Boris Kovac & Ladaaba Orchest / La Danza Apocalypsa Balcanica
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cd cover Boris Kovac & Ladaaba Orchest
Ballads At The End Of Time / La Danza Apocalypsa Balcanica – Part Two (Piranha)

Kovac says:
"Just imagine: The morning after the apocalypse … Are we still alive? We wonder. It would appear so … There´s no end to this world … There´s no rest for the soul … There´s no past … There´s no future … Now is eternal … LaDaABa Orchest offers you the ideal entertainment at the end of time: La Danza Apocalypsa Balcanica …. Part Two."

Danza Transilvanica
I. Interlude
Damar of istanbul

"Backing Kovac's mournful saxophone is a small ensemble of bass, percussion, violin, clarinet and accordion, offering a stripped down, sometimes dire sound appropriate to the subject. But it also offers hopeful moments, bursts of merriment and simple pleasure, the same mixed emotions and rollercoaster changes that made the first volume such an effective antidote to its time. In the notes, Kovac offers that this is the final edition of La Danca Apocalypsa Balcanica. 'I hope that such a theme will never inspire me again.' Amen." - CF, RootsWorld

More music by Boris Kovac

More about Kovac and Ladaaba
Boris Kovac, born in 1955, is a composer, instrumentalist and multimedia artist from Novi Sad, capital of the multiethnic region Vojvodina in the Pannonian Plains. Formerly, this area was known as legendary cross point for all sorts of migrants from the Mediterranean to the Baltic. Till now Pannonia is characterized by the juxtaposition of Catholizism, Islam and Slavic Orthodoxy. Boris writes music for chamber groups that he rehearses and leads. Many of his projects are to some extent connected with theatre. In 1982 the composer created the Ritual Nova Ensemble, an ever-changing, flexible group made up of musicians as well as visual artists, dancers and performers, acting as sole composer and director. Since 1989 he has been the leader of the "Chamber Theatre of Music OGLEDALO" from Novi Sad.

After staying in Italy, Slovenia, Austria and Canada for several years, Boris Kovac came back to Yugoslavia to participate on the cultural reconstruction of his home country in numerous projects in the reflourishing theatre scene. As Bela Bartok 70 years before, Boris Kovac wants to stand out as cultural intersection between traditional music culture and the young contemporary music scene of Yugoslavia. By leading his RITUAL NOVA ensemble, LaDaABa orchest, Chamber Theatre of Music OGLEDALO, Academy of Fine Skills and working with students he attempts to reestablish the contemporary music/theatre scene in his country.

He has shared his artistic talents at approximately 30 festivals of new music and contemporary theater in many different countries.

"Our advantage is, that people from 20 different nationalities lived together in the pannonian plains, so today no one can say from which folklore my music comes exactly. Anyway for us, living in an urban situation, having no contact to the little villages, it is not comprehensible where the music comes from. But I think that is not even necessary: decisive is, to use the sources as food for my own creativity." The mixture of Boris' music continues in the background of his band member's lives: accordion, violin, bass and drums are played by Halfserbians, Halfhungarians and Halfmacedonians, the guitarrist is Roma and the clarinettist a proper Serbian, but lived for several years in the Vojvodina and took over many musical technics from the Hungarian and Romanian. Anamnesis, Ecumenical Mysteries, dedicated to mystics N. Berdjiaev and G. I. Gurdjieff, was premiered by Ritual Nova, featuring musicians from Slovenia, Croatia and Serbia, at Ljubljana's Druga Godba festival in June 1993 which took place in the city's Catholic church. Nevertheless, Kovac's music language is far more impure and contaminated. It reveals the composer's Serbian, Hungarian and Rumanian roots and discloses similarities with the darker side of Rock In Opposition (bands such as France's Art Zoyd and Belgium's Univers Zero, which, paradoxically, were the less "rock" of the groups involved), as well as with the Third Ear Band, combined with the manifest influence of Béla Bartók and Balkan folk music. As Boris Kovac stated : "Music is the last consolation between heaven and earth"

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