Slađana Milošević and Neutral Design – Neutralni Design (1983)

All right, continuing with the aforementioned Top 5 records (since our departure) this one also fits in this relation, a very very sick New Wave entry with a talented and flamboyant artist who broke all standards back in the day and still are, either performing, writing, modeling or producing she maintains herself as one of the greatest personas of former SFR Yugoslavia, Serbia and even expanding her horizons all over Europe and America.

This is a killer LP, and we will only start off with, so more will come eventually, shall we?

Let’s go to our artist:

Aleksandra “Slađana” Milošević Hagadone (born 1955 October 3 in Belgrade, PR Serbia, FPR Yugoslavia), better known as Slađana Milošević. Her talent for music became very apparent at an early age, so she started education in classical music at the age of five, playing the piano. A few years later, her interest turned to study the violin. Eventually, she embraced rock and the bass guitar performing in school and recording at the age of 15. (!)

Sasha Subota Orchestra – 1976

From then on, her interests had shifted towards various artistic expressions such as acting, playing music and dancing in the fringe theatres and experimental movies. She acted in Belgrade’s Ex Art Theatre, Atelje 212 Theatre and in Academic Kino Club Krsmanović. In 1976, she toured the Soviet Union as a soloist in the Sasha Subota Orchestra, where she had recorded a compilation of World Hits and a single Mikado for Soviet label Melodiya.

Being in constant discordance with the restrictive regime and the media, despite all the efforts, she could not release a solo record in her homeland for many years. Thus, she invests her funds and finally manages to produce and release the first single in 1977.

An Ordinary Gal – 1977

Unexpectedly, it had achieved immediate success hitting No. 1 on the charts. Milošević’s provocative first song “Au, Au” caused many controversial reactions inside the regime. However, her creative potential, persistence, and consistency of ideas had won over. She influenced younger musicians and other less courageous, to follow her bold path.

From then on, every song she had released hit the top of the charts: “Au, Au” (1977), Simpatija” (1978), “Sexy Dama”(1978), then “Amsterdam”, and “Očigledno Nije Mi Svejedno”, off her first and highly-rated LP Gorim Od Želje Da Ubijem Noć from 1979. Milošević’s fame spread throughout the entire region and the surrounding countries. For instance, at midnight, the Hungarian audience celebrated with Alexandra an arrival of the New Year 1979, through her one-hour performance on National TV, Budapest.

Gorim Od Želje Da Ubijem Noć Tour

In 1982, she embarked with her band on a national Yugoslav tour with English rockabilly legends Matchbox. In 1983, she started a band “Neutral Design” in Munich, Germany and released a self-titled album. Musicians in this project collaborated with bands known worldwide such as Santana and Nina Hagen Band. Songs off of this LP were broadcast and sold in West Germany, Sweden, Yugoslavia, and other European countries.

A single “Das Licht von Kairo / Miki, Miki” released in Yugoslavia, became a mega-hit.

Therefore she would only ascend with a myriad of prizes, world tours, and a 1988 LP. Slađana eventually moves on to different countries, expands her professional acting, waning her solo acts in the 90s releasing her last album in 2000, Animal Tested.

Neutral Design Era

Let’s go to our album:

With an incredible variation of rhythms and influences, this is her most mature and lasting album, for a certain period I heard it repeatedly for months, something that grows inside you, a perfect photograph of what was the effervescent beginning of the ’80s.

Being the chameleon she always was, soon Slađana would follow a more Pop direction in ’84 and walk the paths of Jazz on her subsequent album.

Contemporary of Nina Hagen and Bebi Doll in the exotic, provocative and singular aesthetics senses she remains one of the greatest stars of her country and beyond!

1984

The ‘IM’ highlights are Klown I Smrt, a dark-reggae with a wall of synths and Nad Tobom Anđeli Imaju Moć a soothing cyclotomic ballad.

Tracks Include:

A1 Das Licht Von Kairo (Svletla Kaira)
Lyrics By M. Bajagić
Music By, Arranged By P. Labontie

A2 New York
Arranged By S. Milošević
Guitar (Solo) Rudolf Gast
Lyrics By D. Đurić
Music By B. Werber

A3 Hey, Little Boy
Written-By Slađana Milošević

A4 Klovn I Smrt
Arranged By S. Milošević
Lyrics By M. Bajagić
Music By B. Werber

B1 Miki, Miki
Saxophone (Solo) Mića Marković
Written-By Slađana Milošević

B2 Neko Je Tu (Sa Mnom U Sobi)
Arranged By S. Milošević
Lyrics By M. Bajagić
Music By B. Werber

B3 Nad Tobom Anđeli Imaju Moć
Written By Slađana Milošević

B4 Ja Sam Neka Čudna Vrsta
Lyrics By M. Tadić
Music By, Lyrics By, Arranged By S. Milošević

Musicians

Bass: Pit Zaepernick
Drum Programming, Synthesizer (Prophet 5), Organ (Hammond B3): Attila Terry
Guitar, Drum Programming, Effects: Bruce Werber
Producer, Vocals, Guitar, Drum Programming, Effects: Alexandra Sladjana M.
Synthesizer (Roland V, Yamaha): Alex Grunwald
Synthesizer (Roland, Korg), Programmed By (Synthesizer): Florian Anwander

Credits

Design: Gordan Škondrić
Mixed By: Uli Rudolf
Photography: Ljubo Trifunović
Recorded By: Cristian Leibi

Notes

Jugoton ‎– LSY-63185

Recorded at Western Studio, Munich, Germany.
Mixed at Aquarius Studio, Belgrade, Yugoslavia.

Nowadays

Izabela Trojanowska ‎– Układy (1982)

Today’s artist does not have an extensive musical career, but as it always here on the IM’ it is worth checking it out! Due to political problems at the height of its popularity she was forced to leave Poland only to return after 7 years, close to the fall of the USSR. Also a talented actress Izabela remains today as an active performer, with a 2016 latest release.

Let’s go to our artist:

Izabela Ludwika Trojanowska (born Izabela Ludwika Schütz; 22 April 1955) is a Polish singer and film actress, she first appeared in a short-running 1979 TV series Strachy and subsequently played the title role in the feature film Carmilla. She rose to fame in 1980 with the hits “Tyle Samo Prawd Ile Kłamstw” and “Wszystko Czego Dziś Chcę”, the latter performed to a big success at the National Festival of Polish Song in Opole, accompanied by the legendary Polish rock band Budka Suflera. In a meteoric rise up Trojanowska became one of the most popular singers of the early 1980s in Poland.

Izabela, The Actress in 1979

At the very beginning of this decade, Izabela established trends in music. As an artist, she traveled the world, watching her peers live abroad. In the stores, on the shelves, however, there were only vinegar, and potatoes with kefir given to eat. She wanted to sing about what was bad in the country, what really hurt Poles. Soon, she became the enemy number one for power and a hero for society. With an androgynous look, backed up by an astounding band and acid lyricists Izabela started her upswing with Romuald Lipko, Budka Suflera’s leader. He composed eight tracks for her debut album, simply entitled Iza and released in 1981. The record was ordered in a record circulation of nearly one million copies, however, due to technical reasons, only 50,000 were sold on the market copies and a cassette tape. However, the singles promoting her spread over 300,000 copies (!!)

Who Loves Iza?

The same year Trojanowska teamed up with another rock band, Stalowy Bagaż, with whom she recorded an EP and performed at the Opole Festival. Their performance drew controversies as she was wearing a red tie on stage, typical for the outfit of the members of Union of Polish Youth (ZMP). The organization accused her of desecrating the symbol of the Union as its performance of ‘Song of the Brick’ caused that Solidarity also turned away from her. After the scandal broke out she began being persecuted by the authorities.

By early 1982, Izabela finished recording her second LP, Układy. The album showcased a rockier sound and spawned hits “Brylanty” and “Karmazynowa Noc” with more than 100.000 copies sold. Later that year, she paired with Tadeusz Nalepa for the album Pożegnalny Cyrk (released commercially in 1993), whose politically charged lyrics strongly criticized martial law in Poland. That record was withdrawn by the censorship office. Burned by Solidarity, persecuted by the authorities she emigrated in 1983.

The Star in 1982

In the following decades, Izabela only released 5 records being Na Skos the latter and also it’s best, placing the good old rock n roll ahead of more Pop-English oriented songs.

Izabela stated: ‘At the beginning of the crazy and wonderful eighties together with Romuald Lipko and Andrzej Mogielnicki we were able to prepare a repertoire that electrified people. Then there was a lot of electricity in the air… Then came the next records … I am always happy to come back to singing, even after a long break. I take it as seriously as I do acting, maybe even more frightened… One thing I know: I would never want someone to say that I am the best singer among actresses and the best actress among singers.’

Let’s go to our album:

‘Na Skos’ Cover

Everyone seems to forget this second album always recurring to the first one Iza to talk about her but here in the IM we go deeper! This one is a fav of mine, with a strong post-punk and synth-pop feelings, showcasing how things were more liberal in countries such as Poland and Yugoslavia, at least in musical terms as we know it. Chodź Usłysz!

The ‘IM’ highlights are Obejdzie Się Bez Łez and Nic Naprawdę

Tracks Include:

A1 Układy
Backing Vocals: Bogdan Gajkowski / Guitar: Aleksander Mrożek

A2 Obejdzie Się Bez Łez
Backing Vocals: Jan Borysewicz

A3 Mało Siebie Znam

A4 Brylanty

B1 Karmazynowa Noc

B2 Daj Boże Daj
Backing Vocals: Bogdan Gajkowski

B3 Nic Naprawdę

B4 Obce Dni
Guitar: Aleksander Mrożek

B5 Układy
Guitar: Aleksander Mrożek

Credits
Bass: Wojciech Bruślik
Drums: Andrzej Dylewski
Guitar, Guitar (Solo): Jan Borysewicz
Keyboards: Janusz Grzywacz
Lyrics By: A. Mogielnicki

Music By: A. Mrożek (tracks: A1, B4), B. Gajkowski (tracks: A4, B3), J. Borysewicz (tracks: A2), W. Bruślik (tracks: B2), W. Trzciński (tracks: A3, B1)

Arranged By: A. Mrożek (tracks: A1, B4, B5), B. Gajkowski (tracks: A4, B3), J. Borysewicz (tracks: A2, A3, B1, B2), W. Bruślik (tracks: B2)

Engineer: J. Mastykarz
Engineer (Assistant): W. Żywioł

Notes
Recorded at Studio Nagrań ZPR Teatru STU, Kraków 1982. Tonpress ‎– SX-T 12

Solidarność Rally

Šarlo Akrobata – Bistriji Ili Tuplji Čovek Biva Kad… (1981)

folder

Šarlo Akrobata (Charlot the Acrobat, a Serbo-Croatian version of Charlie Chaplin‘s name) was a seminal Yugoslav post-punk band from Belgrade. Short-lived but extremely influential, being one of the most important acts of the Yugoslav new wave movement (Novi Talas). The power-trio left an indelible mark on the entire music scene, playing skeletal, energetic ska-core with a post-punk sound reminding of Gang of Four, XTC, The Stranglers, Public Image Limited, and Frank Zappa!

If you want to know a little more about the rock development in Serbia and former Yugoslavia, pay a visit on our last entries, Katarina II and Discipline Kičme.

Let’s go to our artist:

The origin of the new wave scene in Serbia can be found in Belgrade late-70’s bands Zvuk Ulice, Limunovo Drvo, and Hipnotisano Pile. These three featured the future members of milestone groups Idoli, Šarlo Akrobata, and Električni Orgazam.

Električni Orgazam
Električni Orgazam

Guitarists Milan Mladenović and Dragomir Mihajlović performed hard rock for two years in Limunovo Drvo, before adopting the punk rock on the arrival of the bassist Dušan Kojić ‘Koja’ and drummer Ivan Vdović ‘VD’. After the departure of Mihajlović (who would play on Katarina II), they finally renamed to Šarlo Akrobata!

Over 1980-81, its first recordings were released on the compilation Paket Aranžman, today considered one of the most prominent Serbian/Yugoslav rock releases. After a second prize on Subotica Youth Fest and performance on Zagreb Bienalle, they recorded their only album, Bistriji Ili Tuplji Covek Biva Kad… (Brighter or Dumber a Man Gets When…) in April 1981, combining punkish energy with dissonant, avant-garde, and a daring approach both to the playingrecording, and performance.

Milan, Koja & Ivan = Šarlo Akrobata
Milan, Koja & Ivan = Šarlo Akrobata

The band disbanded in the winter of 1981 after a tour in Poland; Milan Mladenovic started a successful and prolific group Ekatarina Velika, and Dusan Kojic formed the progressive punk act Discipline Kičme. The alleged reason was different views on how to continue their musical expression; around 1982, the New Wave scene started to decline, as a large number of acts moved towards a more commercial sound.

During the ’80sĐorđe Balašević, for instance, dominated the mainstream pop scene, but various other rock genres also emerged, such as Jakarta, Oktobar 1864, Beograd, La Strada, Zana, and Rambo Amadeus, starting to develop and gain mainstream popularity, not only in Yugoslavia but all around Eastern Europe!

Pekinška Patkathe, the first Orthodox punk rock band, 1978!
Pekinška Patkathe, the first Orthodox punk rock band, 1978!

Let’s go to our album:

A unique punk record, full of furious guitar riffs, raw bass sound, and wild shouting! Lyrics are either nonsensical, randomly recited, either rebellious, a true example of punk angst, either minimalistic representing an auditive graffiti painting. (!)

This is a record full of studio tricks that are deconstructing a classical approach to the songwriting, gradually (or abruptly) adding/subtracting instrumental layers in the songs, repeating simple one-two-three-four chorus ad nauseam, making at mantra at first, and then deconstructing it by simply adding polyrhythmical pattern on bass, while drums get heavily processed with an echo effect and other modulations.

1981
1981

Lastly, this record is a lot different from everything that we used to hear so far, Avant punk is the perfect title to add to these crazy geniuses, forget about Ekatarina Velika (my personal favorite) and other Serbian entries, this is where it all began, observe closely and plunge forward into it, the one and only Šarlo Akrobata!

The ‘IM’ highlights are Rano Izjutra and O, O, O

Trip Da!

Tracks Include:

A1 Šarlo Je Nežan

A2 Pazite Na Decu (I)

A3 Fenomen

A4 Sad Se Jasno Vidi

A5 Rano Izjutra

A6 Ljubavna Priča

A7 Samo Ponekad

B1 Čovek

B2 Bes

B3 O, O, O …

B4 Problem

B5 Ja Želim Jako

B6 Pazite Na Decu (II)

Credits

  • Bass, Vocals: Koja
  • Drums, Vocals: Ivan Vdović
  • Guitar, Vocals: Milan Mladenović
  • Design, Photography: Goran Vejvoda
  • Photography: Danko Đurić
  • Artwork (Design): Šarlo
  • Producer, Music, Arranged, Lyrics: Šarlo Akrobata
  • Producer: Toni Jurij, Mile Miletić
  • Producer, Recorded: Đorđe Petrović

Notes

Recorded in Studio 5, Beograd, April-May 1981.

  • Recorded: Studio V PGP RTB
  • Printed: GIP Beograd

Jugoton ‎– LSY 66145

Nikola Tesla and its Magnifying Transmitter
Nikola Tesla and its Magnifying Transmitter

Disciplina Kičme – Ja Imam Šarene Oči (1985)

capa cópiaThe Socialist Federal Republic of Yugoslavia was the Yugoslav state that existed from the end of WWII (1945) until it was formally dissolved in 1992 amid the Yugoslav wars. It was a socialist state that comprised the area of the present-day independent states of Bosnia and Herzegovina, Croatia, Republic of Macedonia, Montenegro, Serbia, Slovenia, and Kosovo. Outside the Eastern Bloc, but a founding member of the Non-Aligned Movement and as such, it was far more opened and tolerant to western influences comparing to the (many) other socialist states.

Unlike the citizens of other Socialist countries, Yugoslavs enjoyed the freedom of travel and had easy access to Western popular culture. The Yugoslav pop and rock music scene was well developed and covered in the media including numerous magazines, radio and (pioneering) TV shows. SFR Yugoslavia was also the only Socialist country which was taking part in the Eurovision Song Contest, it joined in 1961 even before Western nations such as Portugal, Ireland, Greece and Turkey. (!)

Stjepan Filipović / 'Death to fascism, freedom to the people!'
Stjepan Filipović / ‘Death to fascism, freedom to the people!’

Let’s go to our music:

The new wave music scene emerged in the late ’70s worldwide and had a significant impact on Yugoslav culture. Like its counterparts, the British and the US movement, the Yugoslav new wave was also closely related to Punk Rock, Ska, Reggae, 2 Tone, Mod Revival, etc. The period around 1982 is considered especially crucial concerning the decline of the scene in Yugoslavia, and around the globe.

Zoran Kostić-Cane, the former vocalist of Radnička Kontrola, formed the furious garage punk group Partibrejkers and achieved huge success. Idoli, Prljavo Kazalište, and Film became pop-rock and all of them respectively achieved great mainstream success. The cult band Azra gradually moved on to a more conventional folk-rock sound and Električni Orgazam went through a psychedelic phase.

Partibrejkers, 1981
Partibrejkers, 1981

Symbols of the Yugoslav new wave era are the compilation albums Paket Aranžman, Novi Punk Val, Artistička Radna Akcija and especially movies Davitelj Protiv Davitelja (starring Idoli member Srđan Šaper) and Dečko Koji Obećava (featuring appearances by Šarlo Akrobata and Idoli). Also, an important rockumentary covering this effervescent period is Sretno Dijete, check it out! Lastly, Dušan Kojić-Koja, the former bass player of Šarlo Akrobata formed the legendary group Disciplina Kičme.

This period in the former Yugoslav music is considered a Golden Age Era!

Paket Aranžman (Compilation), 1981
Paket Aranžman (Compilation), 1981

Let’s go to our artist:

Disciplina Kičme (Spinal Discipline), currently working under the slightly altered name of Disciplin A Kitschme, was one of two spin-offs of the seminal Belgrade post-punk/new-wave band Šarlo Akrobata, the other being Ekatarina Velika.

Founded in 1982 by Dušan Kojić-Koja (bass and vocals), Disciplina Kičme was characterized by unconventional line-ups: bass + one or two drummers, sometimes with and without a brass line. Musically, they are best described as an aggressive and artistic rhythmic explosion, experimenting and seeking out new expressiveness while finding (plenty) inspiration in the traditions of punk rock, funk, jazz fusion, noise, drum n’ bass and even the works of Jimi Hendrix. (!)

Disciplina Kičme (Koja & Zica), 1982
Disciplina Kičme (Zica & Koja), 1982

Let’s go to our album:

After the first independent album release Sviđa Mi Se Da Ti Ne Bude Prijatno (1983), the band continued performing in major Yugoslav cities, mainly in small clubs, and in 1985, they released an EP Ja Imam Šarene Oči (I Have Colorful Eyes), with the single ‘Novac Neće Doći’, released by Slovenian label Dokumentarna.

Todorović did the drums and Krasavac appeared only on the intro for the track ‘Sviđa Mi Se…’ and on ’28. jun 1984′ recorded live at Belgrade’s SKC on the same date. Kojić produced the EP and for the first time included a trumpet played by Jugoslav Muškinja. Along the decades they passed through many different line-ups and styles, with a (very) active career, being internationally recognized.

Nowadays, the band enjoys a solid cult status and the last album from 2011!

Disciplin A Kitschme
Disciplin A Kitschme

Disciplina Kičme also held three albums in the YU 100: The Best albums of Yugoslav Pop and Rock music book: Sviđa Mi Se Da Ti Ne Bude Prijatno (No. 52), Zeleni Zub Na Planeti Dosade (No. 32) and Svi Za Mnom! (No. 65) (!)

The ‘IM’ highlights are Veruj Meni! and Vaspitanje.

Góða Ferð!

Tracks Include:

A1 Doboš 7 Puta (Snare Drum 7 Times)

A2 Novac Neće Doći! (Money Won’t Come)

A3 Veruj Meni! (Trust Me!)

A4 Pristanište (Pier)

B1 Sviđa Mi Se… (I Like…)

B2 Pregršt Novca (Plenty of Money)

B3 Vaspitanje (Manners)

B4 28. Jun 84!

Credits

  • Bass, Vocals, Bells: Koja (Dušan Kojić)
  • Drums, Percussion (Daire): Zica (Srđan Todorović)
  • Drums on 5 and 9: Nenad Krasavac
  • Handclaps: Đorđe Kostić, Nenad Krasavac
  • Music, Lyrics, Artwork (Cover): Dušan Kojić
  • Trumpet: Jugoslav Muškinja
  • Photography: Igor Petrović
  • Producer: Disciplina Kičme
  • Producer, Handclaps: Darko Milojković
  • Recorded: Enco Lesić
  • Recorded, Producer: Miroslav Cvetković

Recorded at studio Druga Maca, Beograd, September 1983 / 12’’ EP

B4 recorded live in SKC on 28.06.1984 w/ Branislav Trivić (sax), Zekerman (trumpet)

Dokumentarna ‎– DOK P-4

Belgrade Fortress
Belgrade Fortress

Katarina II – Katarina II (1984)

capaAfter the quintessential Belgrade new wave band of the early ’80s, Šarlo Akrobata, hit the rocks, the trio essentially splintered in two directions. Bass player Dušan Kojić went on to form Disciplina Kičme, where he continued to experiment with various musical influences, while the more lyrical, poetic of the two, vocalist/guitar player Milan Mladenović, opted to form Katarina II. Named as such, the band which later reached starry (in local terms) heights under Ekatarina Velika moniker released only this album, which quickly became a cult favorite in old Yugoslavia.

The New Wave music scene emerged at the end of the ’70s, it was especially advocated by the music magazines Polet from Zagreb and Džuboks from Belgrade, and by the TV show Rokenroler, which was famous for its artistic music videos.

Šarlo Akrobata
Šarlo Akrobata

Important bands of the Yugoslav new wave are Šarlo Akrobata, Idoli, Prljavo Kazalište, Azra, Električni Orgazam, Aerodrom, Atomsko Skoloniste, Laboratorija Zvuka, Lačni Franz, Gu Gu, Hazard, Moulin Rouge, and many others. (!)

Let’s go to our artist:

Ekatarina Velika (Catherine the Great, also called EKV) was a rock group from Belgrade, Serbia. During its existence, EKV built up a devoted following that greatly intensified and expanded after the death of its frontman Milan Mladenović in 1994, which caused the band to dissolve. The group’s core consisted of singer and guitarist Milan Mladenović, keyboardist Margita Stefanović and bassist Bojan Pečar.

Initially named Katarina II, was formed in February 1982 following the breakup of Šarlo Akrobata, Katarina II’s self-titled debut album finally came out in 1984.

Magazine Issue
Magazine Issue

After the release the group fell apart due to artistic differences, guitarist Gagi Mihajlović claimed rights to the Katarina II name, then, the remaining members settled on Ekatarina Velika. In 1985, EKV released their debut album, Ekatarina Velika, the Lp is characterized by an energetic sound and Milan’s hermetic, introspective, and metaphorical lyrics. 1986 follow up album S Vetrom Uz Lice proved to be the breakthrough album that turned them into bona fide stars!

The hits included ‘Budi Sam Na Ulici’ and ‘Ti Si Sav Moj Bol’, in addition to wider mainstream acceptance, S Vetrom Uz Lice also got some lukewarm reviews from critics complaining it sounded too much like Simple Minds and The Mission (sic).

80's Promo
80’s Promo

In 1987 the band recorded and released Ljubav, it displayed a more guitar-oriented, polished sound, partly because of new producer Theodore Yanni. It also showed the first signs of Milan’s depressive lyrics, as exemplified by song ‘Tonemo’; the band confirmed their newfound star status with two consecutive sold-out shows at Belgrade’s Hala Pionir sports arena. The 1989 album Samo Par Godina Za Nas wasn’t received well by the critics, though it does feature the song Par Godina Za Nas which was voted the best (ex) Yugoslavian rock song in 2006 by Serbian Radios!

In the ’90s the band released albums irregularly due to band changes and the political situation in Yugoslavia. Dum Dum (1991) and Neko Nas Posmatra (1993) were released but the band slowly fell apart. Milan Mladenović was diagnosed with pancreatic cancer in August and died on November 5, 1994, at the age of 36.

Margita Stefanović (RIP)
Margita Stefanović

Bassist Bojan Pečar died in London on October 13, 1998, aged 37, as a result of a heart attack. Early drummers Ivan ‘Vd’ Vdović passed away in 1992 and Dušan Dejanović died from AIDS on November 16, 2000. Keyboard player and vocalist Margita Stefanović died on September 18, 2002, drug abuse was rumored (never confirmed) to be the cause, she was 43 and the last of the original line up left. (RIP all of them)

Let’s go to our album:

The band had started the recording of the album in Beograd but due to various problems, it was finally recorded for the Slovenian label ZKP RTLJ (RTV Ljubljana). The album producer was Đorđe Petrović, and guest stars were Mario Čelik (congas) and Jurij Novoselić (saxophone) from the (famous) Croatian new wave band Film.

Initially pressed in mere 3,000 copies, Katarina II is a spirited debut effort, torn somewhere between the new wave aesthetic and polished rock sound which became the hallmark of Ekatarina Velika. Essentially, there are two main vibes to discern on this album, Milan Mladenović’s songs are more progressive in its approach, like ‘Jesen’, ‘Geto’ and ‘Aut’, contrasting with the songs written by Dragan Mihajlović, ‘Vrt’, ‘Platforme’ and ‘Treba Da Se Čisti’, which retain the structure and faux-mysticism of the previous movement (Idoli and Šarlo Akrobata).

Back Cover
Back Cover

Slotted in between is a beautiful little ballad ‘Kad Krenem Ka’, written and sang by Margita, as well as a cheery pop number ‘Radostan Dan’. Overall, it all makes for a well-rounded package, with a couple of classics (Geto and Jesen) and eclipsed influences such as Talking Heads. An absolutely essential listen, Sretan Put!

The ‘IM’ highlights are Radostan Dan and Ja Znam.

Tracks Include:

A1 Aut

A2 Vrt

A3 Platforme

A4 Radostan Dan

A5 Geto

B1 Treba da Se Čisti 1

B2 Ja Znam

B3 Kad Krenem Ka

B4 Treba da Se Čisti 2

B5 Jesen

Credits

  • Bass: Bojan Pečar
  • Drums, Percussion: Ivan Vdović
  • Guitar: Dragomir Mihailović
  • Guitar, Vocals: Milan Mladenović
  • Keyboards, Vocals: Margita Stefanović
  • Congas (Featuring): Mario Čelik
  • Music, Arranged: Katarina II
  • Photography: Aleksandar Knežević, Ivan Pešić, Srđan Vejvoda
  • Design: Margita
  • Producer, Recorded: Đorđe Petrović

Recorded at studio Akvarius, Beograd, end of December, 1983.

ZKP RTVL ‎– LD 0954

Uvac Canyon
Uvac Canyon