“Juice Connection” archives released on Bandcamp

I’ve recently had loads of fun rummaging through the ancient Ground Zero material (cassette tape recordings of my first band from the 1990s), which I’ve then uploaded to Bandcamp so that all of us former band members could drift down the memory lane a bit. I also took the time to write a brief biography of that band and posted it here. As the whole undertaking has stirred up a lot of pleasant memories as well as a few enthusiastic responses, I kept digging and also uploaded all of the Juice Connection soundtracks, recorded between 1998 and 2002, to Bandcamp.

Juice Connection was the main creative outlet for me for a while, after the unfortunate if completely prosaic demise of Ground Zero. The yarn of Juice Connection started out back in 1998 when my former Ground Zero bandmate, Marko Djukić, invited me to write and record music for a theatre performance he would be appearing in. As it was clear to me that I lacked the necessary knowledge as well as equipment to pull this off successfully by myself, I approached a fellow musician Stojan Kralj with the idea. He agreed and became my trusted mentor and associate, most intensely so during the next few years. We formed the Juice Connection music production team with only us as its full-time members, and went on to produce – between 1998 and 2002 – original soundtracks for twelve full-length theatre performances, a couple of shorter theatre pieces and a TV show about contemporary dance theatre. Later the extended Juice Connection lineup (with myself on drums, Kralj on bass and guitar, plus Aljaž Tulimirović on guitar, Samo Pečar on the second bass and Andrej Hrvatin on percussion) also prepared an extensive setlist of live material and performed at a couple of live gigs. Unfortunately those adorably peculiar sonic excursions have never been particularly “commercially successful” (go figure), nor have they been documented – it would have been a real treat if any recordings of that musical experimentation, sound terrorism and downright jokery existed, but of course we haven’t recorded anything. No – I don’t know what we were thinking.

Be that as it may, while working on various theatre performances, Juice Connection has collaborated with a diverse assortment of guest musicians, depending on what was required for a certain project. Here are the twelve original soundtrack albums that have been compiled almost ten years ago, and now – nineteen years after the creation of the first soundtrack – republished on Bandcamp:


1998: Sebastjan Starič: THE TUNNEL

The original soundtrack, written and recorded in 1998, for the full-length physical theatre performance “The Tunnel” by the director and choreographer Sebastjan Starič. This is the first project of the Juice Connection team. Much of the material for this performance was recorded live. Almost exactly half of it was composed in advance, while the other half consists of impromptu jam sessions. A sequencer and quite a bit of electronics were already used for this soundtrack – back then still hardware samplers and synthesizers.
MUSIC: Stojan Kralj & Borut Praper. Co-authors at impromptu jam sessions: see below for details
ARRANGEMENTS: Stojan Kralj & Borut Praper. Co-authors at impromptu jam sessions: see below for details
MUSICIANS: Stojan Kralj: keyboards, programming, bass, guitar, vocals; Borut Praper: keyboards, programming, drums, vocals; Zmago Turica: violin on 02, 13; Marko Zorec: guitar on 03; Janez Vouk: trumpet on 04, 05, 12, 15; Branko Rožman: accordion on 08; Miran Stergulec: guitar on 11, 12, 14, 16; vocals on 17; Andreja Pak: piano on 13; Rok Predin: vocals on 17
IMPROMPTU JAM SESSIONS: Kralj (keyboards) / Praper (keyboards) on 01; Kralj (bass) / Praper (drums) / Zorec (guitar) on 03; Kralj (bass) / Praper (drums) on 06; Kralj (bass) / Praper (drums) / Stergulec (guitar) on 11, 12, 14, 16
PRODUCED BY: Stojan Kralj & Borut Praper


1999: Branko Potočan: AS LAST YEAR’S SNOW

The original soundtrack, written and recorded in 1999, for the full-length physical theatre performance “As Last Year’s Snow” by the director and choreographer Branko Potočan. This is the second project of the Juice Connection team. Much of the material for this performance was recorded live, although a lot of electronic instruments were also used – still mostly hardware samplers and synthesisers back then. The basic material was often recorded at jam sessions, while additional elements were added afterwards, as the material was processed and edited.
MUSIC: Stojan Kralj & Borut Praper, except Stojan Kralj & Aljaž Tulimirović – track 08. Co-authors at impromptu jam sessions: see below for details
ARRANGEMENTS: Stojan Kralj & Borut Praper. Co-authors at impromptu jam sessions: see below for details
LYRICS: Branko Potočan on 04; Sebastjan Starič on 12
MUSICIANS: Stojan Kralj: bass, guitar, keyboards, programming, various toys; Borut Praper: keyboards, programming, drums, percussion / various toys; Sebastjan Starič: vocals on 04, 12; Aljaž Tulimirović: guitar on 08; Branko Rožman: accordion on 06; Andrej Hrvatin: percussion on 06
IMPROMPTU JAM SESSIONS: Kralj (guitar, various toys) / Praper (drums, percussion, various toys) on 04; Kralj (bass) / Praper (drums) / Rožman (accordion) / Hrvatin (percussion) on 06
PRODUCED BY: Stojan Kralj & Borut Praper


1999: Sebastjan Starič: OH IT’S SPRING AGAIN

The original soundtrack, written and recorded in 1999, for the full-length physical theatre performance “Oh It’s Spring Again” by the director and choreographer Sebastjan Starič. This is the third project of the Juice Connection team. The material for this performance was roughly half electronic and half live recordings. Work became much easier with better software, especially software samplers. Like before, material was often recorded at live sessions, after which additional elements were added and the material was edited.
MUSIC: Stojan Kralj & Borut Praper, except Andrej Hrvatin – track 05. Co-authors at impromptu jam sessions: see below for details
ARRANGEMENTS: Stojan Kralj & Borut Praper, except Andrej Hrvatin – track 05. Co-authors at impromptu jam sessions: see below for details
MUSICIANS: Stojan Kralj: keyboards, programming, guitar, mandolin; Borut Praper: keyboards, programming, drums; Zmago Turica: violin on 04, 07; Andrej Hrvatin: percussion on 05; Miran Stergulec: guitar on 09
IMPROMPTU JAM SESSIONS: Stergulec (guitar) / Kralj (bass) / Praper (drums/percussion) on 09
PRODUCED BY: Stojan Kralj & Borut Praper


2000: Dušan Teropšič: THE FLIES

The original soundtrack, written and recorded in 2000, for the full-length physical theatre performance “The Flies” by the director and choreographer Dušan Teropšič. This is the fourth project of the Juice Connection team. The music for The Flies was mostly electronic and experimental, and some of the sound effects were recorded in the field. Since the soundtrack for the actual performance was a bit shorter than usual and because some of the less interesting sound effects were removed from this release, this album also includes several bonus tracks, consisting of the material recorded around that time, which was not used in any of the finalised performances – what the team called the “outtakes”.
MUSIC: Stojan Kralj & Borut Praper
ARRANGEMENTS: Stojan Kralj & Borut Praper
MUSICIANS: Stojan Kralj: keyboards, programming, bass, guitar; Borut Praper: keyboards, programming, drums
PRODUCED BY: Stojan Kralj & Borut Praper


2000: Branko Potočan: THE DOORS

The original soundtrack, written and recorded in 2000, for the full-length physical theatre performance “The Doors” by the director and choreographer Branko Potočan. The fifth project of the Juice Connection team. Most of the music for The Doors was electronic with live elements, recorded at jam sessions. A part of the soundtrack was performed live on stage by Andrej Hrvatin (percussion) and Borut Praper (drums). Unfortunately, no recordings of the material, performed live on stage, exist. All of the tracks on this album were written and recorded for The Doors; however, the final version of the soundtrack for the actual performance did not include all of them.
MUSIC: Stojan Kralj & Borut Praper. Co-authors at impromptu jam sessions: see below for details
ARRANGEMENTS: Stojan Kralj & Borut Praper. Co-authors at impromptu jam sessions: see below for details
MUSICIANS: Stojan Kralj: keyboards, programming, bass, fretless bass, guitar; Borut Praper: keyboards, programming, drums; Barbara Šantl: vocals and lyrics on 03; Katja Turica: vocals on 04; Aljaž Tulimirović: guitar on 05, 09, 13; Sebastjan Starič: vocals on 05; Zmago Turica: violin on 10, 15; Andrej Hrvatin: percussion on 11, 15, 16; Janez Vouk: trumpet on 14; Miran Stergulec: guitar on 18
IMPROMPTU JAM SESSIONS: Kralj (bass) / Praper (drums) / Tulimirović (guitar) on 09; Kralj (bass) / Praper (drums) / Tulimirović (guitar) on 13
PRODUCED BY: Stojan Kralj & Borut Praper


2000: Sebastjan Starič: THE RECYCLED

This album actually contains soundtracks for two full-length theatre performances: “The Recycled” (2000) and “Planet DIC” (2001) by the theatre group POZITIV, directed and choreographed by Sebastjan Starič and produced/mentored by Drago Pintarič. The collection also includes a couple of tracks written and recorded at the theatre music workshops in Izola, mentored by Stojan Kralj and Borut Praper at that time, which were not used in either The Recycled or Planet DIC. The Recycled was a joint project of Borut Bernik – Torulsson and Juice Connection, while Planet DIC was written and recorded by Juice Connection.
MUSIC: Stojan Kralj & Borut Praper, except Borut Bernik – track 02, and Aljaž Tulimirović & Borut Praper & Samo Pečar – tracks 03 and 08
ARRANGEMENTS: Stojan Kralj & Borut Praper, except Borut Bernik – track 02, and Aljaž Tulimirović & Borut Praper & Samo Pečar – tracks 03 and 08
MUSICIANS: Stojan Kralj: keyboards, programming, bass, fretless bass, guitar; Borut Praper: keyboards, programming, drums, darbouka; Tomaž Nedoh: soprano sax on 01, 03, 08; Borut Bernik – Torulsson: keyboards, programming on 02; Aljaž Tulimirović: guitar on 03, 08; Samo Pečar: bass on 03, 08; Andrej Hrvatin: percussion on 03, 08
PRODUCED BY: Stojan Kralj & Borut Praper, except Borut Bernik – track 02, and Borut Bernik & Borut Praper – track 01, 04


2001: Sebastjan Starič: CALL ME CRAZY

The original soundtrack, written and recorded in 2001, for the full-length physical theatre performance “Call Me Crazy” by the director and choreographer Sebastjan Starič. Most of the music for Call Me Crazy was electronic / experimental, except for a couple of live instrumental tracks. Some sound effects were recorded in the field and later processed in the studio.
MUSIC: Stojan Kralj & Borut Praper
ARRANGEMENTS: Stojan Kralj & Borut Praper
MUSICIANS: Stojan Kralj: guitar, keyboards, programming; Borut Praper: keyboards, programming; Janez Vouk: trumpet on 03; Andrej Hrvatin: clarinet on 11
PRODUCED BY: Stojan Kralj & Borut Praper


2001: Dušan Teropšič: THE SWAMP

The original soundtrack, written and recorded in 2001, for the full-length physical theatre performance “The Swamp” by the director and choreographer Dušan Teropšič. This performance was inspired by the ballet Swan Lake by P.I. Tchaikovsky, and certain tracks on this soundtrack were also based on some of the most famous music from that ballet (tracks 1, 6, 8 and 11). Most of the music for The Swamp was electronic, except for certain live elements and a single live improvised instrumental track, where drums & guitar were recorded at an impromptu jam session, while bass and keyboards were added later.
MUSIC: Stojan Kralj & Borut Praper
ARRANGEMENTS: Stojan Kralj & Borut Praper
MUSICIANS: Stojan Kralj: guitar, bass, keyboards, programming; Borut Praper: keyboards, programming, drums; Janez Vouk: trumpet on 09, 10; Marko Zorec: guitar on 09; Andrej Hrvatin: percussion on 10
IMPROMPTU JAM SESSIONS: Kralj (guitar) / Praper (drums) on 12
PRODUCED BY: Stojan Kralj & Borut Praper


2001: Tanika Šajatovič: SUPERSEXY

The original soundtrack, written and recorded in 2001, for the full-length theatre performance “Supersexy” by the writer and director Tanika Šajatovič. Most of the music for Supersexy was electronic, except for some live elements.
MUSIC: Stojan Kralj & Borut Praper
ARRANGEMENTS: Stojan Kralj & Borut Praper
MUSICIANS: Stojan Kralj: bass, keyboards, programming; Borut Praper: keyboards, programming; Janez Vouk: trumpet on 08; Andrej Hrvatin: percussion on 08
PRODUCED BY: Stojan Kralj & Borut Praper


2001: Branko Potočan: PERKMANDELJC – THE VANISHING SPIRIT

The original soundtrack, written and recorded in 2001, for the full-length physical theatre performance “Perkmandeljc – The Vanishing Spirit” by the choreographer and director Branko Potočan. Perkmandeljc – The Vanishing Spirit was a performance inspired by the life of miners in a small industrial community where the director used to live. The concept of the soundtrack was that it should be reminiscent of a small brass band of suspicious pedigree, therefore most of the music for this performance was performed by brass and woodwind instruments. The soundtrack also includes a few electronic / programmed tracks and atmospheres.
MUSIC: Stojan Kralj & Borut Praper, except Andreja Dajčman – track 08 (arranged by Borut Praper)
ARRANGEMENTS: Stojan Kralj & Borut Praper
MUSICIANS: Stojan Kralj: keyboards, programming; Borut Praper: keyboards, programming; Miha Vavti: sax; Janez Vouk: trumpet; Matjaž Rebolj: oboe; Zdenko Korenjak: clarinet; Iztok Kološa: tuba
PRODUCED BY: Stojan Kralj & Borut Praper


2002: Nick Pickard: WALKING ON EGGSHELLS

The original soundtrack, written and recorded in 2002, for the full-length theatre performance “Walking on Eggshells” by the director Nick Pickard, written by Michael Pigott. Walking on Eggshells was an intriguing collaboration with the Australian director Nick Pickard. The performance placed a lot of emphasis on dialogues, so the soundtrack featured many atmospheres, experimental sound design pieces and sound effects as well as several melodic tracks. Many sounds were recorded in the field (in the basement where this performance was first staged) and used for the soundtrack, either raw or heavily processed. The director wanted to include some hints of folk song themes in the performance, so a small choir performing folk songs from the Koroška region was recorded, and then heavily processed in the studio. These pieces were entitled “Zee Koroshka Sessions”.
MUSIC: Stojan Kralj & Borut Praper
ARRANGEMENTS: Stojan Kralj & Borut Praper
MUSICIANS: Stojan Kralj: keyboards, programming; Borut Praper: keyboards, programming; Matjaž Rebolj: oboe on 02; Zmago Turica: violin on 03; Otokar Praper: vocals on 04, 07, 13, 14; Peter Praper: vocals on 04, 07, 13, 14; Jože Praper: vocals on 04, 07, 13, 14; Zdenka Praper: vocals on 04, 07, 13, 14; Marjan Popič – Ožbej: vocals on 04, 07, 13, 14; Zdenko Korenjak: clarinet on 08; Miha Vavti: sax on 12
PRODUCED BY: Stojan Kralj & Borut Praper


2002: Sebastjan Starič: LUST

The original soundtrack, written and recorded in 2002, for the full-length dance theatre performance “Lust” by the director and choreographer Sebastjan Starič. Lust was the last project of the Juice Connection team. The first versions of the tracks Lahko te čutim (here entitled I Can Feel You and sung by Urška Samec), Ne premorem besed (here entitled Speechless and sung by Mojca Žerjal), Zarja (here entitled BooM) and Nosi me (here entitled Revolve) were written and recorded for this performance towards the end of 2001. While working on these tracks, the idea for the project SUR started taking shape, which is why the soundtrack for this performance is regarded as a joint project of Juice Connection and SUR. The “evolved” versions of these four tracks, sung by Neža Trobec Teropšič, were later published on the first album by SUR, entitled Na jug and released on a physical CD in 2004. After this performance, Stojan kept working on his own projects, while Borut and the lyricist Marko Djukić concentrated on their newly-founded group, which went on to write and record music for 13 theatre performances, a variety of other audiovisual works, as well as release its two “tangible” albums – Na jug (2004) and Druga stran (2007). The former members of the Juice Connection team still collaborate on a regular basis and contribute to each other’s projects.
MUSIC: Stojan Kralj & Borut Praper
ARRANGEMENTS: Stojan Kralj & Borut Praper
MUSICIANS: Stojan Kralj: bass, keyboards, programming; Borut Praper: keyboards, programming; Marko Djukić: lyrics on 01, 02, 08, 10; Urška Samec: vocals on 01, 02, 08; Andreja Žel: accordion on 04, 07; Mojca Žerjal: vocals on 10; Janez Vouk: trumpet on 13
PRODUCED BY: Stojan Kralj & Borut Praper


After the last Juice Connection project, I concentrated on the band SUR that I founded together with the lyricist, dramatist and theatre actor Marko Djukić, while Stojan worked on other things. However, Kralj and I have continued working together on various projects to date.

Stojan Kralj and I – the core of the Juice Connection team – have never limited ourselves in terms of what style we would or would not dabble into. While writing music for all the diverse performances we have worked on, we have proved time and again that we can be extremely versatile – sometimes to the point of ending up with exceedingly schizophrenic albums. One has to keep in mind, though, that it is hard to imagine what the music is for and why it is what it is if you don’t actually see the performance. However, we have also strongly believed in collaboration and kept involving other musicians in each of our individual efforts, because that seemed to produce the best and sometimes most surprising results, if done properly. Thus we have recorded a vast variety of tracks ranging from jazz to metal, from ethno to pop, from trip hop to swing, from experimental, avant-garde, atmospheric and ambient pieces to drum & bass, industrial, and even orchestral music and brass band arrangements.

Because of the extremely short development times for most performances, lack of technical and financial resources, and therefore quite a lot of creative as well as technical improvisation involved in each project, the production quality of the resulting work of the Juice Connection team may vary somewhat, especially by today’s standards, while the tracks recorded at impromptu jam sessions may often be less than perfect in terms of technical execution, of course. Nevertheless, these recordings are documents of certain times and circumstances and should be perceived as such. Ultimately we got things done: all the performances were staged successfully, we’ve certainly had lots of fun working on them, and that’s what it all boils down to in the end.

On the tenth anniversary of the first soundtrack we had ever recorded, Kralj and I decided to sift through the material and share it all on Jamendo, in order for it to be documented and perhaps used again by someone who may find it useful. Now, almost twenty years after The Tunnel, it was high time to release this on Bandcamp as well, and post the whole collection as well as a short biography in one place, so that the various facts and names of great musicians who have contributed to all of this don’t get forgotten.

“Ground Zero” archives released on Bandcamp

This has been long overdue, but I finally got around to actually doing it: I salvaged the Ground Zero archives from dusty, moth-eaten old compact cassette tapes that I’d had lying around in a drawer somewhere for aeons, tinkered around with audio forensics for a bit, and uploaded the resulting noise to Bandcamp. Here are the results…

Ground Zero was the first band I played drums in. By a sort of youthful inertia, it was formed in 1993 by a bunch of us kids who hung around the stage at what was then my secondary school. The initial lineup consisted of Aljaž Tulimirović, Aleš Kovačec and myself (none of whom went to that particular school), while the fourth founding member, my classmate Mitja Jurančič who was supposed to sing, immediately – at the first or second rehearsals – discovered that he couldn’t actually carry a tune, probably to the eternal gratitude of the band’s few future listeners. I’m not being mean: if Jurančič ever reads this, he’ll be the first to agree. Frankly, none of us – with the possible exception of Tulimirović, who was relatively good on guitar even then – could play very well at that time.

The band underwent the first permutations: Aleš Kovačec on bass was soon replaced by Boštjan Zorc, Aljaž picked up the vocal mike apart from the guitar, and with me on drums we soon made for a classic “power trio”. For about half a year or so we mostly played Jimi Hendrix covers as well as some other blues and rock tracks at high school parties and biker gatherings. When you are that young, you learn fast, and not much time passed until we were tired of vintage rock covers. Zorc was eventually replaced by Sebastijan Roškarič on bass and we started coming up with our own ideas. It soon turned out that we desperately needed a “dedicated” vocalist, and I was very fortunate to run into Marko Djukić as a freshman at the university about a year after the band’s formation. With Marko Djukić on vocals we focused almost exclusively on our own material, abusing covers only as fillers or a kind of jokery, and Djukić also stepped in as the band’s resident lyricist. As Djukić and I both studied English, using any other language for lyrics was never even a question.

The first recording that still exists and has now been “exhumed” dates back to 1995. The other three existing recordings – two from live concerts and a short DIY demo – were done in 1996. During that time we changed the bass player again: Roškarič gave way to Samo Pečar. Later, in the beginning of 1997 (or maybe at the end of 1996), if I remember correctly, we had some disagreements with Djukić, especially as it was difficult for him to attend our never-ending rehearsals and rock ‘n’ roll revelry far from his home every weekend. Besides, ravenous for new knowledge and eager to complicate our lives, Tulimirović, Pečar and I gradually strayed far into the realm of alter-prog-fusion-psychedelia, rendering the ground rather unfertile for vocalists, so we and Djukić parted ways, though on good terms. Of course, as barely anyone but ourselves was exactly crazy about our setlist that ultimately consisted of ten to fifteen-minute instrumentals riddled with incomprehensible, utterly undanceable odd-time meters and other intentional listener pitfalls like malicious breaks, malevolent random-sounding phrases played in unison, syncopated rhythms, atonal compositions and beat displacement, plus ample room designated for random improvisation and on-the-spot “freeform composition”, the band gradually evaporated, without much clamour, sometime in the course of 1997 or 1998, as the band members started pursuing other outlets for their unbridled creativity.

Marko Djukić dedicated himself to theatre, and thanks to him I started writing original soundtracks for theatre performances together with another long-term “associate” of mine, Stojan Kralj. Producing music for audio-visual works is also how I eventually got into the rather arcane music production business more seriously, and I also kept drumming in quite a few other bands. Boštjan Zorc went back to playing guitar (his primary instrument), and he has since been in several bands. He is now a great guitarist and owner of a well-known guitar workshop. Sebastjan Roškarič headed into the realm of magic: he is now an accomplished illusionist. Samo Pečar has become a professional bass player and has contributed to too many bands to list. Aljaž Tulimirović has gone on to form a few bands of his own as well as take part in a number of other projects. Both Tulimirović and Pečar participated in Juice Connection (1998–2002, the music production crew formed by Kralj and myself) as well as played in the live line-ups of both bands I founded later: SUR as well as, for a while, Cynicism Management.

As I’ve already mentioned, the Ground Zero archives were salvaged from mangled old compact cassette tapes. To make matters even more frustrating, most of the material was originally recorded directly from the mixer during rather “unpredictable” concerts of dubious quality, so forget about top-notch production by today’s standards: the recordings did undergo significant digital audio restoration, as far as I could manage it… But without a functional artificial intelligence with a knack for audio forensics, magically transforming this material into anything great-sounding will remain impossible. Nevertheless, all of the former band members agreed it would be a good idea to “immortalise” these fine audio documents by digitising them before they vanished forever. Not that they will have any mass appeal, of course – but they will certainly let us, the former members, take a few trips down the memory lane.

“Pendulum Pet” released on Jamendo

For reasons I will not go into right now, my main band – Cynicism Management – has been quiet for a while. The work on the band’s third full-length album (as well as my third novel, which is supposed to accompany it) IS proceeding, though not exactly as initially planned, so I cannot yet predict with any certainty when either will be done.

In the meantime, we have released the Pendulum Pet album on Jamendo, where you can grab it as a FREE download under a Creative Commons BY-NC-ND license.

Rick Neidlinger releases “A Taste of RickyRock”

For the last half a year or so I’ve been collaborating with a Kansas-based singer/songwriter, bassist and first-rate guitarist Rick Neidlinger. While he was in charge of everything else, I contributed drums and then mixed and mastered the tracks as well. The resulting work has just been released on Bandcamp. Have a listen and/or grab a download:

Released November 6, 2016
Music, guitars, bass and vocals: Rick Neidlinger
Drums, mixing and mastering: Borut Praper

Rick Harsch: The Appearance of Death to a Hindu Woman

AoD2-300pxI have been shamelessly procrastinating for quite a while now and have avoided writing this review, figuring that I’ve had many more “pressing things” to do – for the very simple reason that this is one of those books that are certainly not “easy”. As such it has called for quite a bit of pondering, because writing a hasty review would have not done it any justice. Let me start by typing a few words about Rick Harsch first. In fact, I’ll just pilfer a bit of my own text from the review of Harsch’s Arjun and the Good Snake that I wrote a couple of months ago.

Once upon a time, Rick Harsch was well on his way to becoming internationally renowned for his traditionally-published and widely acclaimed “Driftless Trilogy” (The Driftless Zone, Billy Verite, and The Sleep of Aborigines), which has also been translated into French and made its way into the curriculum of the somewhat obscure University of Tasmania (as Rick defines it in Snake, “the intellectual center of the only block of land to exterminate all its aboriginals“). However – rather unsurprisingly, if you know what an onerous conundrum of uncalled-for incidents tends to surround Rick most of the time – due to an extremely unfortunate sequence of events, including but not limited to the vastly premature death of his Hollywood agent, a bitter though hilarious (to an external observer) dispute with his subsequent literary agent, the bankruptcy of his French publisher and other similarly torturous circumstances, Rick Harsch’s tenacious infiltration of the world literary canon has been on a rather involuntary and undeserved hiatus of late. The infamous downward spiral of the traditional publishing industry that has got out of control after the advent of e-readers has only further complicated Rick’s theretofore cunning world-domination scheme.

In light of all of the above, Rick has recently decided to join the indie author tribe, and I’m helping him out by formatting his books for e-readers. Arjun and the Good Snake was the first book of his to be re-released as an e-book, in a series of others that should follow shortly. The Appearance of Death to a Hindu Woman was the second e-book to be published, and I’m almost done with three more, which should be out soon. Appearance goes together with Snake and represents the second half of Rick’s Indian Duology, or however he may refer to the pair of novels. Like in Snake, in Appearance he once again focuses on India; on, as he puts it himself in his description of the book, “…the spaces where love and delusion, myth and existence weave sinuously, rhapsodically, through the Indian world.

The resulting “love story” is an extraordinarily poetic and meticulously thought-out narrative, describing a pilgrimage of an US American man through India in an attempt to overcome the dark forces (mundane as well as otherworldly, even demonic) that would prevent his reunion with his Indian love. However clear and relatively simple this basic plot may seem when you “boil it down” like this, Rick’s writing is, of course, not nearly as straightforward. What starts out as a tale of love in the face of culturally-related obstacles (with the traditional Indian family opposing their daughter’s relationship with a Pisaka, eater of dead flesh, as the girl’s mother refers to the narrator) soon develops into a feverish, phantasmagoric journey of a man-out-of-place through the unknowable intricacies of Indian history and myth. The pilgrimage itself may or not be real, and on his path the narrator is derailed by “suspicious” characters, assailed by demons, and drawn into “the foul game” (as one of the characters refers to it, and which involves a horrendous case of dysentery). Soon the story takes on a somewhat magic-realist dimension that makes it difficult to separate reality from delusions. After darker and darker turns the story culminates in a feverish monologue of the narrator whose pilgrimage has, apparently, not succeeded quite as he has imagined – or has it? Perhaps what really happens is that he finally succumbs to the demon Theengu Karuppu, as he suspected he would (and was warned about it)?

The Appearance of Death to a Hindu Woman is the sixth book by Harsch I’ve read, and such “uncertainty” with regard to his writing, resulting from the frequent “phantasmal” passage, seems to be his modus operandi: it’s simply something one comes to terms with and learns to love, or one doesn’t. When reading Appearance one should also be prepared to tolerate the frustration one might feel (if one is not exactly an expert in India) by all the Indian names, places, Tamil and Hindi words and concepts, and especially Indian mythology, which Rick, naturally, rarely bothers to explain (such “India-for-dummies” explanations would not have any place in a narrative like this, anyway). Rather than resorting to googling all of this one can also do oneself a favour and just remain relatively ignorant – as far as I’m concerned, one doesn’t have to know exactly what is going on to appreciate the story.

What I mean to say is, if you happen to be one of those readers who like their books clear, to the point, and lacking any digressions and seemingly gratuitous “asides”, you would probably do yourself a favour by staying away from Harsch’s Appearance (and probably Snake as well). However, if you can appreciate a random hint of obscurity and see value in an occasional internal monologue and cryptic passage, this is for you – especially if you can relish the exquisite “prose poetry” language that Appearance has to offer.

Bullet Democracy releases “Suicide Circus”

My good pal Giulio Tarantino has just released his first EP, entitled “Suicide Circus”, as a (for now rather fictitious) band called “Bullet Democracy”:

According to his Bandcamp bio, Giulio Tarantino (a.k.a. Bullet Democracy) is an Italian film director, musician, singer & songwriter, currently residing in Berlin, Germany. He makes a living as an Italian deli proprietor and keeps buying useless junk at the local flea market.

All of this is true. Giulio would probably perish in considerable pain if he were prohibited from haggling at the local flea market, the exact purpose of which continues to elude me to this day. Be that as it may, I’ve gladly assisted him in the realisation of his long-time dream of publishing an album, so I recorded, produced, mixed and mastered his debut while also playing drums, percussion, bass, keyboards and additional guitar on it. I’d characterise the four-track EP – which Giulio is also determined to present live at some point in the future, at least with a limited acoustic live line-up – as a sort of grunge with Italian pronunciation. It may be interesting for some music aficionados to know that Giulio’s distinctive vocal has such a low register that we had to resort to recording three of four tracks on this album with a baritone guitar tuned to B E A D F# B (as well as drop A, where necessary).

The EP is available for download on the Bullet Democracy Bancamp site (name your price / free).

Rick Harsch publishes Arjun and the Good Snake

Snake300First of all, let me get the following out of the way: yes, I count the writer Rick Harsch among “real-life” friends (i.e., not one of those you only “talk” to via one of the antisocial networking sites), so my review of his first e-book (but hardly Rick’s first book – he has previously published a heap of those… what were they… oh, paper artefacts!) might not be entirely objective (as if any review is). The thing is, Rick’s relentlessly critical outlook but nevertheless remarkably positive opinion of my own debut novel was what I desperately needed at a time when my confidence in my scribbling ability was faltering on a daily basis, and he has also been invaluable in his efforts to help me polish my own books and get them in front of readers. This was, as far as my own previous experience had indicated, rather unusual for “old-school” writers such as Rick.

As it happens, Harsch is not (yet?) a member of the modern, agreeable, happy-go-lucky gang of “indie authors”: he hails from the “olden” days when the stereotypical image of writers was still – with good reason, I suppose – that of obstinate, loopy, unsociable, disgruntled old geezers who most likely hate all other writers, but especially any who might materialise in their vicinity. After all, Rick was, once upon a time, on his way to becoming quite renowned for his traditionally-published and widely acclaimed “Driftless Trilogy” (The Driftless Zone, Billy Verite, and The Sleep of Aborigines), which has also been translated into French and made its way into the curriculum of the somewhat obscure University of Tasmania (as Rick defines it in Snake, “the intellectual center of the only block of land to exterminate all its aboriginals“). However – rather unsurprisingly, if you know what an onerous conundrum of uncalled-for incidents tends to surround Rick most of the time – due to an extremely unfortunate sequence of events, including but not limited to the vastly premature death of his Hollywood agent, a bitter though hilarious (to an external observer) dispute with his subsequent literary agent, the bankruptcy of his French publisher and other similarly torturous circumstances, Rick Harsch’s tenacious infiltration of the world literary canon has been on a rather involuntary and undeserved hiatus of late. The infamous downward spiral of the traditional publishing industry that has got out of control after the advent of e-readers has only further complicated Rick’s theretofore cunning world-domination scheme.

In light of all of the above (as well as because I practically forced him to), Rick has recently decided to join the indie author tribe. Arjun and the Good Snake is the first book of his to be re-released as an e-book, hopefully in a series of others that should follow. I’ve had the honour of formatting it for e-readers, and it should look good – I certainly hope so, and if it doesn’t, feel free to complain to me and hold me personally responsible, and I mean that! This I did most happily, for Snake has been, to date, my favourite book of Rick’s (with the possible exception of an upcoming “paper” one, which is still in the works); though I, unfortunately, haven’t yet had the pleasure of reading the Driftless Trilogy, because it is, sadly, out of print. (Rick is currently looking at the possibility of resurrecting it, but the fact that he doesn’t have the manuscripts in the electronic form will make this “project” difficult and, above all, long-winded.)

Reading Arjun and the Good Snake for the first time a few years back was the perfect way of getting to know Rick better, along with all of his numerous remarkable qualities as well as considerable faults. As he puts it himself in the introduction to Snake, “No character, especially that of the author, is safe” (from assassination, I guess). The (sort of) journal supposedly focuses on the six weeks in India (without alcohol, woe was Rick!) that the author spent on a quest to track down a cobra and hopefully also a Russell’s viper, the ophidian preference of his son. However, the “diary” is interspersed with the author’s intimate musings and ruminations: on his own failings, particularly the harrowing alcohol addiction (paradoxically, simultaneously soul-sucking and soul-giving, as anyone who has ever struggled with their share of problems with alcoholism will surely know); on his family, especially his relationship with his wife Sasikala and son Arjun; on India and all her unknowable depths; on philosophical, existentialist, even suicidal enigmas; as well as on the various goings-on back at the Slovenian coast, where the author had emigrated from the United States, primarily, as far as I know, to escape oppressive idiocy… Only to witness, to his dismay, the quickening of rabid, unhinged capitalism in a former socialist country, with all the savagery that has entailed.

Arjun and the Good Snake is not an “easy” book. If you’re an ardent believer in the magnificent contemporary Western world and appreciate the constant pursuit of instant gratification, ravenous consumption as well as instantaneous excretion – then this might not be a book for you. However, if you’re willing to put a bit of effort in a literary work rather than just be “entertained” by it, you’ll doubtlessly unearth and come to appreciate many a touching contemplative passage such as, for example, the following:

We arrived to the sea – and this is where if I were ever to commit suicide, the time would be as appropriate as it would get, a wretched man standing apart from the alienated cluster representing all he’s got, unable to enjoy himself alone, alienated even from a circumstance too familiar to generate true despair; the waves relentlessly formed and reformed with their concealed force, spent themselves falsely, the sea sucking in with greed: There is much to be learned standing with pants rolled above the knees and feet planted on damp sand as the lace of water passes ankle high, and then the sand around the feet is stripped away with a surprising, even sinister, force that badly wants to take me under, too…

“Short and to the Point” EP released

The soundtrack for the upcoming theatre performance “Kratko in jedrnato” (Short and to the Point), directed and co-written by Marko Djukić, has just been released as a 15-minute EP, entitled “Short and to the Point“. You can download it on Bandcamp (free / name your price) or grab a free download here.

All tracks on Short and to the Point were composed, arranged, recorded & produced by Borut Praper (a.k.a. Ray Kosmick). All instruments performed by Borut Praper. Produced, mixed and mastered by Ray Kosmick in S.U.R. Studio, Berlin, in 2016. The cover artwork is a screenshot from the film Sunrise: A Song of Two Humans by F.W. Murnau (1927).

Theatre performance credits:
Starring: Branka Hočevar, Helena Bevc, Renata Jančar, Neli Mlinar, Tamara Kragulj, Aja Kobe k.g., Roman Tišler, Urh Props, Maks Kovič, Žiga Rappl, Gal Mavretič
Set design & costumes: Katja Sladič Rudolf
Assistant set & costume designers: Tina Baš, Tjaša Doblekar, Tessa Adamič
Hair stylist: Nina Vozel
Light design: Aljoša Vizlar
Technicians: Jure P. Končar, Matej Bračun
Performance produced by the TOMBAS society in cooperation with the Litija Cultural Centre

“Pendulum Pet” released!

PPet-COVER-400x600I am overjoyed to report that my second novel, Pendulum Pet, has just been released on Amazon! It’s currently enrolled in Amazon KDP Select, so it’ll remain exclusive to Amazon for the foreseeable future. I might change my mind and release it elsewhere at some point, but for now let’s see how this arrangement works out.

I would hereby like to thank my precious “beta readers”: Monika Fritz, Rick Harsch, Vesna Žagar, Barbara Drobnak, Jure Rudolf, Sunčan Stone and Marko Djukić for their invaluable insight, assistance in the never-ending whack-a-typo hunt, as well as their involvement in advanced mental fart eradication. Furthermore, hats off to Matej Peklar, top-notch illustrator and my best friend back in primary school (in another millennium, in a now deceased country), for his witty cover design. Yay, we’ve got a thoroughly grumpy pooch on the cover!

Over here you can listen to the complete soundtrack for this novel and download it for free.

I can only hope Pendulum Pet manages to find a few readers whose sense of humour is convoluted enough to enjoy it. By the way, the price on Amazon is $3.99.


ABOUT THE BOOK

PENDULUM PET
(Cynicism Management Series Book 2)
Satire / comic fantasy / sci-fi

Pendulum Pet is a romp through the vicissitudes of a gregarious advanced culture with too much time, information and technology on its hands. Paranoia is placed and misplaced, the devious succeed through manipulations of those who gaze in wonder at the mundane like chimps on acid, or fail when the truly bizarre and unthinkable inadvertently stand in their way.

Civilizations clash, as they will, when Metaore, a transnational mining corporation headed by CEO Budd Dimples, purchases a field behind Boris and Beeba’s Rock ‘n’ Roll Tavern, a cult concert venue and meeting place of an eclectic collection of feckless artists, in order to undertake a remarkable experiment: drilling a geopunctural borehole to heal the Earth. Budd has been diagnosed with pancreatic cancer and taken a sudden turn toward esoteric wisdom, much encouraged by his healer and sex therapist Ashtara Wolf.

Bogomyr Yadvig, one of the more outré of the regulars, lives in a tent nearby with Rex the tavern hound – his idea of communing with Greek Cynics in preparation for an upcoming performance piece. He has cause to lose sleep and accumulate suspicion that the corporation has nefarious unstated ends in mind, particularly when he has his Roswell moment, if that is indeed what it is.

The corporate endeavour comes to a sudden halt when their drill runs into an impenetrable barrier, leading to mutually unfortunate and potentially combustible discoveries, along with stunning truths about parallel evolution and devolution. Yes, the world of the techno-information age has gone mad and survival may very well depend on the whims of a pendulum pet.

Please note that this novel is adult, poignant satire. As such it contains explicit language, sex scenes, politically incorrect depictions, and may be offensive to the more irritable readers. Even though the work is part of a series, the story is self-contained and can be read independently of the other Cynicism Management Series novels.

Fortunate Finds: Guido Henkel

Guido Henkel’s Zen of eBook Marketing still free today!

A few months ago, after I finished the first draft of my second novel, I started considering the possibility of joining the ranks of self-published, indie authors. I was thoroughly dissatisfied with the (non)strategy and unresponsiveness of the small U.K. e-book publisher who had released my first novel, Cynicism Management, as well as frustrated because of my lack of control over that release. Therefore I decided to educate myself in the matter of indie publishing, which I had previously consciously avoided, primarily due to two concerns: problems involved in e-book formatting; and my inability to promote my own work in any effective way (I have a long but infamously anonymous career as a composer, musician and producer behind me, spanning back more than 20 years with extraordinarily limited success, to prove that).

I decided to approach both issues the way I usually do: by reading about them. My ultimate decision to go ahead and self-publish was based on the most helpful works of two authors: David Gaughran and Guido Henkel. From Gaughran’s books (I intend to make a separate “Fortunate Finds” post about him and his work in the near future) I have gleaned a wealth of invaluable information about contemporary self-publishing in general, more than enough for me to decide this was indeed what I wanted; but they only touch upon the subject of e-book formatting briefly. However, as far as that pressing issue was concerned, Gaughran pointed me in the direction of Henkel.

Now, I know enough about IT and coding to have been seriously worried about how to even approach e-book formatting properly. I knew enough not to trust any ZenFautomatic conversion processes, and it turned out I was right. However, due to financial constraints (i.e., zero budget) I wanted to tackle this issue myself. The feat would have been impossible without Guido Henkel’s Zen of eBook Formatting, which has been, for me, the definite go-to e-book formatting compendium, and it hasn’t let me down once. To boot, Mr. Henkel is a very generous and plain old “nice” guy, who will not shy away from any questions one might have. With the aid of his thorough instructions I was able to overcome my fear of formatting my e-books myself… And I can now do so with conviction that they’ll display well on all sorts of e-readers, phones and tablets.

For this reason I was very happy when I recently found out that Henkel was about to publish a new Zen book – Zen of eBook Marketing – this time focusing on e-book promotion, which remains a seemingly insurmountable problem for me. First of all, I dread most kinds of self-promotion and abhor marketing. I find most of it nauseating and utterly incompatible with my personal philosophy, especially as I tend to be an annoyingly compulsive cynic, even with regard to my own work. Thus I’ve always found any self-help books on marketing shady, suspecting them of mainly promoting themselves – you know, in the vein of get-rich-quick books: why would one write such a book if one knew how to get rich quickly? Unless writing a get-rich-quick book is a way of getting rich quickly?

ZenMHowever, by that time I had already been very grateful to Mr. Henkel for his book on formatting, so in spite of my inherent skepticism I will quite shamelessly say this: it is my opinion that Guido Henkel does it primarily because he likes to help people (no matter how cheesy that statement sounds); and if he makes a thoroughly honest living while doing it, that’s fine with me. If you disagree, check his instructions on eBook formatting: he could have taken this freely accessible information down when he wrote a book about it, right?

If you’re looking for get-rich-quick schemes, you won’t find any in Henkel’s book. Instead he approaches the subject of e-book marketing realistically and wittily, providing a treasure cove of information on everything every indie author should know: from editing, proofreading, beta readers, formatting, importance of cover design, keywords and metadata… all the way to reviews, online presence, social media and promo ideas. You’re free to pursue whatever you like, and ignore whatever it might be you don’t. Henkel will not tell you to do this or do that in order to achieve overnight success: he provides a comprehensive overview of everything you can do, topping it all off with an exhaustive and invaluable collection of links and resources, and then it’s up to you. It’s a book every indie author should grab – and you can do so without any risk whatsoever, because Henkel is still offering it for free until the end of today.