Author Archives: Nikola

Ahead of their performance at Močvara, The Wants shared a bit more about themselves, their music, how they do to connect with fans and even gave us homework: bands we should be listening to. Enjoy!

Q: Can you introduce each other to us?

MVV: Hi, I’m Madison Velding-VanDam.

YN: My name is Yasmeen (you can call me Yas).

JG: Hi, I’m Jason Gates.

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Q: If you weren’t part of the music scene, what kind of work do you think you’d be doing instead?

MVV: I studied to be a lawyer. I could have gone down that path, but I’m glad I didn’t.

YN: I study physics and acoustics alongside playing music; I’d most likely be working somewhere in that space.

JG: In another world, I am a pediatric cardiac surgeon.

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Q: Now that Bastard has been released, do you feel the album has changed you—perhaps in your artistic voice, or in how you approach songwriting or performance? If so, in what concrete ways?

MVV: The evolution is hard to articulate when you’re in the middle of it. I feel more confident now in how I approach writing and in integrating all of my interests.

YN: This is my first record with the band, so for me it feels natural. The performance of the new material is definitely heavier and more emotive, which I really appreciate.

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Q: The sense of isolation—geographical, economic, societal—has been central to your lyrics and visuals. In a post-COVID, hyperconnected world, how has your perception of isolation evolved, and how is that reflected in your music today?

MVV: The hyperconnectivity of the pre-COVID world was stressful and overwhelming. Post-COVID, I sense a growing resentment toward constant connectivity. For me, isolation often comes from hyperconnectivity—it’s easy to feel small, lost, or detached from community when you’re exposed to such an endless stream of information and experiences. I admire artists who are grounding themselves in their own regions. That feels very powerful.

YN: I think the tech age mirrors big city life. The more people you live among, the less you feel like you stand out. Cities offer opportunities to live authentically, but they also come with loneliness—being surrounded by people while still being alone. The internet extends that dynamic: the whole world becomes your city, but do they really see you, or are you still alone? That sense of loneliness and being an outcast definitely runs through the album.

Q: In earlier interviews, you’ve spoken about American economic and political anxieties—class issues, “economically irrelevant” populations. How conscious are you of your audience’s socio-economic background, and does that awareness shape how you release music (formats, pricing, touring)?

MVV: We align ourselves with like-minded people. To me, that’s how I see change happening: slowly, by attrition.

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Q: You’ve often reflected on social media, performance, and authenticity. In today’s streaming-driven world, how do you decide how much of your personal life and vulnerabilities to share with the public?

MVV: I prefer to share our art with the public rather than our personal lives. 

YN: I like sharing music and political reactions with people online, but I don’t feel that sharing personal or private details adds anything positive.

JG: I mostly only talk about music and music production. It’s very rare that I’d bring up something too personal or political, though it has happened once or twice. I’m not very big on social media.

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Q: Aside from performing, what do you do to stay connected with your fans?

MVV: We share visual art and recorded music. Madison Carroll has contributed enormously to our visual language through her photography.

YN: I love going to my friends’ shows and collaborating with other artists on videos and remixes. With fans, I stay connected directly on Instagram and TikTok.

JG: I like meeting people at shows and talking about music or other common interests.

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Q: Which concert or venue do you remember most fondly, and why?

MVV: We had an incredible show at Loppen in Copenhagen on this tour. The crowd was fully present, dancing and letting go. That’s what it’s all about.

YN: Recently we played at Loppen in Copenhagen. It’s the best venue I’ve ever been to—amazing people and such a great crowd.

JG: I fondly remember seeing Swans at the Masonic Temple in Brooklyn when they got back together in 2010. It was my birthday, and my friend Yoshiko Ohara took me. Yoshiko used to have an incredible doom band called Bloody Panda. It was an amazing show.

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Q: Are there any newer bands or artists you’d recommend right now?

MVV: YHWH Nailgun, Smerz, Hildur Guðnadóttir.

YN: I really like Activity—a great Brooklyn band with electronics and swirly guitars, produced by Jeff Berner (Psychic TV).

JG: I’m excited about an album called Defensive Acoustics, coming out October 10th from Liam Andrews under the name AICHER. He also has a band called MY DISCO and a project with Regis and Boris Wilsdorf, who works with Einstürzende Neubauten. A couple tracks are already up on Bandcamp.

I also recommend Goh Nakada’s project Gorgonn, which is awesome.

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Q: If you could give one piece of advice to your younger self, what would it be?

MVV: It’s all in the journey. Get to it!

YN: Don’t judge yourself so harshly. Just make art and put it out.

JG: Don’t worry too much, and practice more.

Anita Ulovec (Volontiram u Močvari)

From mumbling into a mic in 2009 to crafting sleek pop anthems, Lust for Youth are making music they want to hear. Ahead of their concert in Močvara on October 9th, we had a chat with Hannes. Enjoy the read!

Can you say a couple of words about who you are and your work so far?
I’m Hannes and I started LFY when I was living in Gothenburg many years ago. It was a different style of project then, more inspired by industrial and minimal wave. My interest shifted a bit and when I moved to Copenhagen and met Malthe he helped me to push the direction towards a more melodic and pop oriented sound. Which have always been a soft spot for us; good pop songs (The Smiths, Pet Shop Boys, The Tough Alliance, Francoise Hardy, The Go-Betweens etc..).

Do you remember your very first performance—what was it like, and how did it feel to perform live for the first time?
Yes, it was when I was living in Gothenburg, it was probably in the fall of 2009. We were standing on a small stage in the foyer, right next to the entrance. We had MS-20 and some cassette loops, and I mumbled in a microphone for 20 minutes. I don’t think it intrigued a lot of people but probably had some sort of charm.

Do you attend music conferences/showcase festivals? If yes, which ones?
We’ve been to SXSW and to something in Norway, but it’s really not our cup of tea. My experience is that it tends to be a bit too corporate.

Was there a person, moment, a collaborator, labelmate, mentor or influence that helped you shape your artistic vision or shift your music career in a meaningful way—someone or something you still remember fondly?
Malthe Fischer, showing me that you could pan the sound, I’d never thought about that before when I was working on the cassette porta. All the sounds were just smashed into a mess on top of each other.

Your sound has evolved from raw, minimal synth into a more polished and melodic direction—sometimes even danceable and pop-oriented. How do you balance making music that’s more accessible or commercially viable with staying true to your original artistic vision?
The artistic vision has always been to make pop music, but in our own way. We make music we like to listen to.

When you look back at your early records now—albums like Growing Seeds or Perfect View—how do you feel about them? Do you still see those as part of the same project, or like a different band entirely?
For me everything up til 2014 was a different project, from the International album is kind of where LFY as a group starts. Before that, it was a solo experiment by me, trying to learn how to make music.

Do you think about how people interpret your lyrics and visuals, or is it more about creating a mood and letting listeners feel it in their own way?
I’d say we before were more focusing on making a mood or a vibe, and whatever lyrics or samples we used to underline this feeling. The listener might interpret it differently, which is also the exciting part of it.

If you didn’t have to think about genre, past albums, or what people expect from Lust for Youth—just starting totally fresh—what kind of music do you think you’d be making? I would probably choose to get a proper education instead.

What have you been listening to lately? Do you know about any emerging names/colleagues we should check out?
I’ve been listening to Rosa Anschütz ’s beautiful new album Sabbatical.
But I would also like to mention Amateur Hour – Går I Kras, from Gothenburg, Sweden.

Is there a future project or collaboration you dream of doing and that fans might expect from Lust for Youth? 
It’s still early to say yet, let’s see what happens.

Anita Ulovec

Descartes a Kant borrowed their name from the great thinkers, but their music is anything but academic. It’s raw, theatrical, and gloriously unpredictable. We talked with the band about building meaning out of chaos, escaping genre, and why every record is its own philosophical experiment. They’re coming to Močvara 31.7. to give you a taste.

Your band name pulls from Descartes and Kant — logic, structure, philosophy… but your sound is pure chaos in the best possible way. What does that contrast represent in the context of your (really great) music?
Great question! To me life is about making sense out of chaos, and philosophy itself is pretty much about making all the questions as possible about the meaning of life – We are uncertainty searching for certainty. So I guess our music in sound and structure represents that, trying to go through all the colors, from black to white, from the sweetest to the hardest, from Descartes to Kant.

After everything — all the touring, scene shifts, and years navigating both the underground and international circuits — what’s the one thing you’ve never compromised on in your art?
Fortunately we’ve never ever had to compromise anything in our art, on the contrary we learn as much as we can about the diversity in music, all types of music scenes and all the different cultures we get to cross our paths with. It’s amazing to be able to go around the world presenting our crazy art.

Was there a specific show, band, or moment in the Mexican scene early on where you thought, “Okay, this is real — we can actually do this”?
After we released our album debut Paper Dolls, like in the same year we opened for the Yeah Yeah Yeahs, for Sonic Youth and also we played at our first massive festival ‘Vive Latino’ – which is the hugest in Latinoamérica, in that year we felt that something was happening and that we had something special going on, that the people was starting to know about us and be receptive to this kind of music, and we started to take it seriously in a way.

You’ve talked before about feeling like outsiders in the Mexican scene. Has that outsider status turned into a kind of creative freedom over time? Or does it still feel like you’re carving out space where there wasn’t any?
Yeah not fitting in a genre or a specific scene gives us all of the freedom to experiment and push our own artistic limits without feeling that our audience has an expectation about us, and that has always been what this band is about, the anti genre and not fitting in a box.

Every one of your records feels like a total reinvention — from Paper Dolls to Victims of Love Propaganda, it’s like stepping into a new world each time. What pushes you to change things up from album to album?
Yeah totally, that’s like our thing, each album is like its own universe and it’s so hard and challenging to do that every few years, but it’s also what makes it super exciting, you can never get bored or too comfortable.

What’s the weirdest, most unexpected thing that’s ever sparked a song for you? Like, a dream, experience, a conversation, a smell… anything.
There was one conversation we had during a breakfast several years ago, I was talking about how cool would it be to see a tap dance solo in a punk venue, like those two different contexts converging, and that’s when I started to write ‘You May Kiss The Bride’, which is a personal wish of singing in a musical, made reality!

“No es por ti, es por mí” stands out since it’s fully in Spanish — which you don’t always do. Does something shift in your performance when you switch languages? Is there something you can say or feel in Spanish that just doesn’t come across the same in English?
Yeah, switching languages is like having a dual processor in your mind, not everything  translates precisely, but at the same time all my life has been about switching between those two languages intermittently. I grew up in California and then moved to Mexico when I was a kid, so this language shift has occurred ever since. And when you are writing music, it challenges you in a very particular way. It’s rare nowadays to hear a Mexican band sing in English, but at the same time I always viewed DAK as an intentional project, so it had made more sense through time since we have been touring more and more out of our country. I’ve realized that in the end the audience connects with the music, the performance and the art language in a broad and more immediate and intimate way, despite the lyric language our songs have been written in. Touring this album among live audiences in different countries has been incredibly fun to experiment.

If you could play one stage — any stage in the world — where do you think Descartes a Kant belongs? Like, what’s the dream venue or festival that just makes sense for your universe?
We are dying to go to Asia, it’s like our dream, and everyone says we would make so much sense there. I wish we could play at the Fuji festival someday.

You’ve mentioned how tech connects and isolates us at the same time. Do you think music still brings people together in a meaningful way — or is that kind of connection harder to come by now?
Music and art definitely bring people together in many ways, whether you are creating it or experiencing it as an audience. Hopefully in a meaningful way! In our case, every time we play a show or do an album it’s very meaningful.

What is your favorite performance so far and why?
Probably when we played in Russia because it’s such a different place and we didn’t know what to expect at all, and was probably the most effusive reaction from a crowd we’ve ever had! And there were people from all ages.

Anita Ulovec (Volontiram u Močvari)

Izašli su iz podzemlja Budimpešte s imenom koje je nastalo na trkalištu i zvukom koji je toliko divlji da se ne može uklopiti u samo jedan žanr — Stone Sober nisu tu da bi se uklopili, nego da bi zapalili. Ovaj dvojac redefinira što znači svirati glasno, uživo i bez ograničenja. Pročitaj više u nastavku i ne propusti njihov nastup u Močvari 31. srpnja.

Krenimo od vašeg imena — ‘Stone Sober’ zvuči moćno. Koja je priča iza njega? Odakle dolazi i što vam danas znači?
Svidio nam se taj izraz čim smo ga prvi put čuli — to je fora oksimoron. Također, znali smo ići na konjske utrke, a jednom smo se kladili na konja koji se zvao Stone Sober — i zapravo smo dobili nešto novca pa nas za to veže lijepa uspomena. Mislimo da Stone Sober zvuči snažno i da je prikladno ime za rock bend.

Počeli ste kao duo u Budimpešti oko 2021. godine. Što vas je spojilo — slučajan susret, zajednička kreativna iskra ili nešto treće?
Zapravo smo išli na isti fakultet i počeli pričati o glazbi, koncertima i svemu tome — i onda se pojavila ideja: zašto ne bismo osnovali bend?

Za nekoga tko nikada nije čuo vašu glazbu, koja je ta jedna rečenica koju biste htjeli da pročita prije nego što pritisne “play”?
“To je duh životnog rocka.”

Kako ste se probijali na europskoj alternativnoj sceni, koji su vam bili najveći izazovi — ili neočekirani trenuci koji su oblikovali vaš put?
Jedan od najvećih izazova bio je to što se ne uklapamo u točno određeni žanr. Zbog toga nam je u početku bilo teže pronaći gdje pripadamo i s kojom scenom se možemo zaista povezati. No s vremenom se to pretvorilo u prednost — dalo nam je slobodu da se krećemo između žanrova, gradova i publike bez granica.

Osjećate li snažnu povezanost s nekim određenim underground pokretom ili gradskom scenom, ili je vaš identitet više utemeljen na kreativnom nomadstvu?
Umjesto da se priklanjamo određenim pokretima, fokusiramo se na kreativnost — s duhom slobode koji prelazi granice scena i žanrova.

Liveurope je podržao mnoge mlade bendove diljem kontinenta. Je li članstvo u toj mreži utjecalo na vašu vidljivost, publiku ili način na koji pristupate svojoj umjetnosti?
Da, apsolutno! Zahvaljujući Liveuropeu imali smo priliku nastupati kao predgrupa bendovima Nemanja (HR) i BALTHVS (COL), te svirati na indie rock festivalu u Dortmundu. Ti nastupi bili su ključna iskustva uživo, koja su nam omogućila da dođemo do relevantne i angažirane publike. Fenomenalne prilike koje pruža Liveurope dodatno su osnažile jednu od glavnih misija Stone Sobera: svirati međunarodno.

Vaši nastupi uživo poznati su kao intenzivni, sirovi i pomalo nepredvidivi. Kakvu energiju ili emociju želite da ljudi ponesu sa sobom nakon vašeg koncerta?
Naš krajnji cilj na pozornici je da potaknemo nešto stvarno i trajno — želimo da publika ode kući s višeslojnim iskustvom, a ne samo s jednim osjećajem. Kao dvojac, dio čarolije leži u nepredvidivosti: želimo iznenaditi ljude, probuditi znatiželju i natjerati ih da se sljedeće jutro probude s mislima: “Čekaj… tko su ovi likovi? Želim saznati više o Stone Sober!” I izvan glazbe, želimo da osjete povezanost s energijom života koju donosimo.

Postoji li neko posebno mjesto ili grad u Europi koji vas je gurnuo izvan zone komfora — na način koji vas je umjetnički razvio?
Svaki koncert je poseban i željeni iskorak iz zone komfora, ali najveći skok dosad bio je kada smo svirali kao predgrupa bendu Mother Mother pred rasprodanim auditorijem u Budimpešti. Naravno, oduvijek smo sanjali o tome da sviramo pred što više uzbuđenih ljudi — ali kad se taj san stvarno ostvari i stojiš pred 1500 ljudi koji vrište i sve oči su uprte u tebe… to te zaista prodrma. Taj nastup nam je mnogo značio, a energija koju smo dobili od publike bila je toliko snažna i uzdižuća da nas je trajno obilježila. Sigurno ćemo taj trenutak nositi sa sobom.

Ljudi često vaš zvuk opisuju kao sirov i nabijen energijom, a ne kao uglađen i ispeglan. Je li to svjesna odluka, ili jednostavno ono što se prirodno dogodi kad svirate zajedno?
To razigrano nadopunjavanje jednostavno je prirodni dio našeg zajedničkog stvaranja. To je ono što našu glazbu čini iskrenom, autentičnom i iskonskom.

Za kraj, evo vašeg ‘open mic’ trenutka — recite bilo što što želite obožavateljima, budućim slušateljima ili svijetu. Što vam je trenutno na pameti?
Umjesto da težimo savršenstvu, fokusirajmo se na iskustva i iskreno izražavanje sebe kroz život.

Pitanja postavljala: Anita Ulovec
Prevela s engleskog: Martina Glumac
Volontiram u Močvari

Jeste li spremni ta novu dozu Kultur Shock energije? Kultna gypsy-sevdah-punk grupa nakon dvije godine vraća se na pozornicu Močvare. U ponedjeljak, 21. srpnja od 21:00 Srđan Jevđević s ostalim članovima grupe pripremaju novu razuzdanu zabavu, a sa Srđanom smo razgovarali uoči novog zagrebačkog koncerta.

Prošlo je dvije godine od posljednjeg nastupa u Močvari. Što se od tada promijenilo u životu grupe Kultur Shock?
Jao, gdje baš to kao prvo pitanje. Ovo pitanje ću shvatiti lično jer otkako smo se zadnji put vidjeli toliko se toga desilo da je teško i pomisliti da bi se moglo, onako ležerno, staviti u jedan odgovor. Pa ukoliko ustanovite da sam se previše otvorio vaša je krivica što ste me pitali, nije moja (šalim se). Prošla godine je od svog samog početka bila možda moja najtužnija, ali sigurno najčudnija godina u životu. To je samo po sebi malo vjerojatno i za pomisliti zbog toga što ako je neko imao čudan život onda sam to ja. U jednu ruku ja sam nevjerojatno sretna osoba jer imam puno ljudi u svom životu koji me vole i shodno tome puno ljudi koje ja volim. Broj ljudi koji sam izgubio od početka 2024 godine uključujući najbliže i najdraže se vratolomno penje i to je neupitno. Onaj koji ima puno često puno i gubi. Zato će ova turneja, bar u mome srcu, biti obilježena povratkom na stage onako kako bi to moj najdraži željeli. Nosiću sve moje najdraže izgubljene ljude i životinje sa sobom kod grada do grada. Najčudnije u svemu je to što sam zadnje dvije godine, a i Kultur Shock sa mnom učestvovali u nizu projekata koji su retrospektivno obilježili sve ono što se desilo do sada u našim životima. Nekako je ta godina sve stavila u bosanski lonac pa su se svi najdraži koje sam izgubio našli u filmovima koji su nas obilježili.

Najavili ste novi album koji bi pod nazivom “House of Kultur, House of Shock” trebao biti objavljen na jesen. Što očekujemo na tom albumu?
Dvije godine tuge i priznanja su nas u jednu ruku počastvovale, ali i zaustavile u procesu i planovima koje smo imali. Mi nikada ne planiramo šta ćemo uraditi i kako ćemo se izraziti. To dolazi spontano onako kako se u tom momentu osjećamo i tko smo mi u tom momentu. Album kojim smo planirali da izdamo kada se sve ovo počelo dešavati početkom prošle godine više nije bilo jedino svjedočanstvo našega postojanja, a pogotovo mene u tome momentu. U isto vrijeme to smo bili mi, a i ovo što smo sada smo mi. Dijagnoza podvojenih ličnosti se u moderniji psihologiji posmatra paralelno u isto vrijeme, a to je upravo kako se sada mi osjećamo. Muzički i inspirativno također. Zato će to biti najvjerojatnije dva različita projekta producirana u isto vrijeme. Mi nikada nismo bježali od istine, pa će stoga ovo morati biti muzička istina našega trenutnog stanja. Na novom materijalu Kultur Shock ovaj put koristi industrial i sintetiku viŝe nego ranije. Život je eksperiment. Kratak je. Malo iza vremena da se sve proba, a ja volim sve da probam.

Ako se ne varamo, sljedeće godine se obilježava 30 godina rada grupe. Spremate li nešto posebno?
Pa eto, daj dupli projekt će vjerojatno biti više nego dovoljno da nas zaokupira. Definitivno ćemo na klupsku turneju na proljeće. Klubovi i klupska turneja je ono za šta mi živimo i zbog čega postojimo. Mi lično najviše volimo da sviramo u intimnim atmosferama, a ja najviše volim da gledam ljude u oči. Nemojte me pogrešno shvatiti, volim ja i festivale, ali oni naši ljudi koji su s nama od početka svih ovih 30 godina pa i oni koji su se kasnije rodili znaju o čemu ja govorim. Mi između sebe jako dobro razumijemo šta volimo i znamo koliko trebamo jedni drugima da preživimo u ovim vremenima.

Kultur Shock je odradio više od 1.000 koncerata u karijeri. Od kuda pronalaziš energiju za sve te nastupe?
Energija se ne može baš materijalno objasniti, umjetnost je energija. Energija se ne može ni iz čega dobiti, niti se može uništiti. Kako su nas učili u školi, može samo prelaziti iz jednog oblika u drugi. Energija koju imaju ljudi koji dolaze na naše koncerte se prenosi na nas. Mi od njih zavisimo, a onda mi to vraćamo i tako to ide u krug. Dok bude naših ljudi svuda po svijetu, a kad kažem naše ne mislim naše sa našeg prostora nego naše koji vjeruju u iste stvari u koje mi vjerujemo i isto misle kao mi, postojat ćemo i mi. To su većinom ljudi koji su individualni, slobodoumni i ne spadaju u torove, odnosno ne razmišljaju kao grupa nego kao pojedinci. Oduševljen sam mladim ljudima na Balkanu. Mnogo su pametniji i manje ovisni i podložni uticaju konformizma nego oni na zapadu. Vjerojatno je to istorija i iskustvo nas koji smo se zajebali generaciju po generaciju.

Prošle godine je objavljen i dokumentarni film “Grandpa Guru” kojeg je snimala producentska kuća Točka kulture. Kako si uopće reagirao kada si prvi put čuo ideju za snimanje filma? Kako ti je bilo snimati? Je li lakše pjevati ili snimati? Jesi li zadovoljan konačnim proizvodom?
Apsolutno nisam bio za to. Prvo i prvo, vjerojatno je uopšte poznato moje mišljenje da ničiji posao nije vrjedniji od onog drugog i zašto bu se snimao baš film o meni, a ne o nekome drugome. Sanjin i Silvio su mi objasnili da film nije zamišljen da bude u meni kao umjetniku, nego o neperfektnom životu u kojem jedinka izložena iznenadnom spletu okolnosti te formira i mijenja svoja mišljenja i stavove, kao i životna opredjeljenja, moralne postulate i sve ostalo, odnosno koliko u stvari sam život utiče na nas kao i koliko više možemo da uradimo životu ako ga samo pratimo i slušamo i ne bojimo se promjena. Onda sam ja njih dvojicu pitao zadnje pitanje koje je utvrdilo moj pristanak: ‘Hoćete li vi stvarno da snimate o onome što mene muči svaki dan, o demonu s kojim se borim svakog trenutka u svom životu i od kojeg sam jedino Slobodan kada sam na stageu i kada radim ono što volim?’ Oni su rekli da hoće i tako smo počeli. Sve u svemu to je njihov film, a ne moj. Ja sam samo iskreno ispričao priču koja se meni desila, a od njih sam tražio uvjet da bude iskrena i bez hvalospjeva. Sve skupa je ispalo zanimljivo i sviđa mi se.

Posljednjih mjeseci vidimo da se puno raspravlja o angažmanima glazbenika oko aktualnih političkih tema. Kultur Shock nikada nije šutio o stvarima o kojima je trebalo pričati. Kako gledaš na sve što se događa oko toga da, recimo BBC, cenzurira nastupe glazbenika iz Glastonburyja koji kritiziraju izraelske napade na Gazu? Trebaju li glazbenici i umjetnici sada biti glasniji nego inače?
Uvijek i u svakom momentu treba se truditi da ovaj svijet napravimo boljim, a ako imamo mikrofon tim prije moramo ga iskoristiti. Inače smo ne samo propustili priliku nego po zakonu Pilatove krivnje učinili krivično djelo. Ako vidiš zločin, a možeš da ga spriječiš ili da ga raportiraš, a to ne učiniš i ti si sudionik u tome zločinu. Teško je ponekad. Mnoge se stvari nagomilaju, ljudi se boje ne samo sa jedne nego sa svih strana i nije baš tako jednostavno stati na stranu pravde kao i kazati nekome u lice da laže ako znaš da ti se to može razbiti od glavu. Međutim, ako mi to ne uradimo tko će? “House of Kultur – House of Shock” nije ništa drugo nego nastavak našega rada u cilju donošenja poruka. Vrlo često nas pitaju kako je moguće da smo u našim pjesmama toliko puta predvidjeli šta će se desiti. Nismo mi niti pametni niti nešto specijalno vidoviti nego samo znamo istoriju, a istorija se ponavlja. Ako malo bolje razmisliš vrlo jednostavno je predvidjeti šta će se desiti. Mi pokušavamo da budemo aktualni sudionici u proklamiranju pravde, ali zlo je toliko aktivno u suzbijanju informacija danas da je možda ponekad i dovoljno da budemo samo socijalni komentatori. Don’t shoot the messenger!

I za kraj — dugo si već u SAD-u. Razmišljaš li o povratku u Sarajevo?
Kao što već rekoh puno puta, ja iz Sarajeva nikada nisam otišao i niti ću. Međutim ovo što radim zahtjeva da budem više svuda nego u Sarajevu i u našem regionu za vrijeme kreativnog procesa. Onda jedva čekam da dođem kući da pokažem šta sam napravio. Ja sam ti u principu kao gastterbajter – radim na zapadnoj obali, a živim u Sarajevu jedino mi je malo dug put do posla. Često na poslu prespavam, ponekad se i oženim i imam porodicu, ali i ta porodica doživljava Sarajevo kao svoj grad. Jedno je Sarajevo.

Emir Fulurija (Vrelo zvuka)