Rock music in Serbia
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Serbian rock is the rock music scene of
The Socialist Federal Republic of Yugoslavia was not an
Until the beginning of the 1970s, Serbian rock bands released only
With the outbreak of the
History
Rock pioneers (late 1950s – late 1960s)
The first rock acts emerged in the late 1950s. Influenced by the
The singer
The beginning of the 1960s saw the emergence of numerous
Mainstream and pop rock (late 1960s – present)
By the time Korni Grupa disbanded, other Serbian progressive rock bands, like
The end of the 1970s featured the appearance of the pop rock band
The hard rock band
The end of the 1970s and the beginning of the 1980s featured the appearance of three popular solo singers:
After the decline of the
The pop rock band
The mid-1980s pop rock bands
Popular rock acts of the late 1980s and the 1990s were Galija, Partibrejkers and Dejan Cukić. Galija, despite being formed in the late 1970s and initially performing progressive rock, reached the peak of popularity in the late 1980s and early 1990s with the album trilogy consisting of Daleko je Sunce (1988), Korak do slobode (1989), and Istorija, ti i ja (1991), entering the 1990s as one of the most popular Serbian rock bands. In the 1990s, Galija promoted the Socialist Party of Serbia, which had provoked a part of the critics and fans to proclaim Galija a "state band".[17] Nevertheless, albums Karavan (1994), Trinaest (1996) and Voleti voleti (1997) were well received by majority of the fans. The garage/punk rock band Partibrejkers gained large popularity with the albums Partibrejkers I (1985), Partibrejkers II (1988), Partibrejkers III (1989) and Kiselo i slatko (1994). Former Bulevar and Bajaga i Instruktori vocalist Dejan Cukić started his solo career in the late 1980s, and forming his Spori Ritam Band started releasing a series of successful albums, Spori ritam (1987), Zajedno (1989), 1991 (1991) and Ja bih da pevam (1996).
Popular acts of the 1990s include
The 2000s featured popular bands
Acoustic rock (late 1960 – mid-1970s, early 1990s – present)
The Serbian acoustic scene emerged in the late 1960s with the appearance of the
The pioneers of the Serbian acoustic rock scene were the bands Porodična Manufaktura Crnog Hleba, Vlada i Bajka and S Vremena Na Vreme. Porodična Manufaktura Crnog Hleba, which was also a theatre group, formed by Maja de Rado and
Lutajuća Srca, formed in 1970 in
Throughout the 1980s, the acoustic scene did not exist, however, the appearance of the first
The 1990s also featured several notable acoustic non-live releases. The
During the 2000s, the acoustic music featured only a few notable releases. In 2000, Dejan Cukić recorded an acoustic Bob Dylan tribute Divlji med, featuring Serbian language lyrics. In 2002, Block Out leader Nikola Vranjković released a solo album Zaovdeilizaponeti, featuring lyrics from his book of the same title released with the CD. In 2002, Đorđe Balašević released the album Rani mraz, stylistically similar to Na posletku.... In 2002, the reformed Griva held an unplugged concert in Studio M, the recording of which was released on the album Griva & Co. — Live in 2010.
Singer-songwriters (early 1970s – present)
Serbian rock scene featured several notable singer-songwriters. One of the most important authors was
-oriented. Balašević's lyrics often dealt with humorous or political- and social-related themes.Other notable singer-songwriters are Srđan Marjanović and Nikola Čuturilo. Initially a part of the Belgrade acoustic rock scene, Srđan Marjanović released his debut album Srđan Marjanović i prijatelji, which he recorded with members of YU Grupa, in 1974. During his career he released twelve studio albums. Nikola Čuturilo rose to fame as the guitarist for Riblja Čorba. He released his first solo album, 9 lakih komada (1988), while still a member of Riblja Čorba. He left the band in 1989, continuing his solo career which spans up to the present day.
Progressive and psychedelic rock (late 1960s – early 1980s)
Progressive rock dominated the Serbian rock scene throughout the 1970s, with the acts such as Dogovor iz 1804., Korni Grupa, YU Grupa, Smak, Pop Mašina, Dah, S Vremena Na Vreme, Opus, Tako, and Igra Staklenih Perli being the most notable representatives.[22] With the emergence of the new wave scene at the beginning of the 1980s, Serbian progressive rock bands saw the decline of popularity and most of them ceased to exist.
Pop Mašina, formed in 1971, performed progressive/hard rock, but their debut album Kiselina (1973) also featured acid and psychedelic rock elements. The band released the first former Yugoslav live album, Put ka Suncu in 1976, and disbanded the following year. In 1981, the band's former members, Robert Nemeček and brothers Vidoja and Zoran Božinović, formed the hard rock/heavy metal band Rok Mašina.
The band
Progressive/psychedelic rock band Igra Staklenih Perli, formed in 1976, was one of the pioneers of the former Yugoslav psychedelic/space rock scene. The band released two studio albums, Igra Staklenih Perli (1979) and Vrt svetlosti (1980), before disbanding in 1985. In 2011, the band's former members Draško Nikodijević and Predrag Vuković, with a group of young musicians, formed the band Igra Staklenih Perli The Next Generation, releasing their debut album Apokaliptus in 2013.[26]
Other notable bands that incorporated progressive rock elements into their music include
Hard rock and heavy metal (early 1970s – present)
Although some of the 1960s bands performed covers of songs by
The late 1970s featured the appearance of hard rock bands
The beginning of the 1980s saw the appearance of first
The late 1980s featured the appearance of the band
The late 1980s also saw the emergence of the first extreme metal acts, which saw little mainstream popularity in Serbia and former Yugoslavia in general during the 1980s. The thrash metal band Heller, formed in 1985, released arguably the first thrash metal album in South-Eastern Europe and was one of the pioneers of Serbian and former Yugoslav extreme metal scene. Another pioneer of the former Yugoslav extreme metal scene, speed/thrash metal band Bombarder, originally based in Sarajevo, moved to Belgrade after the beginning of the Bosnian War, where the band continued to record and perform.[35]
The 1990s featured only several notable, mostly
The 2000s also saw the revival of the hard rock scene. The hard rock band Cactus Jack, influenced by the 1970s hard rock, was formed in 1998, but saw their commercial success in the 2000s. The post-grunge/hard rock band Night Shift, even though formed in 1991, released their debut album Undercovers in 2002. The album, which featured covers of songs by various rock and pop artists, was well received by the audience and the critics, and the band moved towards writing their own songs, releasing their second album Bez zaklona in 2009. The second half of the decade featured the appearance of new hard rock acts, like Atlantida, Art Diler, Death Saw, and others.
Blues-rock (late 1970s – present)
Despite the facts that many 1960s rock bands, such as
During the 1980s many notable blues/
Punk rock, post-punk and gothic rock (late 1970s – present)
The development of punk rock in Serbia started in Novi Sad with the bands Pekinška Patka and Gomila G, both formed in 1978. Pekinška Patka, formed by vocalist Nebojša Čonkić, pronounced themselves "the first Orthodox punk rock band", which was against the attitude of the League of Communists of Yugoslavia, which promoted atheism. Another pioneer of punk rock in Serbia was the band Gomila G (this name being a censored version of Gomila Govana, trans. A Pile of Shit), also from Novi Sad. The band initially performed cover versions of Ramones and Sex Pistols songs, but soon started writing their own songs. Gomila G usually performed as an opening act for Pekinška Patka, and their appearance at the Celebration of the World War II liberation of Stepanovićevo in 1979, where the band performed the song "God Save Martin Bormann" and Čonkić of Pekinška Patka blown condoms on stage, made the media turn against the two bands, even asking for banning of their public appearances. Gomila G disbanded in 1980 as the band members, guitarist Žolt Horvat and drummer Robert Radić formed the first Serbian ska band, Kontraritam.
In the meantime, Pekinška Patka gained mainstream popularity and recorded their first releases. At the Subotica Festival Omladina they won the Audience Award and their whole performance was broadcast on national television, which was the first TV appearance of any punk rock band in Yugoslavia. The popularity of the band then gave them the opportunity to release two singles, and then a studio album, Plitka poezija, the first punk rock album by a Serbian band, released in 1980 by Jugoton. After the album release, the lineup changed, and the arrival of the young Zoran "Bale" Bulatović on guitar, brought the stylistic changes, firstly moving towards new wave, and eventually to post-punk. The band's second album Strah od monotonije is considered the first post-punk release in Serbia and former Yugoslavia. After the album release, the band disbanded.
The appearance of the first post-punk album on the Serbian scene influenced appearance of post-punk and
The second generation of punk rock acts in Serbia featured
Other prominent representatives of the second generation of punk rock bands in Serbia featured Kragujevac bands KBO! and Trula Koalicija, both formed by Saša "Vuja" Vujić. Vujić formed KBO! in 1982, and their first recordings were released by foreign record labels, which was also the case with their first official studio album, Forever punk (1989). The band performed in many foreign countries, and also formed their own independent record label, KBO! Records, which released the band's demo recordings and studio albums. Vujić also formed the band Trula Koalicija in 1986 with the vocalist Predrag "Skaki" Drčelić.
Punk rock continued to be popular in the 1990s with the appearance the bands
The 2000s featured disbandment and reunions of many punk rock groups. In 2001, Goblini disbanded, reuniting in 2010.
New wave (late 1970s – early 1980s)
The origin of the
Idoli, Šarlo Akrobata and Električni Orgazam had their first recordings released on the compilation Paket aranžman, today considered one of the most prominent Serbian and Yugoslav rock releases, and by the time the compilation was released, the bands had already started working on their debut albums. The promotional video for Idoli song "Maljčiki" which followed the release of the compilation featured a parody of soc-realist iconography. It was broadcast for the first time at the New Year's Eve on the then-popular Rokenroler show on the national television, and the Soviet embassy sent a protest note to the TV and radio stations which broadcast the song and some of them banned it. During the same show, for the first time were broadcast the promotional videos for Električni Orgazam's "Krokodili dolaze" and Šarlo Akrobata's "Niko kao ja", all three appearing on the compilation. Idoli released their self titled EP in 1981 and Odbrana i poslednji dani in 1982, the latter polled in 1998 as the greatest Yugoslav popular music album in the book YU 100: najbolji albumi jugoslovenske rok i pop muzike,[49] Električni Orgazam released their self titled debut in 1981 and post-punk oriented Lišće prekriva Lisabon in 1982, and Šarlo Akrobata released their only album, Bistriji ili tuplji čovek biva kad... in 1981. Električni Orgazam and Šarlo Akrobata also had short tours in Poland and the Polish bands recorded a tribute to the Yugoslav rock bands, including cover versions of Idoli and Električni Orgazam songs, released on the 2001 album Yugoton. By 1983, Idoli and Električni Orgazam had moved towards mainstream pop and rock, and Šarlo Akrobata disbanded.
Due to the success of Paket aranžman,
Other notable new wave acts include Belgrade acts Bulevar, fronted by later Bajaga i Instruktori vocalist and solo singer Dejan Cukić, which released two albums, Loš i mlad (1981) and Mala noćna panika (1982), Piloti, which released albums Piloti (1981) and Dvadeset godina (1982) before disbanding, turning towards pop rock after their 1987 reunion, and Kozmetika, which released only one album, Kozmetika (1983), and Novi Sad act Čista Proza, which released only one album, Čista Proza (1983). Initial works of the bands Laki Pingvini and Zana were new wave-oriented, but these acts later moved towards more commercial pop rock and synthpop. During the early 1980s, new wave influences were present in the works of Grupa I, Du Du A, Pekinška Patka, Kontraritam, Doktor Spira i Ljudska Bića, La Strada, Obojeni Program and Gjurmët, as well as in the works of some acts that gained popularity in the 1970s, most notably Slađana Milošević and Laboratorija Zvuka.
Synthpop (early 1980s – mid-1980s)
One of the first Serbian
With the decline of the
Other notable synthpop acts include bands
Funk rock (early 1980s – present)
In the following decades funk rock was again popularized in Serbia with the appearance of Deca Loših Muzičara and Plejboj in the 1990s. Formed in 1988, Deca Loših Muzičara played a combination of funk and rock, found on their albums Dobar dan (1992), and Prolećni dan (1995). In 1998, the band wrote music for the Virus theater play, in which the main character was played by the actor Ivan Jevtović, who, after the release of their 2005 studio album ...gde cveta Samsung žut, joined the band as a new vocalist, replacing Aleksandar Siljanovski. Plejboj, formed in 1992, combined funk and soul with ska, punk rock, jazz fusion and pop rock on their albums Sviraj dečko (1994) and Overdrive (1997).
Alternative rock (early 1980s–present)
The alternative rock scene developed in the early 1980s with the decline of the
In Belgrade, former
The second half of the 1980s brought the formation of the prominent alternative rock acts which gained the mainstream popularity with their works during the 1990s,
The beginning of the 1990s featured the prominent alternative rock acts:
The mid-1990s featured the disbandment of
The 2000s brought new alternative rock acts, large number of them usually denoted as Nova srpska scena (New Serbian Scene).
Oi!, ska, hardcore and pop punk (late 1980s–present)
The late 1980s brought a variety of
The Oi! scene, with Ritam Nereda and Direktori, quickly found the way to the fans with their political-related lyrics, aggressive music and effective live performances. Direktori, unlike Ritam Nereda, were also turned towards ska music, which became very popular on the Serbian scene. Even though ska appeared in the early 1980s with the band Kontraritam, formed in 1980, which released only one album before disbanding in 1983, it was only with the bands like Plejboj and Familija that it gained a vast number of fans. Plejboj, formed in 1992, gained popularity with their combination of punk rock, ska, soul, funk, jazz fusion, and pop rock, found on their albums Sviraj dečko (1994) and Overdrive (1997). Familija, formed in 1994, gained popularity with their ska/pop rock songs with humorous lyrics found on their albums Narodno pozorište (1994) and Seljačka buna (1998). However, despite the success of the releases, they disbanded in 1998. In 2003, the band's former vocalist Dejan Pejović formed the band The Dibidus, whose albums The Dibidus (2003) and Trenerka i sako (2011) were stylistically similar to the works of Familija.
Hardcore punk scene, founded in the late 1980s, gained the mainstream popularity in the 1990s with the bands
Pop punk scene in Serbia mainly developed in the 1990s, due to the popularity of the bands
Industrial rock (late 1980s–present)
Despite being a part of the developed Yugoslav
Several notable acts incorporated industrial rock elements into their sound: grindcore band Urgh!, with their 2001 album Sumo, alternative rock band Dža ili Bu, with their 2007 album Ultra muk, and alternative rock act, Supernaut, drawing on many different musical influences, featured a kind of experimental variant of industrial rock.
Grunge and post-grunge (early 1990s–present)
The bands Block Out from Belgrade and Bjesovi from Gornji Milanovac were the representatives of grunge on the Serbian rock scene. After their debut album Crno, belo i srebrno (1994), the early hard rock concept of Block Out started to move towards a darker, heavier atmosphere and sound under Nikola Vranjković's songwriting. The followup Godina sirotinjske zabave (1996) featured the material written during the six years of the band existence, and the lyrical themes were mainly oriented around the end of socialism in Serbia. With the release of the next album, San koji srećan sanjaš sam (1998), the band moved from grunge sound towards art rock and alternative rock. Bjesovi released their debut U osvit zadnjeg dana in 1991, but achieved success with the release of their second, self-titled album (1994). Achieving success with the album, the band turned towards religiously oriented lyrics and music on their following album Sve što vidim i sve što znam (1997). After the album release, Bjesovi disbanded, after which the band member Goran Marić became one of the originators of the Christian rock project Pesme iznad istoka i zapada (2001).[55] The band reformed with a new lineup in 2000 and released Bolje ti in 2009.
The 2000s featured three notable
Britpop (early 1990s – present)
Britpop appeared in Serbia with the band Eva Braun from Bečej, and the band's faction Popcycle. Eva Braun was formed in 1990 by Goran Vasović, Petar Dolinka and Milan Glavaški. Influenced by The Beatles, Little Richard, The Byrds, and the Serbian band Idoli, the band released their debut album Prisluškivanja in 1992. The album had minor hits, but the single "Sasvim običan dan" found on the band's second album Pop music, released in 1995, had drawn the public's attention to the band's work. The Rolling Stone review of the album described the album as "the best Brit-pop album never to come out of the UK".[58] Despite the success of the release, the internal conflicts lead to the disbandment of the band. Part of the band moved to their newly formed band Popcycle, while Vasović, with a new lineup reformed Eva Braun. The band's third album Heart Core repeated the success of the previous release, and the band, having performed at the International Pop Overthrow, also gained the opportunity to release an album for the North American market with the release of Nowhere Land. In 2000, the band started working on an ambitious project which came out as Everest in 2001, however, after the album release, the band disbanded. Popcycle, formed by former Eva Braun members Petar Dolinka and Milan Glavaški, released their debut album Orbitalna putovanja in 1996, and Popcyclopedia in 1997. The band disbanded in 1999, and Dolinka and Glavaški reunited with the rest of the original Eva Braun lineup in 2007, releasing the album Playback in 2011. In 2006, Glavaški, with a group of Serbian and Hungarian musicians formed his side project, alternative country/pop rock band Rebel Star.
Other notable representatives of the Serbian britpop scene are Kristali, Veliki Prezir, Instant Karma and Lutke.
Irish folk and Celtic rock (early 1990s – present)
The
During the early 2000s, appeared two bands, Tir na n'Og and Irish Stew of Sindidun, both from Belgrade, inspired by the works of Orthodox Celts. Tir na n'Og, formed in 2000, performed a combination of Irish and Serbian folk music with punk rock, and their debut album Tir na n'Og was released in 2006.[59] However, in 2008, the band changed the name to Alfapop and moved towards power pop sound.[60] Irish Stew of Sindidun, formed in 2003, having started as a cover band, started writing their own material. The band recorded their debut album So Many Words... in 2005. In 2011, they released New Tomorrow, their first album not to feature any covers of Irish folk songs.
New Serbian Scene (late 2000s – early 2010s)
The term Nova srpska scena (New Serbian Scene) was coined in the second half of the 2000s by the web magazine Popboks, which was initially one of the main promoters of the scene.
In 2007,
At the turn of the decades, the scene started to dissolve, as the band's started to set off towards their individual careers, with some of them, like S.A.R.S. and Zemlja Gruva, achieving large mainstream popularity and the others remaining popular in alternative rock circles only. In 2013, Popboks announced the end of its activity, publishing its final text on 25 August 2013.[73]
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See also
- Music of Serbia
- Popular music in the Socialist Federal Republic of Yugoslavia
- New wave music in Yugoslavia
- Punk rock in Yugoslavia
- YU Rock Misija
- Rockovnik