MAN IN THE SHADOW

Location: Nova Gorica, Slovenia

Year active: 1996 - 2000

Members: Marko Rusjan (vocals), Miran Rusjan (guitar, vocals), Sašo Kotnik, Valter (bass), Nenad (drums), Jani

Related bands: Analena, Elodea, Elvis Jackson, Entreat., Hellcrawler, Iamdisease, Scuffy Dogs

FFO: Embassy, Fingerprint, Floodgate, Jasemine, Reach Out, Seven Sioux, Still Life

Man in the Shadow was a six-piece emocore band from Nova Gorica, Slovenia, and one of the very first emo acts to emerge from the Ex-Yugoslav region. During their short-lived activity, they released two 7” records and a demo tape, along with appearances on several compilations, before breaking up in 2000. After the split, members went on to play in bands such as Analena, Elodea, Entreat., and Iamdisease, among others. A full discography was released by Choose Life Records in 2001. The band reunited once more to play their final show at Mostovna in 2005.

Their sound sits somewhere between hardcore punk, anarcho-punk, and emocore, with lyrics that are largely political in nature and mostly sung in Slovenian. They were heavily influenced by French emo acts such as Ivich Fingerprint and Jasemine, as well as the California-based band Still Life - influences that are clearly audible throughout their work. The self-titled 7” leans more toward repetitive anarcho-punk structures, while Pax Americana expands further into emocore territory, marked by pained screams and raw, desperate growls.

Even if the sound is undeniably dated, that hardly matters. Their relatively small discography remains well worth revisiting, especially for fans of old-school hardcore and early emocore.

--------

Man in the Shadow je bio šesteročlani emocore bend iz Nove Gorice, Slovenija, i jedan od prvih emo sastava koji su se pojavili na prostoru bivše Jugoslavije. Tokom svoje kratke, ali intenzivne aktivnosti, objavili su dva 7” izdanja i demo kasetu, kao i učešća na nekoliko kompilacija, pre nego što su se razišli 2000. godine. Nakon raspada, članovi benda nastavili su da sviraju u sastavima poput Analena, Elodea, Entreat. i Iamdisease, između ostalih. Kompletna diskografija objavljena je 2001. godine za Choose Life Records. Bend se ponovo okupio još jednom kako bi odsvirao svoj poslednji koncert u klubu Mostovna 2005. godine.

Njihov zvuk se nalazi na raskršću hardcore punka, anarho-punka i emocorea, sa tekstovima koji su u velikoj meri politički intonirani i uglavnom pevanim na slovenačkom jeziku. Snažan uticaj imali su francuski emo bendovi poput Ivich, Fingerprint i Jasemine, kao i kalifornijski sastav Still Life - uticaji koji su jasno čujni kroz čitav njihov opus. Istoimeni 7” više naginje repetitivnim anarho-punk strukturama, dok Pax Americana ide dublje u emocore izraz, obeležen bolnim krikovima i sirovim, očajničkim growl vokalima.

Čak i ako zvuk danas deluje neosporno zastarelo, to je u suštini nebitno. Njihova relativno mala diskografija i dalje vredi ponovnog slušanja, naročito za fanove old-school hardcorea i ranog emocorea.

BANDCAMP

MITS'S LAST SHOW IN MOSTOVNA, 2005

LARS FROM NORWAY

Location: Ljubljana, Slovenia

Year active: 2024

Members: Tilen Boršič (guitar, vocals), Anja Mikulan (drums, vocals), Martin Tomažič (bass)

Related bands: ???

FFO: Whirr, Wisp, Slowdive, Jejune, Sore Eyelids, Title Fight (later)

Lars from Norway is an emocore/shoegaze band formed in Ljubljana, Slovenia. They released their first demo single in November 2024, followed by a demo tape (stylized as D(emo) Tejp) a year later - notably recorded on a phone.

Since then, the band has dropped two more singles, some of which received airplay and support from Radio Študent. This led to greater visibility in the Slovenian DIY scene, pushing them onto stages across the country and into lineups alongside newer acts such as Falesia (ITA/SLO).

Their debut single leans heavily into old-school punk. At just around a minute and a half, it can come off repetitive and doesn’t quite reflect the musical direction Lars would explore in their later work.

D(emo) Tejp, on the other hand, shows a dramatic shift. The blurry, reverb-soaked fuzz gives the songs a dreamy, ethereal mood - complete with alternating dual vocals and the occasional harsh shout. It’s raw, lo-fi, and imperfect, but it’s also the first glimpse of the identity the band seems to be carving out for themselves.

The first thing that catches your ears is the way the project builds atmosphere - with slow, saturated chords, teenage sadness and vocals that sound like they're coming from some foggy bedroom. It's the kind of music that doesn't try to be "big" or production-heavy; on the contrary, it relies on intimacy, rawness and a sense of inner distances.

As part of a scene that is rarely associated with such genres in our country, Lars from Norway brings something fresh: music that stands between shoegaze melancholy and the emo sensibility of the early 2000s. It's not just nostalgia, but a real attempt to capture the moment - that mixture of tiredness, longing and tenderness that you feel when the world quiets down a bit.

-------

Lars from Norway je emocore/shoegaze bend iz Ljubljane, osnovan 2024. godine. Članovi su Tilen Boršič, Anja Mikulan i Martin Tomažič. Prvi demo singl objavili su u novembru 2024, a godinu dana kasnije izbacili su demo kasetu pod nazivom D(emo) Tejp - snimljeno direktno na telefonu.

U periodu posle toga objavili su još dva singla, a nekoliko pesama dobilo je i emitovanje na Radio Študentu. To im je donelo veću vidljivost u slovenačkoj DIY sceni i omogućilo nastupe širom zemlje, uključujući lineupe sa novijim grupama poput Falesia (ITA/SLO).

Njihov debitantski singl oslanja se na old-school punk pristup - kratak, repetetivan i ne baš pokazni primer onoga što će kasnije razviti. D(emo) Tejp, s druge strane, predstavlja veliki estetski zaokret: mutni, reverbom zamagljeni fuzz stvara sanjivu, eteričnu atmosferu, vokali se smenjuju i povremeno pucaju u oštrije krike. Sirovo, lo-fi i tehnički nesavršeno, ali istovremeno prvi pravi nagoveštaj identiteta koji bend danas gradi.

Prvo što upada u uši jeste način na koji projekt gradi atmosferu - sporim, zasićenim akordima, tinejdžerskom tugom i vokalima koji zvuče kao da dopiru iz neke maglovite spavaće sobe. To je onaj tip muzike koji ne pokušava da bude „velik“ ili produkcijski ispeglan; naprotiv, oslanja se na intimnost, sirovost i osećaj unutrašnjih daljina.

Kao deo scene koja se kod nas retko povezuje sa ovakvim žanrovima, Lars from Norway donosi nešto sveže: muziku koja stoji između shoegaze melanholije i emo senzibiliteta ranih dvihiljaditih. Nije to samo nostalgija, već pravi pokušaj hvatanja trenutka – one mešavine umora, čežnje i nežnosti koju osećaš kad se svet malo utiša.

SUPPORT LARS FROM NORWAY ON BANDCAMP BELOW!

STEPA

Location: Novo Mesto, Slovenia

Year active: 2020

Members: Šiba (drums), Krempl (guitar), Želo (vocals)

Related bands: ????

FFO: Rolo Tomassi, Naked City, Me and Him Call It Us, Mara'akate, Rep Seki, Usurp Synapse, Honeywell

Every once in a while, a band appears briefly and burns out fast, leaving behind a single document of their existence so dense and chaotic it feels like a transmission from another realm. That band is Stepa.

Formed in 2020 in Novo Mesto, Slovenia, Stepa was a short-lived trio that only released one self-titled album, thirteen minutes of sheer dissonant fury. It was released on cassette via Quebec’s LeBlast Records, a fitting match given the label’s taste for sonic extremity.

Their style? Call it emoviolence. Call it grindcore. Call it whatever you want, but the result is a twelve-track onslaught where no song breaches the two-minute mark. The shortest, "Vrtača," clocks in at a mere 26 seconds, while the longest, "Hodnik," barely reaches two minutes but somehow feels massive.

This is music that doesn't beg for attention, it kicks the door down. Krempl’s guitar playing is like shards of broken math equations. Dissonant, fractured, and constantly mutating. Šiba's drumming is absurdly fast, channeling the relentless speed and stop-start chaos of bands like Honeywell or Usurp Synapse. And Želo’s vocals? Unhinged. It’s raw-throated desperation with zero restraint, like a flesh wound set to blast beats.

The highlight here is unquestionably "Hodnik", the closing instrumental. In a bold move, Stepa drops the vocals entirely and leans into dissonant chaos filtered through a start-stop rhythmic breakdown. It’s almost like the eye of the hurricane, if the hurricane had no eye. The mathy structures collapse into themselves and re-emerge, only to combust again. It’s unsettling, dynamic, and perfectly in line with what the genre’s more experimental edge they had to offer.

Stepa never stuck around to release a follow-up. No extensive touring. No cryptic new project hints. Just one record, some cassettes, and a whole lot of noise. But in those fifteen minutes, they delivered something Slovenia rarely sees: a band unafraid to go full chaos mode and leave it all in the wreckage.

------

S vremena na vreme pojavi se bend koji kratko zasvetli i brzo nestane, ostavivši iza sebe samo jedno izdanje: gusto, haotično i toliko posebno da zvuči kao da je stiglo iz nekog drugog sveta. Takva je bila Stepa.

Bend je nastao 2020. godine u Novom Mestu, Slovenija, i radio je kratko, tek dovoljno da snimi svoj jedini, istoimeni album. Trinaest minuta sirove energije i nesvakidašnjeg zvuka objavljeno je na kaseti preko kanadskog izdavača LeBlast Records iz Quebeca, poznatog po ljubavi prema DIY emo/screamo muzici.

Kako opisati njihov stil? Pa neko bi rekao emoviolence, neko grindcore, a istina je da je to dvanaest kratkih, žestokih pjesama, nijedna ne prelazi dve minute. Najkraća, "Vrtača", traje tek 26 sekundi, a najduža, "Hodnik", jedva dve minute, ali ipak ostavlja jak utisak.

Ovo je muzika koja ne traži pažnju, jer je ona jednostavno osvoji. Gitara Kremla oštro reže i stalno mijenja smjer, bubnjevi Šibe srljaju nezaustavljivim tempom, a vokal Žela donosi sirov i neispeglan naboj, kao da prenosi osećaj trenutka bez ikakvog filtera.

Poseban trenutak na albumu je "Hodnik", završna instrumentalna pjesma. Bez vokala, bend se prepušta igri ritma i disonantnih dionica koje se ruše i ponovo grade. Dinamično, nepredvidivo, i potpuno u skladu s njihovim eksperimentalnim pristupom.

Stepa nije imala nastavak priče, nije bilo novih izdanja, velikih turneja ili tajanstvenih najava. Samo jedan album, nekoliko kaseta i puno buke. Ipak, u tih petnaestak minuta ostavili su trag nečim što se kod nas rijetko čuje: bendom koji se usudio pustiti da ga haos vodi do kraja.

ANALENA

Location: Croatia/Slovenia

Year active: 1997 - ?????

Members: Ana Franjić (vocals, bass), Miodrag Gladović – Mijo (guitar), Miran Rusjan (guitar), Dubravko Dragojević – Zet (drums), Danijel Sikora – Six (bass)

Related bands: Ha Det Bra, Kiper, Lunar, Man in the Shadow, Schmrtz teatar

FFO: Assay, At The Drive-In, Cursive, Eldritch Anisette, Envy, Life... But How To Live It?, Lvmen, Petrograd, Portraits of Past, Refused, Still Life, Sed Non Satiata, Undone

In recent years, I’ve been looping Inconstantinopolis during drives to my language lessons. With each listen, it grew on me, enough to finally write about this legendary band.

Analena is a female-fronted band that shares members from Croatia and Slovenia. The term ANALENA comes from the ancient Sanskrit, and translates as "like/by the fire". Analena was founded in Zagreb in 1997 by Mijo, Zet, and Six. Their first vocalist was Irena, before Ana joined as the permanent singer a year later. Miran - associated with Moonlee Records, the defunct emocore band Man in the Shadow, and the 13.brat zine- joined as guitarist in 2003. Six left in 2006. After a period with a substitute bassist, Ana eventually took on bass duties herself, solidifying a lineup that remains unchanged to this day.

According to the DIY Conspiracy interview, Mirjan stated that "there were many punk bands with anti-war and anti-nationalistic message at that time, but there were also »punk« bands that promoted nationalistic ideas" and also mentioned a 1996 7" compilation “Preko zidova nacionalizma i rata” (Against the walls of nationalism and war), furthering the idea that nationalism in the region can and should be overcome.

Beyond touring Croatia and Slovenia, they performed across Europe, including appearances at major festivals like the now-defunct Fluff Fest in the Czech Republic.

They recorded their 4-track demo tape in 1999 and their debut album 'Arythmetics' (first as a 7" EP, then as a CD with a few additional tracks) and a split with the legendary Serbian hardcore band .Unison. in 2001. In 2002, they would eventually release a split with Austrian screamo band Sensual Love titled 'It's Never Too Late To Split Up'. In 2004, they've released their second studio album 'Carbon Based' and their third album 'Inconstantinopolis' in 2009, both supported by the amazing Moonlee Records.

Their sound spans the fiery energy of punk, the bittersweet bursts of emo/screamo, and the steadier pulse of post-punk, especially prominent in their later work. They’re unafraid to experiment with post-hardcore’s inherent fluidity. Their lyrics are often abstract, surreal and minimalist (instead of upfront revolutionary slogans that hardcore punk is known for), with which repetition often emphasises their words. They deal with topics like personal freedom, existentialism and individuality. Ana's vocals often range from spoken word, clean vocals and screaming, often accompanied by Mijo's desperate shouting, akin to Ian MacKaye's.

In a region often defined by machismo, nationalism, and post-war nihilism, Analena stood as something fiercely different. They weren’t just another screamo band—they were a transnational, feminist, emotionally literate force in a scene still struggling with old-school hardcore masculinity. Their presence (particularly Ana’s vocals and lyrics) disrupted the norm, and invited something more vulnerable, poetic, and politically fluid.

While many ex-Yu hardcore bands screamed about injustice in the most literal way possible, Analena's lyricism felt elliptical, surreal, less didactic, more introspective. This didn’t weaken their impact, it made it deeper. Where other bands offered slogans, Analena offered open-ended wounds. And crucially, they weren’t a band trapped in the Balkans—they moved. Toured. Collaborated. Released through Moonlee. Played Fluff. Their ambition didn’t betray their DIY ethics—it redefined them for a post-war generation. If Unison was the voice of Serbian resistance, Analena was the crooked lullaby sung from the borderlines of Croatia and Slovenia.

Rather than reviewing every release, I’ll highlight my personal favorites from each album.

The eponymous title track from their debut 'Arhythmetics' already blasts off with heavy, passionate and raw production much akin to Eldritch Anisette, with enough hooks and harmonies catchy enough to get enticed. Although Ana’s vocals are mostly clean, she unleashes relentless rage in 'So Real', heightening the bittersweet devastation of the songwriting, a callback to classic ’90s screamo.

Taken from the split with .Unison., 'The Bow & The Arrow' allows the bittersweet melodies flourish while Ana interpolates with Mijo as they sing and shout. My favorite takeaway is the quiet bridge where she sings 'Concentrate, concentrate' before shrieking mid-silence 'RELEASE!' That to me was the most cathartic moment from the split.

'The Metaphorical Approach' from 'It's Never Too Late To Split Up' is probably the most skramziest of all in just 2:50 minutes, almost bordering on the Funeral Diner and Portraits of Past, exactly essential for their existential turmoil. The lyrics read:

The first three minutes were great just like the beginning of the universe but then in the end we'll all go up in flames. Just like fire. Yes, it will probably happen again. My history repeats itself. Yes, I will do it again. I will spin in the wrong way. A coward dies a thousand times.

That last line really hit deep. Given that Analena is one of the few Ex-Yu bands with feminist roots, the quote might be flipped on its head: we die a thousand times because we’re forced to suppress vulnerability, again and again.

Onto their next album 'Carbon Based', 'Carbon Based Organisms' kicks off fiery screamo with minimalist poetry on individuality and 'Dream Amplifiers' give out their bittersweet take on empty idealism, demanding that 'we need dream amplifiers to make it louder, so they can feel it in their bones', despite that 'still, the world is grey', concluding that even if we 'pave with good intentions'. It's a critical take on naïve optimism. 'Notturno' takes it further and deeper with Still Life's devastating essence, almost on a depressive level. The lyric, though very short, reads almost like a mantra: How deep is this night? Don’t look down. Jump. Leave your fears behind. It's a powerful minimalist piece that is often ambiguous - definitely up for personal interpretation.

And lastly, 'Inconstantinopolis' opens with the deceptively upbeat post-punk groove of 108: Cedar Calling Down. I say “upbeat,” but the lyrics suggest otherwise...: As i rise/higher and higher/Into the calm blue embrace/I swear i can feel it expanding/But i see no god up here'

On 'Off With My Head', steady drums correlated with guitars/bass in a quasi math-rock fashion, gradually unraveling into 'Refused' territory. My favourite part being the bridge part right after the chorus, where the entire band screams 'Off with my head' repeatedly - as if from the distance, which further enhances the intensity.

Without further ado, i'll conclude this review with Miran's words from that interview:

"To question everything, to make your mind, »to focus the camera on yourself«, to stand up, to be yourself, to be responsible in your irresponsibility, to live a life worth living. »To see the colours behind Violet. To walk out of the frames. To wash off the lies. To cross the line. Cross the line. To live. To die no more.« And it made us the persons we are today, and we are happy about it."

-----------

Poslednjih godina često sam vrtio Inconstantinopolis dok sam išao na časove jezika. Svakim slušanjem mi je sve više ulazila pod kožu — dovoljno da napokon napišem nešto o ovom legendarnom bendu.

Analena je bend sa ženskim vokalom koji okuplja članove iz Hrvatske i Slovenije. Ime Analena potiče iz starog sanskrita i prevodi se kao „kao/pored vatre“. Bend je osnovan u Zagrebu 1997. godine od strane Mije, Zeta i Sixa. Prva pevačica bila je Irena, pre nego što se Ana pridružila godinu dana kasnije i postala stalni vokal. Miran — povezan sa Moonlee Records-om, bivšim emocore bendom Man in the Shadow i fanzinom 13.brat — priključuje se kao gitarista 2003. godine. Six odlazi 2006, a posle kraćeg perioda sa privremenim basistom, Ana preuzima i bas, čime se formira postava koja i danas traje.

U intervjuu za DIY Conspiracy, Miran je rekao:

„Tada je bilo mnogo pank bendova sa antiratnom i antinacionalističkom porukom, ali je bilo i ‘pank’ bendova koji su promovisali nacionalističke ideje.“

On je pomenuo i kompilaciju iz 1996. Preko zidova nacionalizma i rata, naglašavajući da se nacionalizam u regionu može i treba prevazići.

Pored koncerata u Hrvatskoj i Sloveniji, svirali su širom Evrope, uključujući nastupe na velikim festivalima poput sada ugašenog Fluff Festa u Češkoj.

Njihova demo kaseta od 4 pesme izlazi 1999, a zatim i debi album Arythmetics (prvo kao 7", a potom na CD-u sa dodatnim pesmama), kao i split sa legendarnim srpskim hardcore bendom .Unison. 2001. godine. Sledeće godine objavljuju split sa austrijskim screamo bendom Sensual Love, pod nazivom It’s Never Too Late To Split Up. Drugi album, Carbon Based, izlazi 2004, dok treći, Inconstantinopolis, izlazi 2009. godine, oba pod okriljem Moonlee Records.

Njihov zvuk obuhvata sirovu energiju panka, emotivne erupcije emoa/screamoa i postojaniji puls post-punka, posebno izražen u kasnijim radovima. Ne plaše se da eksperimentišu fluidnošću post-hardcora. Tekstovi su često apstraktni, minimalistički i nadrealni — umesto direktnih parola koje hardcore tradicionalno koristi. Tematski se bave slobodom, egzistencijom i individualizmom. Anin vokal varira od spoken word-a, čistog pevanja, do vriskova, često kontrastiran Mijinim očajničkim povicima, u stilu Iana MacKaye-a.

U regionu koji se i dalje definiše kroz mačizam, nacionalizam i postratni nihilizam, Analena je stajala kao nešto radikalno drugačije. Nisu bili „samo još jedan screamo bend“ — već transnacionalna, feministička, emotivno pismena sila u sceni gde je još uvek dominirala old school hardcore muževnost. Njihovo prisustvo (posebno Anini tekstovi i vokali) remetilo je norme i unosilo nešto ranjivije, poetskije, politički fluidnije.

Dok su mnogi ex-Yu hardcore bendovi vrištali o nepravdi u što direktnijem obliku, Analena je nudila tekstove koji su bili eliptični, nadrealni, introspektivni. Time njihov uticaj nije bio oslabljen — već produbljen. Dok su drugi nudili parole, oni su nudili otvorene rane. A što je možda najvažnije — nisu bili bend ograničen Balkanom: svirali su, sarađivali, objavljivali preko Moonlee-a, nastupali na Fluffu. Njihova ambicija nije izdavala DIY etiku — redefinisala ju je za posleratnu generaciju. Ako je Unison bio glas srpskog otpora, Analena je bila kriva uspavanka sa granice Hrvatske i Slovenije.

Moji lični favoriti:

Sa debija Arythmetics, naslovna numera odmah kreće sa sirovom, strastvenom produkcijom nalik Eldritch Anisette, dok 'So Real' otvara prostor za Anin bes, koji pojačava gorčinu i devastaciju pesme, podsećajući na klasični ’90s screamo.

Sa split-a sa .Unison., 'The Bow & The Arrow' kombinuje melodičnost i intenzitet, sa prelepim tihim mostom gde Ana peva “Concentrate, concentrate” pre nego što vrisne “RELEASE!” — jedan od najkatarzičnijih trenutaka celog split-a.

Sa It’s Never Too Late To Split Up, numera 'The Metaphorical Approach' donosi najskramzije momente za samo 2:50, na ivici Funeral Diner-a i Portraits of Past. Tekst glasi:

The first three minutes were great just like the beginning of the universe

but then in the end we'll all go up in flames.

Just like fire.

Yes, it will probably happen again.

My history repeats itself.

Yes, I will do it again.

I will spin in the wrong way.

A coward dies a thousand times.

Taj poslednji stih posebno odjekuje — u kontekstu feminističkih korena benda, mogao bi da se preokrene: umiremo hiljadu puta jer smo prinuđeni da potiskujemo ranjivost iznova i iznova.

Na Carbon Based, numera 'Carbon Based Organisms' donosi minimalističku poeziju o individualizmu, dok 'Dream Amplifiers' kritikuje naivni idealizam zahtevajući “we need dream amplifiers to make it louder, so they can feel it in their bones”, ali zaključuje da je “still, the world is grey”. 'Notturno' odlazi još dublje u introspektivu, nalik na Still Life, sa gotovo depresivnim mantričnim stihom: How deep is this night? Don’t look down. Jump. Leave your fears behind.

Na Inconstantinopolis-u, '108: Cedar Calling Down' otvara album lažno optimističnim post-punk groove-om, dok tekst poručuje: As I rise / higher and higher / Into the calm blue embrace / I swear I can feel it expanding / But I see no god up here. 'Off With My Head' se gradi u quasi-math rock maniru, razbijajući se u Refused teritoriju, a najjači deo je most kada ceo bend urla “Off with my head” u daljini — efekat koji samo pojačava intenzitet.

Na kraju, prepustiću završnu reč Miranu iz tog intervjua:

„Propitkivati sve, misliti svojom glavom, »fokusirati kameru na sebe«, ustati, biti svoj, biti odgovoran u svojoj neodgovornosti, živeti život vredan življenja. »Videti boje iza Violet. Izaći iz okvira. Sprati laži. Preći granicu. Preći granicu. Živeti. Ne umirati više.« To nas je učinilo osobama kakve smo danas, i srećni smo zbog toga.“

ZBRUCZ

Location: Maribor, Slovenia

Year active: 2023

Members: Alex Češek (vocals), Denis Hornosum (guitars), Julian Lavrič (guitars), Kristijan Matjašič (bass), Urban Saletinger (drums)

Label: Self-released

Related bands: Propad

FFO: Hiretsukan, Mahria, Obroa-Skai, The Worst Is Yet To Come, Heart On My Sleeve, 125 Rue Montmartre, Vales, Tarkovsky, Dollores

zbrucz is a four-piece band that is freshly formed in Maribor, Slovenia in 2023. Their first lo-fi demo "00" came out in August of that year, followed by their subsequent tours. This year, they self-released their full-length album "Riparia riparia", mixed and mastered by Matic Medja and a magnificent artwork done by Klemen Seliškar.

The album takes a refreshing 20-minute take of late '90s and early 00's emo/screamo, with occassional emoviolencey blast beats, often reminiscing other skramz bands such as The Worst Is Yet To Come, Tarkovsky, Dollores, Mahria, Hiretsukan, Heart On My Sleeve, etc. The album of its entirety is sung in English and Slovenian.

The album opens with an intense burst of energy of '2020 by Shin Guard', combining raw vocals with intricate guitar work. The song sets the tone for the album, showcasing Zbrucz's ability to blend aggression with melody, along with its poetic and confessional lyrical themes, with 'Forty Minute Train Delay' capturing the frustration and anxiety of modern life, 'Flood of Unloved' delving into themes of abandonment and emotional turmoil. 00 serves as a spoken word interlude featuring Kill Kill Kill, providing a moment of reflection amidst the chaos. It's a nod to the band's influences and adds depth to the album's narrative.

Then follows 'Dežujem' (trans. I Am Raining) - the highlight of the album and a fan's favorite. Sung in Slovenian, this song is channeled through an introspective lens while the emotional intensity remains and builds up to the cathartic release before delving to another epic blast beat finale for the last 10 seconds.

Me Vidiš Kot Sem? (trans. "Do You See Me As I Am?"), this track is a raw, honest exploration of identity and self-perception. The band's ability to convey complex emotions through their music is evident here. 

Riparia Riparia closes the album on a hopeful note with "Konec Dober, Vse Dobro" (trans. All's Well That Ends Well). The track opens with interchanging spoken words before dissolving to fierce chaos. The imagery of smashing one's head on the concrete floor symbolizes a desperate attempt to escape the mental anguish. The Slovenian lines suggest a hope for a better day and the possibility of reconciliation and renewal. It's a cathartic release and a perfect way to close the album

"Riparia riparia" is a strong debut that captures the essence of late '90s and early '00s emo and screamo, while also carving out its own niche in the genre. Zbrucz's ability to balance intensity with emotion, and chaos with melody, makes this album a compelling listen. The band's influences are clear, but they manage to bring something fresh to the table, making "Riparia riparia" a noteworthy addition to the contemporary emo/screamo scene. For fans of the genre, Zbrucz is definitely a band to watch.

SUPPORT THEM VIA BANDCAMP!

APATHY APARTMENT

Location: Ljubljanja, Slovenia / Zagreb, Croatia.

Year active: 2015 - ????

Members: Andi Koglot (guitar, programming, synths, samples), Damjan Blažun (vocals, bass, programming)

Label: Self-released

Related bands: ????

FFO: The Postal Service, pospano, Bowery Electric, Nine Inch Nails

Whenever i think of what else Slovenia has, Apathy Apartment comes to mind. Not every band has to be 100% screamo all the time, there are some things that can be soft, eclectic and relaxing, which AA did offer at the time.

AA was an electronic duo formed in Ljubljanja and in Zagreb, respectively. The duo gathered around in 2015, teased their first single and then dropped their only self-titled EP, played one or two shows before calling it quits... and it lasted less than a year.

Consisting only three tracks (with the exception of 'dank' memes and Jake Gylenhall references in the titles), the EP serves some of the distinctive emo/synthwave bops i have ever heard. The Nine Inch Nails/Bowery Electric is definitely prominent throughout these tracks, yet their own flair keeps them to the ground on their own uniqueness, with an addition of Kaja Skrbinšek's ethereal vocals on the third track which gives an immense amount of charm of this sweet little EP. 

What could've been an adventurous journey for the duo has diminished way too soon. Apathy Apartment's music is eclectic, atmospheric and charming to the point of making a name for themselves in Slovenia's otherwise small DIY scene.

BANDCAMP

The Love Typewriter

 Location: Ajdovščina, Slovenia

Year active: 2001 - 2003

Members: Aljoša Todorovič (guitar), Jani Peljhan (bass, backing vocals), Matej Likar (guitar, vocals), Simon Mislej (drums), Tadej Grahovac (vocals)

Related bands: Bed Religion, Cloudland, Harry, Real Life Version, UpJohn 

Label: EKO*RDS

When i happen to discover only two songs uploaded on YouTube, i tried and failed at finding a possible download link to their S/T demo. Not all hope was lost as i accidentally found a copy on Discogs, being put on sale by one of the people running Moonlee Records. I initially contacted him and we agreed to meet up in Belgrade, where i would buy the tape from him without having to struggle with the shipping cost. In fact, i was lucky to have a real proper copy and not a bootleg. I've been attempting to properly rip the tape to mp3 multiple times in order to upload all of them on my channel.

The Love Typewriter is an incredibly short-lived midwest emo band formed in Ajdovscina, Slovenia, lasting no more than two years of their activity. It all started when Matej of UpJohn met up with the members of Cloudland and came up with the idea of forming a new band, thus came The Love Typewriter. They have released their only self-titled effort through their record label EKO*RDS. Not far after this, they broke up and went on to play Real Life Version and Harry, respectively.

The demo opens up its 8 tracks and flourishes their midwest emo influences as well as bordering on the emocore roots. Heartfelt punk guitar melodies delivering with raw energy, accompanied by pained and wounded clean vocals belting out personal and confessional lyrics that aren't to be found anywhere, not even in an inlay of the copy that i have. The ever prominent lo-fi production blaring through my walkman speakers just adds to the charm of the genre on its own.

I'd say that The Love TypeWriter is one of those from the region that are able to pull off this raw energy, especially with Emo. Even if they are nothing groundbreaking, it's indeed a must-have for any hardcore emo fans out there.

LISTEN HERE: