The journey ends. Or – does it? Does anything in this city really come to an end? After all, “Prague doesn’t let go. This old crone has claws. One has to yield. We would have to set fire to it and only then would it be possible for us to get away.” No, not Jurek Chyb’s own words. That was Franz Kafka.

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Despite, or maybe even “due to” the controversies it sparked, Siekiera’s (Axe) debut belongs to the greatest recordings in the history of Polish punk. But is it still punk?

Siekiera is deeply rooted in the punk scene. Not only did its demos contain straightedge punk but its members played their parts in other bands – including the widely acclaimed Armia. Therefore the group was tagged as representatives of this genre and had most of fans in this subculture. Siekiera was a laureate of Jarocin 1984 – highly reputed punk festival, which put the band in the lime light. But later that year things changed. Due to the disagreements in the band, the line up changed. Two of the members, who constituted the punk-wing were replaced by the new drummer and keyboardist. The new wave era began.

After two years of existence with the new line up, Siekiera released its debut. It is entitled “Nowa Aleksandria” (”New Alexandria”), which refers to the members’ hometown – Puławy, which is sometimes called that.  The reception of the album was very divided. While some praised its ambiguous lyrics, others accused the band leader Tomasz Adamski of betraying punk’s ideas. In this case the truth is far from lying in between. “Nowa Aleksandria” owes its extraordinariness to the distinct rhythm section. In fact, it’s easy to pick as the guitar sound is not, frankly speaking, overused. However, riffs like the one in “Idziemy Na Skraj” just can’t be overestimated. Even though the album is a bit minimalistic, the key parts introduce, typical for this period, new-waveish aftertaste. The outcome is a gloomy, lifeless album, whose atmosphere might be compared to Joy Division’s most depressing pieces.

Unfortunately, Siekiera disbanded just two years after its stunning debut. Nevertheless, it’s crucial to add that two years ago the compilation of the band’s early works was released. It’s entitled “Na Wszystkich Frontach Świata” (”At World’s All Fronts”) and it presents the furious, punkish face of Siekiera.

Even though there is no doubt that “Nowa Aleksandria” owes a lot to the British new wave scene, it stands out with the quality of its compositions and its manic, paranoid lyrics. It’s a highly artistic statement from the period of great changes – a guiding light of the Alexandria’s lighthouse that shone with passion and energy. And it’s shinning still.

Recommended, if you like: Killing Joke, Joy Division, New Order

KAVA KAVA KAVA. No, not the three things most needed in life, although for some people, perhaps… In fact, it’s the place to go in Prague if you are an Arabica gourmet. Or the air pressure is so low that you simply need caffeine. Or it’s raining outside. Or – come to think of it – for no particular reason except the sheer, fantastic taste of the brew served at this well-hidden cafe. Jurek Chyb, still trying to shake off his only partly deserved reputation of a beer drinker, invites you to “Kava Kava Kava”, but first explains how to get there. It’s past the sitting young lady in the middle of Platyz… Ehm, no idea what he’s talking about? Then the only thing that remains to be done is listen to the next episode of his personal audio-guide.

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This week we give you a roundup concerning the underground hip-hop in Poland. Its main idea is not to carefully analyze  the phenomenon, but just to recommend a few commendable recordings. We can’t guarantee that they are the best in the history of Polish hip-hop, but they’re all outstanding, so better check them out!

3H – WuWuA

First album and first doubt: is “WuWua” a good example here? Some hip-hop supporters may try to undermine the album’s underground character, reasoning that nowadays 3H’s members are well established, recognizable, mainstream artists. Nevertheless, no one can deny that recordings like “WuWuA” have shaped Polish hip-hop and paved the way for dozens of bands (especially those which represent its street strain). 3H’s unofficial debut is, actually, one of the first hip-hop albums released in Poland. Its distinguishing feature is an impressive flow and dense, massive (even if still a bit amateurish) production.

Roszja – Dusza Podziemia

And now  is the time for a local element. Roszja is one of the most acclaimed Wrocław-based rappers. “Dusza Podziemia” (”The Soul Of The Underground”) is his first unofficial recording recorded under this stage name. Although it’s a solo work, the rapper was supported by Lu and Magiera, who prepared a few beats for the album. “Dusza Podziemia” is a perfect proof of the Wrocław’s 71 stage character: it derives not only from hip-hop (it has an upbeat funky groove); it’s completely relaxed and floats smoothly. Roszja plays with words, telling a bit surreal stories about daily life.

Smarki Smark – Najebawszy

This classic EP by the Gorzów-based rapper Smarki Smark is a treasury of witty comparisons, punchlines and brand new fixed phrases. Therefore it can’t be fairly appreciated by a foreigner… but hey, hip-hop is not that much about the lyrics, otherwise who, among Poles, would listen to Notorious B.I.G.? And, believe me, some of us do! What you may like about “Najebawszy” is Smarki’s flow and Kixnare’s raw beats which derive from a hip-hop golden era – meticulously chosen samples and great scratches elevates this EP on even higher.

Dinal – W Strafie Jarania, W Strefie Rymowania

On some level Dinal might be compared to De La Soul – listening to both projects may cause injuries while laughing. It’s just packed with positive vibrations: funky, organic beats (with melodious vocal samples); humorous, witty lyrics; even rappers’ timbre. It builds up an extremely upbeat recording. What is more Opole-based rappers are joined by talented artists, like the female vocalist Lilu or the underground rapper – Zkiwboy. “W Strefie Jarania, W Strefie Rymowania” (”In The Zone Of Smoking, In The Zone Of Rhyming”) refers to the biggest hip-hop albums not only with Dinal’s skills (plenty of triple rhymes) but also with the stories they tell, i.e.: “Zostawiłem Swój Portfel Na Malince” which means “I Lost My Wallet at Malinka” – rings the bell?

Małpa – Kilka Kawałków O Czymś

Last but not least, the last year release, which proved that good music defends itself. The unofficial recording of Małpa had been distributed by himself. Not for long. After two editions of his home-made album sold out within hours, he was asked to join an acclaimed label. After listening to his “Kilka Kawałków O Czymś“, I can only say that it’s amazing that such a great album hadn’t been offered a proper distributor. Małpa’s highest advantage (though completely immeasurable) is his charisma. It’s not what he rhymes, it’s how he does it. Well, sounds like a perfect recommendation for a foreign listener.

Cemeteries – sad places for sad moods. One of the best known – and certainly most mysterious – graveyards in European cities is in Prague’s Josefov. Jurek Chyb tries to describe the Old Jewish Cemetery, giving a personal account of the place where slabs of crooked stone crawl under your feet in a maccabre dance that is hard to forget, and where the pungent smell of the shrivelled elder shrubs adds to the overall morbid atmosphere of Stary Zidovsky Hrbitov.

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Some seriously spooky, bloodcurdling stuff this time. With a little help from the unbeatable Prague narrator – Angelo Maria Ripellino – our guide takes us to one of the largest squares in the world that doesn’t look its size a bit. The Charles Square surely deserves its gloomy reputation of a place associated with what’s worst in human (and ghost) history. Only for the brave. Karlovo namesti in Prague’s New Town presented by Jurek Chyb.

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Even though the Scandinavian Skalds were probably treated with more respect and reverence, it was the Polish Skaldowie that actually made people dance.

The whole big bit movement in Poland, which burst out in the 60’s, is proof of how big and powerful the music of The Beatles was. Despite the iron curtain, censorship and a negative attitude to the Western culture, this Liverpool-based band significantly influenced Polish music. It seems that the Beatles were just too big for political division, Cold War etc. One of the bands that owes them their tremendous success is the Kraków-based group – Skaldowie. Nevertheless, it would be unfair to reduce the band’s acclaim only to copying the stylistic. They were something more.

Skaldowie started in 1965 in Cracow. It was set up by two brothers: Andrzej and Jacek Zielińscy, who at this time were students of Music University there. They formed the core of the band, not only playing instruments (piano, viola) but also singing (Jacek has a remarkable voice range). The Zielińscy brothers were joined soon by two guitarists, a bassist and a drummer and then the band was shaped. The band received some acclaim, consistently winning the Cracow Song Competitions. However, they hadn’t been in the limelight till the band was awarded during the National Festival of Polish Songs in Opole in 1966. From that time on Skaldowie started appearing in the media and playing music for movies. As a result of their rapidly progressing career, Skaldowie signed a major label and released the long-awaited debut.

Although the recordings released before are also worth listening, it’s Skaldowie’s third album which is the must-have position. “Cała Jesteś w Skowronkach” (”There Are Skylarks All Over You”) is literally packed with hits. To be precise, six songs out of eleven reached the first place in Public Radio’s charts. Apart from the gift for writing Beatles-like addictive melodies (“Medytacje Wiejskiego Listonosza”), the band made use of its outstanding vocalists, composing beautiful vocal harmonies which invite comparison to chamber pop Beach Boys albums. What is more, “Cała Jesteś w Skowronkach” also contains elements of Polish folk music (“Malowany Dym”). As an outcome, several songs from the album are generally considered classics of Polish pop songwriting.

“Cała Jesteś w Skowronkach” is a special album not only because of the songs contained but also the circumstances under which the recording was produced. At first, it was recorded just after the band’s near-fatal experience. Secondly, it had been released slightly before Skaldowie’s first American tour, which noticeably influenced their music. For all these reasons, “Cała Jesteś w Skowronkach” seems to be a pearl of Polish pop. Some may say a bit naïve, some – carefree. Some may say it’s out of date but every pop lover knows that even diamonds are turning to dust but hooks are forever.

Recommended if you like: Beach Boys, The Beatles, Zombies, The Kinks

How can something that’s over seven hundred years old be “new”? Jurek Chyb will answer this and other questions you may have whilst listening to the next stage of his audio walk, this time taking you up an unassuming street in Prague’s Nove Mesto. Yet another place that is seldom listed as a must in guidebooks (which all look exactly the same these days). Stepanska will finally assure a smooth departure from Vaclavske namesti and deeper into the district of New Town. Enjoy the bells, by the way…

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Most often the music brought closer with this section is either intellectual or at least a bit alternative, but this time we want to prove that in the history of Polish music there is also a place for some good house or pop tunes.

Some may say that Reni Jusis was just doomed to success: she started her music education in the early childhood; she was successfully participating in the local singing competitions; she established some relations with the artistic environment, which helped her to get first, still insignificant, roles. While playing a part in a local musical, she made a great impression on Yaro – rapper and producer, who invited Jusis to join him on the next album. As it turned out later, the offer was just a stroke of luck and opened doors to her solo career. Although Yaro’s album wasn’t an artistic breakthrough, it achieved commercial success, which put an end to the era of Jusis’ anonymity, both for listeners and other musicians. And it was the latter, who persuaded the major label to sign a contract with a relatively unknown vocalist. Michał Urbaniak – the famous Polish jazzman might therefore be called a godfather of Jusis’ debut. Even though “Zakręcona” was a bestseller, it’s not the artist’s R&B incarnation that is the most interesting one.

It was 2001, people around the world were getting crazy while listening to “Aerodynamic”, “Where’s Your Head At” or “Can’t Get You Out Of My Head”, whereas in Poland house or 2-step were remaining a white spots on the music map. Essentially with “Elektrenika” Poland, at least without complexes and prejudices, entered the club. What is more, apart from its historical context, the album is filled with highly danceable and still intriguing songs. Surprisingly, “Elektrenika” derives from many sources: French touch, disco, 80’s pop and even experimental electronic music (Jusis admitted her admiration for Aphex Twin). Musically educated, Reni Jusis was responsible not only for vocals but also for the album’s production; nevertheless, the support of other musicians (including genius bassist – Wojciech Pilichowski and great jazz vocalist – Urszula Dudziak) is also a vital element of the whole.

Undoubtedly, the “Elektrenika” highlight is “Jakby Przez Sen” a gloomy and foggy but still very clubbish song. It might remind you of Alan Braxe bangers but it’s somehow nervous and, actually, pretty hard to define. Well, the deeper we analyze it, the sooner it occurs that in a way it’s also a demanding album… Damn, sorry for that!

Recommended if you like: Daft Punk, Kylie Minogue, Alan Braxe, Moloko

The first album of the Tricity-based Ścianka is one of the most astonishing debuts in the history of Polish rock. “Statek Kosmiczny” (”Spacecraft”) contains more than one hour of music that is, theoretically, packed with contradictions but as soon as you turn it on, you’ll be lost in the overpowering storm of rough tones and extraordinary ideas.

Ścianka was set up in 1994 in Sopot. The band’s distinguishing feature is its uncompromising  individualism. When most of Polish bands either follow the trends or play the same old stuff, the group led by Maciek Cieślak remains  totally unpredictable thanks to changing its stylistics, method of production and line-up. Before releasing its debut, Ścianka had been, wrongly, considered  as part of the jazz-influenced Tricity’s stage, whereas the band’s sound was deeply rooted in American 60’s psychedelic rock and 70’s punk. During the first years of existence, Ścianka’s line up was shaping to crystallize finally  as a four-piece band, including Cieślak’s mate – Jacek Lachowicz (keyboard), Arkady Kowalczyk (drums) and Vietnamese Tran Chi (bass). Since then Ścianka started to get some acclaim, performing in a local basement. Although the band had recorded a demo before, the first breakthrough was signing a contract with a local Biodro Records and releasing the debut.

“Statek Kosmiczny” is a dirty, raw and condensed punch in the face of Polish scene of that times. The material contained on the album despises commercial standards and conventional approaches that ruled the Polish scene. The album marries the explosive, highly  improvisational noisy jams with mellow, melodious ballads you would play in commercial media. The album’s highlights are krautrock-influenced “Trans-Atlantyk”, purely experimental and a bit pastiche mixture of noise rock with a traditional Polish tune “Czerwone Kozaki” and the most recognizable song on the album – “Skuter”, which presents the manic side of “Statek Kosmiczny” in a nutshell. The mellower and softer character of the album is represented by the instrumental, reflective “Sopot” and “Sopot II” and moving ballad “Piórko”. In this case the outcome of such a mixture is not unpleasantly eclectic but perfectly balanced material, listening of which is not exhausting, despite its intellectual character. Even though the album might be considered as home-recorded, it’s full of interesting (sometimes even surprising) details that make listening to this recording even more unique. Nevertheless, revealing them I’d only spoil the fun.

Due to its short series “Statek Kosmiczny” had been unavailable to buy for years. Fortunately it has been recently remastered and is accessible again. This is, sadly, not the case with Ścianka’s second album, but that’s a totally different story.

Recommended if you like: the Stooges, Sonic Youth, Captain Beefheart, Velvet Underground, Can

Guilt-ridden after his highly critical comments on this Prague eyesore (in Episode 28), Jurek Chyb attempts a reassessment of Wenceslas Square. He tries to list the advantages, a little against himself and – let’s face it – the facts. He tries… Successfully? Judge for yourself.

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Atman imitates the nature, but not in the classical, Vivaldi-like style. In fact, it would be hard to find any common denominator for the artists’ compositions. Has nature changed that much or is it just a New Age?

Actually Atman might be considered not only as a band but even as a scene or movement that was comprising open-minded and extraordinarily skilful musicians interested in ethnic, psychedelic and avant-garde music. From 1975 to 1998 the band, consisting of Marek Styczyński (multi-instrumentalist), Piotr Kolecki (multi-instrumentalist) and Marek Leszczyński (dulcimer, percussions), was cooperating with numerous outstanding artists, who were enriching their recordings. None of them was even close to the mainstream; what is more, most of them played unusual instruments: either imported from the Far East countries or reconstructed in the image of traditional Polish ones. The outcome of using all these oriental instruments is a thick layer of both absorbing and astounding sound. It’s unbelievable that such density was reached with the exclusive use of acoustically generated sound.

The album that presents best Atman’s both intellectual and ritual approach to the folk music is “Tradition“. Sadly, I must admit that, symptomatically, the album met with a very positive reception abroad, whereas in Poland is mainly unknown. Basically tracks contained on “Tradition” might be divided into focused, guitar-driven impulsive songs (”Tensegretty” – which is an exception from the acoustic principle) and highly-psychedelic, oriental jams (16-minutes long “The Talking Meadow (Story)“). Some of the tracks feature a vocalist Anna Nacher, whose vocal interpretations fluctuate from melodeclamation to manic scream.

The evidence of Styczyński’s compositional gift is the cover of Jimi Hendrix’s “Third Stone From The Sun“, which is transformed into a solemn Tibetan-like anthem with a marvelous guitar solo. Fortunately though, his music career didn’t stop with Atman’s disbanding. From that time on he has been pursuing his career (along with Anna Nacher) in Magic Carpathians band, which is already a widely-acclaimed project.

Atman’s proposition is a stimulating blend of bacchanal wilderness, Slavic mystery and wisdom that lays in the, nearly forgotten, traditional ceremonies. It’s not your grandparents’ tales and it disturbs.

Recommended if you like: Can, Hash Jar Tempo, Magic Carpathians, avant-garde ethnic music

Wrong name, wrong place. Or, to quote a book passage: “an unseemly place that breeds unseemly people”. In his harshly critical feature about Prague’s supposedly most famous square – Vaclavske namesti – Jurek Chyb seeks help in one of his favourite Prague-inspired novels, “Sedmikosteli” (The Seven Churches). The author, Milos Urban, supports Jurek’s view by putting his opinion in the mouth of one of the book’s characters. Not for those who actually enjoy strolling down Wenceslas Square…

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“Nobody’s Black” – said the leader of Miłość, Tymon Tymański, in one of the interviews. In fact, listening to his band I have serious doubts about Darwin’s theory.

Although from today’s perspective Miłość (which means “Love” in Polish) was definitely a dream-team, back then it was more like a bunch of friends, disobedient youngsters, nonconformist and self-confident musicians. From the very beginning the band was tightly connected with the Tricity’s (Gdańsk, Gdynia, Sopot) alternative scene, inspiring a numerous bands of different genres. Their idea was, basically, not to follow in traditional jazz footsteps. Therefore its music is highly-improvised, independent of the generic limits, intentionally breaking compositions’ schemes. Of course, it would be only a sign of enormous pride, if it wasn’t justified by the musicians’ skills and original artistic vision. But that’s what characterises the biggest bands – the unbreakable will of challenging status quo, the ability to blow up the frames of reality and building them up in a new way.

The music of Miłość is an outcome of the tension between great individualities. Among them, were: classically educated musicians, such as Możdżer (piano) and Sikała (saxophone); insatiable searchers and artistic rebels like Tymański (double bass) and Trzaska (saxophone); and a miserable genius – Olter (his suicidal death made Miłość disbanded). As a result of their music was somehow balanced. A perfectly organized chaos that fluctuates from beautiful melodies (memorable cover of Velvet Underground’s “Venus In Furs”) to furious brass instruments’ solos (spontaneous “A Tribute to Drukpa Kunley”). Due to the members’ innovative attitude (not only towards music), Miłość is being often considered as the godfather of Yass – which is not really a genre but rather a blend of improvised music with jazz, rock and, essentially, everything you find inspiring.

The last album of Miłość “Talkin’ About Life and Death” features the great American trumpeter, member of Art Ensemble of Chicago, Lester Bowie. His parts add a new sooth and mellow dimension to the band’s compostions. The whole album is a great testimony to passion and, indeed, the love of music. Kind of controversial, sometimes pervert, sometimes incomprehensible but always sincere and, basically, immense. Just try it out and get lovesick!

Recommended if you like: Lester Bowie, John Coltrane, Ornette Coleman, Captain Beefheart, Thelonious Monk

Can an old lady be pneumatic? And what does the answer have to do with Prague’s Main Post Office Building? For those of you intrigued enough to spend a few minutes listening to the bizarre story of the longest-preserved operational system of tubes that transport letters, this episode of “My Prague” should be a treat. For those who don’t care, here’s a message – start caring or you’ll lose a story that will keep you (and the bunch of friends you tell it to) totally spooked. This is what Jurek Chyb guarantees. Or your money back.

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“Na Drugim Brzegu Tęczy” is not only a Breakout album but also a breakthrough one.

1969 is a crucial date in the history of rock music. Enough to say that it’s a year when bands like Led Zeppelin, The Stooges, Genesis or King Crimson released their debut albums. Without a doubt it’s also an important date for Polish rock music, especially, thanks to Breakout’s superb album. The band set up in 1968, consisting mostly of, recently disbanded, Blackout members. In the times when “big bit“  bands (highly melodious, easy-listening, Beatles-influenced kind of music) were scoring success, Breakout’s goal was to introduce blues and rock music to the Polish audience. Their first success was managing to organize a tour throughout Benelux countries, which was something really unusual during the communist period. This journey bore fruit as the band was able to get in touch with the contemporary Western music scene and to buy some equipment. Slightly after the artists had come back to Poland, they started to record the debut album. The recording that irreversibly changed the history of Polish music.

The first thing you have to know about “Na Drugim Brzegu Tęczy” (”On The Other Edge Of The Rainbow”) is that it’s neither a typical blues album nor a rock one. It’s, definitely, psychedelic, having the aftertaste of a never-ending improvisation. What you get as a result is a vivid rhythm section (brilliant bass lines), juxtaposed with guitar jams of Tadeusz Nalepa (the band leader) and clear voice of Mira Kubasińska. However, it would still have sounded a bit typical, if a saxophonist – Włodzimierz Nahorny hadn’t contributed on the album. His parts make songs like the title one a unique experience. The whole is proof that musicians of different backgrounds (blues, jazz, big bit, rock) cooperating under the same flag, can cross boundaries and reach the pure beauty.

Even though Breakout managed to remain on stage for a next decade, recording some really good material (”Blues” is the one I can thoroughly recommend), “Na Drugim Brzegu Tęczy” remains a unique, unlimited masterpiece. Paradoxically, it seems like the biggest strength of this album is the fact that on that stage the band hadn’t still shaped its music formula, so the outcome is both hard to define and hard to forget.

Recommended if you like: John Mayall, Gary Moore, Eric Clapton

How interesting can a downtown street get? Well, some of the more famous streets in Prague (including the one that poses for a square – Vaclavske namesti) are certainly overrated. Others, including Jindrisska Street – are quite the opposite. Modest and unassuming, this practical shortcut from Nove Mesto to the Station somehow draws Jurek Chyb like a magnet. And not because it’s a shortcut. Jurek is especially fond of one unglamorous-sounding place in Jindrisska…

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The history of Kobong – one of the first math metal bands all over the world – is nearly as strange, hard to believe and depressing as the music the band was recording.

On the field of metal music Kobong is, definitely, a nugget. Their pieces might be described as proggresive, mathematic or experimental, but basically in those times nobody was so crazy about tags. Especially, when this avant-garde metal scene had been just shaping, so nobody would have considered what i.e. “math metal” would sound like. In fact, in Kobong’s case, it’s dificult to categorize their music even today, after fifteen years since their debut album was released. Although “Kobong” wasn’t as experimental as its successor, it was a very promising recording, juxtaposing great music harmonies with heavy guitar riffs. As a result, this powerful, well-thought-of and professionally recorded album received very positive acclaim and was even nominated to “Fryderyki” Polish Music Awards (which is very uncommon for a metal band).

That Kobong’s second album was going to be even more artistic had been foretold by the single “Przeciwko”. The song was also used in the Polish soundtrack for “Trainspotting”. Unlike the songs from the debut, it’s a blend of acoustic music, oriental influences and shouting vocals. Even though “Przeciwko” is rather an exception from the group’s traditional stylistic (the version selected for the album is much heavier), it presents the evolving character of Kobong’s music that reached its highest stage on “Chmury Nie Było” (”There Was No Cloud”), which was, unfortunately, also the last album of the band. Released in 1997, the album is a polyrhytmic, highly experimental masterpiece that, undoubtedly, was ahead of its times. Compositions of Sadowski are multidimensional, rhythm-breaking and even a bit scary, while Kondracki is beside himself with singing, shouting and screaming (both in Polish and English).

The legends about Kobong concern not only their outstanding albums but also the circumstances under which the group disbanded. The rumour has it that Kobong had even recorded a demo version of the third album but since it was even more experimental than previous works, the label refused to release it. After disbanding, three members of Kobong started the band Neuma, which, however, hasn’t received such acclaim.

Five years ago Kobong’s main composer and guitarist Robert Sadowski died unexpectedly of heart attack. Altough the band’s reunion is impossible, you should grab “Chmury Nie Było” and check it. Remember, listen out loud!

Recommended if you like: Meshuggah, Mr. Bungle, Gorija, Neurosis.

Still stuck around the Republic Square, Jurek Chyb keeps trying to set off for a proper sightseeing walk and… he is halted again. This time his patriotic feelings and romantic soul make him travel in time, back to 1829. In front of a special commemorative plaque where the Black Horse Hotel once stood, Jurek hears the music of the greatest Polish composer who came to Prague and loved it.

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It finally happened. By popular demand, Jurek Chyb has grudgingly agreed to reveal one of his most-guarded Prague secrets. Listen to the result of years of field studies involving hectolitres of the best draught beer in the world. Yes, this is no mistake – the top three Pilsner Urquell pubs serving the Prazdroj on tap.

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