Spoj nespojivog, rekli bi mnogi, ali to je upravo ono što karakteriše Zabrajenu Muziku (Zabranena Muzika) koja već četiri godine razvija prepoznatljiv zvuk na preseku balkanskog melosa, chalge i turbo-folka sa savremenom elektronskom i klupskom scenom. Projekat je nastao u Bugarskoj, a danas funkcioniše kao šira mreža DJ-eva i producenata iz regiona, sa sve prisutnijim nastupima širom Balkana.

Ideja za projekat nastala je pre četiri godine, kada je DJ Goro, nakon povratka iz Berlina, počeo da razvija koncept žurki inspirisan sopstvenim kulturnim nasleđem sa ciljem da ga prenese u savremeni kontekst. U tom procesu, balkanski melos, chalga i turbo-folk prestaju da budu „guilty pleasure“ i postaju osnova za nove, nepredvidive pravce u klupskoj muzici.

Njihovi setovi spajanju naizgled nespojive žanrove i reference, dok kroz žurke, izdanja i saradnje grade ono što nazivaju balkancore zvukom. Upravo inspirisana time, nastala je i nedavno objavljena kompilacija Legalize Balkancore, koja okuplja različite autore iz regiona.

Od lokalnih žurki do Boiler Room-a, Zabranjena Muzika se danas izdvaja kao jedan od aktera nove balkanske struje. Sa DJ Gorom razgovarali smo o nastanku projekta, odnosu prema „zabranjenom“ zvuku i širem kontekstu u kojem se razvija savremena regionalna scena.

Kako je nastala ideja za Zabranjenu Muziku pre četiri godine? Da li je to bio spontani eksperiment ili već razrađen koncept?

Uključivanje chalge/turbo-folka u moje setove i produkciju je nešto čime sam se bavio već nekoliko godina pre toga. Takođe, dugo pratim underground elektronsku scenu – kako nastaju novi žanrovi i kulturni talasi. Uprkos internetu i globalizaciji, najautentičniji zvukovi uvek dolaze iz konkretnih sredina, gde ih ljudi crpu iz sopstvenog kulturnog nasleđa i prenose u savremeni kontekst. Hteo sam da budem deo nečega sličnog i kod nas, i verujem da se to sada konačno dešava kroz ovaj projekat i sve što se trenutno pokreće širom Balkana. Naziv i koncept proistekli su iz niza negativnih iskustava sa ograničenim percepcijama ljudi – pre svega zbog tabua koji i dalje postoji oko ove muzike. Takođe smo želeli žurku na kojoj miksevi zvuče „zabranjeno“ – kao da te dve ili tri pesme nikako ne bi trebalo da funkcionišu zajedno, a ipak funkcionišu. To je omogućio nivo veštine DJ-eva koje imamo.

Kako danas funkcionišete kao kolektiv – koliko vas ima i kako ste se razvijali kroz vreme?

Danas smo prilično veliki kolektiv i teško je precizno definisati ko je „zvanično“ deo, pa samim tim i dati tačan broj. Sarađujemo sa mnogo ljudi i van Bugarske, širom Balkana, kao i sa producentima koji su učestvovali na kompilaciji Legalize Balkancore. Trenutno imamo oko 11 DJ-eva koji se rotiraju u line-upovima širom Bugarske, uz još nekoliko važnih ljudi koji rade na organizacionim i drugim, nemuzičkim aspektima.

Kada ste počinjali, šta vam je bio glavni cilj – zabava, provokacija ili redefinisanje odnosa prema „zabranjenom“ zvuku?

Da doprinesemo stvaranju novog kulturnog talasa koji dolazi sa Balkana – i i dalje smo tek na početku.

Ova muzika se često naziva „guilty pleasure“. Da li prihvatate tu etiketu ili pokušavate da je razgradite?

Poigravamo se tom idejom, ali smo danas već daleko iza toga. Ironija, post-ironija i sve što dolazi posle toga doveli su nas do tačke gde jednostavno postoji sloboda da uživaš u nečemu bez predrasuda. Za mene je označavanje nečega kao „ironičnog“ pomalo zastareo pogled. Mi uzimamo nešto što je već dobro i stavljamo ga u kontekst gde je, navodno, i „kul“. Humor je svakako prisutan, ali to je prirodno kada ti je posao da ljudima pružiš dobar provod.

Kombinujete bugarski melos, chalgu i folk sa tehnom i klupskom estetikom. Kako dolazite do tih spojeva?

Pomalo od svega – intuicije, humora, ali i promišljenog pristupa. Na kraju dana, bilo da je u pitanju produkcija, remiks ili mashup, sve je to umetnost. A prava umetnost se dešava sama od sebe – ti si tu više kao kanal.

Primećuje se povratak balkanskog zvuka među alternativnijom publikom. Šta je dovelo do toga?

Mislim da su nove generacije otvorenije nego ikad, delom zahvaljujući TikToku i konstantnom zasićenju informacijama. Toliko se toga dešava da nema vremena za preterano analiziranje – stvari doživljavaš direktno. Takođe, mlađi su vremenski udaljeniji od haotičnih 90-ih koje mnogi na Balkanu povezuju sa chalga/turbo-folk scenom. Važno je znati istoriju, ali oni nemaju tu emotivnu vezu, pa mogu da gledaju na stvari distanciranije. A na kraju – to jeste deo našeg identiteta i treba ga prihvatiti u celini.

Koji trenutak ili žurku bi izdvojio kao prekretnicu?

Verovatno nedavni Boiler Room nastup.

Nedavno ste objavili kompilaciju Legalize Balkancore. Šta ste želeli da postignete njome?

Naziv je igra reči na naš koncept i tabu koji sami sebi namećemo kada je u pitanju sopstvena kultura – a i zvuči dobro. Želeli smo da okupimo različite umetnike sa Balkana koji u produkciji koriste instrumente karakteristične za svoje podneblje, dok svaki od njih ima jedinstven pristup balkancore zvuku. Upravo ta raznolikost čini kompilaciju zanimljivom. Ujedno, to je i mali prikaz onoga čemu težimo – povezivanju i međusobnoj podršci.

„Chalga walked so balkancore can run“ – da li vidiš balkancore kao nastavak chalge u novom kontekstu?

Apsolutno. Chalga je danas praktično mainstream, a mi pravimo njenu underground, alternativnu, elektronsku verziju.

Vaš Boiler Room set u kafani privukao je veliku pažnju. Kako si doživeo taj trenutak?

Za nas je to bila kulminacija rada u prethodne četiri godine, ali i početak nove faze – poklapa se sa trenutkom kada ozbiljnije razvijamo label i širimo se po Balkanu, a uskoro i Evropi. Zahvalni smo Boiler Room timu što je prepoznao našu viziju u trenutku kada su nam mnoga vrata bila zatvorena, jer smo bili nešto novo i nepoznato – možda i „nekul“ za neke.

Kako publika van Bugarske reaguje na vaš zvuk?

Na Balkanu ljudi razumeju kontekst, naravno. Zanimljivo je da i Latinx zajednica rezonuje sa ovim zvukom, zbog sličnosti u muzici, ali i šireg društvenog konteksta. I bez tog konteksta, mislim da ljudi uživaju jer je zvuk svež, a opet sadrži poznate elemente – ili jednostavno zato što tera na ples.

Vizuelni identitet deluje kao produžetak vaše muzike. Koliko ga svesno gradite i koliko je ona važna uz sam zvuk? Gde pronalazite inspiraciju?

Inspiracija dolazi sa istog mesta kao i muzika – iz sveta oko nas. Ne mislim na prirodu, već na kulturu Balkana.

Koliko se vaša početna ideja promenila do danas?

Zbog početne „kontroverze“ brzo smo rasli i projekat je donekle počeo da živi sopstveni život. Sada smo u fazi u kojoj ponovo preuzimamo kontrolu – sa ciljem koji smo oduvek imali: da edukujemo publiku, predstavimo novu muziku i pokažemo bolje načine zabave.

Deluje da postoji jaka veza između vas i publike u Srbiji. Kako vidiš razvoj regionalne scene?

Na Balkanu imamo mnogo toga zajedničkog – često više nego sa ostatkom Evrope. Delimo ukus i pogled na svet. Kao porodica smo, i sada je trenutak da pokažemo koliko je ovaj region raznolik i inspirativan.

Koji je najluđi trenutak u ove četiri godine?

Jedna žurka gde je Bat Simo napravio UFO u prirodnoj veličini i okačio ga o plafon, poklonili smo Ladu Žiguli nasumičnom posetiocu, a Galin se pojavio kao iznenađenje i izveo tri pesme u „zabranjenim“ verzijama. Ali iskreno – svaka žurka je na svoj način luda i posebna.

Jedna traka koja najbolje opisuje Zabranjenu Muziku?

Teško je izdvojiti, jer nas definiše upravo spoj nespojivog.

Sa kim bi najviše voleo da sarađuješ?

Azis.

Koji srpski remake bugarske pesme nadmašuje original?

Teško je reći ko je prvi – bugarski, grčki ili srpski – ali najviše volim srpsku verziju: Goga Sekulić – Sexy Biznismen.

Kako vidiš razvoj Zabranjene Muzike u naredne četiri godine?

Ne bih da otkrivam previše, ali odgovori su već tu – između redova.

Fotografije: Zabranjena Muzika arhiva

Članak Četiri godine Zabranjene Muzike se pojavljuje prvo na Oblakoder.

A fusion of the seemingly incompatible, many would say – but that’s exactly what defines Forbidden Music (Zabranena Muzika), a project that has spent the past four years developing a distinctive sound at the intersection of Balkan melos, chalga, and turbo-folk with contemporary electronic and club music. The project originated in Bulgaria and now operates as a broader network of DJs and producers from across the region, with an increasingly strong presence on stages throughout the Balkans.

The idea for the project emerged four years ago, when DJ Goro, after returning from Berlin, began shaping a party concept inspired by his own cultural heritage, aiming to translate it into a contemporary context. In that process, Balkan melos, chalga, and turbo-folk stop being a ,,guilty pleasure” and instead become the foundation for new, unpredictable directions in club music.

Their sets bring together seemingly incompatible genres and references, while through parties, releases, and collaborations they build what they call the balkancore sound. Inspired by this approach, the recently released compilation Legalize Balkancore came to life, gathering various artists from the region.

From local parties to Boiler Room, Forbidden Music now stands out as one of the key players in the new Balkan wave. We spoke with DJ Goro about the origins of the project, their relationship to the ,,forbidden” sound, and the broader context in which the contemporary regional scene is evolving.

How did the idea for Zabranena Muzika come about four years ago? Was it a spontaneous experiment or a concept you had already thought through at the time?

In terms of including Chalga/Turbo-Folk in my sets and production it’s something that I have been doing for a couple of years before that. I’ve also been following the underground electronic scene for many, many years – how new genres and cultural waves come about, and regardless of the internet and globalization, the most unique sounds always come from certain places, where people follow their own cultural heritage and continue it into the modern times. So I wanted to do or be part of something like this with our region and I believe it’s finally happening with this project and a bunch of other things happening around the Balkans right now. The idea behind the name and concept came from a bunch of negative experiences with people’s limited perception – but it’s mostly because of the taboo that some people still have for this music. We also wanted to make a party where the mixes sounded ,,forbidden” – like these 2 or 3 tracks shouldn’t go together so well, but they do – it was the skill level of the DJs that we have that made it possible.

How do you function as a collective today, how many of you are there and how did the group evolve over time? Did you start with the same DJs or did the project grow organically?

It’s a pretty big collective at this point and it’s kind of hard to say what’s required to be an official part of it and therefore say a certain number. There’s a lot of people we work with regularly, even across the Balkans, also with the producers who took part in ,,Legalize Balkancore”, etc. But our current official DJ roster that we rotate for line ups across Bulgaria is about 11 DJs + a couple of important people who do non-music tasks.

When you were just starting out, what was your main goal – fun, provocation or a need to redefine the relationship with ,,forbidden” sounds?

Help create a new cultural wave coming from the Balkans and we still are just getting started!

This kind of music is often labeled as a guilty pleasure. Do you embrace that label, or are you trying to completely deconstruct it?

We play a lot with this idea, but in this day and age we are also way past that, irony and post-irony and post-post-irony brought us all collectively to a point beyond that where it’s just freedom to enjoy something without any prejudice. So, to me, when people call something ,,ironic”, that’s an old way of seeing it – we just take something that’s already good and put it in a context where it’s also supposedly ,,cool”. Of course humour is also there but that’s just really important if your job is to make people have fun imho.

You combine Bulgarian melos, chalga and folk with techno and club aesthetics. How do you arrive at those combinations, is it intuition, humor, or very precise curatorial work?

I guess a bit of all.. at the end of the day whether it’s producing, remixing or mashups, it’s all an art form, and true art happens by itself – you’re just a vessel.

Lately, we’ve been noticing a resurgence of Balkan sounds among more alternative audiences. What do you think has contributed to younger generations letting go of that earlier distance from this kind of music?

I think the new generation can be way more open-minded than ever and this is due to Tik Tok and the whole oversaturation with information online and offline. There is so much happening that you have no time to overthink and you just perceive things for what they are, in a way. Also younger people are farther from the craziness of the 90s that a lot of people on the Balkans associate Chalga/Turbo-Folk/Manele/etc. with – it’s good to know your history, but they weren’t there, so they don’t have this emotional connection, which helps see things in a detached way and after all this IS our identity and we should embrace it with all its elements.

Which party or set would you single out as a turning point or the most intense moment in your work so far?

Well… I guess I’m gonna be obvious here but I believe it was this recent Boiler Room.

You recently released the Legalize Balkancore compilation, tell as more about that and what were you aiming to initiate with it?

The name is a play on our name and the taboo we have put ourselves on our own culture. Also it sounds cool and edgy.. We wanted to try and put together various artists from the Balkans who use instruments more specific for their region in the production, while at the same time everyone has their unique approach to the idea of Balkancore, which I believe makes it such a diverse and enjoyable compilation. It’s also like a small representation of what we are all aiming to do hopefully – get together and join forces, help each other out.

,,Chalga walked so balkancore can run” – do you see balkancore as a continuation of chalga in a new context?

Yeah exactly.. also Chalga is literally the most mainstream genre here so we are just making an underground, more alternative, electronic version of it I guess.

Your Boiler Room set in a kafana drew a lot of attention. How did you experience that moment, and what does it represent for you, but also for Balkan sound?

In a way for us as Forbidden Music this was a culmination of what we have been doing for the last 4 years and it also marks the start of a new chapter, because of coinciding with a moment where we are starting to work more seriously on our label and expanding across the Balkans and soon Europe! We are thankful to the Boiler Room team who saw our vision at a moment where a lot of doors have been closed for us up until now, due to being something new and unfamiliar, maybe even ,,uncool” in some eyes.

How do audiences outside of Bulgaria respond to your sound, do they understand the cultural context, or is the energy universal enough on its own?

Across the Balkans, people know the context, obviously, and I think a lot of the Latinx community resonate with what we are doing not only because of similarities in the sounds, but also geopolitical. Without the context, I feel like people still enjoy the music, because of it being something new and fresh, while also using a lot of familiar elements.. or just good music that makes you dance – at least that’s what I like to believe.

Your visual identity, from artwork to videos and live performances, feels like an extension of your music. How consciously do you build that aesthetic, and how important is it to you alongside the sound? Where do you find inspiration?

The visual inspiration comes from the same place where the musical inspiration comes from – the world around us. I don’t mean like birds and trees.. just the culture in the Balkans.

When you compare your initial idea of Forbidden Music to what it is today, how much has your vision changed and what influenced that evolution the most?

Due to our initial ,,controversy” and us using it too well, we actually grew a lot and too fast, so it took on a life of its own a little bit. Now we are at a stage where we are finally managing to take back control, of course for good reasons, what we always aimed to do – educate the masses here, show them new music, and better ways to have fun.

There seems to be a strong mutual energy between Forbidden Music and audiences in Serbia. How do you see your relationship with the regional scene developing, and what role do Serbian artists and tracks play in shaping your sets?

All of us on the Balkans have too much in common and when it comes to culture borders sometimes do and sometimes don’t make sense. As in.. we all have more in common than with any other central european country, so we like the same things and have similar views on the world. We are all like a family and it’s our time to show to the world how colourful and amazing this region can be. I believe we all see this and are happy to be part of it so I think that answers your question.

What’s the wildest party or moment you’ve experienced in these past four years?

We were recently talking about this the one party for which Bat Simo made a real-size UFO (for one person) and hung it from the ceiling, we also gave away a Lada Zhiguli at the same event to a random attendee and Galin came out to perform for 3 songs in their ,,forbidden” versions as a surprise, but also, each one is more or less that crazy, or at least we try our best, so each event is really special for all of us.

If you had to choose one track that best represents Zabranena Muzika, which one would it be?

It’s hard to say, mostly because it has many aspects. A big part of what defines us is the mixture of tracks that are not supposed to go together.

Which artist would you most like to collaborate with?

Azis

If you had to pick one, which Serbian remake of a Bulgarian track do you think outshines the original?

I don’t even have the knowledge which one was first with this one, the Bulgarian, Greek, or Serbian (there’s probably also from the other Balkan countries), and actually I’m pretty sure it’s heavily inspired by something not from the Balkans, but I really love the Serbian version most of this one – Goga Sekulic – Sexy Biznesmen.

How do you see Forbidden Music evolving over the next four years?

I don’t wanna tell too much but I think the clues are in the previous answers.

Photos: Forbidden Music

Članak Four years of Forbidden Music se pojavljuje prvo na Oblakoder.