Proljeće 2022. San Francisko, SAD
Boris (Lovra)- Fuck the army (Doboj)

Boris: Koncert pod nazivom Golubovi su pali na tlo održan je 1986. godine U magazi (pozorište). Svirali su WSW (Banja Luka), Dissidents (Prijedor), Art 'e facto (Doboj), i Fuck the army (Doboj). 
Nama, Fuck the army, se pred sam koncert priključio novi gitarista, Slaven, koji je bio metalac i koji je za čas naučio naše pjesme. Fuck the army je bio najbrži I najbrutalniji bend na tom koncertu. Ostali bendovi su pored nas zvučali kao punk rock.

Fuck the army je nastao 1986. Probe smo imali u Muzičkoj omladini. Nakon FTA svirao sam u još nekoliko bendova: 193+ (svi članovi benda su bili viši od 193 cm), OPTM (O pizda ti materina) I Hyperactive children (drum & bass bend nastao nakon mog povratka iz vojske 1990. ili 1991.).

Članovi Art 'e facto su bili Robi, Roni, Cako i Šenaj. Svirali su punk. Robi živi u Berlinu.

Godinu ili dve nakon toga je otkazan koncert koji je trebao da se održi u Muzičkoj omladini u Doboju. Mnogo ljudi je došlo sa svih strana. Tada je trebao svirati i Ženevski dekret.

Koncert Golubovi su pali na tlo je snimio jedan čovjek iz Radio Doboja. Ja sam imao taj snimak sve do prije par godina. Nažalost ukraden je zajedno sa jako dobrom live snimkom Miladojka youneed (mislim da je bio live iz Banja Luke) kada mi je u San Francisku obijen auto.

Roni i ja smo 1987. išli u Popovaču da posjetimo Kečera. Od tamo smo direktno otišli u Vinkovce na druženje sa pankerima. Tu je bilo mnogo ljudi iz raznih dijelova Jugoslavije. Odlazili smo u Banja Luku kod Dražena Zarića. Išli smo u Rijeku. Tamo nam je kontakt bio Damir Pilić Pile s kojim nas je povezao Kečer.

Kada si pomenuo Zavidoviće sjetio sam se da je tamo u osamdesetim postojao punk bend, ali ne mogu da im se sjetim imena. Ne radi se o bendu Pauk.

Radio sam fanzin, ali imena fanzina ne mogu da se sjetim. 

U to vrijeme bilo je pankera na svim stranama. Sjećam se odlaska sa sestrom u Visoko gdje sam na zidovima vidio ispisane punk grafite. 

Ta fotografija Dissidents-a je napravljena u Doboju 1986. na svirci Golubovi.

Imali smo dosta problema sa policijom. Pankerima iz Banja Luke je od strane policije bio zabranjen dolazak u Doboj nakon što su 3 osnovne škole bile obijene. Za to su bili optuženi pankeri. Bili smo privedeni I saslušani. Na kraju smo pušteni, s tim da je Banjalučanima zabranjen ponovni ulazak u grad. Tada sam posljednji put vidio neke od njih.

U toku rata u Tešnju je bio punk festival Rostok. Mislim da su tu bili uključeni mlađi pankeri koji su tokom rata izbjegli u Tešanj.

Proljeće 2022. Švedska
Golub- Ženevski dekret (Mostar)  

DTE: U posljednje vrijeme pokušavam da povežem neke stvari. Zanima me dosta toga, posebno što se tiče BiH, pa i Makedonije, o kojima je malo toga zabilježeno tj. dokumentovano. Pisao sam Gvidi (Brainstorm), Habiju (Ženevski dekret) i Eki (Dissidents) i dobio jako malo informacija.
Prvo me zanima da li znaš šta o kompilacijskoj kaseti Make love not war!?! Gvido nema pojma, Habi mi reče da je 1986. bio u vojsci i da je tek 20 godina nakon izlaska te kasete prvi put čuo za nju. Sa Ekom sam se dopisivao, ali on mi ništa konkretno nije javio osim: "Buraz, bila fešta. Snimili kod Draženove bake, u prostoriji od WSW. Tad je u Banja Luci bilo dosta bendova".

Golub: Nas (mene i Kokića) glede te kompilacije kontaktirao (pismo naravno, tako je to išlo u ta doba) Dražen (R.I.P) i to je bilo negdje poslije snimanja prvog dema. On i još jedan tip iz BL su to odrađivali. Kokić je bio više zadužen za te kontakte u BiH, a ja sam zbog poznanstava bio zadužen za Ljubljanu, Suboticu, Novi Sad… Dražen nam je poslao i jednu kopiju kada je kaseta izašla van i bili su na njoj samo bandovi iz BiH. Znači Banja Luka, Mostar, Prijedor i Doboj. Odlični retrospektivni prikaz tadašnje BiH HC punk scene i aktivnih bendova.

Poprilično čudno i za neku dublju analizu da Sarajevo u ta doba nije dalo neki hardcore band. Naziv kompilacije proročanski dobar.

DTE: Da li znaš za još neke punk bendove iz Banja Luke koji su postojali sredinom i krajem osamdessith osim ovih navedenih?

Golub: Pa ove sa kasete i još neke kao Policijski čas, Rescue Party, Subversion... Nekako mi je Banja Luka nažalost bila više u nekom post punk, noise i dark zvuku, bar sudeći po onoj kompilaciji Banja Luka dreaming što je Dražen izbacio.

DTE: Ja Dražena Zarića nisam znao. Znam neke ljude koji su ga poznavali, ali ne znam kako doći do njih. Nekad možda 1997. ili 1998. bio sam na koncertu kada se on bio vratio iz Londona u Banja Luku da radi promociju kompilacije Banja Luka dreaming. Tih dana je i poginuo u saobraćajnoj nesreći...

Golub: Ostao mi je u sjećanju kao veseo, agilan, uvijek spreman na saradnju, pomoć, pun energije i pozitivizma. Mi smo se u stvari upoznali 1986. u vozu koji je išao za Ljubljanu (oni su se priključili u BL) kada je bila ona fešta Ni strahu. Poslije je izašla i video kaseta istog naziva, a i audio kaseta pod imenom Čudeza ne bo. WSW, njegov band, su isto svirali na toj fešti i oni su se ”priljepili” za nas jer smo bili malo stariji od njih i znali više ljudi. Bili smo cijelo vrijeme fešte zajedno. Ni dan danas mi nije jasno zašto se njihove pjesme nisu pojavile bar na audio kaseti. Nisu bili ništa puno ni lošiji ni bolji od nas ostalih. Koliko se sjećam svirali su prvi, pa možda još nisu bili pripremili svu opremu za snimanje i slično.Šteta!

Crtež i fotografije: Ženevski dekret / Artwork and photos: Geneva Decree

Na toj fešti su uletili i punkeri iz Prijedora i razvalili pogo na našem nastupu: moj veliki prijatelj Sexy, Eka…. To je bio i početak našeg druženja koje se nastavilo kroz koncerte inozemnih bandova kada su svirali u Zagrebu ili Ljubljani. Oni su obavezno dolazili na njih: Exploited, Angelic Upstarts… Kao i u Švedskoj gdje smo se nastavili družiti.

Dražen je koliko se sjećam izdavao i fanzin pod imenom Istočna fronta.

DTE: Toše iz Skoplja mi je pisao da je zadnji put u Banja Luci bio sa Padot na Vizantija negdje 1987. Mislim da je rekao da im je to bio posljednji koncert. Da li znaš nešto o tome? Da li si išao u klub Sebastian u BL?

Golub: Nisam, ali znam za taj koncert. Može biti da su prije tog koncerta bili gosti i na Tv Sarajevo i snimili jedan spot.

DTE: Da li je bilo šta sredinom osamdesetih vezano za hardcore punk u Sarajevu? Bihaću? U Hercegovini? Po selima?

Golub: U Sarajevu su se pred rat pojavili neki bandovi, ali ne u doba izlaženja ove kasete. Poslije iz Sarajeva dolaze: Mentols (garage punk), Nuclearchy (Voivod)…
Iz Tuzle su bili Polica lica koji su sa nama putovali do Subotice na feštu Strah 1985. Kasnije dolaze Ludilo i Pakleni dvopek. 

DTE: Ko je bio izdavač tj. ko je Branko Lazić koji je radio New musical direction i fanzine Exces, Akt i Gutemberg? Da li je bio u jednom od bendova?

Golub: Ne znam, nisam poznavao tog Branka. Kao što sam ti rekao to je u našem slučaju išlo preko Dražena. Mi smo izašli na puno kompilacijskih kaseta u to doba i ova se nije razlikovala niti je odskakala zbog (ne)kvalitete. Hoću reći da je sve bilo ok, a razlika je što je ta kaseta pokrivala samo bandove iz BiH. Njihova odlična zamisao. Svaka im čast.

DTE: Gdje i kada su snimljene pjesme Ženevskog dekreta na ovoj kaseti? 

Golub: Snimljene su 1986. godine u Ljubljani u studiju Boruta Činča, negdje krajem godine. Snimili smo 10 pjesama uz veliku i nesebičnu pomoć Boruta koji je bio najbolji i najprikladniji čovjek kada je bio punk u pitanju. Mi smo mu ostali u lijepom sjećanju i on nas i dan danas spominje u finom svjetlu na svojoj web stranici.

Postava: Kokić - glas / Kuzma - gitara / Golub - bas / Toča - bubnjevi

Proljeće 2022. San Pablo, Kalifornija 
Tino- Clarence ADK, Gracki duvački orkestar, Purple dickheads (Doboj) 

Tino: Doboj je za svoju „veličinu“ bio prilično muzikalan tokom osamdesetih. Više je bilo weird bandova nego ostalih. Za to su krivi sarajevski studenti is sedamdesetih: Garo, Zica, Macan, Vlatko, Kvisko. Kasnije su neki od njih svirali u Gimpel ludi, i Elvis J. Kurtović. Ja sam počeo svirat sa Clarence ADK, post punk, vrlo slično Idolima. Sredinom osamdesetih sa Prpom pravim Gracki duvacki orkestar, 15 piece brass noise bend. 1987. Chobby, Gigi Govedina, Kara i ja, sa još par faca, na vrlo kratko osnivamo Purple Dickheads. Ja bih to zvao Bauhaus upbeat, hahaha.

DTE: Kad je nastao Clarence? Kad ste se raspali?

Tino: Mislim da je bend osnovan 1980. Ja sam im se pridruzio '81 napustio '84, raspali se '85-'86.

DTE: Odakle je fotografija Clarence ADK što si mi poslao? Imaš li još fotki? Imate li kakvih snimaka?

Tino: 1984. Pravni faks u Doboju. Studentska fešta.

DTE: A snimke? Je li postoji snimka s koncerta? Iz prostorije za probe?

Tino: Moja bivša ženska iz tog perioda mi poslala traku oko 2005- 2006. Bejah pametan, napravih digitalnu kopiju. 10 godina kasnije ponesem sve to starcima da se sačuva, i sranje! Sve uništeno u poplavi 2014.

DTE: Debelo sranje. Ima li ona još uvijek te snimke? Gdje su ostali iz tih bendova? Da nema neko od njih?

Tino: Ne, izgleda da sam ja jedini imao kopije. Imala je moj master što je i poslala, i još snimak GDO live sa postera koji ti šaljem.Purple dickheads je imao studio demo, a GDO snimak napravljen pred 5000 zbunjenih ljudi.

DTE: Članak o jugoslovenskim fanzinima što si mi poslao... to je objavio Tiberije. Mislim da se tako zvao. Devedesetih je u Austriji radio izdavaštvo i distribuciju Sacro egoismo i Sacro kabalismo. Taj članak je izašao u njegovom fanzinu. Ima ga moj drugar Marko. Kod njega sam to i pročitao prije desetak godina.

Tino: Za New Regime fanzin nikad nisam čuo tako da ne znam ko ga je pravio u Doboju. 

* Ako neko poznaje basistu WSW-a (nisam siguran da li se zove Miloš ili Dušan, povezan sa Anarhističkom federacijom iz Londona) molim neka se javi. Upoznali smo se 2003. i ja sam nažalost izgubio njegov kontakt. Već godinama pokušavam ponovno stupiti s njim u vezu jer bih želio uraditi intervju o antiratnom protestu organizovanom od strane pankera u Banja Luci početkom 1990-ih. 

Dule Kengur (gitarista Dissidenata) - upoznao sam ga u Prijedoru ubrzo nakon rata (1996. ili 1997). Kasnije sam od ljudi koji su ga dobro poznavali čuo da se vratio u Australiju. Ako neko zna kako stupiti u kontakt sa Duletom neka se javi.

Omot Čudeza ne bo kasete/ Čudeza Ne Bo cassette front cover 
Fotografija/ Photo: Clarence ADK
Poster: Gracki Duvački Orkestar

Doomed To Extinction's release number 40 is a cassette by Symbol Of Freedom from Pontypridd, Wales. The band originally formed in 1981 under the name Drab Confusion, and went on to share releases and stage with bands such as Stalag 17, Oi Polloi, and Shrapnel. The cassette contains 11 tracks recorded in 1985 and 1986.

In 2017, after a lengthy conversation about punk and politics, the following interview was sent my way by Mike Clarke (Inflammable Material Records). This text is the original email Q&A interview Ian Glasper conducted with Chris Low (drummer with Part One, The Apostles, Oi Polloi, Political Asylum and fanzine publisher) for the 2006 Anarcho-Punk book, The Day The Country Died, reprinted for the first time in full with a couple of extra questions added to expound on themes and topics raised. Big thanks to Nick, Ian and Mike. - DTEHQ

1. When and why did you get into punk rock? What was it about the anarcho-punk genre in particular that you especially related to? Who would you cite as major influences on you both as a drummer/musician and an individual?

CL: I got into punk around 1978. I always used to hang out around with folk older than me, and back then pretty much everyone who was not a dullard was into punk. In Stirling, the house I grew up in overlooked the carpark of the local disco, and there were local punk bands who rehearsed there. We used to go and watch them. Our next door neighbor, Jamzy, was in a band called The Fakes, who released one amazing 7” called Production.  They were the first band I saw live, plus other local bands like The Vertical Smiles and FK9. The first “big gig” I ever went to was Sham 69 at Glasgow Apollo. This was just when The Sex Pistols had split up, and Steve Jones and Paul Cook joined them on stage for the encore of Pretty Vacant, White Riot etc. I was nine years old. The one thing I do distinctly remember from then was that, even at that age, I was aware of a disparity between the “image” of punk and a lot of the music, which to my ears didn't really sound as nasty and aggressive as I had expected. I remember being so disappointed when my mate nicked a copy of the first Clash LP from the local Woolworths, and we piled up around his house to listen to it. I think that was what was so revolutionary about hearing Crass's Feeding Of The 5000 for the first time. At last, it was a record that sounded like I had always imagined punk would and should sound. Strangely enough, I remember discussing this with Andy Martin of The Apostles one of the first times I met him. He said the same thing about seeing Throbbing Gristle at their first performance. He thought similarly, this was when punks were first appearing in the press so he thought Throbbing Gristle were how punk bands sounded. Not surprisingly perhaps, he then felt very disheartened when he attended his next 'punk gig' which the UK Subs. Though that would, of course, have been a few years before I first heard any punk bands. Actually, one band we did both love, musically and ideologically, was Alternative TV. I still consider them the best 'punk band' ever, and in their own way just as important as the Pistols were as they really gave punk it's DIY 'Anyone can learb three chords and form a band' ethos. Anyways, getting back to Crass. I will never forget the power and impact Feeding Of The 5000 had. Getting it home, putting it on our crap old record player, folding out the booklet that came with it, sitting down, listening, immersing myself in the stark monochrome graphics and following the lyrics. I must have been around 9 or 10 years old then. After getting to the end of side two, it was like a bomb had gone off in my prepubescent head.

It was shortly after that, 1980 I think, that Crass played the Stirling Albert Hall. All the punks I hung out with went along to the gig. I remember it being absolutely stunning and  so different from the other punk bands I'd gone to see before: The Clash, SLF etc., who you saw at big, seated venues where the bouncers would hassle you if you started jumping around. Not to mention the fact we wouldn't be able to get to see bands usually, as most venues were licensed and over 18’s only. However, this Crass gig was in a local hall, cost about 50p to enter (though I think we all blagged it), and was fucking brilliant. The fact they came across so intensely on stage conveyed an unbelievably powerful image and, yes, probably made a life-changing impression. Or rather, made an impression which would and I expect did impact on the course of my future life, as life wasn't even something I had any great experience of then, being still a young kid. As is illustrated by the fact only a few months before the Crass gig I had been taken on a primary school trip to see the Joseph and His Technicolour Dreamcoat at the same venue!

Musically, another record I remember getting around this time was Red Attack LP by The Rondos, which I also thought was immensely inspiring. In fact,  in strictly musical terms, it possibly meant even more than Feeding, as Crass's musicianship was shit-hot, whereas Rondos sounded not too dissimilar to what my older mates' bands sounded like with their cheap guitars and drums. When the first Bullshit Detector compilation came out, that just pushed that whole DIY envelope even further. In fact, I'd say that if anything sums up the whole ethos of punk, it is the first Bullshit Detector. Plus, around then there were lots of other great bands whose records I started buying, some of whom weren't strictly 'punk' per se: Six Minute War, Fallout, The Pop Group, Gang Of Four, DAF, Delta Five, Au Pairs, A Certain Ratio, Discharge. In fact, together with the mandatory Crass interview, most of those bands appeared in the first issue of a fanzine I did at that time called Guilty Of What?. Also, most of them are bands I still love and who still sound amazing to this day!

2. When did you start playing drums? What inspired you to want to start up a band in the first place?

CL: If there was anything that originally influenced me a couple of years later when I took up drumming, it would be that Rondos LP, the Crisis Holocaust 7”, or a live tape I was sent of another two brilliant early anarcho bands: The Sinyx  and The Eratics. Though, that could have something to do with the fact the first drum kit I got didn't even have any cymbals, so I just used to pound out a pretty primal 'Mo Tucker' type rhythm on the toms and snare and didn't have a clue how you even played the drums 'properly' - as is evident on the early Political Asylum songs I played on. With regards to my motivation, while I would imagine lots of folk say they formed a band to get a message across - and it cant be denied there WAS that belief at the time - essentially, it was really because it was a fun thing to do. One thing that strikes me now is just how young so many of the bands were then, and particularly in the anarcho-punk scene. I mean, I was eleven when I did my first fanzine, and twelve when we recorded the  Political Asylum 'Fresh Hate' demo. Now that might seem surprising, but back then it was nothing out of the ordinary. I suppose kids just made their own entertainment, and at that time that pretty much meant making music or playing football.

3. Did you traveling at a young age or involvement with anarcho-punk present any challenges with your relations with your parents? 

To be honest, I was blessed to have been adopted by the kindest, most loving, and most supportive parents I could have ever have wished for. I was an absolute terror when I was a kid, always in trouble and getting up to no good; police coming round, being suspended and finally expelled from school. I think my parents had reluctantly, though perhaps pragmatically, given up any attempt to control me. Perhaps displaying some remarkable astuteness and psychology they had concluded if I was at given some responsibility I would be more likely to exert some control over myself. Which I suppose I did, and a lot of that was undoubtedly the result of anarcho-punk. This brought me into contact with a vast and diverse social group, many considerably older than me, which in ways meant I was forced to become more mature and self-sufficient. However, one of the worst incidents that occurred when I was down in London recording a record with The Apostles, and went around to a squat with Dave of The Apostles. I think he was wanting to score blow from the Hells Angels who lived there. Unbeknownst to anyone, the squat was under surveillance from the police. As drugs were being dealt from it and some clearly under-age kid was entering, the police swooped in, and I was taken away. I was questioned about what I was doing there, where my parents were etc. As they were away in France and were untraceable the cops could only contact the headmaster of my school who, thankfully, informed them that I did indeed spend time by myself down in London, where I apparently drummed for a band. Needless to say this, caused my mum and dad some problems when they returned from holiday, but thankfully the cops released me as my only concern was not being able get to the studio in time to drum on the Apostles single I was down in London to record! 

4. How did you hook up with Ramsey and Political Asylum? What can you recall of the first Political Asylum show?

CL: Ramsey first contacted me through the fanzine I was doing. I think we'd seen each other around Stirling, at gigs etc. A mutual friend, James 'Spam' Buchanan, said we should hook up as Ramsey and a couple of his school friends had formed a band and were looking for a drummer. At the time, I was in one of those typical arse-about bands called Toxic Noise playing cover versions of punk classics but to cut a long story short, Ramsey and Stephen 'Cheesy' Brown, the guitarist, chucked out the original bassist they had, and joined forces with my mate Flack from Toxic Noise. At first we called ourselves Distraught, which I didn't really like as I thought it sounded too much like Discharge, and this was long before there were any 'Discore' bands. We played our first two gigs under that name. The first  gig was at Braco Town Hall, which I organized with a few mates from school. We came through with a mini bus of Stirling punks, so at least we had a crowd. As far as I can remember, we were pretty good and we got through our whole set, I think even playing a few songs twice! The second show was at Ramsey and Cheesy's school, which I remember being a real fiasco. We couldn't hear anything, and I think we were chucked off after the second song! Soon after this, a school mat

5. Likewise, what can you recall of the Political Asylum demo you played on? How do you regard that work now, with the benefit of the hindsight?

CL: Strangely enough, I hadn't listened to Fresh Hate for years until recently. My only regret was that by the time we went into the studio I'd only just got a kick drum pedal and was getting the hand of 'proper drumming' , but unfortunately Cheesy was insistent that “Winter Of Our Discontent” should have a straight 4/4 hi-hat beat instead of the customary bass drum/ tom bashing I'd played before. I had never tried playing anything like that before, which is why the drumming on “Winter of Our Discontent” sounds so atrociously out of time, and totally ruins the track. Apart from that, I think Fresh Hate still sounds brilliant. My favorite has to be “Autonomous Youth”. In fact, the lyrics I wrote were inspired from the discussions I'd been having with Miles and Nik of the original Napalm Death, who were then doing songs like “Punk Is A Rotting Corpse”, and coming out with stuff that was incredibly unpopular and iconoclastic at the time. Even so, it actually made a lot of sense to me. In fact, it's basically the same idea that Mark Perry had voiced on ATV's classic How Much Longer 7" five years earlier. By then punk had developed a very dogmatic and tribalist element, which I always thought was the anthesis of what it should be all about. Similarly, Oxford St. 48 and parts I wrote of Where Next demonstrate I was moving away from what was becoming a rather 'Crassifist' mentality. I suppose by this time I  was headed towards similar thinking of The Apostles, who I was in communication with by then.