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SEDMINA

Prog Folk • Yugoslavia


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Sedmina biography
Former Yugoslavian and Slovenian singer/songwriter Veno Dolenc and his wife Melita formed an acoustic progressive folk band SEDMINA in Ljubljana 1977, with Lado Jaksa (clarinet, piano, flute), Edi Stefancic (acoustic guitar) and Bozidar Ogorevc (violin, viola). "Sedmina" means "the seventh" in English and is also interpreted as the seventh night after a funeral when family gives memorial to the deceased. SEDMINA used traditional instruments and gave an alternative interpretation of folk songs. Being also a fine artist, Dolenc created interesting surrealist and dreamlike artwork of their album covers. After two albums, Veno and Melita divorced so the band split apart. They both led solo careers, but Dolenc also formed a group DUMA with singer Klarisa Jovanovic in the late 1980s, whereof the new SEDMINA grew out, releasing three more albums in the 1990s. The final line-up included Mitja Perko (guitar), Slavko Meglic (double bass), Jean-Pierre Babatunde (percussion) and many guest musicians.

The first two albums "Sedmina" and "II dejanje" are essential listen to any psychedelic/acid ethno and prog folk fans who enjoy acoustic music with male/female vocals. They both were reissued by Italian label Mellotron in 1996.


Why this artist must be listed in www.progarchives.com :
One of the most interesting acoustic prog folk bands of ex Yugoslavia and now Slovenia.

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Melita & Veno DolencMelita & Veno Dolenc
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Mellotron Records
Audio CD$21.99
Il DejanjeIl Dejanje
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Audio CD$21.99
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SEDMINA discography


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SEDMINA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 4 ratings
Melita & Veno Dolenc
1980
4.30 | 10 ratings
II Dejanje
1982
3.98 | 4 ratings
Onkraj Reke
1997
3.98 | 4 ratings
Rojstvo Idola
1998
3.50 | 2 ratings
Stekleni Cas
1999

SEDMINA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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SEDMINA Reviews


Showing last 10 reviews only
 Melita & Veno Dolenc by SEDMINA album cover Studio Album, 1980
3.00 | 4 ratings

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Melita & Veno Dolenc
Sedmina Prog Folk

Review by apps79
Special Collaborator Neo Prog Team

2 stars Psych/Folk group from Ljubljana, Slovenia, found in 1977 and led by vocalist/guitarist Veno Dolenc and his wife singer Melita Osojnik.Gaining some significant reputation through live performances and TV appearances the group headed for the recordings of their debut simply entitled ''Melita & Veno Dolenc'', for the artwork of which Veno Dolenc was responsible,as he was a painter as well.The album was originally published in 1980 on Helidon FLP,the music department of the Maribor-based book company Zalozba Obzorja.A CD-reissu followed some 15 years later on Mellotron Records.

Performed by an 8-piece group mainly with traditional instruments,the album is characterized by its very mellow and often melancholic atmosphere, being much based on the Dolenc duo's vocals with no instrumental break-outs at all.The musicianship lies around the acoustic crescendo of Veno Dolnec along with soft violin parts and supported occasionally by light piano passages, accordion and flutes, reminding a lot of German OUGENWEIDE.However the twelve tracks are very short with simple structures and heavy lyrical content, being much in a Psych/Folk vein and far from anything progressive.Of course some of the vocal arrangements really shine,like on ''Deklica z vzigalicami'', '' Veter Beli Koni'' or ''Ljubica'', highlighted mainly by Melita's ethereal voice.

I can see no other than a Folk lover admiring this release, which is neither progressive nor even that challenging.If you like simple folk melodies,this album might be of some interest, but I wouldn't recommended it at all for fans of Rock or progressive sounds.

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 Onkraj Reke  by SEDMINA album cover Studio Album, 1997
3.98 | 4 ratings

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Onkraj Reke
Sedmina Prog Folk

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars Very pretty, authentic European folk music group

Sedmina is the Yugo folk music duo of Veno Dolenc and Klarisa Jovanovic, along with a slate of special guests on different instruments. While no expert on European folk in different languages, the music here is in the universal language and very effective. This is a fine example of taking somewhat traditional and regionally influenced folk music and dressing it in contemporary, borderline proggy arrangements. You have male and female vocals, sometimes alone, sometimes harmonizing, over acoustic guitar. On top of this they add diverse spices like flute, viola, cello, sax, clarinet, tuba, harmonica, accordion, and hand percussion. The result is an experience very much like the group Pererin which I realize is an obscure reference but it is the closest I can think of. One cool thing about this album is that it carries a certain timeless beauty. Listening to the music you really cannot tell what year this came from. It could have come from any decade of the last fifty years. The sounds are almost exclusively acoustic with just a very few brief blips of electric guitar. "Jaga Baba" is the longest track and features the same romantic and road-traveled mysterious feel as the rest. Acoustic guitars bathed in strings, with lovely vocal harmonies over the top. The hand percussion is in the background keeping the piece just a bit lively and the melody is advanced by occasional clarinet. The title track adds some thumping bass in a rather bold and anthemic sounding piece followed by a solemn hummed hymnal in "Na Poti v Krasnodar."

If you traveled through Europe on the trains in the middle of the night, got off in some small village in the rain, and ducked into a pub for an nightcap, this is the kind of music you might hear coming from the corner stage. One of those very authentic musical experiences that will not disappoint. An absolute no-brainer for anyone who loves folk music with some real regional flair and instrumentation. 7/10

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 Stekleni Cas by SEDMINA album cover Studio Album, 1999
3.50 | 2 ratings

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Stekleni Cas
Sedmina Prog Folk

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

4 stars As far as I know this is the last album from Sedmina. Too bad, as I’ve enjoyed listening to their evolution from the austere debut more than twenty-five years ago, to this very mature and rich-sounding swan song from the end of the nineties.

The accompaniment has been trimmed back a bit from the previous two albums. Gone are the string section, as well as several of the violins, woodwinds and brass that appeared on the band’s 1998 release. But no matter really, since what remains is put to good use. A complaint I have of the band’s two previous albums is the abundance of talent in the guest musicians, much of which was underutilized.

That is not the case here, and right from the start with the reworked version of “Balada o Gospeh Minulih Dni” (Ballad of the good gentlemen of yore, or something like that), the attention to the instruments is more noticeable. The acoustic guitars sound as if their recording mics are either higher quality, placed better, or mixed cleaner; but in any case the guitar is crisp and acoustically vibrant. Dolenc and Jovanović still provide virtually all the vocals, but for the first time really we hear Jovanović ranging out from her expected harmonies into melodic passages and seductive verse. The result is the most folk-sounding album Dolenc has fronted since the 1981 debut with his former wife.

Cello and viola are still present here, but as near as I can tell there is no trace of violin, so the mood becomes a bit deeper and more melancholy than the ‘Onkraj Reke’ release, but not quite as much so as 1998’s ‘Rojstvo Idola’.

The piano returns with a vengeance, filling in where string quartets and samples and recorders and multiple violins and the like failed to take root on the previous two Dolenc and Jovanović albums.

The tracks here tend to be quite short, most only around two or three minutes. One exception is the nearly eight-minute long “Omen”, but despite its length it turns out to be rather uninspired with too-long extended vocals and mildly jazzy piano backed by moody strings.

Many of the shorter works are more adventurous, or even just more folk. “Žerjavi” is a rather unexceptional cello/piano slow number with Jovanović fronting on vocals, but at least its well-done and very much in keeping with what one expects from this band. “Coprnica” on the other hand launches into a flamenco-like rhythm and narrative vocals between the two spouses that I’m sure tells some sort of amusing story. “Grad” focuses on percussion to yield an ethnic feel steeped in mystery and adventure. And “Daljave” is drenched in wispy flute and 12-string guitar. So the songs, though short, do give evidence that Dolenc was still experimenting with sounds and finding the drive to introduce new things even as the Sedmina project was fading away.

This album is a definite improvement over the last, and I would say ranks with the second Sedmina album as their best. Hard to believe that Dolenc and Jovanović never found their way to release another of these, but my understanding is both are involved in solo careers and other projects. I would say this is yet another Sedmina album that is highly recommended to prog folk fans, as well as to those who enjoy strings and piano behind mature and vibrant vocals. Four stars.

peace

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 Rojstvo Idola by SEDMINA album cover Studio Album, 1998
3.98 | 4 ratings

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Rojstvo Idola
Sedmina Prog Folk

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

3 stars As an ethnic folk album the music of ‘Rojstvo idola’ is generally emotive, well-crafted and fundamentally not much of a departure from their previous releases. From a progressive music perspective however, the fourth Sedmina album is a bit of a step backwards.

The lineup here is largely the same as on the previous ‘Onkraj Reke’, and is centered around the husband-wife pair of Veno Dolenc and Klarisa Jovanović. On their third album there seemed to be a more distinct separation of the vocal duties between the two of them, and there were as many solo performances as duets. Here this seems a little less pronounced, with Jovanović leaning more to a complementing role backing her husband.

The tracks here are much less distinctive than on previous works of the group, most of them being very slow, moody, almost glum in many places. There are a few interesting exceptions, most notable “Druidi” with its complex blending of Mediterranean, Celtic and southwest Asian rhythms and instrumentation. The traditional folk tune “Igraj v kolu, jabolko” gets a decent treatment, but like the band’s third album one of my complaints is that they just don’t seem to take full advantage of the vast array of instruments and musicians at their disposal in the studio. Besides the vocals you can hear acoustic guitar, woodwinds (mostly flute), and also some clarinet. The strings are quite muted throughout, and the addition of a cello is a great opportunity lost as its not used to full effect anywhere really, except on the opening “Zapuščena” and “Druidi”.

A couple tracks (particularly the wandering and unfocused “Ptica”) seem to lumber along spreading a cloud of gloom in their wake but without any redeeming hope or humor. That track especially in the middle of the album really seems to bring it down to a place where there is no real recovery.

These are a collection of earlier recordings, and I believe most of them were actually recorded earlier than those on the previous release ‘Onkraj Reke’, which itself was a collection of tracks recorded several years before their release. These on the other hand were released on cassette under the band name Duma, and I believe represent the first published works of Dolenc and his then-new bride Klarisa Jovanović. I can say with confidence they got better.

This is not a bad album, but the bar for these guys should be kept high and this one album doesn’t quite rise to that level. This one is definitely for collectors, and probably of some interest to most prog folk fans, but I wouldn’t go too far out my way to find it. Since it has value and interest beyond just collectors I’ll give it three stars, and recommended for Sedmina fans and for the curious.

peace

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 Onkraj Reke  by SEDMINA album cover Studio Album, 1997
3.98 | 4 ratings

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Onkraj Reke
Sedmina Prog Folk

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

3 stars Well after more than a decade since the last album, a change in wives, a complete overhaul in supporting cast, and a stint under the band name Duma, Veno Dolenc returns with a third Sedmina studio release. Klarisa M. Jovanović replaces Melita Osojnik both in Dolenc’ life and in his music, and the rest of the players are all new as well with the exception of violinist Božidar Ogorevc.

Jovanović has a voice that is both broader in range and in emotion than Osojnik, but on the flip side she also comes off as more of a mainstream talent than an the earthy traditional folk sound Osojnik managed on the band’s first two albums.

Instrumentally this is also a broader and richer sounding record. In addition to Ogorevc on violin, La Danza Apocalypsa Balkanica multi-instrumentalist Boris Kovač adds saxophone to the band’s repertoire, along with providing the clarinet and piano previously played by Lado Jaksa. The group also invited a Slovenian string quartet led by Enzo Fabiani into the studio, as well as tuba player Stanko Kemperle who appears on “Marija in Brodnik” most notably, and less prominently on several other tracks. Former Buldozer guitarist Uroš Lovšin takes the band electric for the first time, and also plays some lute but not all that noticeably; and classical artist Slavko Meglič plays upright bass. There is also a second violinist, cellist, percussionist, and accordionist Mirko Šlibar. Oh yeah – and I can hear the Jew’s harp in a few places again as well.

So there are a lot more sounds to work with here, which surprises me a bit since there doesn’t seem to be a lot of care taken by Dolenc to capitalize on all the new sounds he has at his disposal. His voice is once again strong and rich, and Jovanović walks a tight line between harmonizing and coming across as a second featured singer in her own right. On several tracks like “Volk” Dolenc dominates, while on others such as the title track the two of them seem to be interested in presenting a duet of equals.

But the rest of the instrumentation is just a bit too understated in my opinion. The Van Gogh tribute “Hommage Vincentu van Goghu” includes a bevy of accordion and percussive sounds; and on “Na poti v Krasnodar” the piano turns electric; but besides the Baroque-like “Sarabanda” the large group of talented backing musicians are underemployed in the studio as far as I’m concerned.

Too bad, because these arrangements would have led themselves quite well to more string, keyboard and percussive embellishment. But maybe that’s part of the point with prog folk music: to not get caught up in a sort of ‘wall of sound’ approach to music-making. If that’s what Dolenc was going for – he nailed it.

Either way, this album is quite good but not exceptional in my mind. I’m tempted to give it four stars like its predecessors, but it’s just not quite that great. So three stars it is, but still well recommended, especially to world music fans.

peac

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 II Dejanje by SEDMINA album cover Studio Album, 1982
4.30 | 10 ratings

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II Dejanje
Sedmina Prog Folk

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

4 stars There are several noticeable differences in this album over Sedmina’s debut two years prior. First, the vocal interaction between Veno Dolenc and Melita Osojnik is much less about folkish harmonies, and much more about alternating, almost call-and-response pairing. The overall tone has also moved away from languid, traditional and acoustic guitar-driven storytelling type of arrangements, to much more string-intensive compositions featuring alternating violin and viola; and also the clarinet is featured much more prominently here than in the first release.

That said, these are positive progressions of the duo’s music, and the sometimes-flamenco sounding, sometimes-Slavic leaning sounds make for a richer experience overall. And for the first time there are some noticeable breakouts of instrumental solos and duos scattered throughout – violin on “Ciganka”; clarinet and viola on “Circus”, which would also prove to be the longest composition the band would ever record at more than nine minutes; and clarinet for the better part of “Gledalisce”.

Veno Dolenc’s vocals are featured more prominently here as well, although he seems to have found conviction in his singing which is more pronounced and confident than the first time around.

There are even some improvisational jazz touches to be found, particularly on what appears to be the reworking of a traditional tune with “Pav”, and with the closing “Kolo (Za Dusko)”, which also presents interplay between the clarinet and violin, played by Lado Jaksa and Božidar Ogorevc just as they were on the first album.

The change in tone and composition here reminds me a little of the way Bacamarte evolved between their first and second albums, with this comparison also showing more influence by the male musician and a tendency to use the female voice to complement rather than augment the songs.

This is an interesting development of the Sedmina sound, and one that unfortunately would not have a chance to evolve further as the couple split in the years following this release. Sedmina would resurface several years later, but by then Dolenc would have a new wife and only Božidar Ogorevc would return with him for a third album.

The first couple of times I heard this album I had some difficulty getting into it, as I had come to expect the type of harmonic duets that made the first release so appealing. But this one has its charms as well, which repeated playing manages to coax out. Another highly recommended work for prog folk and world music fans, and another four star performance.

peace

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 Melita & Veno Dolenc by SEDMINA album cover Studio Album, 1980
3.00 | 4 ratings

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Melita & Veno Dolenc
Sedmina Prog Folk

Review by ClemofNazareth
Special Collaborator Prog Folk Researcher

4 stars This is the first of two releases by the Slovenian husband-wife team of Veno Dolenc and Melita Osojnik, who formed Sedmina in the former Yugoslavia in 1977. The group disbanded sometime in the 1980s when the couple divorced, although Veno Dolenc would reform under the name Sedmina in the late 1980s with his second wife Klarisa Jovanovic. Melita would go on to an expansive career as a multicultural performer of mideastern and Mediterranean-flavored folk.

This first album is the more primitive of the two by the original couple, featuring exclusively acoustic instruments and fairly innocuous folk vocal harmonies. That said the two of them sound great together, although I have heard stronger make vocalists from this region. Ms. Osojnik is pretty much perfect though, accenting her husband well and maintaining a pleasantly-toned harmony on pretty much every track.

The instrumentation here is rich world folk fare: acoustic gruitar and the weird humming/flapping of the tamboura; violin and viola from guest musician Bozidar Ogorevc; and flute, recorder, clarinet (and understated but persistent piano) from jazz artist Lado Jaksa.

I’m not even sure what language this is, so the meaning of the lyrics for sure escapes me. But words aren’t as important in world folk music as they are in the kind of folk you listen to from your own region. The real treat in music like this is to be able to experience different instrumental sounds, unusual rhythms and tempos (at least compared to what you’re used to), and sometimes even a treat with outstanding vocals singing words whose meaning is superfluous to the enjoyment of hearing them.

Well here the vocals could be a bit stronger, but all those other things are present in spades. The tamboura is an odd instrument that typically gives a piece of music an eastern lilt to it, and that’s the case here as well, particularly on “Angel Varuh” and “Ljubica”, the latter which also has what are probably the most well-formed vocals on the album. There are other odd and unattributed sounds as well, such as the Jew’s harp on “Angel varuh”, and what sounds like a theremin humming throughout “Veter beli konj”. Clarinet and viola are also not your typical instruments, even for a folk band, and their presence combines with the flute and recorder to project a very earthy tone to most of the tracks.

There’s a few songs here that seem to be traditional reinterpretations, most notably the danceable “Svatba” and the ballad ”Ogledalo”.

Finally, the album closes with what sounds like a love song with personal meaning for the two people singing it. Very slow, lots of mellow strings, and a nice, quiet close to the album.

These guys are a bit obscure, but not hard to find. Mellotron Records reissued this and the band’s second CD a few years ago, and the later releases with the second incarnation of the band were also released on CD. I’ve really taken a liking to these guys lately for their ethnic authenticity and lovely string/woodwind instrumentation especially. This is not their best work, but it’s in the top three. Highly recommended to prog folk and world music fans. Four stars.

peace

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 Stekleni Cas by SEDMINA album cover Studio Album, 1999
3.50 | 2 ratings

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Stekleni Cas
Sedmina Prog Folk

Review by Seyo
Special Collaborator Honorary Collaborator

3 stars "The Glass Hour" is the title of this album of SEDMINA and unfortunatelly it brings nothing new to the catalogue. To be sure, the songs are fine, instruments nicely played and singing of Veno and Klarisa strong and meticulous as ever. But, there is no excitement and first signs of boredom appear. Departure of Boris Kovac left a hole in a musical picture that Veno and Klarisa did not actually try to fill. The result is the less engaging record of all 5 in SEDMINA's catalogue to date. None of the songs is strong enough to be remembered, apart from "Ballade des seigneurs du temps jadis" which showcases the multi-linguistic skills of Klarisa Jovanovic, this time singing in French. "Stekleni cas" is not quite essential for the prog folk and remains of interest to the dedicated fans. If you never heard SEDMINA before, don't start listening here!

PERSONAL RATING: 2,5/5

P.A. RATING: 3/5

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 Onkraj Reke  by SEDMINA album cover Studio Album, 1997
3.98 | 4 ratings

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Onkraj Reke
Sedmina Prog Folk

Review by Seyo
Special Collaborator Honorary Collaborator

5 stars "Across the River", as the title reads in English, was recorded in 1994 when Veno Dolenc and Klarisa Jovanovic, still under the artistic moniker DUMA, teamed-up with arranger and producer Boris Kovac. Since at the time they faced little interest for this material to be released in Slovenia, the album finally appeared in Italy 1997. Meanwhile, Dolenc and Jovanovic decided to re- name themselves adopting the name of Veno's old band.

The album contains 14 equally beautiful and amazingly performed songs. Kovac added numerous strings, clarinet, saxophone and organ arrangements making the sound quite polyphonic and fulfilling, which was not usually the case with earlier albums. Still, acoustic guitars, various percussion and hand drums and sombre vocals of Veno and Klarisa make the music on "Onkraj reke" perfectly identified as SEDMINA.

Some of the outstanding moments of the record include: the introduction "Sarabanda" with odd time signatures, whispering percussion and solo clarinet; an eerie strings-filled intake of the Slavic mythology with "Jaga Baba" (for the prog community - the same grotesque character appears on ELP's interpretation of Musorgsky's "Pictures at an Exhibition"); mediaeval-sounding instrumental "Pot v Avignon" ("The Road To Avignon") with excellent melody and solos on clarinet and electric guitar; the title track with viola bringing some Hungarian/Gypsy folk emotions; "Knjiga" ("The Book") with menacing dark chords of organ, electric guitar and flute, at moments could be compared with CAN's "Soon Over Babaluma". "Na poti v Krasnodar" ("On The Road To Krasnodar") is a reprise of the composition from "Pot v Avignon", this time with lute as a lead instrument. Amongst the many guest musicians, it is noteworthy to mention the violinist Bozidar Ogorevc from the original line-up of early 1980s SEDMINA and excellent contribution Uros Lovsin (ex-BULDOZER) gave on his electric guitar and lute solos.

"Onkraj reke" is perhaps the most accessible SEDMINA album due to relatively short songs, simple and melodic arrangements and "light" themes. That said, it is by no means commercial in a vulgar sense or exploitative of the current "world music" trend- setting. It is the work of convinced artists who despise "artificiality" of contemporary folk music and are diligent enough to dig the traditional music out of its roots and present it to the modern public in artistically engaged and emotional way. The fans of progressive folk will love this album, while others are strongly encouraged to take a break from bombast symphonic or jazz arrangements and 10-minutes solo parts, and listen to this masterfully crafted album.

PERSONAL RATING: 5/5

P.A. RATING: 4,5/5

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 Rojstvo Idola by SEDMINA album cover Studio Album, 1998
3.98 | 4 ratings

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Rojstvo Idola
Sedmina Prog Folk

Review by Seyo
Special Collaborator Honorary Collaborator

5 stars "The Birth of Idols" as the title translates in English has a bit of history. Original line-up of SEDMINA disbanded after the second album "II dejanje", with Melita Osojnik continuing as a solo artist and Veno Dolenc forming soon another group called DUMA. Here he invited a new sophisticated female vocalist, Klarisa Jovanovic to replace Melita. Another important contributor to this album was Boris Kovac. He is a multimedia artist from Novi Sad (during the 1980s he led an experimental ensemble RITUAL NOVA, combining classical, jazz, traditional and rock music), who had co-written most of the songs with Dolenc, played flute, saxophone, keyboards and acted as arranger and producer. Along came the legion of session musicians playing an assortment of traditional and rare instruments (double bass, percussion, brac tambura, viola, cello, harmonium, choir vocals...), thus creating a collection of wonderful songs. This was to be released on cassette only, under the artist's name DUMA in summer 1993, by ZKP RTV Slovenija label in a modest circulation. Finally, during the 1990s, Dolenc and Jovanovic revived SEDMINA, and after the album "Onkraj reke" recorded in 1997, decided to re-issue the old DUMA material, this time digitally re-mastered under SEDMINA tag.

Music on "Rojstvo idola" is basically arranged upon the lyrical poetry of Veno Dolenc, historic Slovene poet France Preseren and French author Francois Villon. Musical structure consists of elements from mediaeval, Renaissance, alternative rock expression and traditional folk music of Central-South-eastern Europe. Material was recorded in a church; hence a sacral, quite dark and "Gothic" feeling is present throughout the record. Although Melita's soprano vocal was a distinguished mark of the first two albums, Klarisa's somewhat lower voice which bears an archaic, eerie chant- like sensation, is equally stunning.

Dark, acoustic elegies like "Ptica" ("The Bird"), "Balada o obesencih" ("Ballad of the Hanging Ones") and "Druidi" ("The Druids"), are masterpieces of highly intimate, passionate and devoted songwriting, with almost metaphysical experience. Containing minor-key vocal harmonies, symphonic/baroque passages and reciting the Bible excerpts ("Our Father") in what sounds like Old Church Slavonic liturgical language, these pieces invoke an early 1970s folk-psychedelia of German acts like AMON DUUL II and BROESELMACHINE or British ones like INCREDIBLE STRING BAND, mixed with mid- 1980s darkwave champions DEAD CAN DANCE. In contrast, "Zapuscena" ("The Untidy Woman") and a traditional cover "Igraj v kolu, Jabolko" ("Do the Dance, My Apple") bring a relaxed atmosphere made by acoustic guitars, light percussion and strings with beautiful voices of Klarisa and Veno.

This album is a perfect piece of art and the ultimate progressive acoustic folk record, which ranks among the very best albums of the genre ever recorded in all countries of the former Yugoslavia, and is a pure masterpiece without a single weak moment.

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Thanks to seyo for the artist addition.

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