Formed in the autumn of 2003 by Reguska and Gregor Samsa, they include folk music from the Balkans and the countries which form the so called “heart of Europe”; songs from the ancient folklore of these people that the musicians of Tabula Rasa filter through all the music that has influenced them throughout their long musical career.
The originality of the Tabula Rasa sound lies on the balanced combination of popular songs that have been passed on orally from parents to children which, together with the use of modern rhythmical bases and harmonies that come from the rock, pop and other contemporary styles, manage to show us an ageless music as if it were really trendy.
The group is formed by a solo voice, a second voice, guitar, bass (double bass), and drums (percussion). Tabula Rasa’s live is based on a compact sound and a powerful performance, which results in a steady show. Onstage, music is combined with certain theatrical features, especial attention is paid to costume and lightning, that might help the audience connect with the content of the beautiful and moving traditional lyrics.
During the season of 2005 Tabula Rasa made their debut by successfully touring several Central European cities like Brno, Ostrava, Klagenfurt, Bratislava, Cracovia, Ljublajana and Prague, where they performed in small clubs and theatres. They were considered by the reviews as a significant band for the future of the world music or ethnic music. However, Tabula Rasa does not want to label themselves and feels, at least at times, that they are closer to the worlds of pop and rock.
Tabula Rasa is an open band who admits having been influenced by very different musicians, from Beatles to Frank Zappa and from Abba to Goran Bregovic; though later, all those influences have been filtered through a personal kaleidoscope which stamps a personal hallmark and makes their music easy to recognize from the very first time it is heard.
Tabula Rasa has recorded their first album and has already written the music and made the rough cuts of what will be their second CD.
Journey through Galicias
TABULA RASA is nurtured by Spanish Galicia which was know in old times as Finis-terrae, (the end of the land) before they discovered that it did not face the end of the land , it actually faced the new continent: TABULA RASA is also nurtured by ancient Galicica (Macedonia) which faced the Mediterranean. They were also nurtured by the Galitzia (Ukraine)of the East which served as a border between Russia and the rest of the European civilization. Also nurtured by the the Russian Galich which can be found beyond Moscow, beyond everything, beyond the earth.
Various Galicias unknown to one another. Galicias that have one common characteristic: they have been forsaken.
TABULA RASA is a project born with the clear objective of opening up European culture to itself and for itself.
TABULA RASA is a group composed by different musicians from diverse cultures and from different parts of the world; Czech Republic , Spain , Cuba.
TABULA RASA opposes globalisation and instead supports cultural diversity , respecting the differences which enrich all the cultures which exist on our continent.
TABULA RASA believes neither in an “ ecumenical” culture nor a politically correct art.
The story of a robbery.
During the time between one war and another, the new European states try to spring up again. Trying to jump the walls of the Austro-Hungarian Empire that is about to collapse. During this time, professor Ludvik Kuba travels through different towns and countries trying to find cultural roots through popular/ traditional music which , since the beginning of time, has been, stolen from one generation to the next.
After some time he published some of the music he had collected after his many travels through different lands.
TABULA RASA was born without realizing towards the late 90´s when, Reguška stole some notes from a nurse in the Czech Republic. These notes had been thrown into the bin by the unknowing nurse which were precisely the notes collected by professor Ludvik Kuba, who, possible fearful of the communist era that the region faced, tried discreetly to pass them on knowing they would not be well accepted at the time.
In the summer of 2002 a good friend of mine, an occasional pianist at baptisms and funerals, was in Brno visiting Reguška. On her wardrobe he found Kuba`s notes and without knowing why and following the impulse of a kleptomaniac, he stole them with no shame nor warning.
Months later, on a visit to Galicia, I visited my friend ( occasional pianist) . Taking advantage that he answered the door , which is quite rare, I entered the house and noticed that there were some dusty notes on the piano which seemed to have the sole purpose of keeping the dust off the furniture. I would have asked him to lend them to me if it weren't for the fact that I knew he would never accept. So, taking
advantage of one of his many visits to the toilet, I threw them out the window and picked them up once I was outside.
That is how the notes with popular tales that L. Kuba collected at the beginning of the twentieth century ended up in my studio, three thousand kilometres away and almost a century later.
That is how culture spreads. One robbery after another.