Belgrado has embraced dub reggae. Donโt worry. Their new album, Obraz (or โImageโ), skulks with the Barcelonian quartetโs soulful post-punk bounce. Yet, Obraz, in its stoned languor, bespeaks the lauded anarchist outfitโs embracing their age. Belgrado is not old, as Obraz is the third record of this July after the hits: Belgrado (2011) and Siglo XXI (2013), Belgrado just appears to be shoring up their graceful minimalism for less assault and more meditation. Obraz proves thereโs more to Belgrado than the bonds of punk.
Proficiency has cut Belgrado from their progenitors and contemporaries. No one possesses such political lachrymosity draped over tactful artistry like Belgradoโs Renzo Narvaez, Fernando Marquez, Patrycja Proniewska and Jonathan Sirit. Just watch test recording, โEnsayo Siglo XXIโ (https://www.youtube.com/watch?v=jw2FEUa3uCY) all dressed in black albeit the white โAโ symbolizing anarchy. Neither Arctic Flowers nor Bellicose Minds from Portland, and neither Rule of Thirds from Australia nor NYHCโs Anasaziโs can match because Belgrado stun you with their subterranean pogo groove riled by the Marquezโs sharp wavering guitar. Siglo XXI was Belgradoโs best record.
Siglo XXI looked good, too. Obraz does, too. Belgrado creates an aural world that reflects their cold, grey design. As visual artists, in their differing permutations, Narvaez, Marquez, Proniewska, and Sirit dabble German Bauhaus draped in post-Soviet sheik with pricks of Arabesque typography. Osmosis has occurred in Obraz. Belgradoโs album cover is collaboration on visual fragments. The recording process was another group experiment (which you can read more about in Jessica Willoughby interview: HERE!
Can Obraz stand against the tide of new Spanish punk? Belgrado is cold, refined in their craft, and confident to press against stringent punk. But their longtime label, La Vida Es Un Mus, has culled the best of Spain, not to mention recent bangers like Rixeโs La Nerfs A Vif and the bawdy Lumpy and the Dumpers debut, Huff My Sack. Belgradoโs placed amongst Barcelonaโs churl on the new Pueden Ser Ellos. Not too mention the heavyweights: Una Bestia Incontrolable and Orden Mundial. Belgrado has a lot to contend with.
Narvaez, Marquez, and Sirit are a tight unit. The bond is most audible in Narvaezโs bass playing and Siritโs drumming, that musical relationship. It would be intriguing to hear them play alone. But Marquezโs guitar conducts the two snaking its way through โNa Ten Czasโ. Marquez is distinct, his instrument carries the most effects, delays, etcโฆ but he easily settles into the trio.
Then thereโs Proniewska, the front woman whose bleached white hair popped from the dower Mediterranean cut of the bunch. Proniewska is Polish and had previously split her lyrics between English and Polish but on Obraz sheโs embraced the latter. Belgradoโs gentler sound doesnโt have โDead Generationโsโ early punch. Proniewska doesnโt shout that title like she once did aiming rather for a cabaret lilt, especially on โ1000 Spektakliโ. Proniewskaโs voice is more instrument than spokeswoman.
Obraz is satisfying. Itโs hazy, surreal, letting the listener dwell in a waste and then snaps into song, from โKrajobrazโ to the pluck of โRaz Dwa.โ Thereโs some moments on Obraz that youโd think were sampled from dub innovator King Tubbyโs studio. The intros to โDalejโ and โ1000 Spektakliโ will catch you off guard for this reason. Belgrado sounds right here, an impressive place to behold from La Vida Es Un Musโ cacophony.
Tuesday 16th – Oakland
( Belgrado (Spain) // Sun Bather // Crimson Scarlet // Syndicate )
โ Wednesday 17th – S.F.
( Belgrado / Muerte / Odio / Kapital )
โ Friday 19th – Pittsburg
( โพSkull Fest & Second Skin present: Belgrado//Shadow Age//Empty Beingsโฝ )
โ Saturday 20th – NYC
( Nowhere to Run Festival )
โ Thursday 25th – Portland
( Belgrado, Spectres + guests )

