Exposé Online banner

Už Jsme Doma — Pohádky Ze Zapotrebí
(Skoda SK0007-2, 1995, CD)

by Mike Grimes, 1996-08-01:

Pohádky Ze Zapotrebí Cover art It's a pretty rare event when I can honestly compare a CD reviewed in this magazine to both Devo and Madness, so I'm going to make the most of it here. The Devo comparisons are actually quite numerous — frantically paced music, liberal adherence to tempos, keys, and time signatures, bass parts that sound like they were written for some other song. One of the vocalists for Už Jsme Doma is a vocal carbon copy of Mark Mothersbaugh to boot! It's pretty scary actually when you think about it. I keep expecting them to launch into "Sloppy." The frequent and dominant tenor sax parts really do sound like something from Madness too. Not all of the album, however, is based in the wonderful world of late 70s punk and new wave. The other main influence appears to be folk. It's quite different to hear Devo vocals over waltz music in 3/4. Somehow, Už Jsme Doma even manage to throw in some softer piano led tracks like the serene opening to "Bila Hol." The blue ribbon for this album goes to the drummer for the truly berserk drums in "Kouzelnik." If you're been looking for the latest in new wave folk, the search can end with Už Jsme Doma.

by Alain Lachapelle, 1996-08-01:

There is a distinct Eastern European feeling to this. Be it in the stern voices over syncopated binary rhythms where saxophones are rarely making notes lasting longer than a third of a second. Be it the way harmonies are made, balancing on the RIO/punk borders, while everything is mostly delivered at full throttle, with frantic yet simple drumming, flurries of sax notes accenting rhythmically the chords, and structural bases revolving around short repetitive lines in some kind of augmented or diminished mode. I'm reminded at times of a heavy Forever Einstein on steroids. Lyrics are in Czech and rendered with that special touch that would make the Russian Anthems Fan Club jealous, when they are not simply talked or shouted over hyper-syncopated lines played with what seems all the joyousness that could characterize the Leningrad Cowboys on a severe overdose of caffeine. In this stormy blend, which isn't typical prog fare at all, we may find very few resting, calmer places, but the tension is almost always there. The musicianship is apt, and of notice, the bass player who, with his strong yet supple fast bass lines, revolves around and over the drumming. UJD is rather bare-sounding, the complete and direct antithesis of symphonic rock. Now, it is an interesting disc, nevertheless, with lots of busy instruments played flawlessly. I wonder what effect the first opening pieces could have, when played full blast on the sound system, on the local ecosystem. maybe it could make milk curdle in a matter of minutes. Or make mosquitoes spit blood. It's also interesting to find UJD quoted in a prog rock context, as it is definitively showing that prog encompasses a lot more than what could be glimpsed in a not too exhaustive overview. Punk prog? Thrash prog? By now, it's obvious that this is not recommended to Pendragon and other neo-prog amateurs. Rather, Pohádky Ze Zapotrebí could find its way starting with RIO fans, most likely. A stunning way to underline your serving of vodka at your next party.

by Peter Thelen, 1996-08-01:

If one is wondering how to pronounce the title of the fourth album by this equally unpronounceable Czech sextet, don't feel too bad — the writer is in essentially the same boat. Just call it UJD #4. Having followed this band since their 1990 album Uprostred Slov, each successive release has seen a further distillation of their unique character, and a band growing into an extremely powerful and cohesive unit. While many of the earmarks of great progressive rock music are here in abundance (the difficult time signatures, fast changes and oblique melodic twists), their music is delivered with punk-rock urgency a no-frills production style, shouted vocals, growling bass and a buzzing intensity throughout. There are strong folk elements within their compositions as well, but no flabby synths or gimmicky effects, this is outstanding musicianship at its most basic, with no disguises in tow. The lineup is guitar (sometimes two), piano (but not always), bass, tenor sax, drums, and percussion, with occasional extra winds and brass... and plenty of frantic vocals from four of the members. Their style is unique and instantly identifiable, at times recalling some of the weird art-pop stylings of bands like Debile Menthol, but pushed to the energetic limits and then some. This is music to challenge the senses and break the barriers, a perfect anecdote for those looking to escape the bland excesses of the standard fare. Recommended.

Filed under: New releases , Issue 10 , 1995 releases

Related artist(s): Už Jsme Doma

More info

Latest news

2020-01-21
Gong Announces UK Tour for 2020 – Having spent the last few years touring the world, including dates in Japan with psych legend Steve Hillage, multiple headline European tours and festivals, America’s Cruise to the Edge festival, a South America headline tour, and a headline performance at Tomorrow Festival in China, the band have won the hearts of both traditional and modern Gong fanbases. During this live journey, Gong has delved further into the truly psychedelic, exploratory, and mind-expanding side of the music. » Read more

2020-01-15
Carlos Alvarado RIP – Carlos Alvarado, pioneering composer, multi-instrumentalist and pioneer of progressive rock and electronic experimental music in Mexico, passed away January 14th, 2020 at age 68 after a two year battle with cancer.  » Read more

2020-01-12
Wolfgang Dauner RIP – Pianist Wolfgang Dauner, one of the pioneers of both European free jazz and jazz rock, has died at the age of 84. With his own groups and with the United Jazz+Rock Ensemble, his playing and compositions were a prominent presence in European jazz from the mid-60s until just recently. » Read more

2020-01-12
Michael Allison RIP – Michael Allison, who since 1997 has been recording as Darshan Ambient, passed away on January 9th after a long and brave battle with cancer. He has been at at the forefront of the new ambient/electronic music scene, with over eighteen releases to his credit. » Read more

2020-01-10
Neil Peart RIP – One of rock music's defining drummers has died at the age of 67. Neil Peart's work with Rush provided one of the templates for percussion in rock, and he certainly ranks in the top ten most influential drummers of the 20th Century. Peart retired from playing in 2015 due to health issues, and succumbed to brain cancer on January 7, 2020. » Read more


Previously in Exposé...

Tim Motzer + Markus Reuter - Descending – Guitarist Tim Motzer and touch guitarist Markus Reuter establish an instant atmospheric rapport on their first joint effort together. The first song, “1200 Sundays,” is beautiful and sounds...  (2010) » Read more

Øresund Space Collective - Black Tomato – The Øresund Space Collective (ØSC), Sweden’s answer to Acid Mothers Temple, offers up a succulent three course culinary feast of improvised space rock on their third studio release...  (2008) » Read more

The Deserts of Träun - Part III: The Lilac Moon – The Deserts of Träun is the musical project of former Estradasphere drummer David Murray. The project name and initial story theme originated from a high school jazz band collaboration between Murray...  (2004) » Read more

Estradasphere - Palace of Mirrors – Palace of Mirrors is Estradasphere’s fourth full-length release and first to feature the new lineup with Lee Smith on drums, Kevin Kmetz on shamisen/guitar, and Adam Stacey on keyboards, joining...  (2007) » Read more

Kepa Junkera - Bilbao 00:00 h – The first I ever heard of Kepa Junkera was at the first WOMAD USA festival. He was an unknown quantity that my wife and I checked out and became enraptured with. He plays the traditional Basque...  (2000) » Read more



Listen & discover



Print issues