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The Yugoslav New Wave was a regional scene of New wave music which emerged in the late 1970s in the Socialist Federal Republic of Yugoslavia (SFRY), the only such new wave scene in a socialist country, largely influenced by the American and British new waves, in response to rock music from previous periods of Yugoslav music.[1]


Among the first new wave bands in Yugoslavia were Ljubljana's Pankrti and Zagreb's Haustor, Azra and Prljavo kazalište, although in the following years the bands Pekinška Patka, Šarlo Akrobata, Električni Orgazam and Idoli were formed in Serbia. At first strongly influenced by punk, the new wave bands in Yugoslavia were emphatically engaged, explicit and socially critical, although they nevertheless managed to avoid problems with the regime, which nevertheless favored the movement; [2] one of the best examples is the song " Maljčiki ", published by Idoli in 1981, which was an enormous hit in Yugoslavia, despite the fact that the song did not celebrate the values ​​of socialist ideology, but parodied them. Bands like Azra, Haustor, Pankrti and others also performed socially engaged and critical songs. Although the state founded the so-called The Nonsense Commission, which labeled most of these engaging songs as "nonsense," except for a higher tax, had no direct sanctions against the authors and songs. [2]

Apart from classical punk, a number of other trends have influenced new wave bands in Yugoslavia, including ska / reggae (Haustor, whose debut single "Moja prva ljubav" from 1981 became a national hit), art punk / post-punk (Šarlo Akrobata), punk rock (Prljavo kazalište, Pekinška Patka) and experimental music (Laboratorija zvuka). Soon the new wave went beyond its musical framework and became a social movement, a kind of awakening of young artists, but also social awareness, which will later lead to an even greater number of new and innovative artistic tendencies. In addition, the new wave enjoyed great social support, and a special promotion was given to it by the youth weekly Polet, which is also responsible for organizing the debut concerts of many new wave bands, and Džuboks.

Although the new wave began to subside in Yugoslavia in the mid-1980s, its impact on the country's music and art scene was enormous. A specific variant of the new wave, the New Primitivism, soon developed in Bosnia and Herzegovina, combining the engagement of the new wave with specific humor. In addition, other directions, hitherto unknown in Yugoslavia, are emerging throughout the country, such as the New Romantic, post-punk or art rock.

New wave in Croatia

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The new wave arrived in Croatia during 1977, although, similar to Great Britain and the USA, the name "punk" was first used. There were two strong hotspots in Croatia: Rijeka and Zagreb. Paraf is founded in Rijeka, and Prljavo kazalište, Haustor and Azra in Zagreb, from whose the band Film was made. In 1979, Prljavo kazalište was the first of the new wave bands to release an album, and in 1980 and 1981 the first albums were recorded by other bands of the new wave.

Haustor’s song "Moja prva ljubav" (“My First Love”) will become a huge radio hit in 1981. The then state commission assigned the label "šunda" to most of the works, which meant paying additional tax and, consequently, a higher price of boards in stores.

Although often critical of social anomalies, the new wave in Croatia, apart from the innocuous junk commission, had no particular problems with communist censorship. Even some extremely engaged songs by Branimir Štulić were published, such as "Kurvinih sinova" ("Sons of a Whore"), "Poljske u mom srcu" ("Poland in My Heart") and "Nedjeljnog komentara" ("Sunday Commentary").

Moreover, the youth weekly Polet, published by the Croatian Socialist Youth Union (SSOH), gave the new wave absolute support and played a crucial role in the rapid spread of the movement among urban youth. In September 1978, "Polet" organized the first big concert of new ensembles in the House of Sports, featuring Croatian ensembles Azra, Prljavo kazalište, Paraf, Slovenian ensembles Pankrti, Buldožer and the Macedonian jazz-rock band Leb i sol. [3] SSOH awarded the prestigious award Seven Secretaries of SKOJ to the Ljubljana band "Pankrti" for the album Dolgcajt, ​​which was previously assessed by the commission as nonsense. Many Croatian bands (Film, etc.) got the opportunity for the first real concerts at the Youth Festival in Subotica, also organized by the official bodies of the socialist youth.

The new wave in Croatia began to lose strength in the first third of the 1980s. Some of the bands like Azra, Prljavo kazalište, are turning to pure rock sound.

New musical genres such as new romanticism and post punk are also emerging, and they are squeezing a new wave completely off the music scene in Croatia.

New wave bands in Croatia

New wave in Slovenia

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In Ljubljana, as in Croatia, at about the same time, the band Pankrti appeared.

Similar to Britain and the United States, the new wave in Slovenia began to lose strength in the first third of the 1980s.

The new wave in Slovenia began to lose strength in the first third of the 1980s, shortly before in Croatia.

New wave bands in Slovenia

New wave in Serbia

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He reported a little later than in Croatia. In the middle of 1978, Pekinška Patka was founded in Novi Sad, and during 1979 and the beginning of 1980, Šarlo Akrobata and Električni Orgazam were founded in Belgrade, as well as Idoli, which will soon become popular throughout the country with the hit Maljčiki. Idoli, Šarlo Akrobata and Električni Orgazam, before the release of their solo albums, released a joint album Paket aranžman which will be declared an anthology in retrospect.

Many Serbian band ( Pekinška Patka, Šarlo Akrobata Idoli and others) got the opportunity for the first real concerts at the Youth Festival in Subotica, also organized by the official bodies of the socialist youth.

Similar to Great Britain and the United States, the new wave in Serbia began to lose strength in the first third of the 1980s. Some of the groups like Električni Orgazam, turn to pure rock sound, Šarlo Akrobata stops working.

New wave bands in Serbia

New wave in Bosnia and Herzegovina

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He had no real representative. For a time, the Bijelo Dugme deviated from its sound and switched to a sound close to the new wave in the album Doživjeti stotu

As a kind of response to punk and the new wave, Sarajevo's New Primitivism and the ensembles Zabranjeno pušenje, Elvis J. Kurtović, Plavi orkestar and Crvena jabuka became popular.

New music genres such as new romanticism and post punk are also emerging, and they are squeezing a new wave completely from the music scene.

New wave in Macedonia

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New wave bands in Macedonia

Bibliography

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  • Božilović, Jelena (2013). "New Wave in Yugoslavia-Socio-Political Context" (PDF). Facta Universitatis. Philosophy, Sociology, Psychology and History. 12 (1): 69–83.

References

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  1. ^ Božilović, Jelena (2013). "New Wave in Yugoslavia-Socio-Political Context" (PDF). Facta Universitatis. Philosophy, Sociology, Psychology and History. 12 (1): 69–83.
  2. ^ a b Pulsdemokratije.net - Muzika 1980-ih u Jugoslaviji
  3. ^ Hrvoje Horvat Johnny B.Štulić-Fantom slobode, Profil 2005.
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