Beograd – Mrak LP (Discom)

When the Yugoslav synth scene comes up in conversation, it’s impossible not to mention Beograd, a highly influential group that changed the musical landscape forever. If you even doubt it for a second, these folks might be removed from the sonic equation; just keep in mind that their record “Remek Depo” was the first electronic music release in Yugoslavia forty years ago, and that information alone will clear the air. The best part about it is how “Remek Depo” sounded fresh, unique, innovative, and exciting, considering it was published in the eighties, an era when electronic and synth music still developed in so many shapes and forms. And while many other contemporaries of the era aimed for a more Kraftwerk-esque sound, implementing minimalistic synth melodies, basslines, and beats, Belgrade were more interested in expanding their sonic vocabulary by implementing everything at their disposal and pairing fundamentals of electronic music with dance, techno, synth pop, synthwave, and new wave. Each composition had its traits, yet it perfectly suited the aesthetics of the entire material, and as a comprehensive collection, it represented a cohesive whole. At the time, fans weren’t completely aware of how huge an impact “Remek Depo” has had not only locally, but internationally, but it was proven so many times over the past decades that Beograd is one of the most influential electronic music groups in underground and non-underground circles.

Now, four decades later, when all the dust has settled and many electronic music aficionados have almost forgotten about the “Remek Depo” vinyl reissue published a while back, prolific Belgrade-based record label Discom is back with another exceptional release called “Mrak,” commemorating forty years since the initial release of “Remek Depo.” Those familiar with or close to the group already knew “Mrak” was intended as an original name for this material, but the band scrapped the idea. This fine piece of sonic artistry carries eight compositions that further expand the group’s sonic vocabulary of the group. While Beograd always had their fingers deep into everything electronic music has to offer, with synthwave, synth pop, and new wave to begin with, you cannot deny the fact they were also interested in what other subgenres have to offer. You’ll notice all those fundamental elements of dance, techno, EDM, and EBM lurking around, maybe even way before all those styles got their names. If you put a needle on the A-Side, you’ll notice how all those compositions recorded between 1984 and 1992 carried everything you dearly love about electronic sound, but also, let’s not forget some additional elements borrowed from funk, hip-hop, or maybe even rock music. If we compare them with other contemporaries of the era, you’ll notice how Beograd were ahead of their time back then. There was something about their songs that not so many other artists on Yugoslavian territory had or wanted to offer. Sure, you’ll hear all those samples resonating with the spirit of the eighties, because it was contemporary synth technology back then, but somehow, it all sounded fresh, innovative, and most importantly, bursting with tremendous creativity. If you take a deep dive into those rhythmic patterns, synth basslines and leads, lush pads, you will notice how they acted as a perfect backdrop for all the vocal stylings decorating an A-Side. Besides all of that, songs like dystopian odyssey “1984,” soulful anthem “Mračni Predmet Želja,” funky breakbeat tune “Hare Krishna,” and funky hip hop blend called “Belgrade Beat” all deserve special places on retro-futurist playlists nowadays.

On the flipside, Beograd showcases political engagement by exploring the current political climate in Serbia. Through the thoughtful usage of sampling and found sounds, they mock the theatre of the absurd called the local political scene. If you pay attention to what’s happening on compositions like “Ramada,” “(Don’t) Mix Swords And (Grand)Mothers,” “Gumone,” and “beograd – Kolaps,” you’ll notice how Beograd uses satire and irony in a very thoughtful, clever, and brilliant way. Also, you have to keep in mind that this healthy serving of songs carry much advanced producing techniques, upgraded beats, breaks, percussions, and other rhythmic sequences, much modern synth basslines and leads, demonstrating how much Belgrade progressed as producers over the years. Although it differs from the first batch of songs, these composition are valuable items that every true fan of electronic music will appreciate, and they represent an equally important document of an iconic group. If you consider yourself an electronic and synth music aficionado and avid record collector, “Mrak” should definitely be your next purchase, because it not only documents a trajectory of one of Serbia’s most important electronic acts, but it also serves as standalone material worth spinning over and over again. Head to Discom Records for more information about ordering.