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Reviewers: Tony Augarde [Editor], Steve Arloff, Nick Barnard, Pierre Giroux, Don Mather, James Poore, Glyn Pursglove, George Stacy, Bert Thompson, Sam Webster, Jonathan Woolf



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BORUT KRZISNIK with
DATA DIRECT

La Dolce Vita

CLAUDIO CONTEMPORARY
CC6010-2

 

 

One Way

Strange Attractor God

The Play of the Puppets

La Dolce Vita

Hey

Transformator

Blind by Blood


Mario Marolt (tenor sax, mouth-piece): Vuk Krakovic (violin): Borut Krzisnik (guitar, bass and drums programming): Guests Giovanni Maier (acoustic bass): Primoz Simoncic (alto sax): Hugo Sekioranja (piano, soprano sax): Roman Decman (brushes, cymbals): Aleksandra Rekar (piano) on various tracks

Recorded January-February 1995, PN Studios, Ljubljana, Slovenia [48:19]


This was originally recorded back in January-February 1995. Its a seven-track disc lasting a none-too-generous 48-minutes offering some intriguing European features. Borut Krzisnik is a guitarist who also plays bass and programmed drums, and his solos often veer toward the rockier spectrum. In fact One Way features a very strong rock vibe, its frenetic tenor and alto solos courtesy of Mario Marolt and Primoz Simoncic respectively bringing strong Balkan qualities. These fraught, kinetic elements recur throughout the set, with raucous sax over programmed drums in Strange Attractor God leading to a unison theme over walking bass including a Classical sample for some reason and a soul-filled tenor outing. Some eerie banshee-animalistic mouthpiece squawking gets The Play of the Puppets going youll be able to tell at this point whether this band is for you or not - whilst violinist Krakovic pitches up with a quotation from Songs My Mother Taught Me just to add some extra quotient of larky, pan-stylistic-curio quotient to the proceedings.

The title track may well be Dolce but its enshrined in a Balkanesque marching band ethos with folkloric elements very much to the fore. What a strange brew is produced in Hey deep bass, searing sax, rocky ethos, supple guitar from the leader and thrash rock as well from the band. Bluesy-based hints are suggested in Transformator a calming and repetitive piece that acts as a kind of Andante amidst so much that is raucous and vibrant. But the final track draws us back to full-bloodied Jazz-Rock, much of the thrashy variety but with a stand-out violin solo.

This is not a band to be trifled with as it covers a bewildering variety of ground. Its not rocky enough for Rockers, not jazzy enough for Jazzers, not stylistically hermetic enough for Jazz-Rockers, too pluralistic for alt-folkers, and too scatty for Balkanists. Its very much a niche-within-a-niche band but I have a sneaking admiration for the wild horses of Data Direct and for the erudite Borut Krzisnik.

Jonathan Woolf



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