Vol III: Rock and Pop Music in Novi Sad in the 1980s (incomplete overview)
*subject to change*
Korekcije faktografije, dopune, HQ mp3 doprinos (bilo bi lijepo čuti Ove sezone vedri tonovi!) i slično… su dobrodošli.
Provodim dane u parku nekom, u drugi grad otplivam rekom tu spavam u potkrovlju slepom, rano uveče i posle još
“Došla su tako neka vremena” (La strada)
Novi Sad, the capital city of Vojvodina (at the time autonomous region in the north of Socialist Republic of Serbia) was a multi-cultural micro-center for new wave happenings. As with any other blog post about the ex-YU city “scenes”, this one starts with a domestic punk band too.
Pekinška patka (1978 – 81) was at the same time the first Serbian (or as their singer likes to point out as an illustration – the very first punk band from Christian Orthodox cultural setting). A lot of punk-rock scholars and fans around the world hold their debut album (at least one year late in production) “Plitka poezija” LP (1980) in high regard. It’s an example of entertaining punk with catchy hooks and exactly because of that melodic aspect Pekinška patka can be regarded as an authentic case globally. By the way, their singer Čonkić (Čonta) was a high-school professor at the time! Weirdos.
In Novi Sad there were quite a lot punk bands (Gomila G*, Crkveni pacovi*, Rafal*, Armija Spasa*, Van kontrole*, Dva minuta mržnje, Vrisak generacije, Fluorel Tačkaš*… ) of all varieties stretching the old school punk-rock tag over street-punk/Oi and later throughout whole decade over various versions* of hard-core punk. Looking back (from safe distance) it seems that Novi Sad was also capital city of street-punk/Oi in ex-YU. Obvious pick of the litter would be Dva minuta mržnje (studio demo ’84).
Pekinška patka II (1980 – 81) is yet another example of fairly successful transformation into post-punk band (quite tight instrumentally). However, Čonta’s changed persona hovering above in darker circumstances can grate my oversensitive ears on few songs. It took me years (even decades) to get accustomed. One can have impression that the second album came too soon (with obvious post-punk influences and ideas brought in with new guitarist Bulatović barely toned down) or that Pekinška patka were losing the steam towards the end. That said, I prefer “Strah od monotonije” LP (1981) nowadays.
Original guitarist/sax player of Pekinška patka left the band before completion of their second album to join newly formed young ska-punk band Kontraritam (1980-82). Thanks to exceptional rhythm section Kontraritam could easily bring it on in concert. Lucky kids with happy feet.
New wave / power-pop bands of note in Novi Sad were Pop art* (officially undocumented) and Fotomodel (with a single put out by Jugodisk).
New wave circus rock troupe Laboratorija zvuka hailed from Novi Sad too. They were often novelty guests on ex-YU TV channels playing upbeat songs specifically arranged for children or, at the other side of spectrum, they were offering lascivious tunes for adult public. “Laboratory of Sound” caravan traveled across the country quite a lot. They even had conceptual performance abroad in London at some point in mid-decade.
New wave art project La strada (1979 – 81) led by Slobodan Tišma ended prematurely with formation of Luna. From this early phase they left behind two studio songs recorded in 1980.
Luna (1981 – 84) put out only one post-punk / dark-wave album and then (acrimoniously) split up before LP even appeared in the stores. Group of distinct individuals – great drummer Fece aka Firči (would become part of EKV (Belgrade) gang soon), excellent guitarist Bulatović aka Bale (ex Pekinška patka II), cohesive organ/synth player Mitrušić aka Mina & peculiar poet Tišma (ex La strada; here as stressed-out vocalist on the verge of mental breakdown) – barely managed to keep Luna together to document their intense existence. Film noir scenario! Perhaps presence of bass player would have pushed “Nestvarne stvari” LP to an even higher level… Well, I am being fussy here because this album really is awesome as it turned out. I might be emotionally more involved with Obojeni program and Boye but regarding the post-punk time frame “Nestvarne stvari” (Helidon, 1984) is picked as the centerpiece album from Novi Sad. Recorded in autumn of 1983 it would fit perfectly in early 4AD portfolio of bands (Bauhaus, Birthday Party, Mass, Modern English, Xmal Deutschland, Wolfgang Press) closing the post-punk years of said esteemed label with a record license from Helidon label.
Luna – Nestvarne stvari (1984) – definitive post-punk album from Novi Sad
Luna sank in Danube to be washed ashore (think of some secluded river inlet overgrown with sedge rather than right between sun bathers on Štrand in summer time) as La strada II (1984 – 8?) again. Tišma kept on cooperation with Luna synth player Mina and invited Kontraritam dudes for reformed version of La strada. They recorded eponymous album in 1986 (or was it really Live Aid summer ’85?). It was pressed in even less copies than “Nestvarne stvari” by Luna. La strada were moving away from new-wave / post-punk templates towards literate guitar pop-rock (and 1960s influences). In my opinion Tišma’s vocal performance on La strada suits him better than his attempts at singing on “Nestvarne stvari”. On “La strada” (M produkcija RNS, 1987) album Tišma seemed to be more relaxed although he was unsatisfied with the end results. His brooding voice evokes (Slavonic) melancholia of river plains pretty well. In the flat field people do get bored.
Grad (1981-82) was short-lived post-punk band (DAF, Joy Divison / New Order) interested in synths and cold electronic sounds coming out of Germany.
Boye (1981 – 199?) Enough!!! Enough of street-punk boot-boy bravado! Make space for girls to rock out freely or just dance and play modern pop songs. Or whatever they like to call their style. The Raincoats and Kleenex/Lilliput … might have left an impression on girls from Novi Sad. Boye recorded two excellent albums “Dosta! Dosta! Dosta!” (PGP RTB, 1988) and “’78” (Search & Enjoy, 1990) in succession that were preceded with plenty of tentative synth-pop/post-punk demo steps around Jugoton contract. Allegedly they had enough recorded material for an album even as early as 1984.
Obojeni program (1980 – ) are indeed rock institution from Novi Sad today. Who would say. They formed in the early 1980s, finally recorded debut LP as late as 1990 for newly established indie label “Search & Enjoy” from Zagreb and… remained present. People often find Branislav Babić Kebra’s piercing vocal a required taste but to me he sounds just perfect. Band’s fascination with M.E. Smith & the fall might be constant although not directly evident in their music. I am not sure if Obojeni program were ever captured on tape before unavoidable mid-1980s hiatus (JNA). Allegedly their early years were characterized by punk-funk sound. They continued live activities in 1985/86 with revolving membership and for a couple of years band existed as drum/bass/vocal trio. At the tail end of the decade Obojeni program would find balance with new guitarist and record long-waited first album together with Dušan Kojić – Koja (Disciplina kičme, Beograd) as producer. “Najvažnije je biti zdrav” LP (1990) is legendary around these parts.
Cult postpunk band Ove sezone vedri tonovi (1981 – 83) even appeared at YURM ’82 festival in Zagreb. Velvet Underground, This Heat and RIO bands are usually mentioned as possible influences or just OSVT’s affiliation. It seems that they disappeared without the recorded evidence of existence. Few OSVT members continued with free form avant-garde group Cirko della primavera** in the second half of the decade. Low budget avant cassette label Nikad Robom originated from this group of forward (or outward) looking folk. As a side note, Đorđe Delibašić – Đoka, member of the collective, recorded SexA’s noise-rock album in Novi Sad in 1990.
According to the book “Novosadska punk verzija”Armija kontrasta ltd* were short-lived post-punk band with rhythm-machine.
Neon vojnik* (ex Crkveni pacovi), Krik maske* and Skice* (ex Linija otpora) shared common love of Killing Joke at the different time frames and probably in a slightly different way. Judging by track “Grobar” solely Neon vojnik really had something to offer. After all, Killing Joke used to be popular with UK ’82 street punks and anarcho crowds as well. Do you remember Blitz (UK) boys and their excursion into post-punk waters on their second full length album?
Mitar Subotić aka Rex Ilusivii was an experimental electronic musician and producer.
Art-rock white-funk synth-pop romantics of Novi Sad were called Heroina. Frontman Petar Janjetov is esteemed artist / comics author today. At the time of recording their only album “Heroina” (1985) they had to replace departed drummer with a drum machine. It is somewhat reminiscent of Roxy Music, Boa (Zagreb) or Gang of 4 (during “Hard”). One can easily find couple of attractive songs (nice guitar playing) while in the heart-broken mood.
Ponoćni kauboj* were rock band (with brass section) from the second half of the decade. Perhaps they realized that in “punk-rock” the part that really matters belongs to “-rock”. The only one track I’ve heard by them reminded me of Električni orgazam (Belgrade) and their own R’n’R transformation.
Hip-hop punk rockers Atheist Rap surfaced out of the hard-core punk scene in 1989 and reigned over Novi Sad (and beyond) in oncoming decades. Street-punk/Oi and hard-core in general gained momentum around that time and you get first studio recorded material by Vrisak generacije (Oi punk), Ritam nereda (Oi punk), Mr. Joint (Oi punk/HC), Kapetan Leshi (hard-core), Generacija bez budućnosti (hard-core), KNO / Invalidi uma (hard-core)…
* scarce info about these bands gathered from “Novosadska punk verzija” book