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Consequential (2)MicroComposed 1980-86

Label:Discom – DCM-007
Format:
Vinyl, LP, Compilation, Limited Edition
Country:Serbia
Released:
Genre:Electronic
Style:Synth-pop, Italo-Disco

Tracklist

A1I Love Her
A2Magic Key
A3 Behind The Soul
A4Vasiona Desire
A5Tokyo
B1Love To Me
B2Daydream
B3Danger Lover
B4Happy Together
B5Future
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Credits

Notes

Composed, programmed and recorded between 1980 and 1986 by Z. Jevtc and N. Bezek.

This is a selection of works created during the early 1980s, in what was one of Yugoslavia's first purely electronic music oriented studios, in Serdar Jola Street, Belgrade. The duo's setup included: Roland MC-4B Microcomposer & OP8 Interface, System 100M, TR-808, TR-707, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Korg Mono Poly, Polysix & MS10, Sequential Circuits Pro-One & Drumtracks, RSF Kobol and a Simmons drum module.

Limited to 500 copies. First 100 copies include a card with download code for 3 bonus tracks.

© 2018 Discom, Zoran Jevtic, Nikolaj Bezek, all rights reserved

Barcode and Other Identifiers

  • Barcode: 9788690052806
  • Matrix / Runout (Side A): -48588- duo183387 A MD
  • Matrix / Runout (Side B): -48588- duo183387 B MD

Reviews

Sancta_simplicitas's profile picture
Sancta_simplicitas
Edited one year ago
Another great title from discom. Early electronics from former Yugoslavia. Great stuff.
littlefluffyclouds23's profile picture
littlefluffyclouds23
Write-up from The Sun Lounge:

In this golden age of obscure reissues and archival digging, Vanja Todorovic’s and Luka Novakovic’s Discom stands out for their focus on unearthing synth-pop, kosmische, fusion, post-punk, and cosmic disco from Yugoslavia and I am particularly enamored with their Yugoslavian Space Program collection of Yugoslavian space music as well as the recent adventure into the brilliant mind of Max Vincent with Beograd (featuring one of my favorite tracks all year…the over the top madness of “Gospodar Snova”). Discom’s newest set is perhaps their best yet as they take a deep dive into the work of Consequential and one of Yugoslavia’s first studios oriented primarily towards electronic music. The list of gear used by Zoran Jevtic and Nikolaj Bezek on MicroComposed 1980-86 is seriously impressive and the music they produced with it overflows with unbridled excitement and joy. There is a sense that the freedom offered by the studio, synths, sequencers, and samplers allowed the duo to realize the music of their deepest dreams and the ten tracks here carry me away to worlds of Kraftwerk-ian wonder, Italo hypnotics, Hi-NRG magic, and perfect synth-pop mesmerism.

In “I Love Her,” squelching bass loops, ascendent choirs, and powerful Berlin school sequences come together for an intro that would fit on Wolfgang Bock’s Cycles, though the vibe soon grows triumphant, with space age melodies rising through wild layers of overwhelming cosmic synthesis. Fiery Italo basslines pound away while melancholic vocoders and glorious leads encircle the swinging drums and it eventually locks into some dark and dystopian vision of Kraftwerk’s futuristic proto-techno. A hyper-energetic bass sequence leads “Magic Key,” with its gun fire repetitions underlying bell tones and bubbling kosmische acid lines. The voice incantations have shades of occult 60’s psychedelia as interpreted by androids from the future and the synths are so physical, almost violent, comprised of starlight drones and whooshing space noise. Tom fills fly out over a majestic prog bridge dominated by dark castle melodics and as we smash back into the electro-intoxication, the Kraftwerk vibes appear yet again by way of subtle string synths playing against the propulsive synth rhythmics. Cymbals decay endlessly over alien flutes while mystical desert synth patterns sit under a hallucinatory haze. This is “Behind the Soul” and we soon drop into a swaggering heavy prog plod hovered above by vocoded choirs seeking out a technological heaven, Arabic melodies heard through a mirage, and textured percussive pings and pongs. And there is a midtro of cosmic exotica leading to a total break down, as ominous string synths float untethered and robots sing shadowy lullabies.

Our first taste of Hi-NRG comes with “Vasiona Desire” and its uptempo four-four, cracking snares, resonant tom cascades, and octave bass propulsion. An exultant melody repeats through several synths and spaghetti western whistles soar over epic arpeggiations…like a cinematic gallop through an extra-terrestrial vista. The phrase “I feel ready” repeats alongside crazed oscillations and angel choirs during a moment of rest, but we soon blast back into the pure cosmic heat, as if hearing the exercise music for beings of pure light. “Tokyo” features a journeying sequence accented by a cut-up drums with cymbals blasted into static, massive resonant toms, and snares splashing under water. Sub bass currents join in with cyborg voices as the drums grow muscular and jammed out, but then the rhythms pull away, leaving wobbling brass ascending over flashy cymbals and stumbling kick drums. And as we effortlessly transition back into the electro cosmic militance, satellite transmissions and interstellar ghosts fly all around the mix. We are back in the land of space disco energy for “Love to Me,” with a four-four and electro-shakers underlying the dazzling melodies and their galactic adventures. It’s energetic yet restrained…a methodical journey through the starry sky, and as the snare hits and the hand drums start bouncing, whirling synth winds move in slow motion around fantasy chimes and polysynth dreams, sunset strings are shrouded in deep phaser fx, and intergalactic brass melodies and their sky-seeking fanfares are joined by new age pan-pipes.

Huge kicks and wonky basslines support the fluttery synths and blissed out guitar lines of “Daydream,” which hits that mix of 50s pop dreaminess and futuristic electro that Chromatics would perfect decades later. Bright searing strings and brass chords merge into a flow of sunset bliss while chimes dance around the phrase “daydream,” which is repeated narcotically and trailed by soft polysynth streaks. Major key arps seek the soul of the stars while fuzzy synth leads dash and descend and flashing funk percolations background the smashing rhythmics. And towards the end, the track seems to lose itself in a futuristic meadow of heart-aching pop melodies as positive vibrations whirl all around. As good as the preceding tracks are, things really kick into high gear with “Danger Lover.” After a funked out intro of breakbeats, banging synthbass, and clavinets from another dimension, epic fantasy melodies intertwine with spaceage laser fire and joyous singing. The track heads towards ever more ebullient waters, with a playful bounce and loving positivity glowing off the robotic synth pop effervescence. Feminine mermaids and floating pad magic eventually transition into sultry sensual perfection…the kind of gorgeous and timeless melodies I dream about flying over pure propulsion and there’s no choice but to merge completely with the awesome stellar perfection. And as vivacious bass synths flow around percolating melodies of paradise fantasy, everything comes together with so much emotional exuberance as to reduce me to tears.

Zoran and Nikolaj hit even harder with “Happy Together” and its smashing disco energy built from four to the floor kicks, crushing snares, tambourines, and 16th note hi-hat fire. Soaring strings carry away all fears…all bad energy…and there are sections where synthetic marimbas and vibraphones dance around each other. The vibe is of kingdoms in the clouds and forests glowing with golden light and this must be one of the earliest sampling’s of the “you make me feel so good” line from Mikey Dread’s “Comic Strip” (which most recently came across my radar on that hot Deep Dean 12”). A secondary diva sample is interwoven alongside, and there are so many gooey romance soaked melodies flying from all corners of the mix that it’s hard to keep up with it all. In the end it’s better to just surrender to the anthemic and uplifting clouds of melodic magic reaching straight into heart and the masterful synth pop rhythms gliding like shooting stars. The final track “Future” has multi-layered sequences colored in twilight shades diffusing into balearic futurescapes drifting above exotic rhythmic boxes. Polysynth strings and shimmering arps ride alongside further spaghetti western melodies played on wigged out ring modulated synths while hushed pads harmonize. Bells move across the stereo spectrum and there are melodic hooks for sunset drives in a flashy convertible that lead to a bridge of dark melodic sorcery and storming cosmic power. The track then breaks down completely into weird synth fx and sci-fi strangeness before launching back into the seaside body movements.