Nomad je avtorski projekt enega najbolj iskanih in vsestranskih basistov v Sloveniji, Jošta Lampreta. Bas kitaro predstavlja v povsem drugačni vlogi in luči kot smo je vajeni. Namesto, da bi ta ostajala v ozadju kot podporni element, se dvigne v ospredje in razcveti v inštrument z lastno melodijsko in harmonsko vlogo. Jošt Lampet se kot glasbeni popotnik nenehno podaja v raziskovanje različnih glasbenih tradicij, tokrat pa se s svojim najnovejšim projektom poklanja globoki tradiciji flamenka. Njegov pristop prepleta bogato paleto globalnih glasbenih vplivov, ki jih je kot glasbenik skozi leta zbiral in vpletal v svoje ustvarjanje. Njegova bas kitara se morda ravno zato ponaša z izraznostjo, občutkom in tehnično dovršenostjo, v svoji srži pa združuje dušo flamenka, svobodo jazza in subtilnost improvizacije. Z ekipo vrhunskih in široko delujočih umetnikov, Urško Cento, Ninom Mureškićem in Matijo Krečičem, se podaja na nomadsko pot, ki presega glasbene kategorije, briše meje in slavi medsebojno povezanost različnih kultur, kar je v tem času in svetu še kako pomembno.

Nomad ni le projekt glasbenega iskanja, temveč samosvoja glasbena pripoved, skozi katero ustvarjalci raziskujejo transformativno moč glasbe, ki povezuje in združuje. Vlada ji duh inovativnosti - kompozicij tako ne žene tradicionalni flamenko, temveč njegovo preoblikovanje in reinterpretacija skozi oči in občutke nekoga, ki, čeprav ni del te kulture, flamenko globoko občuduje in spoštuje.

Jošt Lampret je v svojih zgodnjih letih glasbene poti ustvarjal z zasedbo Terrafolk in Simbolični orkester, kjer je ob igranju etno glasbe pod mentorstvom Bojana Cvetrežnika odkril svojo ljubezen do glasbe sveta. Po končanem Konservatoriju za glasbo in balet je študij klasičnega kontrabasa nadaljeval na Akademiji za glasbo v Ljubljani pri prof. Zoranu Markoviću. Kot klasični kontrabasist solist je nastopil s Simfoničnim orkestrom RTV Slovenija, Simfoničnim orkestrom Slovenske filharmonije in Komornim godalnim orkestrom Akademije za glasbo. Bil je tudi član znamenitega Gustav Mahler Jugendorchestra ter zmagovalec in prejemnik številnih prvih nagrad na domačih in tujih tekmovanjih.

Ljubezen do jazz glasbe je razvil med delom s prof. Matejem Hotkom in igranjem v akademskem big bandu. Ustanovil je zasedbo P’Jays (ex. Pijammies), ki združuje izjemne slovenske glasbenike mlajše in starejše generacije, s katero je izdal dva albuma avtorske glasbe. Sodeloval je z mnogimi domačimi in tujimi priznanimi glasbeniki, kot so Majid Bekkas, Elliot Mason, Daniel Rowland, Jose Montaña, Irena Grafenauer, Mate Bekavac, Vlado Kreslin, Iztok Mlakar, Saša Nestorovič, Vlatko Stefanovski, Nina Strnad, Jure Pukl, Marko Črnčec in mnogi drugi. Danes redno nastopa v zasedbah Teo Collori & Momento Cigano, Wiyaala & The YagaYagas, Eastern European Bass Ensemble in drugih mednarodnih projektih.

Cikel Noches de tablao predstavlja umetnost na področju sodobnega flamenka. Oblikujejo ga interdisciplinarni umetniški dogodki, osnovani predvsem na živi povezavi glasbe in plesa, ter spremljevalni program izobraževalnih in teoretskih vsebin. Program gradi medkulturni lok med tujimi in domačimi ustvarjalci, ki vzpostavljajo dialog med umetniško prakso flamenka in drugimi glasbenimi žanri in predstavljajo nove ustvarjalne pristope h glasbeni, plesni in performativni umetnosti. Od svojega nastanka leta 2017 daje prostor najnovejšim umetniškim projektom, ki temeljijo na žanrski presečnosti in ponuja širok spekter sodobnih izraznih form. V njem se nizajo koncerti in plesne uprizoritve, v katerih tradicija vstopa v navdušujoča zavezništva z novitetami.

Christoph Irniger, tenor sax; Stefan Aeby, piano; Dave Gisler, guitar; Raffaele Bossard, bas; Michael Stulz, drums

Žan Tetičkovič, drums, percussion, electronics, composer; Tomaž Gajšt, trumpet and fluegelhorn; Lenart Krečič, tenor and soprano saxophone, bass clarinet; Alba Nacinovich, voice; Jani Moder, guitar; Luca Rosenfeld, double bass and electric bass; Marko Črnčec, piano and keyboards; Matija Krečič, violin; Nejc Avbelj, violin; Zoran Bičanin, cello

Imer Traja Brizani, bass; line-up: TBA

22 Oct
19.30 Hostnik pa Krečič 
21.00 KiKi

23 Oct
19.30 Belin
21.00 Nakána 

Duration of each concert: 50 min
 

Hostnik pa Krečič: launch of the album Ljubožerci 
Tomaž Hostnik, voice, piano; Matija Krečič, violin, voice

Hostnik pa Krečič is a duo of composers, academically trained folk musicians, rural noisemakers and sensitive nightingales, Tomaž Hostnik and Matija Krečič. It was already their debut album, Mačahe, that grabbed the attention of both the music-loving public and critical intelligentsia. In these frenzied times, it hardly ever happens anymore that music would evoke any kind of reaction at its launch and generate a buzz in the media, which, as in the old days, would either subject it to a scathing critique or put it on a pedestal.
The duo’s project Dvakrat Josip, a collaboration with the RTV Slovenia Symphony Orchestra, demonstrated in an exemplary manner that art is capable of creating a stir, even nowadays. In terms of music, their second album, Ljubožerci, is an even greater departure from the soundscapes one might associate with the term ‘chanson’.

Tomaž's original, relentless and poetic lyrics written in the dialect spoken in his home village, Suha, containing a large dose of dark humour and obscure folk metaphors, as well as his completely original settings, find their perfect match in the impeccably crafted arrangements and instrumental interventions by one of Slovenia’s most successful composers and arrangers of the younger generation, Matija Krečič.
The fragile, authentic voices and powerful stage presence of the Škofja Loka cowboy at the piano and the first baritone of the Trnovo choir with the scandalous melodies of the Bela krajina Roma coursing through his blood, promise an unforgettable experience, an event that is sure to occupy a special place in your memory gallery. The concert also premieres artworks by academy-trained painter Meta Hrovat, created in dialogue with the new album.

KiKi
Promotion of the album KRiKi reissued on Celinka 
Laetitia 'KiKi' Pohl, voice; Nika Trdin, Gala Pregel, back vocals; Jan Kopač, guitar; Matevž Košutnik, keyboards; Martin Jocif, drums 

Slovenian singer-songwriter KiKi debuted at the 2021 Slovenska nota competition, winning second prize with her song Punčka iz papirja which later went viral on social media.

KiKi and her band have been playing many alternative venues across Slovenia ever since, and took part in the 2022 Klubski maraton project, the City of Women and the 2022 and 2023 Floating castle festivals. KiKi has been described by Radio Študent as "the enchantress of intimate tales".
In May 2023, KiKi performed at the Druga godba festival at Cankarjev dom. In that same year, she was accepted to the RigaLIVE songwriting camp, which motivated her to seek out more international opportunities. In 2024, she performed for the first time at the MENT Ljubljana international showcase festival.
In March 2023, KiKi self-released her debut album KRiKi. Containing twelve original songs with Slovenian lyrics, the album fuses pop and folk with elements of electronic music. The release received favourable response from audiences and critics alike.

The artist has recently released her latest song, Hodi, hodi, heralding a new collaboration between KiKi and the Celinka label. The track is a seamless blend of KiKi's vocal harmonies, backing vocals and tribal rhythms of producer Jovica Novković aka Jovonanovo. 
On 22 October Godibodi Festival plays host to KiKis’ slightly extended version of KRiKi that came out this year on Celinka.

Belin
Launch of the new album Ciganka
Neža Drobnič Bogataj, voice; Klemen Bračko, violin; Miha Kraker, guitar; Vanja Dizdarević; double bass; Matej Javoršek, percussion, drums

At the Godibodi Festival, Belin are launching their latest release, Ciganka, an album that touches the most tender part of your soul while showering you with sparkles. It features profound emotional journeys, a passionate fusion of Slavic, Balkan and Roma cultures. The lyrics of most of the traditional Roma songs, arranged and translated into Slovenian by singer Neža Drobnič Bogataj, celebrate the themes of love, longing and the joy of living.

Neža Drobnič Bogataj, the heart of the group, is a classically trained musician that has been a captivating fixture in Slovenia’s music scene for many years. With her powerful voice and charismatic presence, she was a member of the popular band Katrinas, participated in various RTV Slovenia Big Band projects and has enriched the national music life through numerous projects with established musicians and bands. A perfect playground for Neža’s versatility, Ciganka features songs that echo folk motifs in combination with modern music elements. Her passion for music and her constant exploration of sound are reflected in every last inch of this music.

Nakána 
Launch of the new album Gozd not 
Ana Mezgec, voice, violin; Leon Firšt, piano; Jošt Lampret, bass; Gašper Peršl, drums and percussion; Tilen Stepišnik, guitars, banjo; Aleksander Rogina, violin; Margarita Ulokina, violin; Hana Lavrinc, viola; Zala Vidic, cello; Ištvan Tadian, trumpet

Nakána, a freshly debuted band of seasoned musicians, create vibrant soundscapes of ‘alter chanson’ featuring Ana Mezgec’s self-penned music and lyrics. 
In the company of outstanding musical partners, Ana delivers her unique take on the musical settings of poems whose everyday themes are woven from the threads of what is seen, heard, experienced or imagined, making the outfit burst at the seams with genre diversity.

Due credit for the success of this venture also goes to Leon Firšt at the piano, Jošt Lampret on bass, Tilen Stepišnik on guitars and Gašper Peršl on drums. Despite the seriousness of the addressed themes Nakána’s fine-spun confessions – rendered critically but ardently and flavoured with their sheer joy of music-making and punning – keep language, spark and humour wonderfully alive. 

Their appearance at this year's Godibodi Festival in collaboration with Celinka coincides with the promotion of their debut album, Gozd not, recorded in the studio Metro with a slightly larger line-up and the mixing/mastering engineer Janez Križaj. 

On this journey through the newly expanded frontiers of branching thoughts Ana and her Nakána are accompanied by members of a string quartet and Ištvan Tadian on the trumpet.

 
 

The 17th edition of the Godibodi Festival, which has been delighting music lovers for the past 16 years in cooperation with the Ustvarjalno polje Celinka at venues that include Stara elektrarna, the Ljubljana Puppet Theatre, Hostel Celica, the Ljubljana Castle’s Hribar Hall, as well as touring the stages of its Slovenian co-producers, – takes place at Cankarjev dom, a centre of culture and artistic excellence, outstanding achievements of local and international artists. This upcoming October, at the CD Club, Godibodi is presenting four concerts featuring fresh and stylistically diverse Slovenian music. Freshness and diversity are actually the common threads running through its programme, and the organizers, belonging to the ranks of professional musicians, seek to programme great new music year after year, opening a space for the artists and their music to promote vibrancy and sincerity. 

Slovenia is a country incredibly rich in extremely good and interesting male and female musicians, but what reaches the general public through the channels often fails to reflect this richness. What’s more, the market is also extremely specific, so it’s vital for the scene to react quickly and put wind, sometimes crucially so, in the sails of Slovenian music.

Personally, I would like the festival to develop over the coming years through additional content for young audiences and families, while also building multidisciplinary partnerships with visual artists. These extremely interesting joint projects, a practice we employed already in the festival’s initial years, helped in effectively broadening the field of human creativity. Live performances are not just information, they are an experience. At a time when automated information systems and AI self-learning algorithms are generating the greatest unification of the world, it is mainly our sense of diversity, freshness, creativity that needs to be sharpened.

Music relaxes both the artist and the listener. Moreover, attentive listening is part of the creative process. Music happens when the performer and the listener hear it together. Dear listeners, dear musicians, you are cordially invited to attend the 17th Godibodi Festival. May you not only listen to, but also hear lots of good music; may the music not only play around you, but also speak to you...

Janez Dovč
Artistic Director

Harold López-Nussa, piano; Luques Curtis, bass; Grégoire Maret, harmonica; Ruy López-Nussa, drums

Cuba is an island with widely branched musical family trees, and it is not uncommon for them to yield excellent pianists. Harold López-Nussa is certainly one of them. Chucho Valdés describes him as “at the forefront of a new generation of musicians”, and a pianist with “a subtle sound, brilliant ideas, and a unique musical style.” With numerous albums as band leader under his belt, he has taken audiences worldwide by storm with his infectious energy. Harold López-Nussa's latest album and his first on Blue Note Records, Timba a la Americana is closely linked to his personal life. Melancholy and homesickness, the longing for “the colours, the food, the people and the ocean”, the homeland he left behind in late 2021, when he moved from Cuba to Toulouse, France, with his wife and two daughters, are interlinked with the excitement about starting a new life and the experience of discovering new milieus, environments both personal and musical. His compositions are a musical record, a view of Cuba “from the outside”. 

The album is the result of López-Nussa's long friendship with Michael League, Snarky Puppy producer and bassist, who produced the album, and the “blessing” of Don Was, President of the notable Blue Note Records, who’d been keeping track of López-Nussa in Havana for a long time. Their joint effort culminated in an eclectic album that the Rolling Stone magazine hails as “a true jewel of Latin jazz”.

“Timba is the popular music that we make in Cuba today, it is the modern salsa that in Cuba we call timba, but also a dish, a guava paste that we eat with cheese. And Americana because there were several Americans, North Americans, involved in the project,” is Harold López-Nussa’s explanation of the album's title. It features ten dynamic original compositions performed by a tight-knit band featuring harmonica virtuoso Grégoire Maret, who works with legendary musicians such as Herbie Hancock, Pat Metheny and Cassandra Wilson, bassist Luques Curtis, an alumnus of the prestigious Berklee College of Music and member of the Eddie Palmieri band, Bárbaro “Machito” Crespo on congas who gave the album a deep touch of Afro-Cuban roots, and the musician Harold’s been playing with his whole life, his favourite drummer and brother, Ruy Adrián López-Nussa. 

They are making their Cankarjev dom debut as a quartet, and judging from their excellent credentials, we are in for a virtuoso ride, and inspiring and thrilling musical adventure.

Enkhjargal Erkhembayar, glas; Philipp Schiepek, kitara; River Loring Adomeit, bas

Enkhjargal Erkhembayar – Enji, for short – equates music with freedom, originality, singularity, belonging, her music reflects colours and natural phenomena, through her music Enji vocalises unspoken emotions that touch even listeners unfamiliar with her language. Her songs are soulful and confessional, rooted in Mongolian folk tradition. 
Enji was born in Ulaanbaatar and grew up in a yurt, a traditional tent used by nomads, in a close-knit working-class family. Music and singing was an intrinsic part of her family’s daily routine, and Enji's parents encouraged her in her musical creativity. Initially, she pursued the career of a music educator, teaching music at a primary school, but a jazz workshop brought to Mongolia by the Goethe-Institut turned her life upside down. She was accepted to the Munich Conservatory; as a student there, she realised that singing was her life's passion. With support from the Goethe-Institut, Enji recorded her debut release, Mongolian Song – an album of traditional Mongolian song with jazz arrangements, accompanied by accomplished performers like the legendary drummer Billy Hart, pianist Paul Kirby, saxophonist Johannes Enders and bassist Martin Zenker. The encounter with Martin Brugger, owner of Squama Recordings, was catalytic for Enji’s creative talent. Enji's second album, Ursgal, was released during the pandemic, when, used to living in a close-knit community, she suddenly had to face the situation of being alone and truly seeing herself for who she was when on her own. The answer yielded by her self-reflection was a ritual form of expression, the traditional Mongolian singing style of Urtiin duu, which translates as "long song". 

“My father’s side, they used to sing in that style in the countryside, and this long song kind of belongs to me,” Enji explains in an interview. In the Mongolian folk tradition, vocalists extend single words and syllables in vibrato-laden lines that can stretch to minutes. “In our long song, you don’t have bars or strict tempo. Soundwaves extend across space. It is more a picturing of the melody. You have your own energy and your own tempo, and you can sing in a completely free way. The techniques and sounds are related to nature. You can, for example, hear sounds like water, animals, or mountains reflected in the music,” says Enji about her singing style.

Enji’s third release ventures beyond the structures of the Western musical canon she studied at the Conservatory. Alongside her long-time music collaborators, guitarist Paul Brendel and bassist Munguntovch Tsolmonbayar, she recruited two Brazilian musicians, drummer Maria Portugal and clarinettist Joana Queiroz to join her at the studio. She titled her most personal album to date Ulaan, which means ‘red’ in Mongolian. Ulaan is the nickname that has stuck with her since childhood. When a baby, Enji was crying so much she turned red as a beetroot, and her family just called her Ulaan. 

It’s an elegant and powerful twist on traditional Mongolian music, writes The Guardian, while Washington Post thus reviews her concert: “These songs sound so inventive, so free, yet so grounded – and if they end up calming your mind, the aim wasn't to numb it, but to open it.”
 

An evening dedicated to new works by Dr Slavoj Žižek and Dr Mladen Dolar published by the Society for Theoretical Psychoanalysis. Dr Slavoj Žižek will discuss his book Krščanski ateizem [Christian Atheism], and Dr Mladen Dolar Že spet, še vedno [Yet Again, Still]. A talk hosted by Dr Alenka Zupančič will follow the two authors' introductory remarks.

Krščanski ateizem
The basic thesis of Krščanski ateizem is that the way to dialectical materialism is through the experience of Christianity. Žižek's notion of experience is not about spiritual revelation, but about the logic of materialist thought itself, which he elaborates in more detail. The affirmation of Christian theology goes hand in hand with its deconstruction. The author touches on topics ranging from Buddhist thought, political subjectivity, quantum physics, artificial intelligence and chatbots.

Že spet, še vedno
Samuel Beckett's body of work is a main starting point of Že spet, še vedno. The title itself reflects the Beckettian spirit, which prescribes perseverance and persistence in the face of all obstacles. The author insists on critical thought, which over the recent decades has suffered one defeat after another. He also insists upon psychoanalysis, which is facing a major crisis, as well as upon the critical heritage of modernism, which is sinking into oblivion.
The book advocates pursuing a subversive political agenda, which today has acquired particular urgency, but at the same time unprecedented unviability. Philosophy and literature, of special value to the author, here take a common front, united in the pursuit of progress and transformation.

The talk with the author will be hosted by Dr. Svetlana Slapšak 

Aleksandar Hemon (born 1964, Sarajevo) is a Bosnian-American writer, essayist, critic, and screenwriter. He graduated from the University of Sarajevo, and earned his Master's degree from Northwestern University in 1996. He has lived in the United States since 1992. Hemon is best known for his novels Nowhere Man (2002) and The Lazarus Project (2008) and his scriptwriting as a co-writer of The Matrix Resurrections (2021). An award-winning author, he frequently publishes in The New Yorker and has also written for Esquire, The Paris Review, the Op-Ed page of The New York Times, and the Sarajevo magazine BH Dani. Hemon is currently a professor of creative writing at Princeton University. He is also a musician, distributing his Electronica work under the pseudonym “Cielo Hemon”.

Hemon's books that have been translated into Slovenian include Projekt Lazar (2010, Modrijan), Knjiga mojih življenj (Modrijan, 2013), Vprašanje Bruna (Goga, 2019) and To ni zate (Goga, 2023). All works have been translated by Irena Duša.

Aleksandar Hemon’s earliest childhood memories include mainly cinema and films, especially the first movie he saw, The Battle of Neretva. His father, an expert for Energoinvest, travelled extensively, and Aleksandar and his family also lived in Zaire, Africa. Like many other families, Aleksandar’s had a holiday cottage in Jahorina, where his father would always find some unavoidable chore instead of practising the art of slow living: the children, on the other hand, preferred to stay in Sarajevo over the weekends to attend parties. A member of a rock band, Aleksandar was making music videos with his father’s camera. He later worked for the Omladinski Radio in Sarajevo – where he developed a lifelong love of music, later pursuing an extensive career as a DJ. Writing came after many years of being a journalist...

Svetlana Slapšak is an anthropologist and Doctor of Ancient Studies whose academic career has taken her to numerous European and American universities. Lecturer at ISH (Institutum Studiorum Humanitatis) and Dean at the Faculty of Postgraduate Humanist Studies in Ljubljana (2003–13), she is the author of over 70 books, scientific studies, collections of essays, translations, novels, plays, librettos, travelogues and children's books, around 400 scientific studies and over 2000 essays.
 

Programme: U. Rojko, V. Globokar
Performed by: Irena Tomažin, Anja Clift, Špela Mastnak, Uroš Rojko, Matej Šarc, Luka Juhart

 

Music Symposium is a celebration, a tribute to two internationally renowned giants of Slovenian contemporary composed music. Highly innovative and distinctive composers, each in their own unique way, Vinko Globokar and Uroš Rojko have built illustrious and successful international careers. The concert features Globokar's Par une foret de symboles (Through a Forest of Symbols, 1986) and a new work by Rojko, created for this very occasion, Glasbeni simpozij (Music Symposium, 2024). 

Globokar's composition Par une foret de symboles (Through a Forest of Symbols, 1986) for six musicians ad libitum is an open and supple work for six performers, a vocalist and five instrumentalists, to be selected according to precise but flexible criteria defined at the beginning of the score. The author asks the performers to disregard the order of the score’s 57 pages, instead suggesting the pages to be mixed up with a view to reinventing the work.

Uroš Rojko wrote Glasbeni simpozij, a new work for 6 musicians and a play of soundscapes from his own artworks in an era of technical repetitiveness, in response to Luka Juhart's challenge. He has devised the symposium as a gathering, a ritual of discourse between the prepared acousmatic sound material and the musicians' responses. Sound recordings in the form of samples, created by means of technological manipulation of fragments, figures and sections of selected works composed in other periods, take centre stage as a retrospective "genetic code", maintaining and changing their presence in the moment through the reactions and commentaries of living musicians.