And, indeed, I will ask on my own account here, an idle question: which is better—cheap happiness or exalted sufferings? Well, which is better?---Fyodor Dostoevsky ---Notes from Underground Fyodor Dostoevsky ---Notes from Underground Even now, so many years later, all this is somehow a very evil memory. I have many evil memories now, but ... hadn’t I better end my “Notes” here? I believe I made a mistake in beginning to write them, anyway I have felt ashamed all the time I’ve been writing this story; so it’s hardly literature so much as a corrective punishment. Why, to tell long stories, showing how I have spoiled my life through morally rotting in my corner, through lack of fitting environment, through divorce from real life, and rankling spite in my underground world, would certainly not be interesting; a novel needs a hero, and all the traits for an anti-hero are expressly gathered together here, and what matters most, it all produces an unpleasant impression, for we are...
Hope
To be human is to be a miracle of evolution conscious of its own miraculousness — a consciousness beautiful and bittersweet, for we have paid for it with a parallel awareness not only of our fundamental improbability but of our staggering fragility, of how physiologically precarious our survival is and how psychologically vulnerable our sanity. To make that awareness bearable, we have evolved a singular faculty that might just be the crowning miracle of our consciousness: hope.--
Erich Fromm
EKV (Catherine the Great-Ekatarina Velika) :The greatest rock n roll band you never heard about and more from Ex YU scene
- Milan Mladenović: 21 September 1958 – 5 November 1994 - Margita 'Magi' Stefanović: 1 April 1959 –18 September 2002 - Bojan Pečar: 22 March 1960 - 13 October 1998
Ekatarina Velika (Catherine the Great, also called EKV for short) 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.
Ekatarina Velika, initially named Katarina II, was formed in February 1982 following the breakup of the band Šarlo akrobata. Katarina II's self-titled debut album finally came out in 1984. The album never gained much main-stream popularity. After the album the group fell apart due to artistic differences. guitarist Gagi Mihajlović claimed rights to the 'Katarina II' name, the remaining members settled on - Ekatarina Velika ('Catherine the Great' after Catherine II of Russia), or EKV for short. In 1985, EKV released their debut album, 'Ekatarina Velika'. The album is characterized by an energetic sound and Milan's hermetic, introspective, and metaphorical lyrics. The 1986 follow up album 'S vetrom uz lice' ('Against the wind') proved to be the breakthrough album that turned them into bona fide stars. The hits included 'Budi sam na ulici' ('Be alone on the street'), 'Ti si sav moj bol' ('You are all of my anguish'), 'Novac u rukama' ('Money in the hands'), and 'Kao da je bilo nekad' ('As if it once was'). In addition to wider main-stream acceptance, 'S vetrom uz lice' also got some lukewarm reviews from critics complaining it sounded too much like Simple Minds.
In 1987 the band recorded and released 'Ljubav' ('Love'). 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' ('We're sinking'). 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 nas' ('Just a few years for us') wasn’t received well by the critics at the time. It does feature the song 'Par godina za nas' which was voted the best (ex)Yugoslavian rock song by Serbian radio in 2006. In the nineties the band released albums irregularly due to band changes and the political situation in Yugoslavia. 'Dum dum' (1991) and Neko nas posmatra ('Somebody's watching us') 1993 were released but the band slowly fell apart. Working on 'Ponovo zajedno' ('Together again') Milan Mladenović was hospitalized in august 1994 were he was diagnosed with pancreatic cancer. He died on November 5, 1994 at the age of 36. 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. Keyboardplayer and vocalist Margita Stefanović died on September 18, 2002. Although never confirmed heavy drug use was rumoured to be the cause. She was 43 and the last of the original line up left.
If Azra is the "Balkan grit" and "street philosophy," then EKV (Ekatarina Velika) is the "Balkan soul" and "urban mysticism."
While Azra was raw and explosive, EKV was refined, atmospheric, and deeply melancholic. They were the architects of an "art-rock" sound that made alternative music mainstream in Yugoslavia.
1. The Core Trinity
The band’s identity was defined by three tragic and brilliant individuals:
Milan Mladenović: Frontman, guitarist, and primary lyricist. He was the "voice of the desert," known for his stoic stage presence and deeply ethical, almost prophetic lyrics.
Margita "Magi" Stefanović: The classically trained pianist who brought an ethereal, "high-art" texture to the band. She remains one of the most iconic female figures in Yugoslav rock.
Bojan Pečar: The bassist whose rhythmic, driving lines kept the band grounded while Milan and Magi explored the clouds.
2. The Sound: Art-Rock meets Post-Punk
EKV didn't sound like anyone else. Their music was a mix of:
New Wave & Gothic Rock: Think The Cure or Simple Minds, but with a unique Belgrade "concrete" feel.
Ethereal Keyboards: Margita’s synths created a lush, often dark atmosphere.
Milan’s Guitar: He used a lot of chorus and delay, creating a sound that felt both vast and intimate.
3. The Lyrics: "Immune to Banality"
If you loved the lyrics of Krivo srastanje, you will find EKV’s poetry equally stunning, though different. Milan Mladenović’s lyrics were often abstract and symbolic:
Water, Earth, and Air: He used natural elements to describe human emotions.
Urban Existentialism: Songs like "Ti si sav moj bol" (You are all my pain) or "Par godina za nas" (A few years for us) captured a sense of impending doom—a feeling that the world they knew was about to vanish.
4. Key Albums & Songs
"Ljubav" (1987): Often cited as their masterpiece. It’s tighter, more guitar-oriented, and features hits like "Zemlja" (Earth) and "7 dana" (7 Days).
"Samo par godina za nas" (1989): The title track is arguably the most famous EKV song. It’s a haunting anthem that many people now view as a prediction of the Yugoslav wars.
"S' vetrom uz lice" (1986): The album that made them stars, featuring "Ti si sav moj bol".
5. The Legacy of Tragedy
Tragically, almost all key members of EKV died young, mostly within a decade of the band's peak. This has given the band a mythical, almost saint-like status. They are remembered not just for their music, but as a symbol of a lost generation—the "children out of time" (Deca iz vode).
The "Azra vs. EKV" Vibe
Azra was about rebellion: Fighting the system, shouting on the street, and historical disillusionment.
EKV was about introspection: Finding beauty in the pain, the spiritual weight of living in a city, and the fragility of love.
Šarlo Akrobata were a seminal Yugoslav new wave/post-punk band from Belgrade. Short-lived but extremely influential, in addition to being one of the most important acts of the Yugoslav new wave scene, the three piece left an indelible mark on the entire music scene of former Yugoslavia.Wikipedia
The band was a trio of three immense, clashing personalities:
Milan Mladenović: (Later of EKV) On guitar and vocals. Here, he was much more aggressive and experimental than his later work.
Dušan Kojić "Koja": (Later of Disciplina Kičme) On bass. He brought a heavy, funky, and "anti-music" attitude.
Ivan Vdović "Vd": On drums. Widely considered the best drummer in the history of Yugoslav rock—a jazz-influenced genius who kept their chaotic energy together.
2. Bistriji ili tuplji čovek biva kad... (1981)
Their only album has one of the longest and strangest titles in music history (taken from a 19th-century text). It is a masterpiece of Post-Punk and Experimental Rock.
The Sound: It was nervous, jagged, and unpredictable. It mixed punk, reggae, and avant-garde noise.
The Vibe: Unlike Azra’s poetic narratives, Šarlo’s lyrics were often repetitive, minimalist, and shouted like slogans.
3. Iconic Moments
"Ona se budi" (She is Waking Up): A brilliant, moody track that appeared on the legendary Paket Aranžman compilation. It’s one of the best examples of their ability to be both melodic and experimental.
"Niko kao ja" (No One Like Me): The ultimate anthem of teenage narcissism and urban energy. It’s fast, sharp, and unforgettable.
"Mali čovek" (Little Man): A song about the struggle to stay "big" in a world that wants to keep you small—a theme that fits perfectly with your interest in the "primates" of the world.
4. The "Great Split"
The band broke up because it was physically impossible for Milan and Koja to stay in the same room. Their musical philosophies were opposites:
Milan wanted more melody and "harmony" (which led to the poetic atmosphere of EKV).
Koja wanted more noise, aggression, and "discipline" (which led to the heavy funk of Disciplina Kičme).
Miladojka Youneed was a highly influential experimental band from Ljubljana, Slovenia (formerly Yugoslavia), active between 1985 and 1998. They are best known for their "pop-core" or "synthetic-trash" style—a volatile mix of punk energy, funk rhythms, and free-jazz improvisation.
Core Identity & Sound
The band formed when members of prominent Yugoslav acts like Videosex and Martin Krpan met at a jazz workshop. They became a staple of the Ljubljana underground scene (specifically at the legendary K4 club). Their sound was famously difficult to pin down, drawing comparisons to a wild range of artists:
Luna was a seminal Yugoslav post-punk and darkwave band from Novi Sad, Serbia.While Dean Wareham's American band of the same name is more globally famous, this Serbian Luna is a legendary "cult" entity in the history of Balkan alternative music.
Origins and "Nestvarne stvari"
Formed in 1981 following the breakup of the new wave band La Strada, the group was led by poet and musician Slobodan Tišma.Their name was inspired by Bernardo Bertolucci’s film La Luna
Despite only being active for a few years, they produced what is widely considered one of the greatest albums in the history of Yugoslav rock
Idoli (trans. "The Idols") were a seminal Serbian and Yugoslav new wave band from Belgrade, active primarily between 1980 and 1984.They are widely considered one of the most influential acts in the history of Yugoslav rock.
The "New Wave" Architects
The band was founded by a group of friends, most notably:
Vlada Divljan: The "benevolent spirit" of Belgrade rock, known for his melodic genius and romantic but sharp songwriting.
Srđan Šaper & Nebojša Krstić: Who brought a more conceptual, often provocative marketing and lyrical approach to the group
Paket Aranžman (1981): This compilation (shared with Šarlo Akrobata and Električni Orgazam) is the "Big Bang" of the Belgrade scene.Idoli contributed tracks like "Maljčiki" (a brilliant satire of Socialist Realism)
Odbrana i poslednji dani (1982): Named after a Borislav Pekić novella, this is their masterpiece.It was a dense, hermetic album that explored themes of religion, tradition, and identity—topics that were largely taboo at the time.It is frequently voted as the #1 Yugoslav album of all time by critics
Azra wasn't just a band; they were a cultural phenomenon that redefined the music scene in Yugoslavia during the late 70s and 80s. Led by the enigmatic and prolific Branimir "Džoni" Štulić, they were the vanguard of the New Wave (Novi Val) movement, blending punk energy, reggae rhythms, and poetic, often biting social commentary.
Here is a look at why their legacy remains so untouchable:
1. The Core Trio
While the lineup changed over the years, the "classic" trio that defined their sound consisted of:
Branimir "Džoni" Štulić: Vocals, guitar, songwriter. The undisputed leader and visionary.
Mišo Hrnjak: Bass (the melodic "heart" of the early sound).
Boris Leiner: Drums (his driving, precise drumming gave the band its incredible energy).
2. The Artistic Eras
Azra’s discography followed a rapid, almost frantic evolution:
The New Wave Explosion (1980–1981)
The self-titled debut and the double album "Sunčana strana ulice" (The Sunny Side of the Street) established them. They sang about urban Zagreb, street life, and youthful angst. Tracks like “Balkan,” “A šta da radim,” and “Marina” became instant anthems.
The Intellectual Peak (1982–1984)
With "Filigranski pločnici" and "Krivo srastanje", Štulić’s lyrics became more dense and political. He moved away from simple love songs toward complex historical and philosophical critiques. This was the "Peak" you mentioned, where his poetry became high art.
The Solo/Experimental Phase (Late 80s)
As the trio disbanded, Štulić continued under the Azra name with various musicians. The sound became heavier and more folk-influenced (as heard on “Između krajnosti”), eventually leading to his departure for the Netherlands and his retreat into translating ancient Greek classics.
3. Why They Matter Today
The "Cult of Džoni": Štulić’s uncompromising attitude—his refusal to "play the game" and his eventually self-imposed exile—made him a mythical figure.
Social Prophecy: Many of their songs from the mid-80s are seen as prophetic warnings about the social and political decay that would eventually lead to the dissolution of Yugoslavia.
Work Ethic: Azra was famous for their marathon concerts and Štulić’s incredible output (recording over 100 songs in a single three-year span).
Krivo srastanje (1983) is widely considered one of the most significant albums in the discography of Azra, the legendary Yugoslav rock band led by Branimir "Johnny" Štulić.
Partibrejkers is one of the most influential and enduring rock bands from the former Yugoslavia, known for their raw, high-energy fusion of garage rock, punk, and rhythm & blues.Formed in Belgrade in 1982, they became a symbol of streetwise urban grit and anti-establishment attitude.
The Philosophy of "Cane"
The band's identity is inseparable from Zoran Kostić (Cane). His lyrics are famous for being sparse yet heavy with meaning—often focusing on individual freedom, integrity, and the struggle against a "hypnotized" society. His stage presence is legendary for its bluntness and occasional poetic provocations.
Key Musical Eras
The Early Years (1982–1985): They burst onto the scene with a sound that felt like a punch to the gut. Their debut album is often cited alongside Idoli's Odbrana i poslednji dani or Šarlo Akrobata's Bistriji ili tuplji čovek biva kad... as a peak of the era’s creativity, though Partibrejkers were much more primal and guitar-driven.
The Commercial Peak (Late 80s): With Partibrejkers II and III, they became a stadium-level act. This era produced their most recognizable riffs, courtesy of Anton, whose playing style is frequently compared to Keith Richards or Ron Wood.
Resilience in the 90s: During a decade of conflict, they remained a moral compass for many. The song "Hoću da znam" (I Want to Know) became an anthem of spiritual and social questioning during a very dark period.
Haustor was one of the most influential bands to emerge from the Yugoslav New Wave (Novi Val) scene in the late 1970s and 1980s. Based in Zagreb, Croatia, the group was known for blending post-punk and art-rock with diverse influences like reggae, ska, and jazz.
Overview
The band was led by the charismatic Darko Rundek (vocals/guitar) and Srđan Sacher (bass). Their music was characterized by intellectual lyrics, sophisticated arrangements, and a prominent brass section that gave them a distinct, "theatrical" sound compared to their more aggressive punk contemporaries.
Key Albums
Haustor (1981): Their self-titled debut featuring the massive hit "Moja prva ljubav" (My First Love), which remains a staple of Adriatic pop-rock.
Treći svijet (1984): Often cited as their masterpiece. It moved toward a more atmospheric, "Third World" influenced sound, incorporating roots reggae and darker, more political themes.
Bolero (1985): Recorded after Sacher left the band, this album features the iconic track "Ena" and showcased Rundek’s shift toward a more experimental, solo-oriented style.
Tajni grad (1988): Their final studio album before the band dissolved as the political climate in Yugoslavia shifted.
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