La Campanella:

Boris Kovač – alto and soprano sax, voice
Goran Penić – accordion
Vukašin Mišković– classical and electric guitars
Miloš Matić – double bass, tamburitza
Lav Kovač – drums, percussion


…la campanella is suggesting a direct experience of a world barely visible upon remains of history, an inner space bringing individuals closer together in humanness in a way that actual reality at this point in history of civilization, despite its all-powerful communication devices – cannot…

…where la campanella is in the air, the Mediterranean and Central European sentimental spaces are interrelated by the treads of nostalgia, joy, triestesa, romantic enthusiasm, melancholy…

„The King of apocalyptical cabaret“
Simon Broughton, Songlines May 2003, – UK
“Dancing at the Abyss…Kovac proves that we humans, still manage to move the cosmos with our music, to find hope in our inner spirits and seek a way out of the morass…”
Clif Furnald, Rootsworld, September 2001
“Kovac’s music is both grounded and path finding a testament to the resiliency of culture and spirit in a region trying to repair itself after a decade of horror.
Shepherd Express, August 2005, USA
“This music is future classical…”
Global Beat Fusion, USA, August 2005

Boris Kovač & La Campanella – LIVE & MORE (VIDEO)

Boris Kovač & La Campanella – LIVE & MORE

Film based on one of the last concerts of this project – with “the best of” program of La Campanella and few legendary tunes of The Last Balkan Tango project.


CD Eastern Moon Rising

Published by World Music Network, London 2014
Produced by KACHARA MM, Bukovac, Pannonia 2010-2013.

Miloš Matić Miki – double bass  /
Vukašin Mišković Vuki – acc. and el. guitars /
Lav Kovač Laki – drums /
Goran Penić Gogi – accordion, sampler  /
Boris Kovač Boki  – soprano and alto sax, vocal  /

01. Fly by… (BK) 05:53
02. Play Odd (BK) 04:39
03. Pearl (Milos Matic) 03:55
04. On Eastern Path (BK) 04:56
05. Caravan (Miloš Matić/Boris Kovač) 07:19
06. Sinii Vals (Miloš Matić) 02:41
07. My Eastern Heart (BK) 08:07
08. Pannonian Blues (BK) 05:26
09. To Entertain You (second version) 03:22 (BK, BK, Vukašin Mišković)
10. Kazan (BK) 04:31
11. Simple, simple…Life (BK) 05:00

Total playing time 56:11

Recorded in December 2010 and March 2013 at Kachara MM Studio,
Bukovac, Serbia, where the material was mixed and post-produced too.
Produced, recorded and mixed by Boris Kovač.
Mix assisted by Ljuba Pejić.
Mastered at the Athens Mastering Studio, Athens, Greece.
Produced by KACHARA MM, Bukovac, Pannonia 2010-2013.
Photography of La Campanella by Vanjus
La Campanella costumes designed by Romana Knežević

This music comes from the land Pannonia, the Vojvodina Province, the northern part of the present-day Serbia. From the place right in between the
Eastern and the Western World, Central Europe and Balkans and not far from the Mediterranean coast. Sophisticated, romantic,
post – historic entertainment for open ears and free minds…

Eastern Moon Rising teases itself with the notion of wreckage and disintegration but the teasing has another aspect as well, the aspect of the child who doesn’t want to go to bed. The cabaret cynicism is playful and matter-of-fact, not fatal or even destructive. There’s no need for destructiveness, the end is going to hit us regardless, we’re almost gone and even the music is superannuated. “Well, ladies and gentlemen,” it says, “here we are again.”
Deanne Solle, Pop Matters 24.02.2014
read the whole review in English

…This original record gets under your skin and reveals its depth with each listen. Alex Brown, RootsWorld
read the whole review in English


On Eastern Path 04:56

Fly by… 05:53

Pearl 03:55

Caravan 07:19

My Eastern Heart 08:07

Kazan 04:31


CD World after history

Published by PIRANHA, Berlin 2005

An Intro Trip  (B.Kovač)
Latina  (B.Kovač)
To Entertain You  (B.Kovač)
Limping Waltz  (B.Kovač)
Malena  (M. Matić)
Crazy Love Waltz  (M.Matić)
Duke Land in Your Heart  (B.Kovač)
Beguine Again  (B.Kovač)
Argentina  (B.Kovač)
DurAA  (B.Kovač)
Triesta  (B.Kovač)

Performed by: La Campanella

Miloš Matić – double bass, tamburitza
Goran Penić – accordion
Vukašin Mišković – classical guitar
Boris Kovač – alto, soprano & curve soprano sax
Ištvan Čik  – drums

With the guests:

String quartet TAJJ (tr. 3,4,5,6,8,9,11)
Bogdan Ranković – bass clarinet (tr. 3,4,10)

Recorded and mixed at KACHARA studio in Bukovac, Vojvodina ( Serbia) from September 2004 – February 2005
Recorded and produced by Boris Kovač & Marinko Vukmanović
Mixed by Boris Kovač & Ljubomir Pejić
Mastered by Powerplay Studios
Text in booklet translated by Nenad Georgievski
Englishing by Elisabeth Wood
Photos by Dejan Djuragić
Layout Studio Maximov / Design Marko Matošić (inlay back)
Costumes for La Campanella designed by Romana Knezević
Executive production by Brigitte Bieg & Borkowsky Akbar

Artwork by PEPERONI
Made in Germany by Piranha


To Entertain You

Limping Waltz


We would like to entertain you
We are here that you have fun
We would like to make you happy
For the moment for tonight

At the end of comedy
At the end of tragedy
At the end of misery
At the end of history…

(Boris Kovač “To entertain you”)

Minstrel Songs by a modern Odysseus
…One night Boris Kovač woke up and saw an unknown god sitting in his room. What the god told him we can’t tell but his senses were moved and his feelings aroused. Not knowing what to do he begins to play a tune that has been haunting him for years, and keeps hearing this inner voice both in the spanish guitar key and in the voivodininan tambura. The pannonian and the mediteranean melancholy thread on the same line. How to delight such an important listener on a night that has detached itself from time and space, on the edge of the real world? By wandering, dreaming, barking at the moon, imagining a gondola dragging on the sand of imaginary cities? From the labyrinth of history, the cry of distressed and deadened voices, surrounded by barbed wire, bomb sounds and airplane engines that have been sawing the sky, to come out with an art, a love song, an argentinian dance.

Relja Knežević, from the Cd booklet

Minstrel Songs by a modern Odysseus
On the outskirts of Frushka Gora mountain there is a small voivodian village where roads from the west, east, north and the south cross and where Europe and Asia meet, just around the corner, at the belly button of the world. It all seems to be very close yet all is distant. In the centre of the village there is a church painted in white and is surrounded by many old houses. One of the most beautiful ones has a kachara, a basement with a deep shade where people used to keep wine and brandy. It is now Boris Kovač and La Campanella’s music studio, a sound workshop where instead of alchochol drinks people make music. Sometimes, during the summer, music can be heard from the yard and the dogs begin to wail longing for their unknown behalfs.
One night Boris Kovač woke up and saw an unknown god sitting in his room. What the god told him we can’t tell but his senses were moved and his feelings aroused. Not knowing what to do he begins to play a tune that has been haunting him for years, and keeps hearing this inner voice both in the spanish guitar key and in the voivodian tambura. The panonian and the mediteranean melancholy thread on the same line. How to delight such an important listener on a night that has detached itself from time and space, on the edge of the real world? By wandering, dreaming, barking at the moon, imagining a gondola dragging on the sand of imaginary cities? From the labyrinth of history, the cry of distressed and deadened voices, surrounded by barbed wire, bomb sounds and airplane engines that have been sawing the sky, to come out with an art, a love song, an argentinian dance. Despite Auschwitz, the easiness of forgetting, the time machine in which we live in, the Monday-Friday routine, a friend whose life is on a string when he returns home late at night, sits on the armchair and plays a Mahler symphony on an old record player while his stomach has an aneuristic time bomb that slowly paints the sky with a vivid red colour. Despite that…
Kovač would rememeber all of his romances, elegies and ballads that he plays and then all those branchy creepers – irony, dynamic waltz and virtuosic swing. He plays easy notes on countless different ways, the music of the world, the music from all coasts, and just like a swimmer on the golden sand of the Red sea, hidden beneath a rock from an enormous swelter and the summer sun, he can only hear his own breath. And to rememeber the melody that Odysseus fed upon since he woke up, not knowing that the rock above him has started to crack. How can someone elicit music from a destructive power that wants to destroy you, and at the same time to be playing with people’s raptures and providences, running away from the avalanche over an unknown glacier. How to embody the metaphysical feeling of easiness and simplicity, to weave the kaftan absolute, to go down on descends through Tibet and to pass through the rivers of forgetting with a train speed?
It’s the same meditation in the night, that won’t allow the conscience of the whole world to be emptied but vice versa: it wishes to keep its happy moments, that are enough silent to be heard and loud enough to be merry. Kovač would mumble a mantra with the same words that would announce the following tune, while trying the saxophone or while speaking to itself. “Uh-Um, all right, the danger is still near, the world is no longer a nice plays for living, but it’s no good crying and to give in yourself to desperation, and the tragic feeling of life. On the other hand, music is not an analgesic, drowning with alcohol while going with the elevator towards the execution ground. One should play music while the world is collapsing. It is both sad and joyful. Maybe this will last and it will be a mischief to waste time. Maybe this way we will feel better, just like a melody from the other side of the century that suddenly will arrive in the heart of the city.”
While trying to merge accordion and a guitar, or meticulously trying to clean the sound of his compositions at the mixing board, he keeps repeating his mantra. It is here around him even when he is taking on the role of the minstrel, the wandering musician, the modern Odysseus and while he looks over his shoulder towards the audience that he will take into his story. While he is preparing and dressing himself, with an easy step he joins the carnival of various faces, people and gods. Then he begins to play.
Relja Knežević

… all this Yugoslavian bandleader¹s excursions are voyages beyond the expected…
His ability to veer from heartbreakingly gorgeous melodies, fluttering wings
of brass symphonies, into breakneck accordion-driven fury is
incomprehensible. One can only imagine shifting drunkenly in a tanchez
(dance house) in a state somewhere between paranoia and ecstasy. World After History, like its predecessors, is a soundtrack to the movie of Kovac’s mind. It envisions a sacred space stretching past dualistic thinking…Kovac is as much philosopher as brassist ­ he seeks personal spaces which make sense through incoherence. ..it¹s an inner realization that moves us past the realm of linear thought. After you¹ve meditated for a bit, turn on World After History for the closest interpretation imaginable.
Derek Beres, Sing Out! Magazine, winter 2006

From Cuba to Pannonia. Pannonia is located in Serbia, ex Yugoslavia and it is the homeland of Boris Kovach, the music genius who has given us this new record that surpasses all his previous works. Boris has named it “World after History” and it seems it is a religious confession of music Hinduism…
orsinos lied  Q U E Rfunk Karlsruhe Erstsendung: Sonntag, den 14.08.2005
13 Uhr Redaktion & Moderation: Roland Altenburger
…The music merges hope with melancholy, folk traditions with orchestration, nostalgia with optimism. Tuneful and rhythmic and led by his own fluid playing, Kovac’s music is both grounded and path finding – a testament to the resiliency or culture and spirit in a region trying to repair itself after a decade of horror.
Shepherd Express

This is not hard music, however, the depth is in its subtle penetration. Kovac creates long, creeping symphonies that are more potent sedatives than drilling rhythms. World After History, like his prior efforts The Last Balkan Tango and Ballads at the End of Time, is future classical, as nimble and light as it is charged. As a result of his theater passions, Kovac takes the empty space of sound and fills it majestically. Global Beat Fusion  08/01/05 FrootsGarth Cartwright…

Seductive as this album is – beautifully recorded with all players offering a fat weave of sound … World After History is still worthy of purchasing if only the sounds of an older, more laid-back and baroque Europe are rarely captured as they are here.
European Broadcast Union: World Music Charts Europe /
List for July 2005 .  
World After History CD piranha was at the 2. position!


CD Ballads at the End of Time

Published by PIRANHA, Berlin 2002
Produced by Boris Kovac & Mare Vukmanovic,

(Boris Kovac) 6:24
(Boris Kovac) 1:49
(Boris Kovac) 6:27
(Boris Kovac) 4:04
(Boris Kovac) 3:28
(Boris Kovac) 3:30
(Boris Kovac) 6:30
(Milos Matic) 3:08
(Bogdan Rankovic) 3:00
(Boris Kovac) 4:48
(Boris Kovac) 3:00
(trad. arr. by Boris Kovac) 4:48
(Boris Kovac) 6:58

Recorded and mixed at KACHARA Studio Bukovac
Novi Sad/YU,
Aug-,Oct 2002 by Marinko Vukmanovic Mare
Produced by Boris Kovac & Mare Vukmanovic,
Postoroduced and mixed by
Mare Vukmanovic & Boris Kovac,
Mastering by Bane Micic
Texts written by Boris Kovac
Texts translated into English by
Kristof Bodric

Front cover by Steffen Blankenburg
Photos by Dejan Djuragic
(p. 3,4 and booklet back)
Photodesign inlay back by
Ljubomir Maksimov
Artwork by PEPERONI
Executive production by
Brigitte Bieg & Borkowsky Akbar
Made in Germany by: Pi’ra:nha

“La Danza Apocalypsa Balcanica”
Danza Transilvanica
Transilvania… a mist hangs over gently rolling ground, the odd lone dried-up tree, blades of light streaking across the horizon… the setting for the end of time: the performance may begin
… The scenery slowly reveals itself… at the top of the hilly proscenium a magnificently decorated cart appears
… on top of the cart stands an orchestra in white… to no visible cue, simultaneously… they start playing: the dance at the and of time…

… sounds from a farm, a music box, a gingerbread heart hanging from nightstand, given as a present who knows when and on who knows what accasion,,, The main theme, brought as an anticipation… gentle, crystal clear… The main theme as something unspeakable, is not to be talked about… in it you should listen for all others… Just imagine what would you do be like at the end of the time – that is just what you should put in this theme…

Damar of Istanbul
At the end of the time is where all the time is: from Transilvania, through the music box, to Istanbul… The Center of the world… the city of light and darkness, glory and doom, of the grandiose and intimate, the exalted and trivial… an ideal setting for the journey, directed like a fil – another perfect mise-en scene for the album theme… the music does not depict Istanbul, instead it follows my “damar” in it…
“Damar” are the hearbeat of light, spirit and the flash…
*DAMAR – Serbian word of Turkish origin meaning heart beat / pulls of soul
Early Morning Waltz
Early morning in the world at the end of the time… water at sunrise… a wake-up callplayed panpipes… the bnk of Danube… sandbanks: the wheel of waltz slowly gathers momentum…
At the heif=ght of the rapture elegant, smartly dressed couple from Viennese court appear along the bank and sandbanks and waltz as “The Blue Danube Waltz”… the image becomes more and more distant, like the view of a seagull leaving the Danube panorama … once it begins, a waltz has, in fact, no end…

Beguine at the End…
Ask for dance … the girl you wish to be with at the and… A balcony, starry sky, the ensemble plays a reminiscence on familiar theme … Innocently and lasciviously… pathos to which we consciously give ourselves… (Kitsch – what meaning does that any more?…)
Interlide at the “GANG”
After all, this is a moment to be home, whatever that means and wherever that is… At home … on the porch… the band and their dog howl at the moon…
*GANG – the porch (german word common in Vojvodina)

Waltz from Careless street
Musicians, stop fucking around, play Milos’ waltz properly…

Cha Cha
Insane, erotic, bizzare… cha, cha, cha

Colour of Rememberance
Iti is best not to speak of this song… it is meant to be played. Softly, more softly, most loudly…

The Last Interlude: Doina
If I had to decide on one and only song – this it would be it…

At the End of Time
Oh horses, you are my clouds… summer swims, grapes ripen, first kisses, a foor ajar, thirsty water, silence… (meditations by Miroslav Mandic)
The ensemble dresses in white plays something resembling Bach… on dancing terrace by the sea,,, dancers are no more. Brother musicians, let us finally play for our own pleasure, we have no longer any use for tips anyway…
from CD booklet

Danza Transilvanica

Colour Of Remembrance

At The End Of Time


CD The Last Balkan Tango

Published by PIRANHA, Berlin 2000
Produced and mixed by Boris Kovac and Mare Vukmanovic,

LaDaABa Orchest:

Boris Kovac, Boki – alto & soprano sax
Bogdan Rankovic, Bogi – clarinet, bass clarinet
Goran Penic, Gogi – accordion
Olah Vince, Vici – violine & acoustic guitars
Milos Matic, Miki – double bass
Istvan Cik, Picu – drums, percussion

(Boris Kovac) 8:55
(Boris Kovac) 7:57
(Boris KovaC) 4:03
(Milos Matic) 4:10
(Boris Kovac) 5:59
(Boris Kovac) 3.55
(Milos Matic) 4:15
(Boris Kovac) 5:03
(trad./ Boris Kovac) 1:19
(Boris Kovac) 6:07
(Boris Kovac) 5:38
(Boris Kovac) 4:5Z
(Boris Kovac) 7:04

Recorded and mixed at Barbaro Studio Bukovac Pannonia/Yugoslavia,
Sep-,Nov 2000
Master of tone Marinko Vukmanovic Mare. Produced and mixed by
Boris Kovac and Mare Vukmanovic,
Postproduction operated by Bane Micic
Front cover by Otto Dix “Grossstadttriptychon”,
© VG Bild-Kunst, Bonn 2001
Executive production by
Brigitte Bieg & Borkowsky Akbar
Made in Germany by: Pi’ra:nha

La Danza Apocalypsa Balcanica”
The Last Tango Before the End of the World

“Take all what Life offers to You, Today You are Rose and Tomorrow…” sing the “Ladaaba Orchest” on one of their “Apocalypse Balcanica” tracks, trying to emulate a saloon atmosphere teeming with crude living “on the edge” – which usually refers to the Balkans. The fact is that this unstable ground, inhabited by a Babylonian blend of languages and nations which talk all at once without listening to each other, became a synonym of the occasional outbursts of endemic violence and other kinds of nihilism. Still, regardless of all, The Balkans are interesting mostly because of the crossing of different cultures and traditions which give birth to amazingly vital artistic products and strengthen the feeling of vitality, which is opposed to the notorious “death culture”.

“La Danza Apocalypsa Balcanica” is a myth and a story of the Balkanic area, the aesthetics of transience and coincidence which defy the games of fateful forces. It is an invitation to dance on the extreme edge of that abyss known as Yugoslavia (the authenticity of Boris Kovac’s artistic creed is not to be questioned, in spite of the offered “choice” between Milosevic’s rule and NATO air campaign) or a multistylistic masterwork weaving its aural pattern by interlacing various “music”.

Relja Knezevic
in Novi Sad, February 2001.

…Today, it seems to me like I never heard records which really inspired me that much. One of them is the album of Boris Kovac. … “The Last Balkan Tango” pulls the soul out of the body; so much emotions, so much honesty, so much devilish good musicality is placed in this small framework…
orsinos lied Q U E R funk Karlsruhe Erstsendung:
08.07.2001.  Redaktion & Moderation: Roland Altenburger

Success of Kovac’s ensemble
…No, this album is not cheerful. It is sombre, tragical and dramatic, although there are careless and winged moments. Balkan dances, not the unrestrained round-dance, but falls into the wild exaltation of one bloody apocalypse. …His music, with its quality, shades the international music scene.
Since Laibach’s album Nato Occupies Europe, The Last Balkan Tango is the most piercing warning from the East.
Wolf Kampmann, Jazzthetik, Germany Jun 2001.
The album The Last Balkan Tango was chosen among the best “50 essential albums ever” by the popular Songlines magazine.

Indeed, a fascinated swaying in the rhythm of tango – with sharp movements of arms, legs and body which can hardly hold back its passion – is but a small item in the offer called “An Apocalyptic Dance Party”. Though the last dance call occurs in a terribly limited space, like with Schecherezade invited to tell her last story in order to postpone death. The firmament under which the listener is seduced mediates no feeling of anxiety: the sky may be cerulean blue and clear like in Mediterranean and life can either be easy and sweet at times. The dance drags us into a time left to Balkan people without pathos and the irresistible kitsch. In a characteristic manner, Kovac’s individual artistic style gathers compelling tones of the last music before the end of the world, inspired with the sound of the Balkans. His Orient Express travels according to the following itinerary:….. Budapest- Szeged – Novi Sad – Sofia – Istanbul. From within that composition (train) it sometimes seems that nothing is more natural on this planet than dancing with “LADAABA” and Balkan people, becoming engrossed in the time when apocalypse is already behind us and around us, the only unbeaten future which continuously recurs.
Looking out of that Orient Express, we pass through a multitude of themes and motifs, the multitude of faces and sounds characteristic of Vojvodina region, which is a Panonian part of Yugoslavia, inhabited by at least sixteen ethnic and national groups. No wonder, then, that you can recognize in this music the “shades” of gypsy, Serbian, Hungarian, Romania, Ruthenian, Slovak, Bulgarian, Turkish and other ethnic music.
In the key of the fateful tango and playing with the image of the “great lover” who is placing his heart at the feet of his beloved, everything seems to be free and easy, almost like at a wedding party. Still, a part of the face is hidden in the shadow. Behind the sporadic gayety we can smell the “Geschmack” of a tavern more pertaining to Vienna than to the Balkans. At the turn of the 19th century, Vienna is noticeable for a typical central European Secession art movement whose rebellion against artistic conventions anticipates the decline of the empire. However, Vienna was the secret center of the Balkans. Therefore, Kovac’s composition (train) passes through Vienna on its way to the East…

Thus in the music of “LADAABA orchest”, a mixture of tango, folk dance and Secession, waltz and burek (a characteristic pie prepared in the Balkans), carousing, suffering and wit, laughter, tears, sacrifice and surrender, Dionysian drunkenness and vulgar primitivism, on the millennial edge, and for the sake of the promising moment of happiness, The Last Balkan Tango dances again – for dancing, not living, is what matters to us.
Relja Knezevic
in Novi Sad, February 2001.
translated in English by Vladislava Gordic

The Last Balkan Tango


Tango Apocalypso

Last Waltz in Budapest

Orient Express


DVD Before and After … Apocalypse


Directet and edited by Boris Kovac and Milos Pusic
Costumes: Romana Knezevic
Camera: Predrag Radosavljevic, Bojan Djurisic, Dragan Stojmenovic, Vanjus
Sound: Marinko Vukmanovic, Boris Kovac, Ljuba Pejic
PANNONIA 2005-2007
Piranha Musik, Berlin 2008