Track By Track : ectratis – Dream Screen
By John A. Wilcox



More exciting new music by a band that's new to me! ectratis (yes, it's lower-case) play genre-defying music. Prog/rock/pop/jazz/ambient/classical/electronic just scratches the surface of this Croatian act! Mainman Matej Blecic takes us through Dream Screen track-by-track...

Track 1: Vjeruj Mi
MB: This is a new wave pop rock tune which contains influences from 80s music scene that originated in former Yugoslavia, also known as ex-Yu (bands like Aerodrom, Azra, Film and EKV). It was the first single for Dream Screen album, released in September 2023. It features bandleader Matej Blecic on vocals, guitar, bass and synths, ex-band member Jelena Galic on backing vocals, award-winning guitarist Luka Kramar and live band drummer Tin Brkljacic. Lyrics (written on Croatian language) are loosely based on person's obsession with social media and egotism.

Track 2: Sunday Morning
MB: Synthpop song with R&B and jazz fusion influences, reminiscent of Hall & Oates, Supertramp, Doobie Brothers and other similar bands from 70s and 80s. Second released single for Dream Screen (January 2024). Completely recorded by Blecic (vocals and backing vocals, guitars, bass, keyboards, synths, drum programming). Contains lyrics written on English language that deal with (you guessed it) haziness of Sunday mornings.

Track 3: Samo Na Taj Tren
MB: A progressive pop rock track with huge-sounding guitars and elaborate jazz-influenced chord progressions, reminiscent of Killing Joke, King Crimson, Rush and Police. Third (and final) single for newest album, released in August 2024. Recorded live in garage with band members (Blecic and Tomislav Tonkovic on guitars, Ivan Starcevic on bass, Brkljacic on drums), vocal parts recorded later in studio, with lead vocals sung by Blecic and backing vocals provided by Hana Stanisic. Again Croatian lyrics that (this time) focuses on romantic issues and uncertainties.

Track 4: Persistence
MB: Solo piano piece (instrumental) that is featured as an intermezzo. Based on pedal point chord progessions and explorations in tonal palettes of upright piano. Contains various infuences that range from classical (primarily romantic period) and minimalism, to jazz and progressive music. Recorded in Blecic's living room and later sent to tape to achieve somewhat "lo-fi" and intimate quality to the sound.

Track 5: Fluvium
MB: Another instrumental which was performed by live band, this time largely influenced by jazz rock and AOR bands such as Steely Dan and Toto. Contains modified version of groove known as the Purdie shuffle (from songs such as Rosanna and Home At Last). Recorded by engineer Sven Pavlovic in his studio called Sunday Studios, with Blecic on Rhodes piano (a real one, Mark I 73-key model), Tonkovic on rhythm guitar, Starcevic on bass and Brkljacic on drums. Guitar and bass solos along with synth parts were later overdubbed in studio.

Track 6: Ispeci Pa Reci
MB: This one has similar ex-Yu/new wave influences like Vjeruj Mi, although with more high energy punk(ish) vibes and slightly more complex Police-like guitar chord progressions. Also recorded in Sunday Studios by Pavlovic, with live band performance (Blecic and Tonkovic on guitars, Starcevic on bass and Brkljacic on drums). Blecic's lead vocal and Stanisic's backing vocals recorded later in studio. With somewhat simplistic but very self-reflective (Croatian) lyrics that encourage to think before you act.

Track 7: Allure
MB: Progressive synthpop tune with female vocals, reminiscent of 80s pop production (Michael Sembello, Giorgio Moroder, Michael Jackson, etc.) but with a more complex "twist". Features evolving chord structures with intricate guitar and synth solos. Vocals (lead and backing) sung by band member Hana Stanisic, while instrumental is recorded entirely by Blecic (guitars, bass, synths and drum programming). Contains English lyrics that deal with romantic betrayal and coping with difficult love situations.

Track 8: Flowing Flower
MB: Similar to track Persistence, a solo piano piece recorded on Rhodes Mark I (73-key) electric piano. Based on (neo)classical and jazz fusion influences, with a good dose of ambient. Using effect processing (phasing) to get that Steely Dan (Donald Fagen) electric piano sound. Performed by Blecic, recorded at Sunday Studios (Pavlovic).

Track 9: OBK
MB: A rather funky 70s/80s vibe tune that reminds of AOR and prog pop music of that period (Airplay, Genesis, UK, etc.). Based on driving chord progression played on Yamaha CP-80 sound, with added chorus effect (a very popular sound of those times, used by famous keyboardists such as Tony Banks). Recorded by Blecic (lead vocals, guitars, bass, keyboards and synths), backing vocals provided by guest singer Matea Butigan, while drums were played by Brkljacic. With Croatian lyrics that focuses on romantic longing, this time in a more positive manner.

Track 10: PUREBLOOD
MB: Heaviest track on album, with influences ranging from hard rock (Def Leppard, Black Sabbath) to even metal (Metallica, Helmet). Includes dissonant distorted guitar riffs to give even more "edge" to the sound. Recorded at Sunday Studios sessions (by Pavlovic), live band rhythm section (Blecic and Tonkovic on guitars, Starcevic on bass, Brkljacic on drums), lead vocals (Blecic) and guitar solo (Tonkovic) tracked later. English lyrics that deal with social situations of modern times.

Track 11: Budenje
MB: R&B track similar to Sunday Morning, with similar influences. Recorded by Blecic (rhythm guitar, bass, keyboards, synths and drum programming), Stanisic (backing vocals) and Tonkovic (lead guitar). Again using pedal point chord progression played on detuned honky-tonk style upright piano sound that was also popular in 70s and 80s. Croatian lyrics that explore the problems of individualism in modern day society.

Track 12: Soulcatcher
MB: A quite unexpected ending for pop rock/prog fusion type of album - EDM (or maybe even IDM?) track. Fourth (and final) instrumental that is featured on this album. Completely programmed by Blecic using MIDI sequencing, although using quite progressive influences combined with jazz-flavored chords and solos. An attempt to merge electronic music with overall band-like sonic palette of the album.

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