(CASS, FV ZALOŽBA, Ljubljana 1988)
- DURING WARTIME
(LP, independent edition, Sarajevo 1989)
- WHITE MUSIC:
Two Ways To German Art & Work Discipline
(CASS, LISTEN LOUDEST, Zagreb 1992)
- THE GENTLE ART OF FIRING
(CD, OBALA ART CENTER, Sarajevo 1995)
- DURING WARTIME... AGAIN!
(CD + BOOK, POLIKITA RECORDS, Lukavac 1999)
(CD, MAGAZA, Sarajevo 2002)
- EAT THIS!
(2xCD, BUYBOOK, Sarajevo 2004)
- DELUGE AND AFTER
(CD, BUYBOOK, Sarajevo 2006)
- ONLY CUNTS DON'T FEAR THE RAIN:
Never Released Alter-Ego Punk, Rock... Songs 1983-93
(CD, POLIKITA RECORDS, Lukavac 2006)
- SCH LIVE
(CD, LISTEN LOUDEST, Zagreb 2007)
(CD, POLIKITA RECORDS, Lukavac 2007)
(CD, POLIKITA RECORDS, Lukavac 2011)
Unreleased and/or Unofficial:
FAR-REMOVED MOUNTAIN MEN
(Very first SCH recordings made May-Jun 1984. Early stage of SCH work, album never released.)
- San (4:58)
- He takes my "something" three times a day
from 6 to 11 (5:30)
- Act I (3:14)
- Majna (3:53)
- Tablete - Reggae verzija (4:23)
- Valovi (8:27)
- Odojče (5:28)
- Pankerica - Pazi se (3:52)
- The Far Removed Mountain Men (7:19)
- Romanija - Sve zbog schizofrenije (5:11)
Songs composed by Senad Hadžimusić Teno
- Senad Hadžimusić Teno: Lead guitar, Vocal, Synth
- Azra Inajetović: Vocal, Keyboards
- Elmir Imamović Elči: Bass, back vocal
- Goran Obradović Granon (r.i.p.): Soprano sax, back vocal (on Romanija)
- Kosović Nenad: Drums
- Muhamed Ražanica Pibo: Solo guitar parts
- Bodo Aličehajić: Back vocal on Romanija (only in traces)
Title song refers to Hayden Carruth's poem
Words: By Teno except "Far-Removed Mountain Men" by Hayden Carruth and "Tablete" by Darko Cvijanović
Recorded May-Jun 1984, Studio ADA.
Sound meister Željko Mandić & SCH
Management (was): Vrdoljak Branko
"Odojče" sung in falsch German
"Majna" sung in falsch English
DOWNLOAD THE ALBUM IN MP3 FOR FREE
(CASS, FV ZALOŽBA, Ljubljana 1988.)
Although a number of releases had preceded this one, this tape may be considered SCH's first significant
recorded output in all. The tape was released following the band's raucously triumphant appearance at the
1987 Novi Rock festival in Ljubljana, an event that heralded SCH's continual ascendancy.
The tape is characterised by powerful expression, a mixture of refined noise, industrial sounds and totally
ruptured tones full of breaks and twists, interfused with short melodic phrases and pieces. The band's
political engagement (though not "political" in the vulgar sense) is already in evidence, even in their sound
- as the music critic Marjan Ogrinc remarked: "The band's sonic structure (…) totally deals with the question
of the relationship between, power, authority, personal introversion of social exteriors, domination and
submission, freedom". The band here definitively "discovers" the expression it is to develop and nurture
the following few years, up and until 1992's White Music. Following the above-mentioned live appearance
and the release of this tape by the Ljubljana-based label Založba FV, the band finally emerged from the
shadows and gained greater appeal amongst audiences partial to this type of musical expression.
FREE DOWNLOAD: ZAVOJ, MP3 [3,96 MB]
(LP, independent edition, Sarajevo 1989)
The material that makes up During Wartime, released on the Jugoton label in 1989, was produced the
previous spring. This record is testimony to the band's maturing development after five years of existence
under the most abnormal of social conditions (where only part of the audience was OK), at a time when it
became necessary to lay the first foundations for underground culture in Sarajevo and Bosnia. The very
fact that the quality of the recorded sound was not at a satisfactory level speaks of the difficult conditions
in which the band operated - while striving to retain its uncompromising and independent status.
During Wartime addresses the eternal relationship between totalitarianism and democracy, humanism
and fanaticism, leaders and their subjects, the fascinating rapture of the "manipulated", elitism… A number
of the tracks create/depict the atmosphere of the anticipated urban war to come. The power of the sound
surprises to this day, as do the strength and compactness of the compositions, the "density" of the
Both in its title and content, During Wartime politically proclaims the coming of tumultuous political
tremors that were to culminate in the destructive war, the logical result of the years of moral disintegration
of the country's principal social and cultural determinants. Uniquely within their culture, SCH answered the
call of the times - precisely, in a fatally clean and crystal clear way. Of destruction constructively. Of
In the political aesthetic sense, SCH fused the two categories and proved that this magical duality was,
really, one of the most significant themes that art could and should deal in.
FREE DOWNLOAD: THE DAY WHEN I WAS BORN, MP3 [5,62 MB]
Two Ways To German Art & Work Discipline
(CASS, LISTEN LOUDEST, Zagreb 1992)
Although released in 1992, White Music actually came into being during 1990. Sonically, the album
depicts what may be best described as the emotive states of those certain living material forms that had
survived the total (nuclear) war.
The record is a logical progression and culmination of the sound and "trip" initiated on the SCH tape, and
further developed on During Wartime. White Music brings to a close an important phase in the band's life.
Following White Music, SCH will shun the theme of war. As ever, the band was a step ahead of the times
and there was no need to hang around in "explored" territories. These, the band would leave behind for
others, those who watched the band with blank expressions at the time when all this was current and
"real" for us.
FREE DOWNLOAD: OUR SONG 1, MP3 [3,00 MB]
THE GENTLE ART OF FIRING
(CD, OBALA ART CENTER, Sarajevo 1995)
The Gentle Art of Firing is altogether a melancholy, on occasions even sad record of music produced
during the first year of war in Bosnia, at a time when things had became clear for everyone. Long winter
nights without electrical power or heating were to beget music that our German friend Rudiger Nitz would
describe as a "pure masterpiece". The quality of the recording should not surprise anyone - just remember
the conditions under which we were working.
In his review of the album in the weekly BH Dani, Srđan Vuletić: "We quickly come to realise that SCH
have swapped the role of the prophet for that of the observer, that there is now a safe distance between
them and the world, and that this distance is SCH's final position. (...) Now, when after so many years of
ignoring them we finally want them to address us, for we have seen how painful it is not to listen to them,
SCH have opted not to speak, refusing to even acknowledge our existence. The distance between us
cannot be bridged (…) Where During Wartime and White Music were totally engaged, a musical fist in the
eye, The Gentle Art of Firing is a hand that gently, slightly sorrowfully, strokes us, but one that does not
point in any direction".
FREE DOWNLOAD: FAREWELL, MP3 [7,46 MB]
DURING WARTIME... AGAIN!
(CD + KNJIGA, POLIKITA RECORDS, Lukavac 1999)
Ten years after the original release of During Wartime, and at the instigation of Schestan von Schestan (who
was also behind the first release) we decided to re-release (and somewhat update) this material, believing
it could be (and perhaps it is) of crucial relevance for our local rock music, a record that helped set SCH
into the very foundations of the City (together with the records that preceded and succeeded it), confirming
and advancing the urban element in Sarajevo. Had this element been more prominent, the impact of both
SCH and this record would have been far greater.
The record was accompanied by a book of the band's most successful lyrics, entitled SCH - Songs &
FREE DOWNLOAD: VAGABONDS, MP3 [7,51 MB]
(CD, MAGAZA - POST WAR SOUND, Sarajevo 2002)
Following a seven-year-long hiatus, SCH resumed activity in 2002, with a new line-up
and a new sound. The result is this record which represents a logical progression on
from what came before. (Our more involved fans will gather what this refers to,
Formally viewed, this is a completely new sound, but the essence remains the same.
The same good old SCH "trip".
Vril is a concept album that deals with the occult, space, aliens, secret societies,
high politics, VRIL energy and other dangerous matters. Beware they who venture
For, not only is Vril a great backdrop for making love, it's also a good one for
swinging by the ears to.
The entire thing was produced by Sony DADC, Austria, and in the quality stakes it's
our best by far - untouchable.
KAZUMI, MP3 [7,85 MB]
PREDUGO SVE OVO TRAJE, MP3 [4,64 MB]
(2xCD, buybook, 2004)
HOPE, MP3 [5,10 MB]
DELUGE AND AFTER
(CD, buybook, 2006)
AND AFTER THE DELUGE - SCH!
"Music is the one incorporeal entrance into higher worlds of knowledge which
comprehends mankind, but which mankind cannot comprehend." Beethoven
Almost 12 months following on from the release of their perfect last album Eat This, Sarajevo's SCH deliver a new crucial piece of work, entitled Deluge And After. The executive summary goes like this: this is an intimate, multi-layered, confident and, above all, honest and CONSCIOUS artefact, further affirmation of their track record, and yet another huge leap forward; considering SCH were always a few light years ahead of its surroundings, this easily places them on another planet altogether. Yep, it's that good.
The exhibits then.
The album is called Deluge And After. After the deluge? And after the deluge? What beyond the deluge? Life after the deluge? And after the deluge - SCH? Like some sturdy insect which survives a universal nuclear war, this Sarajevo-based band demonstrates such resilience, longevity and power of regeneration and magnetism that there is no doubting its permanence following the inevitable, imminent, longed-for deluge; which is why this CD should be placed in a few time capsules, buried deep with a few mythic maps as guide to the spot, so that the surviving insects of the future may listen to it as they develop into people, in the essence sense. SCH of course is not of this time, in the same measure it is, and never mind the environment that spawned it. And to underline what's been said many a time before, this environment isn't really worthy of SCH. Maybe after the deluge then.
Furthermore, this digital bearer of sounds is naturally and carefully wrapped in yet another exceptional SCH package: a disturbingly beautiful combo of deep green and mauve shades, complete with slip-case, a package whose simplicity denotes confidence and strength of idea, as well as irreverence towards 'likeability', after all this is from another, far superior planet. SCH never serve just a music CD, but rather intermittently tender a sliver of higher consciousness and life, so their anti-design aesthetic comes as no surprise.
And at the heart of it...
Your player's laser beam will first hit the opening 'Near You': a pulsating slow rhythm beating to the sound of a pure heart, out-of-this-world vocals, and a semi-traditional melody, straight from the book of lullabies of some lost people, now deep in the ocean's bowels, or perhaps a lovely eulogy to the marriage of the sun and moon. Or something. The lilting is interrupted by an agitated-calm guitar, which stretches, springs and wails, ripping shaky life light from every binary block.
Relentlessly, heart continues to pulsate in 'Not Too Often', which starts off like the embodiment of a disturbed, contemplative lunar, pre-sleep state, suddenly spilling out, after a moment of conscious twisting, into a decisive moment of self-remembering and triumph over daydreams, while the thumping heart-bass ushers in a motoric guitar and waves of synth melodies, the very image of the sun rising, and the peace that brings.
The sun follows us on the road to the Maltese town of 'Imdina', where the trippy near krautrock almost analogue melody (played, not programmed) heralds the stylised vocals and the confident words telling the tale of a personal pilgrimage and cleansing. The simple yet mature and almost hymn-like melody (that's hymn is in football chant more like), together with the guitar coda and the plink plonk synths which take us to some far off far eastern future land, gently brings us back to life.
From Imdina we drive at '130' straight into another atmosphere, similar yet different, the explosion of accumulated regenerative pilgrim energy. This is the rhythm of an adrenalinised heart, wedding the brain, the body, the essence, feeling, and sensing. The four-to-the-floor is enveloped in a trancey carpet of sound that rises and rises around you and inside you, driving on and on and on, stopping now and then at stations called funky guitar, early Underground Resistance techno-jazz motifs and bubbling synth lines, and the sound of contemporary German techno a la Kompakt ili Kanzelramt. You can listen, and you can dance, uncommon.
Then it's the colossal 'Long Night at Roxy', certainly the 'heart' of the album, and a near 30-minute juggernaut of unfolding sound, from the seemingly simple archetypal electronic base into a delicately assembled infinity of wild vibrations, a mosaic of sound collages that spin the head into a dark ecstasy of the dancefloor. The interplay between the various layers of the track is very intuitive, so much so it's hard to unpeel the coating (very rare in today's quantised world), so that all you hear is the total sum, inviting and sucking you in like some sonic Bermuda triangle. Conceptualised as a fragment of a DJ set, '...Roxy' is Technics, E, lasers, sweaty bodies, smoke, Dervish-like dance rapture, and torn psychedelic guitar strings, a relentless set that storms on, despite the occasional indications the whole thing might just collapse at any moment, crashing into an earthquake of electronic thunder of bass and FX. This is some twisted out-there techno, built by a man both renaissance and cosmic.
The album closes with the threesome of 'Karim 1-3', set to the elegiac lyric of Darko Cvijanovic (credited with 3 out of the album's 4 texts). A treated female vocal, like the echo of a breeze, flows over mono-synth loop, taking us down with it, sliding down on some giant, slippery spiral, going deep underground. 'Karim 2', built out of the same blocks and not so, is yet another, more disturbed in-between world, the spiral (now a big digger ripping into the earth) throwing us into the dark and unknowable world of 'Karim 3', before the sudden deadly silence hits us. The earth under us trembles, breaks and splits open, as though swallowing all our misery whole. Worthy of the subject matter.
In some ideal imaginary world, this album would be the soundtrack to our lives, but we may be content just to know that this space of ours can provide such objective music, far from the blind eyes of those who dwell here. But then his is music for the conscious elite (while being anything but elitist), and the others can die in their ignorance and a diet of local musical pap, the kind of crap that has us slamming every next CD into the toaster in sheer pitying frustration and disbelief in the face of such overwhelming unconscious and stupidly opportunistic arrogance as displayed by local knobshiner bands and drywank artists; fact: put them all together in a blender and the result wouldn't come anywhere near this gem of an album. Armed with the latest SCH gem, you glance at the heap of useless and offensive local musical releases and the only thing you can think is: bah!
And if SCH inspires unease and discomfort, well where does it say that rock (in its cosmic, mythic sense) should be comfortable and easy? SCH is not sonic wallpaper for in-and-out dipping into while you thumb away on the Playstation, but objective and crucial music. This latest album is again a reminder that SCH's sound is based both in the past, towards which it stands with equal respect and irreverence, as well as in the fantastic future, one in which people are whole and omnipotent. This future, if not quite within reach, is at least clearly intimated in their music. After the deluge, such a future may even be come to be, and then, its soundtrack will be ready in the shape of this and previous SCH releases. Best listened to in the dark, while you pray for this very future. Superhuman.
ONLY CUNTS DON'T FEAR THE RAIN
NERVER RELEASED ALTER-EGO PUNK, ROCK... SONGS 1983-93
(CD, Polikita Records, 2006)
Now, it's a compilation of unreleased punk and rock compositions made in period '83 through '93. This is ninth official album and forth from the year 2002. when the band was renewed.
This material has never been considered as the main SCH repertoire, but we used to play it on concerts and people really loved these songs a lot.
You'll enjoy this music, we are sure! As we enjoy playing and listen to it!
(CD, Listen Loudest, 2007)
Performed and recorded in SC Club in Zagreb on June 24th, 1990.
(CD, Polikita Records, 2007)
This is SCH's 10th album. Kinda jubilee, ay!? Well, if the overall circumstances that surrounded us in the eighties and nineties were better, this would probably be the 20th issue. Releasing albums at that time was not as easy here. So, a lot of work for us to do in the time to come. Godhelpus, we'll keep on making some delightful music for friends and fans, for us, ofcourse. This album brings a load of pleasure. Our dear friend and ex-member Azra have collaborated. She sang three songs. Beautiful voice, indeed. Now, it is dancing music mostly, but some songs are real "Cox's Orange Pippin", no doubt! You'll be affected with wonder, for sure. Enjoy it. Cheers!
(Vidi na bosanskom.)
(CD, Polikita Records, 2011)
| ©2002-2012 by SCH | | Updated October 2011 | | firstname.lastname@example.org |