The Music
Musically, the album presents Hipodil as a mature though still restless and highly critical band with strong connections to punk, ska and heavy metal. The band demonstrated significant growth in both musical and lyrical direction and even though some hardcore fans criticized the album for being a bit far from the raw sound of the band's early recordings, Nadurveni vuglishta was obviously of higher production and historical value.
The pilot track "Bate Gojko" (mentioned here is the Yugoslavian actor Gojko Mitic, famous in the former Eastern Bloc for his East German-made western films in which he usually played a Native American protagonist) became Hipodil's most popular song. It entered Bulgarian airplay charts, another 'first ever' in the band's history, despite the tongue-in-cheek implications in the lyrics. It was among the few Hipodil tracks to have a video.
The next song from the album to have a video was "D'ska", which however failed to repeat "Bate Gojko"'s success. These two tracks sound more mainstream and ska-orientated than the other stuff in the record, which is basically harder and more aggressive. As usual, Hipodil make a lot of funny parodies and mockeries, targeted at other Bulgarian pop acts like Argirov Brothers, Marius Kurkinski and Irina Florin and their songs in "Tintiri-mintiri". The band also offers some serious lyrics in songs like "Potuvane nagore!" (Sinking Upward), "Otnesen!" (Scatter-brained) and "Vujen" (Rope) while "Nishto" (Nothing) is an openly depressive song.
When you read the first letter (B) of the English-titled song "Bless me" in Bulgarian (as "V") it sounds like the Bulgarian phrase "Vlez mi" (Enter Into Me). This phrase, as used in the chorus of the track, should not be taken literally as in Bulgarian slang it means an invitation to start a fight, another pun in the well-known style of Hipodil.
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Famous quotes containing the word music:
“A lot of pop music is about stealing pocket money from children.”
—Ian Anderson (b. 1947)
“The sound of tireless voices is the price we pay for the right to hear the music of our own opinions. But there is also, it seems to me, a moment at which democracy must prove its capacity to act. Every man has a right to be heard; but no man has the right to strangle democracy with a single set of vocal chords.”
—Adlai Stevenson (1900–1965)