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Prvi intervju napravio sam 1979. kao stariji maloljetnik, s nepunih 17, za splitsku Omladinsku iskru, i to s Oliverom Dragojevićem. Takve stvari se ne zaboravljaju: em prvi, em s Oliverom, koji je već bio odradio svoje zlatne festivalske godine s Runjićem. Stoga nije čudno da još uvijek pamtim njegove najjače izjave iz tog razgovora: "Ne fingiram ništa" (ta je završila u naslovu) i "Pjevam kao što govorim".
Ove druge sjetio sam se dok sa slušalicama u "načuljenim" ušima pokušavam dešifrirati o čemu pjevaju Mayales na početku svog novog albuma "Domovina". A tako je i s natpolovičnom većinom njegova ostatka. Ne znam zašto je došlo u modu koristiti glas više kao instrument nego kao sredstvo za govorenje/pjevanje teksta koji donosi stanoviti sadržaj, kad već postoji, ali sve češće mi se događa da u nekim divnim melodijama razaznajem samo fragmente "priče". Tako i kod novih Mayalesa: odmah u prvoj pjesmi, "Hoćemo svoj film", jedva sam "pohvatao" o čemu je taj "film" jer veći dio stihova utapa se u gustim slojevima glazbe, ali – kakve glazbe!
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"Domovina" je baš veliki album, po svjetskim standardima, ali to hrvatska masovna publika neće primijetiti, i to postaje problem za sve veći broj naše takozvane urbane, indie pop scene. Nas nešto malo zainteresiranih – malo za ozbiljan tržišni uspjeh – oduševljeno ćemo slušati uratke jedne zapravo sve brojnije jake ekipe glazbenika, no teško da ćemo igdje napuniti prostor veći od zagrebačke "Tvornice". Ali, oni koji još kmeče da od novog vala nije bilo tako dobre pop-rock glazbe u Hrvata, pojma nemaju.
Istina, uz pomoć snažne logistike Croatia Recordsa, vrijedni i talentirani JR August, odnosno Nikola Vranić uspio se nametnuti čak i s albumom na engleskom, i baš se bio zalaufao u medijima i na pozornici, kad je lani sve prekinuo koronavirus. No muze nisu umukle, naprotiv, a to se vidi i po tek četvrtom albumu Mayalesa u 22 godine njihova postojanja.
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Nakon prvijenca "Svima želim raj za sve", koji je 1999. donio radiofonske zgoditke poput eterične "Od ljubavi prvi" i poletne "Mogu i sama", trebalo im je čak 13 godina do albuma "2", s promjenom u članstvu i zvuku. U mnogim kritičarskim izborima bio je proglašen albumom godine, ali "uzalud vam trud svirači" – to ne puni ni male Gripe, ali može puno klubova, poput šibenskog "Azimuta" ili splitskog "Judinog drva", samo bi se trebalo naputovati i nasvirati, što je već više od godinu dana nemoguće. Što je peronospora bila za vinogradare, COVID je egzistencijalno (i) za glazbenike, naročito ove fele.
Treći album Mayalesa, ponovno sjajni "Simbol za Sunce", uslijedio je 2017. i donio stanoviti hitoidni potencijal s "Roadijem", pjesmom u kojoj je gostovala Tereza, ali tu ponovno nema ničeg za zborno pjevanje velike publike.
No, 'ajmo se više ne zamarati time. U vremenima smo kad se glazba ipak troši najčešće "jedan na jedan" – slušatelj s izvođačem u slušalicama i "brojačem" na streaming servisu – a u tom odnosu "Domovina" me tjera na ushit. Pune su mi je uši, a to naravno nema nikakve veze s glazbenim "domovinskim pokretom" predvođenim Thompsonom ili Škorom.
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Nisam, naravno, jedini koji će ovdje primijetiti touch Beatlesa iz njihovih posljednjih godina, no Mayales stilski prvenstveno kreću s američke zapadne obale i psihodeličnog rocka sedamdesetih godina prošlog stoljeća, a na putu do Hrvatske će se zaustaviti u Velikoj Britaniji devedesetih, nadahnjajući se kod Happy Mondaysa, Oasisa, Radioheada... Ovi posljednji kao utjecaj najočitije izranjaju na samom početku dirljive zaključne pjesme, "Adio galioti", čiji instrumentalni uvod na prvu priziva sjećanje na "No Suprises". Ako bih se morao odlučiti za osobne favorite, uz ovu bih pjesmu to još bile fascinantne "Divlje pastrve", kao i (pjevačka) kolaboracija s Aljošom Šerićem u "Koliko je stvari ostalo". A ostalo ih je dovoljno, zapravo i sve druge s ovog albuma koji nema lošeg mjesta, a favoritima ću pribrojiti i rasturačko otvaranje albuma.
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"Hoćemo svoj film", naime, plijeni snažnom simfonijskom orkestracijom, ali ne ostaje na tome već se ubrzo vrlo efektno preinačuje u plemenitu rockersku shoegaze "buku", što je pak jedan od dominantnih utjecaja na "Domovini", od početka do kraja. Ovaj album svakako donosi najčvršći zvuk Mayalesa, sjajno produciran, sa superiornim aranžmanima. Njih presudno "boji" moćna gitara Šibenčanina Vlade Mirčete, koji je uz frontmana Petra Beluhana i koautor svih pjesama. No svi su dionici ovdje odradili izvrstan posao, pa tako i autor dramatičnog omota "iz pakla", Omišanin Vice Tomasović.
I zašto onda ovakav bend, s ovakvim moćnim proizvodom, ne može u nas biti masovno prihvaćen kao što su to (bili) njegovi uzori, štoviše u svjetskim razmjerima? Da me ubijete, ne usudim se to analizirati, možda ima nekakve veze s genetskim podrijetlom Hrvata, Iranom, štajaznam...
A da bi mogli pjevati – ne baš kao Oliver, ali "kao što govore", mogli bi.
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[cleanTitle] => ‘Film‘ utopljen u gustim slojevima glazbe: naš glazbeni kritičar poslušao je novi album Mayalesa. Doznajte zašto ga ‘Domovina‘ tjera na ushit
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Sandra Simunovic/CropixZagreb, 130517.
Clanovi grupe Mayales Petar Beluhan, Vlado Mirceta i Luka Gecek snimljeni u Katranu.
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Mayales, koncert u Tvornici kulture.
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Clanovi grupe Mayales Petar Beluhan, Vlado Mirceta i Luka Gecek snimljeni u Katranu.
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Prvi intervju napravio sam 1979. kao stariji maloljetnik, s nepunih 17, za splitsku Omladinsku iskru, i to s Oliverom Dragojevićem. Takve stvari se ne zaboravljaju: em prvi, em s Oliverom, koji je već bio odradio svoje zlatne festivalske godine s Runjićem. Stoga nije čudno da još uvijek pamtim njegove najjače izjave iz tog razgovora: "Ne fingiram ništa" (ta je završila u naslovu) i "Pjevam kao što govorim".
Ove druge sjetio sam se dok sa slušalicama u "načuljenim" ušima pokušavam dešifrirati o čemu pjevaju Mayales na početku svog novog albuma "Domovina". A tako je i s natpolovičnom većinom njegova ostatka. Ne znam zašto je došlo u modu koristiti glas više kao instrument nego kao sredstvo za govorenje/pjevanje teksta koji donosi stanoviti sadržaj, kad već postoji, ali sve češće mi se događa da u nekim divnim melodijama razaznajem samo fragmente "priče". Tako i kod novih Mayalesa: odmah u prvoj pjesmi, "Hoćemo svoj film", jedva sam "pohvatao" o čemu je taj "film" jer veći dio stihova utapa se u gustim slojevima glazbe, ali – kakve glazbe!
---
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"Domovina" je baš veliki album, po svjetskim standardima, ali to hrvatska masovna publika neće primijetiti, i to postaje problem za sve veći broj naše takozvane urbane, indie pop scene. Nas nešto malo zainteresiranih – malo za ozbiljan tržišni uspjeh – oduševljeno ćemo slušati uratke jedne zapravo sve brojnije jake ekipe glazbenika, no teško da ćemo igdje napuniti prostor veći od zagrebačke "Tvornice". Ali, oni koji još kmeče da od novog vala nije bilo tako dobre pop-rock glazbe u Hrvata, pojma nemaju.
Istina, uz pomoć snažne logistike Croatia Recordsa, vrijedni i talentirani JR August, odnosno Nikola Vranić uspio se nametnuti čak i s albumom na engleskom, i baš se bio zalaufao u medijima i na pozornici, kad je lani sve prekinuo koronavirus. No muze nisu umukle, naprotiv, a to se vidi i po tek četvrtom albumu Mayalesa u 22 godine njihova postojanja.
---
---
Nakon prvijenca "Svima želim raj za sve", koji je 1999. donio radiofonske zgoditke poput eterične "Od ljubavi prvi" i poletne "Mogu i sama", trebalo im je čak 13 godina do albuma "2", s promjenom u članstvu i zvuku. U mnogim kritičarskim izborima bio je proglašen albumom godine, ali "uzalud vam trud svirači" – to ne puni ni male Gripe, ali može puno klubova, poput šibenskog "Azimuta" ili splitskog "Judinog drva", samo bi se trebalo naputovati i nasvirati, što je već više od godinu dana nemoguće. Što je peronospora bila za vinogradare, COVID je egzistencijalno (i) za glazbenike, naročito ove fele.
Treći album Mayalesa, ponovno sjajni "Simbol za Sunce", uslijedio je 2017. i donio stanoviti hitoidni potencijal s "Roadijem", pjesmom u kojoj je gostovala Tereza, ali tu ponovno nema ničeg za zborno pjevanje velike publike.
No, 'ajmo se više ne zamarati time. U vremenima smo kad se glazba ipak troši najčešće "jedan na jedan" – slušatelj s izvođačem u slušalicama i "brojačem" na streaming servisu – a u tom odnosu "Domovina" me tjera na ushit. Pune su mi je uši, a to naravno nema nikakve veze s glazbenim "domovinskim pokretom" predvođenim Thompsonom ili Škorom.
---
---
Nisam, naravno, jedini koji će ovdje primijetiti touch Beatlesa iz njihovih posljednjih godina, no Mayales stilski prvenstveno kreću s američke zapadne obale i psihodeličnog rocka sedamdesetih godina prošlog stoljeća, a na putu do Hrvatske će se zaustaviti u Velikoj Britaniji devedesetih, nadahnjajući se kod Happy Mondaysa, Oasisa, Radioheada... Ovi posljednji kao utjecaj najočitije izranjaju na samom početku dirljive zaključne pjesme, "Adio galioti", čiji instrumentalni uvod na prvu priziva sjećanje na "No Suprises". Ako bih se morao odlučiti za osobne favorite, uz ovu bih pjesmu to još bile fascinantne "Divlje pastrve", kao i (pjevačka) kolaboracija s Aljošom Šerićem u "Koliko je stvari ostalo". A ostalo ih je dovoljno, zapravo i sve druge s ovog albuma koji nema lošeg mjesta, a favoritima ću pribrojiti i rasturačko otvaranje albuma.
---
---
"Hoćemo svoj film", naime, plijeni snažnom simfonijskom orkestracijom, ali ne ostaje na tome već se ubrzo vrlo efektno preinačuje u plemenitu rockersku shoegaze "buku", što je pak jedan od dominantnih utjecaja na "Domovini", od početka do kraja. Ovaj album svakako donosi najčvršći zvuk Mayalesa, sjajno produciran, sa superiornim aranžmanima. Njih presudno "boji" moćna gitara Šibenčanina Vlade Mirčete, koji je uz frontmana Petra Beluhana i koautor svih pjesama. No svi su dionici ovdje odradili izvrstan posao, pa tako i autor dramatičnog omota "iz pakla", Omišanin Vice Tomasović.
I zašto onda ovakav bend, s ovakvim moćnim proizvodom, ne može u nas biti masovno prihvaćen kao što su to (bili) njegovi uzori, štoviše u svjetskim razmjerima? Da me ubijete, ne usudim se to analizirati, možda ima nekakve veze s genetskim podrijetlom Hrvata, Iranom, štajaznam...
A da bi mogli pjevati – ne baš kao Oliver, ali "kao što govore", mogli bi.
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Sandra Simunovic/Cropix
Zagreb, 130517.
Clanovi grupe Mayales Petar Beluhan, Vlado Mirceta i Luka Gecek snimljeni u Katranu.
Sandra Simunovic/Cropix
Zagreb, 130517.
Clanovi grupe Mayales Petar Beluhan, Vlado Mirceta i Luka Gecek snimljeni u Katranu.
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21. svibanj 2024 12:14
