy rock guitar solo, at moments effective but too long anyway. There are many interesting Clavinet moments that give sometimes a funky groove. Hadziabdic obviously wanted to immitate R. Blackmore of DEEP PURPLE, and it is often reminiscent of "Child in Time" "train running" part. "Dijanin san" ("Dijana's Dream") is another wonderful ballad and easily the best track on the album, filled with acoustic guitars and synths. The closing number "Zivot" ("Life") is a sort of experimental instrumental with some baby cry and aeroplane noise and screams, with monotonous rhythm, accompanied by strong bass lines and processed guitar, ending with a musical box and a bell-tower tolls, proving that they completed their PINK FLOYD lessons with high marks.

Overall, this remained the best album by TESKA INDUSTRIJA and their most successful release with Vajta as a singer. Later works are less worhty and remain of interest mainly for fans. "Ho-ruk", however, is highly recommended to all who like this style as described above.