This compilation Ubode of Balcanian and Lithuanian artists on the Terror label is dedicated to and named after a 1968 documentary by Bosnian director Krsto Papič called “Kad Te Moja Čakija Ubode”; translated to English this means ‘When My Blade Cuts on you’. It is an ultra existential look at the harsh and violent life in various Yugoslavian villages. The documentary opens with black and white still images featuring dead bodies of people who have either been shot or stabbed. Children play outside, while in a bar the adults drink as a band plays, the ever-present threat of violence looms within the bar; a knife is stabbed into a table. The film interviews residents of various Bosnian villages about the violence of their everyday lives. Men tell of drunken brutal fights with friends and enemies for little reason if at all. Parents tell of the loss of their sons to knife fights and brawls, witnesses and killers themselves are interviewed. The violence seems pointless, there almost seems to be a craving for murder in arguments or disputes, no matter whom or where they are. Daily living here is harsh and extreme; this is an unflinching look at the overall picture.
An aged sample from the documentary opens the Бaлкaнcки of the tape and Serbian Harsh Noise Wall project Dead Body Collection begins an immediate blast of Harsh Noise Wall sound called Necu Nikada Moci Prezaliti To Sto Se Desilo… Dead Body Collection have been extremely prolific since 2010, and this track blasts a wall of static with oscillating hums in the background, the wall is occasionally winds down suddenly for samples from the film to run. DBC behind the wall scenes sound interesting, it is as if there is something constant going on. Necu Nikada Moci Prezaliti to Sto Se Desilo ends with a looped voice of a child. DBC provide a deep blast that is tied in with film samples well and works brilliantly within the context of the compilation.
Sturmgeschutz opens with an almost Japanese blast of Harsh wall noise with Гpaктajи Цpнoг Cpцa, a real sharp static crackle compared to the previous track. Sharpening the immediate wall seems to give the Sturmgeschutz track far more stabbing, cutting aggression that ties in well with the album title. Choppy staccato sounds linger in the background of the track. Гpaктajи Цpнoг Cpцa cuts out and dies quickly as if the plug has been pulled.
Gigant offers a dense cloudy wall of noise with Уништити Cвoгa Нeпpиjaтeљa, a murky rumble that contrasts well with all of the previous tracks. It’s almost dark ambient because of its thick murkiness. Being less violent than the previous tracks, you feel lost within Уништити Cвoгa Нeпpиjaтeљa it juggles a wall of dark rumbles that are subtle and interesting. This is funnily described by the label as a warm wall, I find it warm as it’s less aggressive, however equally effective.
Placenta Lyposuction is introduced by a lengthy film sample, an Untitled crispier blast is the tone to a slightly faltering wall with resonating drones backing the chaos. Its’ faltering quality offers allows an accidental rhythm to untitled that keeps your interest to what’s happening. It doesn’t allow you to explore a new vacuum in your head; you are forced to pay attention to the wall of noise. The Wall looses its’ crisps sound to a lower blast and dies.
Without sounding too cliché, Бaлкaнcки side of Balcans walls leaves my ears ringing, playing havoc with my tinnitus all week, even on a modest volume. I found it strong and consistent due to being tied in very well with the similar styles of each artist (Harsh Noise Walls) and samples from the documentary.
Side Литвaнcки is the varied Lithuanian side, another sample introduces the death hum of Pogrom’s Нoж, Pogrom combines a Harsh Wall Noise but breaks it with industrial clangs, shattering noises and electronic sounds, Нoж is like a broken wall or a wall put to the background. Angry Serbian vocals are heard along with primitive banging percussion. There are long resonations of static that move from one speed to another. Нoж continues the previous side’s walls yet begins to move you away from it with the walls removal from the forefront.
Vidinė Ramybė starts with an immediate sharp blast of noise that turns into an sharp static wall that wavers in speed a little and builds gradually with the wavering cutting its’ full solidity well.
Masked madman McKaras removes his sound away completely from Walls, beginning with a Dark Ambient chug that is once expelled by sharp shrieks of noise that grid over each other as if in competition. They are then complimented by fuller blasts of noise and begin a passage of competitiveness. Angry shouting ranting vocal overlays what is happening only to temporarily disappear and noise sparring to continue. At once completely refreshing, Srbosjek is calculated violent insanity which intensifies when McKaras lets himself lose control.
Energetic repetitive percussion from Oorchach opens and leads Aš Prapjausiu Tavo. Equally locomotive and human sounds come in, the tribal rhythm intensifies and pulls backs repeatedly. This far more organic than the other tracks offering a contrasting relief of sorts, ending as a dying wall blast, a little nod to the rest of the album perhaps?
Girnų Giesmės gives the final track on the album with A Bit of Poetry, A Bit of Knife; a dark ambient experimental passage that pulsates a nightmarish dreamscape. Drones radiate from its core bringing Kad Te Moja Čakija Ubode down perfectly to an end.
Kad Te Moja Čakija Ubode is a strong compilation paying homage to a powerful documentary about rural peasant life in the 1960s. The samples from the documentary that are woven in, tie the noise in well with its whole feel. The bloody cover of the box makes reference to the film, images from the documentary featured in the booklet too, as well as a running visual theme of knives; further reinforcing the tape to the film. It would be excellent to see the documentary sound tracked live in a cinema by the artists. It’s odd that there’s such a long run of Walls and a variety of different noise later in the second side, however I couldn’t say that I disliked anything. Perhaps the entire compilation could have been Walls? It would make for one solid tribute. Throughout Kad Te Moja Čakija Ubode I have heard a lot of different artists from Eastern Europe. The work has proven to be aggressive, cold and has provided a consistent variety of strong approaches. Another strong release from Terror.
Written by: Lazrs4