Tant de gens adorent la voix de Hiroko Nagai, mais je peux à peine les écouter. Cela me rappelle vraiment un chanteur de Broadway ou quelqu’un qui chante dans une comédie musicale ringarde. Il ne fait aucun doute qu’il peut chanter, mais cela me rappelle aussi certains artistes chrétiens qui me laissait secouer la tête. L’orchestration est aussi une distraction pour moi. Si nous parlons d’un guitariste principal et d’un batteur, nous parlons de musiciens exceptionnels. Ils vont et viennent souvent comme des tornades. Ce sont tous les deux des joueurs en colère, et bien qu’un style de départ et d’arrêt rapides soit impressionnant, ce n’est pas quelque chose que j’aime beaucoup à nouveau. Je n’ai pas entendu le goût de Canterbury, mais je suis sûr que c’est juste moi.
Donc, trois étoiles pour moi. Je peux voir pourquoi tant de gens donnent à cet album quatre ou cinq étoiles, MR. SIRIUS sont impressionnants dans ce qu’ils font. Cela ne convient tout simplement pas à mon goût, c’est tout. C’est drôle, mais après l’avoir écouté pour la dernière fois, j’ai mis des PLAQUES DE GÉLATINE mobiles et j’ai pensé que c’était plus le cas, sans comparaison. LADISLAV&Z.......
The two albums released by Mr. Sirius are excellent: the most successful of both is, IMHO; their second outing of Dirge, which I'm about to review. This effort reinforces the musical proposal that was developed on the previous album ? a collage in which pastoral prog folk, symphonic prog and jazz-rock alternate and complement each other in the common kaleidoscopic spectrum. Miyatake's taste in bucolic acoustic research was already present in his ventures as a member of previous Pageant and Pazzo Fanfano Di Music bands, so, now that this is his project, Mr. Sirius explores this line of work further in the context of an eclectic approach to progressive rock. The final result is excellent mainly due to the strong doses of compositional imagination presented in the repertoire, but there is also undeniable charisma in the group of involved performers (especially the lead guitarist, drummer and, of course, female vocalist). A double prologue to 'Fanfare? Legal Dance' begins with 50 seconds of pastoral pleasure, unlike Ante Phillips' "The Geese & The Ghost," but then comes the sudden eruption of bold prog-jazz a-la Kenso meets Ain Soph (it should be part of 'Legal Dance'), a dynamic exhibition of phenomenal musicality fluidly sustained by the duo's rhythm while the lead guitar draws white hot colors in the air. After this spectacular entry, expectations are naturally high for the remaining tracks, and let me warm you up that it will not disappoint. 'Love Incomplete' is a warm piece in which melodic wealth reigns supreme: eerie reflective moments, lush symphonic atmospheres and solid shades of jazzy sophistication blend into a diverse musical unity that reflects a certain uniqueness: for those who have ever dreamed there would be a hybrid of classical Renaissance and "Apocalypse"-era Mahavishnu, pay attention to the last two and a half minutes and enjoy the reality of what you have dreamed of for so long. 'Land Dirge' directly turns our minds to pastures of green in the valleys where shepherds filled their days with recorders, lutes and romantic chants: more concisely, this piece very directly depicts Miyatake's acoustic side, with an instrumentation that sounds like a duet of nylon guitars by Ant Phillips and Steve Hacket plus guest flutist John Hackett. Its 3+ minute range seems a little too short, but it's an unconditionally brilliant instrumental piece. Later, 'A Sea Dirge' will continue on this contemplative vanity, but in this case classical guitars replace synthesizer orchestrations that provide cinematic mood in their festive layers. Between these two snippets of soft reflectivity is the rugged 'Super Joker', which brings the jazz-prog thing back and lifts it to a new peak of bombast and electricity. This piece is such a well-made hat even in those moments in which guitar solos run wild, the feeling of melody does not lose an inch of its shape and structure. There is no doubt that this band is impeccably delicious in any kind of musical mood that I intend to focus on at the moment. The apartment called 'The Nile For A While' is a magnificent tour- de-force, track hat rather incarnates the definition of progressive rock (better than 1,000 words). The opening part consists of a percussion tribal celebration, full of telluric joy and exotic ambiences, which ultimately thrives on a storm wind after fading out, followed by a Kenso moment (another), achieved with polished skill and energy sensibility. When the first sung section arrives, the jazz factor is slightly reduced in favor of pastoral stuff, but now the band is more connected to Focus territory than to Phillips's. The second part of the suction is much more rocky, and remains faithful to patterns of progressive sophistication. Seconds after the 15-minute mark, the dramatic change reveals an ethereal demonstration of melancholy serenity: almost new-age at first, this new mood gradually increases through a perfectly calculated crescendo where things begin to sound more pompous (without exaggeration). When we get the 18-minute mark, it becomes obvious that the part we just described is actually the threshold of the motif that will occupy the last 3+ minutes of the apartment: this one takes the front mood as an impulse towards an impressive set of musical colors that leads to a great climax. Bravo!, bravo! The end of the album provides a closer 'Requiem', which in some ways cites the restoration of the cinematic ambience 'A Sea Dirge', only with an enlarged epic undertone. So, overall, Mr. Sirius's legacy is revealed as the culmination of a progressive scene that was developed in Japan between the early '80s and early '90s. LADISLAV&Z... ..........
Dva albuma koja je objavio g. Sirius su izvrsna: najuspješniji od oba je, IMHO; njihov drugi izlazak "Dirge", koji ću upravo pregledati. Ovaj trud učvršćuje glazbeni prijedlog koji je razvijen na prethodnom albumu ? kolaž u kojem se pastoralni prog folk, simfonijski prog i jazz-rock izmjenjuju i nadopunjuju u zajedničkom kaleidoskopskom spektru. Miyatakeov ukus za bukolička akustična istraživanja već je bio prisutan u njegovim pothvatima kao član prethodnih bendova Pageant i Pazzo Fanfano Di Musica, pa, sada kada je ovo njegov projekt, gospodin Sirius istražuje ovu liniju rada dalje u kontekstu eklektičnog pristupa progresivnom rocku. Konačni rezultat je odličan uglavnom zbog snažnih doza kompozicijske mašte prikazane na repertoaru, ali postoji i neosporna karizma u skupini uključenih izvođača (posebno glavni gitarist, bubnjar i naravno, ženski vokal). Dvostruki prolog 'Fanfare? Legal Dance' počinje s 50 sekundi pastoralnog užitka, za razliku od "The Geese & The Ghost" Anta Phillipsa, ali onda dolazi iznenadna erupcija hrabrog prog-jazza a-la Kenso susreće Ain Soph (to bi trebao biti dio 'Legal Dancea'), dinamičnu izložbu fenomenalne muzikalnosti koju fluidno održava ritam duo dok glavna gitara u zraku crta bijele vruće boje. Nakon ovog spektakularnog ulaska, očekivanja su prirodno visoka za preostale staze, i dopustite mi da vas zagrijem da neće razočarati. 'Ljubav nepotpuna' je topao komad u kojem melodično bogatstvo vlada vrhovno: jezivi reflektirajući trenuci, bujne simfonijske atmosfere i čvrste nijanse jazzy sofisticiranosti stapaju se u raznolikom glazbenom jedinstvu koje odražava određenu jedinstvenost: za one koji su ikada sanjali postojao bi hibrid klasične renesanse i "Apokalipse"- doba Mahavishnu, obratite pozornost na posljednje dvije i pol minute i uživajte u stvarnosti onoga što ste toliko dugo sanjali. 'Land Dirge' nam izravno skreće misli na pašnjake zelene boje u dolinama gdje su pastiri svoje dane ispunjavali snimačima, lutnjama i romantičnim napjevima: sažetije, ovaj komad vrlo izravno prikazuje Miyatakeovu akustičnu stranu, s instrumentacijom koja zvuči kao duet najlonskih gitara Ant Phillipsa i Stevea Hacketa plus gost flautist John Hackett. Njegov raspon od 3+ minute čini mi se malo prekratak, ali je bezuvjetno sjajan instrumentalni komad. Kasnije će se 'A Sea Dirge' nastaviti na ovom kontemplativnom taštu, ali u ovom slučaju klasične gitare zamjenjuju sintisajzerske orkestracije koje pružaju kinematografsko raspoloženje u svojim svečanim slojevima. Između ova dva isječka meke reflektivnosti nalazi se robusni 'Super Joker', koji vraća jazz-prog stvar i podiže je na novi vrhunac bombasta i struje. Ovaj komad je tako dobro izrađen šešir čak iu onim trenucima u kojima gitarski solo nastupi divljaju, osjećaj melodije ne gubi ni centimetar svoje forme i strukture. Nema sumnje da je ovaj bend besprijekorno ukusan u bilo kojoj vrsti glazbenog raspoloženja na koje se namjeravam usredotočiti u ovom trenutku. Apartman pod nazivom 'The Nile For A While' je veličanstvena turneja- de-force, track hat prilično inkarnira definiciju progresivnog rocka (bolje od 1.000 riječi). Uvodni dio sastoji se od udaraljke plemenske proslave, pune telurske radosti i egzotičnih ambijenta, koju u konačnici uspijeva olujni vjetar nakon iščezavanja, a zatim dolazi Kenso trenutak (još jedan), ostvaren uglađenom vještinom i energetskim senzibilitetom. Kada stigne prva pjevana sekcija, jazz faktor je malo smanjen u korist pastoralne stvari, ali sada je bend više povezan s Focus teritorijem nego s Phillipsovim. Drugi dio usisavanja mnogo je kameniji, a ostaje vjeran obrascima progresivne sofisticiranosti. Nekoliko sekundi nakon oznake od 15 minuta, dramatična promjena otkriva eteričnu demonstraciju melankoličnog spokoja: gotovo novodobno u početku, ovo novo raspoloženje postupno se povećava kroz savršeno proračunati crescendo gdje stvari počinju zvučati pompoznije (bez pretjerivanja). Kada dobijemo oznaku od 18 minuta, postaje očito da je dio koji smo upravo opisali zapravo prag motiva koji će zauzeti posljednje 3+ minute apartmana: ovaj uzima prednje raspoloženje kao impuls prema impresivnom skupu glazbenih boja koji dovodi do sjajnog vrhunca. Bravo!, bravo! Kraj albuma osigurava bliži 'Requiem', koji na neki način navodi obnovu kinematografskog ambijenta 'A Sea Dirge', samo s povećanim epskim podtonom. Dakle, sve u svemu, ostavština gospodina Siriusa otkriva se kao vrhunac progresivne scene koja je razvijena u Japanu između ranih 80-ih i ranih 90-ih.LADISLAV&Z...……….
So many people love Hiroko Nagai's vocals, but I can barely listen to them. It really reminds me of a Broadway singer or someone who sings in a cheesy musical. There's no doubt he can sing, but it also reminds me of some Christian artists who used to leave me shaking my head. Orchestration is also a distraction for me. If we're talking about a lead guitarist and a drummer, we're talking about outstanding musicians. They often come and go like tornadoes. They're both angry players, and although a fast start and stop style is impressive, it's not something I enjoy much again. I haven't heard the taste of Canterbury, but I'm sure it's just me.
So, three stars for me. I can see why so many give this album four or five stars, MR. SIRIUS are impressive in what they do. This just doesn't suit my taste, that's all. It's funny, but after listening to it for the last time I put on mobile GELATIN PLATES and thought that was more so, without comparison. LADISLAV&Z.......
Toliko ljudi voli vokale Hiroko Nagaija, ali ja ih jedva mogu slušati. Stvarno me podsjeća na broadwayskog pjevača ili nekoga tko pjeva u otrcanom mjuziklu. Nema sumnje da zna pjevati, ali me podsjeća i na neke kršćanske umjetnike koji su me znali ostaviti da odmahujem glavom. Orkestracija mi je također smetnja. Ako govorimo o glavnom gitaristu i bubnjaru, govorimo o izvanrednim glazbenicima. Često dolaze i odlaze kao tornado. Obojica su bijesni igrači, i iako je brzi start i stop stil impresivan, to opet nije nešto u čemu puno uživam. Nisam čuo okus Canterburyja, ali siguran sam da sam to samo ja.
Dakle, 3 zvjezdice za mene. Vidim zašto toliko njih daje ovom albumu 4 ili 5 zvjezdica, MR. SIRIUS su impresivni u onome što rade. Ovo jednostavno ne odgovara mom ukusu, to je sve. Smiješno, ali nakon što sam ga posljednji put poslušao stavio sam POKRETNE ŽELATINSKE TANJURE i pomislio da je to više tako, bez usporedbe.LADISLAV&Z…….
Tant de gens adorent la voix de Hiroko Nagai, mais je peux à peine les écouter. Cela me rappelle vraiment un chanteur de Broadway ou quelqu’un qui chante dans une comédie musicale ringarde. Il ne fait aucun doute qu’il peut chanter, mais cela me rappelle aussi certains artistes chrétiens qui me laissait secouer la tête. L’orchestration est aussi une distraction pour moi. Si nous parlons d’un guitariste principal et d’un batteur, nous parlons de musiciens exceptionnels. Ils vont et viennent souvent comme des tornades. Ce sont tous les deux des joueurs en colère, et bien qu’un style de départ et d’arrêt rapides soit impressionnant, ce n’est pas quelque chose que j’aime beaucoup à nouveau. Je n’ai pas entendu le goût de Canterbury, mais je suis sûr que c’est juste moi.
1 likeDonc, trois étoiles pour moi. Je peux voir pourquoi tant de gens donnent à cet album quatre ou cinq étoiles, MR. SIRIUS sont impressionnants dans ce qu’ils font. Cela ne convient tout simplement pas à mon goût, c’est tout. C’est drôle, mais après l’avoir écouté pour la dernière fois, j’ai mis des PLAQUES DE GÉLATINE mobiles et j’ai pensé que c’était plus le cas, sans comparaison. LADISLAV&Z.......
The two albums released by Mr. Sirius are excellent: the most successful of both is, IMHO; their second outing of Dirge, which I'm about to review. This effort reinforces the musical proposal that was developed on the previous album ? a collage in which pastoral prog folk, symphonic prog and jazz-rock alternate and complement each other in the common kaleidoscopic spectrum. Miyatake's taste in bucolic acoustic research was already present in his ventures as a member of previous Pageant and Pazzo Fanfano Di Music bands, so, now that this is his project, Mr. Sirius explores this line of work further in the context of an eclectic approach to progressive rock. The final result is excellent mainly due to the strong doses of compositional imagination presented in the repertoire, but there is also undeniable charisma in the group of involved performers (especially the lead guitarist, drummer and, of course, female vocalist). A double prologue to 'Fanfare? Legal Dance' begins with 50 seconds of pastoral pleasure, unlike Ante Phillips' "The Geese & The Ghost," but then comes the sudden eruption of bold prog-jazz a-la Kenso meets Ain Soph (it should be part of 'Legal Dance'), a dynamic exhibition of phenomenal musicality fluidly sustained by the duo's rhythm while the lead guitar draws white hot colors in the air. After this spectacular entry, expectations are naturally high for the remaining tracks, and let me warm you up that it will not disappoint. 'Love Incomplete' is a warm piece in which melodic wealth reigns supreme: eerie reflective moments, lush symphonic atmospheres and solid shades of jazzy sophistication blend into a diverse musical unity that reflects a certain uniqueness: for those who have ever dreamed there would be a hybrid of classical Renaissance and "Apocalypse"-era Mahavishnu, pay attention to the last two and a half minutes and enjoy the reality of what you have dreamed of for so long. 'Land Dirge' directly turns our minds to pastures of green in the valleys where shepherds filled their days with recorders, lutes and romantic chants: more concisely, this piece very directly depicts Miyatake's acoustic side, with an instrumentation that sounds like a duet of nylon guitars by Ant Phillips and Steve Hacket plus guest flutist John Hackett. Its 3+ minute range seems a little too short, but it's an unconditionally brilliant instrumental piece. Later, 'A Sea Dirge' will continue on this contemplative vanity, but in this case classical guitars replace synthesizer orchestrations that provide cinematic mood in their festive layers. Between these two snippets of soft reflectivity is the rugged 'Super Joker', which brings the jazz-prog thing back and lifts it to a new peak of bombast and electricity. This piece is such a well-made hat even in those moments in which guitar solos run wild, the feeling of melody does not lose an inch of its shape and structure. There is no doubt that this band is impeccably delicious in any kind of musical mood that I intend to focus on at the moment. The apartment called 'The Nile For A While' is a magnificent tour- de-force, track hat rather incarnates the definition of progressive rock (better than 1,000 words). The opening part consists of a percussion tribal celebration, full of telluric joy and exotic ambiences, which ultimately thrives on a storm wind after fading out, followed by a Kenso moment (another), achieved with polished skill and energy sensibility. When the first sung section arrives, the jazz factor is slightly reduced in favor of pastoral stuff, but now the band is more connected to Focus territory than to Phillips's. The second part of the suction is much more rocky, and remains faithful to patterns of progressive sophistication. Seconds after the 15-minute mark, the dramatic change reveals an ethereal demonstration of melancholy serenity: almost new-age at first, this new mood gradually increases through a perfectly calculated crescendo where things begin to sound more pompous (without exaggeration). When we get the 18-minute mark, it becomes obvious that the part we just described is actually the threshold of the motif that will occupy the last 3+ minutes of the apartment: this one takes the front mood as an impulse towards an impressive set of musical colors that leads to a great climax. Bravo!, bravo! The end of the album provides a closer 'Requiem', which in some ways cites the restoration of the cinematic ambience 'A Sea Dirge', only with an enlarged epic undertone. So, overall, Mr. Sirius's legacy is revealed as the culmination of a progressive scene that was developed in Japan between the early '80s and early '90s. LADISLAV&Z... ..........
0 likesDva albuma koja je objavio g. Sirius su izvrsna: najuspješniji od oba je, IMHO; njihov drugi izlazak "Dirge", koji ću upravo pregledati. Ovaj trud učvršćuje glazbeni prijedlog koji je razvijen na prethodnom albumu ? kolaž u kojem se pastoralni prog folk, simfonijski prog i jazz-rock izmjenjuju i nadopunjuju u zajedničkom kaleidoskopskom spektru. Miyatakeov ukus za bukolička akustična istraživanja već je bio prisutan u njegovim pothvatima kao član prethodnih bendova Pageant i Pazzo Fanfano Di Musica, pa, sada kada je ovo njegov projekt, gospodin Sirius istražuje ovu liniju rada dalje u kontekstu eklektičnog pristupa progresivnom rocku. Konačni rezultat je odličan uglavnom zbog snažnih doza kompozicijske mašte prikazane na repertoaru, ali postoji i neosporna karizma u skupini uključenih izvođača (posebno glavni gitarist, bubnjar i naravno, ženski vokal). Dvostruki prolog 'Fanfare? Legal Dance' počinje s 50 sekundi pastoralnog užitka, za razliku od "The Geese & The Ghost" Anta Phillipsa, ali onda dolazi iznenadna erupcija hrabrog prog-jazza a-la Kenso susreće Ain Soph (to bi trebao biti dio 'Legal Dancea'), dinamičnu izložbu fenomenalne muzikalnosti koju fluidno održava ritam duo dok glavna gitara u zraku crta bijele vruće boje. Nakon ovog spektakularnog ulaska, očekivanja su prirodno visoka za preostale staze, i dopustite mi da vas zagrijem da neće razočarati. 'Ljubav nepotpuna' je topao komad u kojem melodično bogatstvo vlada vrhovno: jezivi reflektirajući trenuci, bujne simfonijske atmosfere i čvrste nijanse jazzy sofisticiranosti stapaju se u raznolikom glazbenom jedinstvu koje odražava određenu jedinstvenost: za one koji su ikada sanjali postojao bi hibrid klasične renesanse i "Apokalipse"- doba Mahavishnu, obratite pozornost na posljednje dvije i pol minute i uživajte u stvarnosti onoga što ste toliko dugo sanjali. 'Land Dirge' nam izravno skreće misli na pašnjake zelene boje u dolinama gdje su pastiri svoje dane ispunjavali snimačima, lutnjama i romantičnim napjevima: sažetije, ovaj komad vrlo izravno prikazuje Miyatakeovu akustičnu stranu, s instrumentacijom koja zvuči kao duet najlonskih gitara Ant Phillipsa i Stevea Hacketa plus gost flautist John Hackett. Njegov raspon od 3+ minute čini mi se malo prekratak, ali je bezuvjetno sjajan instrumentalni komad. Kasnije će se 'A Sea Dirge' nastaviti na ovom kontemplativnom taštu, ali u ovom slučaju klasične gitare zamjenjuju sintisajzerske orkestracije koje pružaju kinematografsko raspoloženje u svojim svečanim slojevima. Između ova dva isječka meke reflektivnosti nalazi se robusni 'Super Joker', koji vraća jazz-prog stvar i podiže je na novi vrhunac bombasta i struje. Ovaj komad je tako dobro izrađen šešir čak iu onim trenucima u kojima gitarski solo nastupi divljaju, osjećaj melodije ne gubi ni centimetar svoje forme i strukture. Nema sumnje da je ovaj bend besprijekorno ukusan u bilo kojoj vrsti glazbenog raspoloženja na koje se namjeravam usredotočiti u ovom trenutku. Apartman pod nazivom 'The Nile For A While' je veličanstvena turneja- de-force, track hat prilično inkarnira definiciju progresivnog rocka (bolje od 1.000 riječi). Uvodni dio sastoji se od udaraljke plemenske proslave, pune telurske radosti i egzotičnih ambijenta, koju u konačnici uspijeva olujni vjetar nakon iščezavanja, a zatim dolazi Kenso trenutak (još jedan), ostvaren uglađenom vještinom i energetskim senzibilitetom. Kada stigne prva pjevana sekcija, jazz faktor je malo smanjen u korist pastoralne stvari, ali sada je bend više povezan s Focus teritorijem nego s Phillipsovim. Drugi dio usisavanja mnogo je kameniji, a ostaje vjeran obrascima progresivne sofisticiranosti. Nekoliko sekundi nakon oznake od 15 minuta, dramatična promjena otkriva eteričnu demonstraciju melankoličnog spokoja: gotovo novodobno u početku, ovo novo raspoloženje postupno se povećava kroz savršeno proračunati crescendo gdje stvari počinju zvučati pompoznije (bez pretjerivanja). Kada dobijemo oznaku od 18 minuta, postaje očito da je dio koji smo upravo opisali zapravo prag motiva koji će zauzeti posljednje 3+ minute apartmana: ovaj uzima prednje raspoloženje kao impuls prema impresivnom skupu glazbenih boja koji dovodi do sjajnog vrhunca. Bravo!, bravo! Kraj albuma osigurava bliži 'Requiem', koji na neki način navodi obnovu kinematografskog ambijenta 'A Sea Dirge', samo s povećanim epskim podtonom. Dakle, sve u svemu, ostavština gospodina Siriusa otkriva se kao vrhunac progresivne scene koja je razvijena u Japanu između ranih 80-ih i ranih 90-ih.LADISLAV&Z...……….
0 likesSo many people love Hiroko Nagai's vocals, but I can barely listen to them. It really reminds me of a Broadway singer or someone who sings in a cheesy musical. There's no doubt he can sing, but it also reminds me of some Christian artists who used to leave me shaking my head. Orchestration is also a distraction for me. If we're talking about a lead guitarist and a drummer, we're talking about outstanding musicians. They often come and go like tornadoes. They're both angry players, and although a fast start and stop style is impressive, it's not something I enjoy much again. I haven't heard the taste of Canterbury, but I'm sure it's just me.
0 likesSo, three stars for me. I can see why so many give this album four or five stars, MR. SIRIUS are impressive in what they do. This just doesn't suit my taste, that's all. It's funny, but after listening to it for the last time I put on mobile GELATIN PLATES and thought that was more so, without comparison. LADISLAV&Z.......
Toliko ljudi voli vokale Hiroko Nagaija, ali ja ih jedva mogu slušati. Stvarno me podsjeća na broadwayskog pjevača ili nekoga tko pjeva u otrcanom mjuziklu. Nema sumnje da zna pjevati, ali me podsjeća i na neke kršćanske umjetnike koji su me znali ostaviti da odmahujem glavom. Orkestracija mi je također smetnja. Ako govorimo o glavnom gitaristu i bubnjaru, govorimo o izvanrednim glazbenicima. Često dolaze i odlaze kao tornado. Obojica su bijesni igrači, i iako je brzi start i stop stil impresivan, to opet nije nešto u čemu puno uživam. Nisam čuo okus Canterburyja, ali siguran sam da sam to samo ja.
0 likesDakle, 3 zvjezdice za mene. Vidim zašto toliko njih daje ovom albumu 4 ili 5 zvjezdica, MR. SIRIUS su impresivni u onome što rade. Ovo jednostavno ne odgovara mom ukusu, to je sve. Smiješno, ali nakon što sam ga posljednji put poslušao stavio sam POKRETNE ŽELATINSKE TANJURE i pomislio da je to više tako, bez usporedbe.LADISLAV&Z…….