KISMET

The world renowned Macedonian musical masterminds have put together this dense concoction of industrial goth music for the next millennium!  Visit Kismet's web site HERE!

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D.L.K. MAGAZINE
In the last issue (#7) Marc reviewed a promo cd of NORTH ATLANTIC BALKAN EXPRESS, and the third full length release from Balkanian-Australian Kismet, one of the most respected and active acts around. Now the CD is out, and it is really good! Kismet's perculiarity comes out in all its power, misleading every expectation. Gothic, electro and folk hints are blended in a unqiue yet homogeneous flux, upon which Gorazd Capowski's deep voice lays that definitive darker brushstroke. Also, the use of samples and electronic grooves (frequent are some Young Gods exerpts...) together with traditional Macedonian (the home-region of the band) instruments gives the final word to this new contamination.

OUTBURN MAGAZINE
Dark electronic music with an eastern European edge: Kismet's latest Tone Casualties release is a mix of Eastern European instrumentation with a darkwave sensibility. Kismet mastermind, Gorazd Capovski fully utilizes the sounds of his Macedonian heritage to create a textured ambience reminiscent of a less dance floor conscious Delirium. Muted vocals are layered between a plethora of exotic interments and everyday electronics. Vocally, this album is quite diverse. Chants invoking the spirit of the Eastern Orthodox Church intertwine with deep male vocals recalling the likes of Ian Curtis, Brendan Perry and David Tibet. Kismet's mesh of ethnic and darkwave sounds thoughtfully culminates in a stirring rendition of Joy Division's "Love Will Tear Us Apart". While keeping the sonic structure intact, Capovski and company revitalizes the classic with the use of bagpipes and other traditionally Balkan instruments. Kismet's innovative approach to music makes this a captivating release.

ANGRY THOREAUAN #26
Combining techno-danse and TYPE O NEGATIVE heaviness (and, in at least a couple of cuts, even some CELTIC FROST-flavored experi-metal of the ancient european latin-style, such as what was on the 1987 LP, "Pandemonium"), KISMET has some grand, majestic songs ("Stolen Wall") and then some drab, almost generic electronic-based tunes. In the better offerings, the dark tones recall shades of LAIBACH.

SORDID ONLINE ZINE, review by GirlThe Goth
OK, to call this weird would be an understatement to say the least. Kismet mix heavy electro/industrial noises with ethnic Balkan instruments. Intrigued? You should be. The one very obvious influence on their music is the Swiss nutters, the Young Gods. In fact, 'Red Zurla' sounds a little too like "TV Sky" for its own good, but, in general the influence is implied rather than blatant. There are hints of other world music samplers, Enigma and Dead Can Dance, in tracks like 'General Black'. 'Stolen Wall's repetitive drumbeat, strange insturmentation, spoken word vocals and choral backing begins to weave a spell as the CD takes a step away from ordinary music styles. Suddenly, normality disappears and we're into a cover of Pink Floyd's psychedelic 'Main Theme' played on traditional Balkan instruments alongside electronic, creating a truly bizarre clash of Eastern and modern sounds. This tactic continues through the atmospheric 'Church', the powerful 'War' and the tribal 'Zid'. However, the biggest shock comes with the cover of 'Love Will Tear Us Apart', played exclusively on traditional instruments. It is completely out there, and it takes quite a bit of getting used to. This is about as different as electronic music can get and it is nice to hear a band that is completely unafraid to ignore the supposed rules. Highly recommended.

BIZARRE MAGAZINE REVIEW
Second release via this label following on from 'Wake Up Gods', from this duo of Macedonians who are now based in Australia, but their history goes back to 1987 when they were involved with cult band 'Mizar', the first 'Kismet' release appeared in 1994. Since then, they've produced three albums, appeared in numerous compilations and contributed music to a film 'Redball'. also programmes on MTV. Drawing on the turbulent Balkans for their influences, using ethnic instruments as a basis for various samples and effects. All driven by hard-electronics that are reminiscent of the Young Gods, Nine Inch Nails and Laibach. Mood and emothion are paramount and I can see why their music has been used along with visual imagery, whether it's film or theatre. They even do an interesting cover of 'Love Will Tear Us Apart', by Joy Division and make it their own... ooh, I spotted the 'Magazine' sample on one track!

WRAPPED IN WIRE web fanzine, review by Darklight
Kismet showed potential on their previous CD "Wake Up Gods", but I personally don't feel that they offered enough structure or direction with their songs on that release. The music was too experimental in my opinion. But that is not the case with this CD. The band has matured musically and delivers solid song structures that are still unique and creative, but have more of a clear distinction with structured rhythms, beats, melodies and vocals. The music in these songs is very layered with multiple sounds including organic instruments, electronics, samples, and tribal drum beats. The vocals are clean, deep and sung in a rather dreary fashion. They fit well with the music. The songs remind me of Dead Can Dance, Deep Forest, Enigma and Delerium on speed. They have the same mesmerizing earthly nature to them, but are much faster paced with a lot of drum and bass mixed in. There's a lot of variety to be enjoyed here as every song presents something new and different for your listening pleasure. All of the music has an artistic vibe to it with a lot of creativity. I like the fact that they manage to package all of this art into songs that work. The CD flows extremely well from start to finish without anything sounding out of place. The surprise track here is the cover of Joy Division's "Love Will Tear Us Apart". It's very well done, and gives the original version a new twist. If your tired of the same old thing in electronic music, I would reccomend this Kismet CD to you. It's an enjoyable listen that's quite refreshing.

REACTOR (French magazine), review by Antz Indaco
Ce groupe macedonien est une veritable revelation.Un savant melange de musique ethnique des Balkans, de darkwave et d'electro-indus.Quelque chose de vraiment original donc, et difficile a comparer a d'autres projects existants si ce n'esta a l'album Kapital de Laibach-ce n'etre pas un hasard si les premieres realisations de ce duo ont ete enregistrees dans un studio de Slovenie. Cette nouvelle realisation a ete produite an Australie,mails le groupe reflete,par sa musique electronique,I'actuelle realite socio-politique des Balkans.Sans oublier les traditions religieuses et culturelles du pays, ce qui donne un cote"gothique"a l'ensemble des compositions. Surprenante,la cover de"Love Will Tear us Apart" de Joy Division,effectuee ici a l'aide d'une cornemuse, conferant une tres ethnique a ce petit chaf d'oeuvre new wave. Kismet les pionniers de l'electro-macedonian-wave.

FLUX EUROPA WEB ZINE, review by RIK
You will love or hate this record depending on your tolerance for Balkan folk music and, if you like traditional music, your tolerance for the marriage of that music to modern instruments and styles. But this is no compromise with mainstream pop. Kismet are master exponents of the unique sound of 'Balkan darkwave' and appear to be gathering quite a following on the international neofolk/gothic-industrial scene. Kismet emanated from (Slavic) Macedonia, are based in Australia and are released on an American recording label. The lineup on the latest album is Gorazd Capovski (vocals, tambura, zurla, guitar, keyboards and programming), Ilija Stojanovski (bass, kaval, tambura and background vocals) Stefan Popovich (drums and tapan) and Steven Teref (spoken word). Listening to the traditional instruments and rhythms of Balkan music is an otherworldly encounter in any event, and the combination of this ethnic music with darkwave-industrial, electronic and experimental elements, presents a distinct sound unlikely to imitated by anyone from outside the region and presumably by few within it. I was a little surprised to see that it includes the group's cover of Joy Division's 'Love Will Tear Us Apart', as the same track appeared on the group's Damjan's War CD (Paritor 1995). Presumably this has become their party piece. The cover may not impress our resident Joy Division fan but I think it's fun.

AMG (All Music Guide), review by Rick Anderson
(Excerpt) Laibach fans, pine no more! If you miss the slow, shuddering chord progressions, the martial/industrial beats, the sepulchral lyrics declaimed by low voices in Slavic languages, then you've come to the right place. Kismet is a duo that hails from Macedonia, and to be fair, the Laibach comparison (while inevitable) isn't altogether apt. Kismet tends more towards exotic ethnic insturments while Laibach indulged in Wagnerian orchestration; Kismet's sounds are tight and disciplined while Laibach's was sometimes bloated. On "Red Zurla", A ponderous guitar-bass-drums rhythm is overlaid with a keening reed insturment of some kind, and the sung lyrics alternate with wordless warbling. There are cover versions of Pink Floyd's "Main Theme" and of Joy Division's "Love Will Tear Us Apart"...

DIGITAL ARTIFACT WEBZINE, review by Brad
I've been spinning this CD for the last three days and still have not come to the full conclusion I fully grasp the music. Kismet is an offshoot of the former Macedonian band Mizar who dominated the music scene on the Balkan peninsula in the late 80s and early 90s. Kismet's sophomoric album "North Atlantic Balkan Express" is a collection of pure dark-wave styled cinematic orchestrations that resonate in all directions without losing its grand composure. Kismet is a fully operating machine run by its two members, Gorazd Capovski and Ilija Stojanovski, who from their Australian-based studio blend industrialized folk textures, Nick Cave-styled croons and ethnically-driven programming with old country ethics., ideologies and the mystic of seasoned techno-gypsies. Similar yet vastly different to the cold mechanical tapestries created by Laibach, Kismet add a cultural warmth to their music by drawing on many genres including drone-ambient and ethno-experimental to carry the listener across cultures from the hills of Montenegro to the bombed out villages in Kosovo, onto a dingy dwelling somewhere in Istanbul to a cold train ride through the Caucasus Mountains. With an album as intricate and complex as North Atlantic Balkan Express, one can only imagine what new heights Kismet can soar to.

PROSPECTIVE MUSIC MAGAZINE, review by Enrique Pena
Kismet is not only the name of Finland's best selling and most famous chocolate bar, it's also a Macedonian band of aunique blend of East Eurpoean insturmentation and song structures. Kismet produce a strange intelligent, dark, medieval sounding music. They fuse traditional Balkan ethno with experimental sounds, but have a clear darkwave and electro-industrial touch on everything. Because their music is a mix of the old and modern musical styles, you can't avoid the word gothic. Kismet's music is eccentric and creatively beautiful. I can't avoid mentioning Laibach here, since Kismet has the same kind of originality. The album offers a version of Joy Division's "Love Will Tear US Apart", which is just brilliant! Think of the song but played with a sackpipe sounding insturment! Worth checking out.

DAILY TROJAN, 11/10/99, Review by Ian Young
If someone happened to come across a person being sacrificially slaughtered by a coven of witches --- an everyday occurence, no doubt --- then Kismet would undoubtebly be the band providing the background music. Kismet, a Macedonian duo that is based in Australia, brings another installment of its dark, foreboding and bewitching music with North Atlantic Balkan Express, an album that combines traditional Balkan sounds with experimental, industrial and electronic rhythms. Even with its prevalent electronic beats and samples, Kismet is not futuristic nor techno. If anything, Balkan Express is more rooted in the past and reminiscent of Gregorian chanting. Highlights include the opening track, "General Black", "Zid", which features chanting in a foreign language, and the Joy Division cover "Love Will Tear Us Apart". Slow and dramatic, finding a right time to listen to Balkan Express may prove difficult, unless one is into witchcraft and human sacrifice. A soundtrack for horror films and cult members in hooded robes, this album isn't just for Halloween.

STARVOX WEB ZINE, Review by CyBeRiNa FLuX

Kismet is a group based out of Australia who are by heritage from Macedonia (that’s Eastern Europe). As a side project of Mizar, a Macedonian cult band, they have achieved a wide following. With existing fans as far stretching as Australia, Central Europe, and the Balkan regions they are quickly gaining a following in the United States as well. In fact, many samples from their previous album, "Wake Up Gods," have been used in MTV productions such as "Road Rules" and "The Real World."

They bring strong influences of traditional Balkan folk music and meld it with modern western darkwave industrial and experimental music. Along with the keyboards, drum machines, and digital effects they have brought in a wide array of instrumentation from Eastern European culture. Among these instruments there is the Tambura, a Persian-Arabic guitar-like instrument that is found quite often in Islamic and Slavic music. They use two wind instruments, the zurla and the kaval, both with interesting histories of their own. The Zurla is similar to an oboe, and originally comes from the Persian Gulf as well; specifically Kosovo and Bosnia. The Kaval is a pipe used by the shepherds that inhabit areas such as Bulgaria,Turkey, Albania, Montenegro, Serbia, and Arabia. The most interesting of them all is their percussion, the Tapan. Being one of the oldest instruments in music history, the Tapan is a drum that has been found in documents as early as 4,000 years ago. It has been used in Mesopotania, Egypt, India, Bangladesh, Serbia (Kosovo), Croatia, and is a favorite among Macedonian Gypsies. For more information on Macedonian folk music and instruments, visit the Macedonian Music Council at http://www.mmc.edu.mk/folkinstrum.htm

It is agreed by many that the music of a nation reflects the people of the nation, and that their joy and sorrow can be found in the notes within. The instrumentation in Kismet’s music brings forth the music of their blood, and beliefs, and its combination with the harsh and aggressive industrial sounds makes for a pill that is as beautiful as it is bitter to swallow. For those of us in western areas, their music is a much deeper view of those involved in the turmoil of Eastern Europe than any CNN or BBC could ever produce.

"North Atlantic Balkan Express" is their most recent release, and their second available to those of us in America. It is not simply a CD comprised of a selection of songs; it is truly a symphony, and I’ll tell you why.

According to the Miriam-Webster Dictionary, the word symphony comes from the Greek word symphonos meaning concordant in sound, and can be defined as something harmoniously complex. A symphony is comprised of a series of songs, otherwise known as movements. These movements carry the themes and ideas of the symphony throughout the work. Sometimes the theme is simply an idea, such as aseries of dreams or the telling of a story. Often, the theme is in form of a musical expression that is carried out by different voices (or instruments) and is often rearranged slightly to express the same thing in a different context. The latter is the case in this CD as one can pick out recurring bars and passages as they listen.

Starting us our on our journey is "General Black," Kismet entrances with a slow moving swirl of electronic drums, reverberated guitar, keyboards, and shrill Kaval. Out of the beauty comes a haunting male voice breaking the trance to say a chilling message. "The highway remembers the roadkill. Don’t pretend that the smears aren’t there. I know what you are thinking. The persistence of that image won’t leave you alone now that the animal knows who you are." The melody found in the kaval is later translated to a chorus of deep male voices, and finally in the even deeper timbre of the zurla.

While the spell induced by "General Black" is still encircling you, they begin with "Weaving," with a much quicker tempo. More electronic, this is one of the few songs where their Balkan influences aren’t quite as apparent. The lyrics are describing the desperation of contempt and self-destruction, and compare its effect as driving an uncontrollable car. The third track is "Red Zurla," makes it pretty obvious by the title what the highlighted instrument is. A very political song, it has a lot to say about the political unrest in the eastern European and Persian-Arabic areas caused by theological differences. Embodied in symbolism are extremely thought-provoking vocals, the effects used on the drums, keys, samples, and vocals are quite harsh to match. Finishing the message are the words "Christ storm. Christ strikes. Mohamed. Mohamed." Bringing back the percussionary and melodic themes from "General Black," "Stolen Wall" continues our travels. Much about this track reminds me of their counterparts, Death in June, who also have had some interesting comments on the political unrest that can be found in Eastern Europe. From the lyrical composition, the way the vocals are presented, the general beat and feeling, the melodies found on the traditional instrumentation, the deep male choral mantra, and the organ keyboard lines all bring the organic, solemn, and aggressively gentle themes together.

"The Main Theme" on track number 5 starts with the very eastern-sounding Tambura. Keyboard lines bring in some of the passages that had been found previously on wind instruments. This is a piece that does not stand still. While the beginning is almost a well-organized and glorious march, the song quickly switches to sounds of nearly pure chaos. Switching again to very industrial samples, and back again to chaos it is a song of high unrest.
We can calm down again with "Church," also featuring the Tambura in the beginning. Its hard to stay too calm, however. While the pulse of the album has again slowed, this song with spoken tongue in their native language contains heartwrenching guitar lines followed with dramatically sung lyrics in a style akin to Type O Negative’s powerful vocal style. Intertwining within these forceful musings is a chorus of male voices singing more adaptations of the theme that runs throughout the album.

"War" picks us up again with what sounds like violins above the clever drum loops. With a passion few today can comprehend, Gorazd sings a universal song of the pain of war. "A thousand miles. A thousand days. A thousand miles from the blood-red sun. A thousand dreams. A thousand hopes. A thousand dreams from the blood-red sun."
On track 8, "Zid" begins in native tongue. This song is truly what Dead Can Dance has tried many times over to capture in some of their more songs like "Mesmerism". The sunrise over the blood-red lands of the Persian Gulf. Over beautiful keyboard lines and inspiring percussions, the swirling sounds of the Tambura can be found to bring a note of authenticity that cannot be found anywhere else in modern music.

The cover of Joy Division’s "Love Will Tear us Apart" isquite unique with a severe infusion of eastern European sounds. Upon listening, the beat produced by the Tambura and the bleats of the zurla and kaval almost makes the piece sound Scottish. Traditional to many Eastern European folk songs, the tempo gains speed with each phrase at the end until its as fast as can be played. Immediately changing to a very slow tempo for the last bar, the piece ends leaving the listener in pure exhaustion.

Finishing the release is the highly industrial "Tenk." Full of slow, harsh beats, clicking, and whirling the piece drones on for some time gaining intensity slowly as it goes. Adding in the theme one last time on the zurla just to give the listener one last tantalizing taste before leaving, the song leaves you quite literally numb as it winds down to a close.

Kismet is a fine example of the music of the world around us. With their combination modern western and old-world eastern European sounds, their music can be appreciated by a larger group of people than many modern musicians could boast. I highly suggest this CD to anyone who revels in learning about other cultures, and those who keep their hearts and minds open.

EAR POLLUTION, Review by Marc Teppo
Blending darkwave industrial and electronic experimentation with more "traditional" Balkan rhythms and instrumentation, Kismet sounds like Peter Steele of Type O Negative lost in a gypsy encampment. Weaving around the sepulchral voice of Gorazd Capovski are the exotic sounds of string and reed instruments that sport names like "zuria," "tambura,"and "kaval." It's all otherworldly enough to simultaneously suck you in and spit you out. This is what happens when the world gets smaller. You bump into the fact that your musical and cultural heritage is a woefully thin slice of the larger musical pie. It starts with a train whistle and the pulse of an old engine as we pull up the hill and enter a dark cave--traveling through the impassable mountains to another realm, where our world has left its touch onthis world, infusing the music with hints of familiarity that make you feel comfortably at home. (And then there is over-familiarity, as in the guitar riff in "Red Zurla" that has got to be the lostecho to the Young Gods' "Strangel.") Sandwiched among references to bologna suits and aware roadkill and whole choruses filled with words that start with the letter "z" are covers to Pink Floyd's "Main Theme" and Joy Division's "Love Will Tear UsApart." North Atlantic Balkan Express is the musical equivalent of Mendel's experimentation with pea plants. It's not tall and it's not short; it's a strain of the two mixed, strong and healthy and ready for the next century of musical expression.

CHAIN D.L.K. MAGAZINE, Review by Marc Uselli Scharer
Kismet is the extension of the Macedonian cult band Mizar who had remarkable success in the Balkan's late 80's early 90's music history. They can even boast collaborations with Frank Zappa, Mark Mothersbaugh of Devo, Drew Neumann of Aeon Flux, Holger Czukay of Can and Paul Schutze! After the '94 debut they released an album (cmp Chain D.L.K. #6) and now their second commitment to Tone Casualities brings us NORTH-ATLANTIC-BALKAN-EXPRESS, which is the ultimate missing link between European electronic music, American darkwave-industrial and traditional Balkan ethno music. This experimental result sounds very interesting and personal. Also, I suddenly noticed that there are a handful of hidden and explicit (sometimes a bit too explicit) Young Gods samplings and structures (one of my all-time fav's). There are many ethnic instruments (such as zurla horns and tambura) giving this product a very special flavour. Days of war certainly serves to keep band leader Gorazd Capovski far away from his home, but his regular work in Macedonia will befollowed by tours in US, Central Europe and Balkans. Good luck!

MISSING L!INK E-MAIL NEWSLETTER, Issue #4
"North Atlantic Balkan Express" is the new CD by Macedonian band KISMET, after their first critically acclaimed album "Wake Up Gods", also released on Tone Casualties. KISMET is a unique blend of Eastern European and Western trumentation and song structures. Using such instruments as the zurla, tambura, keyboards, and bass, KISMET produce a sound that fuses traditional Balkan ethno, experimental, darkwave, industrial (SKINNY PUPPY, etc.) and electronic genres. In promotion of the album, KISMET has recently finished a short tour of the US funded by the Macedonian arts council.

TOXIC FLYER FANZINE #29
Very gothic at times with also an industrial to experimental and even jazzy thing going on that also features a sound that's somewhere between KMFDM, Echo and The Bunnymen and Bauhaus. I really like some of the chants going on with that India beat added in. Also the cover of Joy Division's "Love Will Tear Us Apart" was done really well...

Review by MT
Since I am an admittedly huge fan of world and ethnic music, Kismet's new disc is a welcome addition to my collection. North Atlantic Balkan Express is the second album on Tone Casualties by the Macedonian duo, and it's as uncategorizable as the first. In the tradition of Wake Up Gods, this album's essence is ethnic Balkan music. Gorazd Capovski and Ilija Stojanovski's over-the-top additions result in a highly accomplished album with an impressive ability to recreate foreign lands and strong atmospheres. But then, with such an impressive array of contributing instruments, including the tambura, zurla, guitar, and kaval, I would expect nothing less. The album is an exercise in mellowness; it starts off slow and occasionally hits some high peaks. "General Black" consists mainly of mellow bass guitar, slow drumming, and wordless male chanting, creating a thin, sensual air of relaxation. "Weaving" picks up the pace as Capovski introduces his vocals more prominently into the mix, but "Red Zurla" - a catchy mixture of gruff, jangly guitar and firm percussion - clearly reaches an apex. North Atlantic Balkan Express drops back to a plateau for the next few tracks. In "Stolen Wall," Capovski borrows heavily from spoken word in his riveting delivery, while the music plays around with instrumental flourishes and more wordless chanting akin to the Gregorian style. Sung in the group's native language, "Zid" clearly marks the second peak as Kismet works free of constraints and goes back to its roots. The result is a piece consisting of soaring vocals and almost purely ethnic music - it's a joy to hear this group cut loose. A cover of Joy Division's "Love Will Tear Us Apart" maintains the high peak; it sounds appropriately familiar to the goth fathers' original, but Kismet's signature on it is unmistakable. North Atlantic Balkan Express is a powerful, captivating release. Its dual nature - a combination of industrial and ethnic Balkan music - makes it fresh and enjoyable where most bands luck out. The fact that this album uses guitar and dips into genres such as goth has no relevance. Kismet finds originality where most people find trite, overused clichés. This album is recommended without reservation to fans of ethnic music or to anyone seeking a musical challenge. I only wish this album were longer than fifty minutes.

THE CONNECTION NEWSPAPER- SANTA CRUZ, CA.
(re: Kismet's "Wake Up Gods") ...reality check music for the new Eastern European warrior. Diversify and understanding is possible!

BIZARRE 1 1 MAGAZINE
Continuing with releasing music from unexpected parts of the world this comes from macedonia. Mixing traditional elements along with modern technology they don't sound too far away from the likes of Cubanate or Coptic Rain. There is pounding EBM in parts with techno but also stirring more traditional pieces that draw comparisons to "Voix de Bulgares" as inspiration. Musically they draw both on the past and the present to underpin the turbulent history of the Balkans. It's hard not to have been influenced by recent events and this comes across in the general atmosphere. Thought provoking.

APOCALYPSE MAGAZINE- CANADA
The Macedonian/Australian band Kismet is by far one of the most
interesting darkwave-electro-industrial bands I have encountered in a while. Daevina Danalyk-1988

CHAOTIC CRITIQUES- CANADA
Wake up Gods: the soundtrack for a global community locked in a perpetual
state of change, an apocalyptic vision filtered through post-industrial
soundscapes. A large drum used to signal war in the Balkans, and used of
Wake up Gods to create sinister psychedelic vibes that preserve the
tapan's role as HARBINGER OF DESTRUCTION.
Tate Bengston-1988

OUTBURN-USA
"Assassination" is straight-forward EBM that would give most
electro-industrial bands a run for their money on the dance floor, whereas
"Until the next war" exemplifies the breath-taking haunting power of
trditional Balkan music. Overall, this disc is indispensable in showing
how, in the hands of expert gardeners, the rich soil entwining the old with
the new can give birth to some rather stunning flora.
Steven Teref-1988

SIDE-LINE-Belgium/England
Kismet is Macedonian duo,which is based in Australia and signed on an
American label. Quite complex, isn't it. I am really flabbergasted about
their music.I got the impression to be in a Balkan monastery, where the
monks own religion is the Prodigu. Kismet realised a modern album and
surely won the award of creativity and audacity. Several traditional
instruments have been intermixed with modern technology, this way creating
an Apocalyptic music. If Kismet were a monastic order, be sure they would
have many adherents. A worthwhile experience.
(8 out of possible 10) D.P.-1988

SONIC-BOOM-USA
Kismet is a band of Macedonian heritage, signet to a California record
label and dwelling in Australia. How much more worldly can you get? I find
this casual mixing of modern music and classical ethnology strangely
refresing. The old world and the new world mingle together like good
friends. If we could only get society to function this way, then we would
truly experience a golden age.
Jester.-1988

LAST SIGHT-USA
The productions and mastering on this release is excellent.The sound is
intense and powerful, yet soft, flowing and often eccentric. It is simply
beautiful, and bound to capture your high regard and respect with its
original creativity. I recommend this cd to anyone daring to venture out of
the mainstream underground sounds so often reiterated in the American and
Western European scene. This is cd won't collect dust on your shelf.
Kim-Ann Alexander-1988

ACHTUNG BABY-Russia
The last work of Macedonian band presents one united microcosm of
international cogitations of the example of their native Balkans, on the
fates of the beloved land.It is past and present: from sacral gods of the
past to the political realities of the present, shipped in the mix area of
cybernetics spaces of modern sound with archaic ethno sounds.
Igor Vaganov-1988

VOLTAGE-USA
Comparations to Laibach aside,Kismet creates a unique and compelling clash
of futuristic techno with Eldrich culture unlike any one else.
David Slatton-1988

MERE MORTAL PRODUCTIONS-USA
This Macedonian band(residing in Australia) has developed what may perhaps
be the most unique sound I have ever heard.They are destined to be
favourite across all underground genre types.Imagine: Techno meets Ethnic
chanting, meets Industrial, meets Gothic, meets Electro-KISMET HAS IT ALL.
Guymon Ebenezer Addams-1988

AETHER SANCTUM-Australia
One of the best discs I have heard all year.
Ben Hardy-1988

SUR-FACE-Germany
Es bleibt nur zu hoffen, dab dieses release auch zukunftig in Deutschland
zu haben sein wird, den tracks wie "Ortoma" oder "Until the next War" mub
man gehort haben.
(9 von 10) Andreas Bugiel-1988

AUFABWEGEN-Germany
Diese Balkan/Aussie-Truppe hat's drauft.Kismet sind eine band, die fur alle
Freunde von duncler und ehricher Music interessant sein durfle und die man
auf jeden Fall im Ohr behalten sollte.
Till Kniola-1988

FIGHT AMNESIA-Germany
Their music is great fussion of trditional Balkan ethnic music,
experimental and darkwave sounds, while the band doesn't hesitate to bomb
us occasionally with some industrial and electronic beats.
Janis Kalifatidis-1988

MALDOROR -SPAIN
The cd rise ti its best moments when show the Macedonian elements and gives
them quite epicism with the bass voices as in tracks as"Voden2048"-"Le
ison"- or"Until the next war". Only for openminded people and without too
many prejudices.
Pedro Ortega.-1988

DLK-Italy
Their new cd"Wake up Gods" has been released on the American cult
electro-surrealists label Tone Casualties.The atmospheric floors, the
programming and the sampling all over are the antithesis of what's suddenly
going to be the very complementary reference itself of this work, and so
you will easily meet the:Tribal,
Dark, Dance floors and EBM, allin one. Nice work.
Marc Urselli-Scharer-1988

GRAD-Macedonia
The excellent cover of "Venus in Furs" is already classic in the Kismet
opus.
(**** out of five)-Tose Filipovski-1988

CREPUSCOLI AURORA-Portugal
The first time I heard the album, it didn't excite any sensations in me,
but after some time without hearing it, I put it again in the cd player,
and then J started to fell the passion beauty and anger of this music.
Luis Couto-1988

ART-ZERO-France
Sentence que I'on pourrait d'ailleurs donner a l'ensemble de I'album, et
surtout a "Post Comunissm", veritable petit bijou que je vous conseille
grandement.
Benoit Maurer-1988

GOTHIC-Germany
"Wake up Gods" parren sie electro-und ethnoeinflusse, als sei das die
naturlichste sache der welt.
Jorg Kleudgen-1988

MERE METAL MAGAZINE
Finally, this amazing band has an opportunity for an American release!
This Macedonian band (residing in Australia) has developed
what may perhaps be THE most unique sound I have ever heard. Since their
debut album, "Damjan's War" they have evolved even
further, deeper into their bizarre apocolyptic, futuristic sound. The
mix of traditional Macedonian instruments and Gorazd
Capovski's menacing deep vocals (which I'd compare the timbre with Carl
McKoy of Fields of the Nephilim) with pounding
electronic beats and digital soundscapes melds an extremely forboding
image of the future of the human race.

Standout tracks? - well that's a tough one to decide! The cover of
"Venus In Furs" strikes a chord of familiarity coupled with a new
darkwave twist. But I would certainly have to say that the passion and
awe emitting from the Gregorian-chant-like vocals on tracks
like "Until the Next War" and "Voden 2048" are enough to make one almost
burst into tears out of fear for humanity. On the other
hand, Kismet display an amazing devious quality on "Assassination",
pushing the envelope with a techno beat backed by deep
distorted vocals, still in that chant-like fashion! They are destined to
be a favorite across all underground genre types. Imagine -
techno meets ethnic chanting, meets gothic, meets industrial, meets
electro - Kismet has it all!

G.E. Addams
February 12, 1998

 

Ponta Delgada 2-12-98

Kismet is an Australian-based group (that regularly work in Macedonia) that debut in 1994 as an extension of the Macedonian cult band Mizar, who had huge successes in the Balkan's in the late 80's early 90's. "Wake Up Gods" is their third release and their first record with the US label Tone Casualties - a label founded by Gabor Csupo of Klasky Csupo, Inc., the animation studio responsible for cartoons like "The Simpsons", "Rugrats", "Duckman".
The two members of the band - Gorazd Capovski and Llija Stojanovski - sing in English and in the Macedonian dialect and utilize instruments such as tambura, zurla and kaval, together with electric guitar, bass, samples and programs. Their music is, in their own words, a fusion of traditional Balkan ethno, experimental, darkwave-industrial and electronic sounds.
The best results are obtained in the tracks where the ethnic influences prevail and in the tracks where the darkwave and electronic sounds combine perfectly with the ethnic music, creating an unique atmosphere that we can't find in any other album. On the other hand, I consider that is perfectly dispensable the approximation to the danceable rhythms of techno ( And I'm referring especially to track "Assassination") and some few tracks where we note the subjection of the ethnic elements to the patterns of Occidental music.
In the previous album "Damjan's War" - they had cover Joy Division's "Decades" and Love Will Tear Us Apart". In this one they've included a cover of The Velvet Underground's "Venus In Furs", where Gorazd Capovski sings in a gothic way. This cover is quite interesting since they had capture the atmosphere of the original, but added to it their own style and a blow of modernity.
The music if Kismet reflects the meeting of tradition with the cyber age and without being gothic, it is undoubtedly influenced by this genre of music. Anyway, it's not easy to describe their music, since the final result is quite different than the sum of its elements
The fist times I heard this album, it didn't excite any sensations in me, but after some time without hearing it, I put it again in the CD player, and then I started to feel the passion, beauty and anger of this music
Luis Couto

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The world renowned Macedonian musical masterminds have put together this dense concoction of industrial Goth music for the next millennium!
Exotic, rich, and varied, this will-recorded and professional CD will not disappoint aficionados of the 'Macedonian wave'
Rik Flux ("The intersection of the future - UK) September 1997

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Wale Up Gods, now through the American label Tone Casualties, is a little more experimental work and quite strange. They us more electronic resources, reverbered vocals, hypnotic rhythms, resulting in something more industrial and rather more futuristic. The traditional instruments are used in a different scale and the songs in which they appear most are my favorite: "Until The Next War" and "Voden 2048". "Assassination" could be perfectly played on an industrial dancefloor. Also present is a version of Velvet Underground's Venus in Furs", which I also found quite strange. Weird combinations of different rhythms on this album, but I can easily recommend it along with Damjan's War. Now the comparison with the landmates of Laibach is taking place, at least in originality..."
Uirajara Ursende, Quintessence (Brazil), November 1997

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Wake Up Gods is absolutely a precious album; and it's migrant status so natural for the Balkan everyday life - it gives a bitter noted to the whole project that you can taste in your mouth; in short one of the albums by which you could cry without feeling ashamed.
Petar Lucovich, XL-Zabava, (Yugoslavia) October 1997

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Kismet's new album, "Wake Up Gods", reflects the dark and brooding sound for which Balkan and industrial sounds are known.
Kate Welsman, Sunday Herald Sun (Australia) August 1997

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Overall, the rating our of five with the balance set towards performance, is 5 CDs out of a possible five. "Wake Up Gods" is a wonderful progression. Kismet is a very mature concept and this will be one of their best recorded albums. It will be very hard to top the power and passion that this delivers. Get a copy and enjoy.
John Carver PBSEM (Australia) August 1997

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