In a collage of mimetic bands, individuals stand out who, despite market trends, inject new energy into the domestic music scene. One such band that has distinguished itself through uncompromising social criticism is Mlev, with their debut album “...and there are no signs of recovery”.

Engaged music enables artists to express their views, highlight social problems that are insufficiently represented in public discourse, and become the voice of those facing injustice or discrimination. Through these mechanisms, engaged music becomes a catalyst for social change.

Music, from its inception to today, carries numerous postulates of the critical cultural model. This artistic discipline has not only reflected social attitudes, but has actively shaped them.

Engaged music also had significant influence during the sociopolitical changes in former Yugoslavia. [1] that this band emerged from the desire of musical and ideological like-minded individuals to express their messages and views through fast and aggressive rhythms.

“The vision of Mlev is to raise awareness through the lyrics of our songs and criticise social inequalities and injustices, discrimination, whilst promoting ideas of humanism, solidarity and empathy. In that sense, I think that hardcore punk and grindcore energy, speed and aggression are the ideal platform for expressing dissatisfaction and resistance, and sending effective messages that can inspire people to some form of action”, explains Milić.

He adds that hardcore punk subculture has played a significant role in shaping engaged lyrics and ideas. Song lyrics in punk often contain strong political messages, calls to activism and rebellion against the system. The lyrics are direct, provocative, express dissatisfaction and encourage changes in society. They are critically oriented towards authority, capitalism, globalism, racism, homophobia, sexism and other forms of social injustice and discrimination.

“Music shapes and sometimes defines the individual”

Several factors have contributed to there not being as much expressed engaged music today as in the past.

Commercial pressures of today’s music industry and the popularisation of variety show formats have oriented music production towards the market and profit generation. Social and political messages have been relegated to second place, and the role of artist as social activist has been replaced by the image of entertainer.

The founder and guitarist of Mlev believes that music has a strong power to profoundly influence the individual, especially during the formative years of adolescence, when one searches for their identity and tries to understand their emotions and the world around them. According to him, music shapes and sometimes defines the individual, through style of dress, manner of communication and social circles in which they wish to move and belong.

“In that sense, mainstream music that is promoted is shallow and dangerous. Superficial, it is burdened with distorted values: money, fame, ostentation, sexism, masochism and self-destruction, or on the other hand stadium ultra-right-wing and similar ideas, which inevitably cumulatively reflects on the image of society today”, concludes the Mašina interviewee.

“...and there are no signs of recovery”

Milić tells Mašina about the dominant ideas behind this album.

“The album ’...and there are no signs of recovery’ is not conceptual, in the sense that it deals with only one theme. The themes of the lyrics are diverse social side effects, discrimination, critical review of the world order in which we live, especially its unethical values and injustices”, states the ideological creator of Mlev and adds that the messages of their lyrics are viewed from the perspective of social equality, socio-anarchism, humanism and free thought, anti-capitalism, anti-consumerism and anti-globalism.

Some lyrics are inspired by the present and environment in America, where Milić has lived for the past 15 years, whilst some are entirely focused on themes from social life in Serbia.

The text “JEKHAJEKH HAKAJA” (“Equal Rights”, translation from Romani) has as its theme “the disgustingly unethical position of Roma in Serbia. Decades-long, multigenerational discrimination of inexplicable proportions, and extremely unfavourable social position”, Milić explains.

"What does ’language’ mean?

 

’Privilege’?

 

’Dignity’?

 

’Belonging’?

 

’Human species’?

 

I am an animal with the sense of speech.

 

I don’t belong.

 

I don’t reside.

 

Turn your head from filth, backwardness.

 

On the waste of civilisation.

 

Invisible, yet a thorn in your eye."

On the other hand, the text “BOJA ŠUME” (Colour of the Forest) has as its theme the polarisation of American society into (only) two sides: Republicans and Democrats. Red and blue flags, which are, especially in electoral campaigns, two absolute exclusivities.

“And one doesn’t think outside those frameworks, it’s not taken into account that the chosen candidate and parliamentary body are also future chief figures at the global, world level. The rest of the world has no voice in that sense, doesn’t choose its future commander-in-chief. Both colours, essentially, have the same strategic goals, at the global level. Dictatorship of globalism, without responsibility”, states the Mašina interviewee.

"Same are the walls of gated communities

 

Same is the water with which we wash our hands

 

Of involvement

 

Of responsibility

 

Of bias"

The text “FREKVENCIJA” (Frequency) is about the control that media have over the individual in society.

“In the USA, media are certainly politicised, as in Serbia, or anywhere else for that matter. The average pro-Democrat cannot endure more than 5 minutes of watching FOX television, just as the average pro-Republican cannot endure more than 5 minutes of watching CNN. There is no journalistic, editorial objectivity and neutrality. Absolute politicisation of journalistic content prevails, selective reporting, content manipulation, censorship and self-censorship. A very similar situation exists in Serbia, where regime media are on one side, and quasi-independent, opposition media of foreign affiliates on the other side. And almost nothing in between”, states Milić.

Mlev is certainly an encouraging phenomenon on today’s music scene. Their album is not only an expression of artistic achievement, but also a call to reflection.

It is time for musicians to redefine their role and become carriers of social change, creating spaces for dialogue and free thought.

You can support Mlev’s work and listen to their album on Bandcamp.

Anastazija Govedarica Antanasijević