Interview: Šumski

Welcome to an exclusive interview with Marin Juraga, the guitarist of the longstanding krautrock/alternative/indie group Šumski. In this interview, we delve deep into their latest full-length album “Kolobari,” exploring the intricacies of singles like “Vinodol,” “Samo Stvari,” and “Deep Space Nine.” Marin sheds light on Šumski’s songwriting process, thematic inspirations, live performances, and the diverse influences that shape their sound.

Their latest album, “Kolobari,” exemplifies their musical evolution and is available on vinyl and streaming platforms through Geenger Records, Zvuk Močvare, Pop Depresija, and Trottel Sounds. Join us as we explore the sonic landscapes crafted by Šumski and unravel the stories behind their mesmerizing compositions.

Purchase/listen “Kolobari” HERE

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Can you tell us about the inspiration behind “Kolobari” and what makes it unique compared to your previous works?

We created the majority of these songs in a shorter time frame – during the COVID-19 pandemic and lockdown. Naturally, the songs on this album carry a slightly darker and more depressive mood, reflecting the somber emotions of that period. They are unique in that the reality of that moment was unique itself, as is every moment in history. We tried to convey that uniqueness as best as we could.

How was the writing and recording process for “Kolobari,” and did you encounter any challenges along the way?

The album was created during the pandemic, a rather dark period with the positive aspect of having extra free time. We utilized this free time to focus on music. Challenges were present, as it required a significant effort to complete the entire process. We typically started with my sketches and song recordings on a phone, then collaborated with Kornel to develop arrangements, followed by the group work during rehearsals, and finally, recording in the studio with Sven at Sveta Nedelja studios.

The album features a diverse range of musical influences. Could you elaborate on the specific genres and artists that influenced the creation of it?

There are some enduring fascinations, such as krautrock, music from animated films, or unconventional pop. However, it’s challenging to pinpoint specific artists who directly influenced this album. It likely involves subconscious influences that critics might interpret.

“Vinodol” is the first single from the album. How have you picked this track as an introductory piece for “Kolobari,” and what message or emotions does it convey?

“Vinodol” seemed to have hit potential. We believed it was danceable and radio-friendly while carrying a message – a dance with a message. We released it as a trial balloon. The song embodies the basic themes – the cursed mill of everyday life that grinds us, making us anxious, and how to escape it.

“Samo stvari” has a visually striking music video. Could you share insights into the creative process behind the video’s production and the collaboration with animator Dee Jagić?

It’s an animated video, with us making brief appearances in a few scenes incorporated into the animated part. The sound and visuals came together seamlessly in Dee Jagić’s animation.

“Kolobari” includes a mix of instrumental and lyrical tracks. How do you balance instrumental and vocal compositions on your albums?

There is only one instrumental composition, the title track “Kolobari.” Usually, we pick a few instrumentals for our albums because they feel complete as they are, without the need for additional words.

How has your music evolved over the years, and what new elements can listeners expect from “Kolobari” compared to your earlier releases?

Let’s give the listeners the opportunity to discover that for themselves…

You recorded this album thanks to the crowdfunding support. How has the interaction with your dedicated fan base influenced the creative and production aspects of “Kolobari”?

Establishing contact with fans or supporters was crucial during that process. It motivated us significantly when things got tough.

Are there any recurring themes or messages in the lyrics, and what motivated you to pick them?

The term “kolobari,” meaning circles, appears literally or metaphorically in several places on the album, symbolizing the burden under which we all struggle (see question 4). Musically, the songs are also conceived in a circular manner, with a repetitious riff that induces a hypnotic or monotonous effect on the listener. We truly hope it will cause hypnosis. ☺

How do you envision your music fitting into the contemporary music scene, especially considering the diverse genres you explore in your work?

We don’t pay much attention to that. Sincerity in our music is essential, without further calculations about whether it will be trendy or a hit. As our song “Melankolija” from the album “Ostrvo ledenog kita” says: “Zašto sve mora da bude cool, zašto sve mora da bude hit?”

“Deep Space Nine” has been described as a sentimental track. Can you delve into the emotions and inspirations you invested into creating this particular song?

The protagonist spends lonely nights in front of his TV set, dark thoughts keeping him from sleep. Scenes from the science fiction series “Deep Space Nine” on the screen don’t help either.

Can you share some memorable moments or stories from the recording sessions or the production of the album that had a significant impact on the outcome?

I would highlight the excellent collaboration with guest musicians Dan Kinzelman on saxophone, Giuseppe Iampieri on harpsichord, Leo Beslać on synthesizers, and Nikola Santro on trombone. They each contributed in their way, giving a unique touch to “Kolobari.” Also, the collaboration with the legendary singer-songwriter and visual artist Mance, whose illustrations were used for the album cover, was noteworthy.

“Kolobari” has been released on vinyl, CD, and digital platforms by Geenger Records, Zvuk Močvare, Pop Depresija & Trottel Sounds. How did this collaboration come about, and what role did each label play in bringing the album to the audience?

All these labels contributed in line with their possibilities. We are not a renowned band with a significant fan base, but these four publishers have at least slightly increased our base.

How do you translate the rich soundscapes of your albums into a live performance, and what can fans expect from your upcoming gigs or tours?

We have stabilized at 6-7 members in the band, enhancing the live sound. In addition to the regular members – Kornel Šeper, Viktor Krasnić, myself, and Franjo Glušac – Sven Pavlović on Moog synth has been noted by a critic for holding us firmly in the 21st-century twenties with his musical interventions. Lastly, our youngest member, Sven Matijević on sax, and our oldest member, the ubiquitous Igor Pavlica on trumpet, need no special introduction.

After over 30 years in the music industry, what advice would you give to emerging artists, especially those looking to create a unique and experimental sound like Šumski?

We would advise them with Dante’s words: “Abandon all hope, ye who enter here!”