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Serbian rock is the rock music scene ofSerbia. During the 1960s, 1970s and the 1980s, while Serbia was aconstituent republic ofSocialist Federal Republic of Yugoslavia, Serbian rock scene was a part of theSFR Yugoslav rock scene.

The Socialist Federal Republic of Yugoslavia was not anEastern Bloc country, but a member of theNon-Aligned Movement and as such, it was far more open to the Western culture comparing to theother socialist countries. Rock and roll reached Yugoslavia via foreign radio stations, most notablyRadio Luxemburg,^[1][2] and rock and roll records, brought in from the West.^[3] Rock and roll influences reachedschlager singers, most notablyĐorđe Marjanović, who released the firstpopular music solo album in Serbia, in 1959.^[4] The end of the 1950s featured the appearances of first rock and roll acts, and the 1960s featured manybeat bands, such asSiluete andElipse, which became enormously popular with the younger generations. Rock bands drew the public's attention to themselves, which was followed with the appearance of first rock music magazines, radio and TV shows.^[3][5]

Until the beginning of the 1970s, Serbian rock bands released only7-inch singles andextended plays.Korni Grupa was the first Serbian rock act to release a full-length album, in 1972, and one of the first bands to move towardsprogressive rock. Progressive rock dominated the Serbian rock scene during the 1970s, with a part of bands incorporating elements oftraditional music into their sound. At this period, bands likeYU Grupa,Pop Mašina andSmak achieved large mainstream popularity and massive album sales. The end of the 1970s featured the appearance of the prominenthard rock bandRiblja Čorba, and the emergence of the closely associatedpunk rock andnew wave scenes.Pekinška Patka was the first Serbianpunk rock band to release an album, in 1980. The new wave bandsŠarlo Akrobata,Električni Orgazam andIdoli, which appeared on the influential compilation albumPaket aranžman in 1980, were followed by many new wave acts. Around 1982, new wave scene declined and many acts moved towards more commercial sound. During the 1980s,pop rock acts, such asĐorđe Balašević andBajaga i Instruktori, dominated the mainstream scene, but various other rock genres also emerged, and thealternative rock scene, with the acts such asEkatarina Velika,Disciplina Kičme, andRambo Amadeus, started to develop and gain mainstream popularity.

With the outbreak of theYugoslav wars at the beginning of the 1990s, the former Yugoslav rock scene ceased to exist. During the 1990s, most of, both mainstream andunderground, rock acts expressed their opposition towards the government ofSlobodan Milošević, which caused their absence from most of the government-controlled media. Although several major mainstream acts managed to sustain their popularity (some of them, likePartibrejkers andVan Gogh, even increasing it), and a large underground andindependent music scene developed. After the 1999NATO bombing of FR Yugoslavia and the arrival of the political changes during the 2000s, a new independent scene started to develop. The 2000s also featured the establishing of new connections between the former Yugoslav republics' scenes.

The first rock acts emerged in the late 1950s. Influenced by therock and roll androckabilly acts, many young people started performing the so-called "električna muzika" ("electric music"), naming themselves "električari" ("electricians"). One of the first Serbian rock and roll musicians who rose to fame was guitaristMile Lojpur fromBelgrade, often considered the first Serbian or even Yugoslav rock and roll musician. He rose to fame at the dances he and his band Septet M organized atRed Star basketball courts atKalemegdan. Although Lojpur did not make any recordings, he had a great influence on subsequent development of the scene. Another notable rock and roll artist wasPerica Stojančić fromNiš, whose debut single was released in 1961.

The singerĐorđe Marjanović became the first Yugoslavsuperstar. Despite essentially being aschlager singer, Marjanović also performed rock and roll songs. He is also notable as the first Yugoslavpopular music singer who had an energetic on-scene appearance. He was the first pop singer to walk off the stage into the audience and perform songs in theatrical manner. His popularity led to the release of his albumMuzika za igru in 1959, the first popular music solo album released byPGP-RTB, the biggest Serbian record label.^[4] In 1963, Marjanović went on his firstSoviet Union tour, where he soon became very popular, and had gone on more than thirty Soviet Union tours since. He continued to perform until 1990, when, on concert inMelbourne, he had a stroke, after which he decided to retire.

The beginning of the 1960s saw the emergence of numerousbeat andrhythm and blues bands, the majority of which being initially inspired by the then-popularCliff Richard andThe Shadows:^[3][5]Iskre andSiluete, both formed in 1961;Zlatni Dečaci andBele Višnje, both formed in 1962;Crni Biseri,Daltoni,Elipse, andSamonikli, all formed in 1963;Tomi Sovilj i Njegove Siluete andSanjalice, both formed in 1964;Plamenih 5, formed in 1965,Džentlmeni, formed in 1966. Siluete were well known for their shocking appearance and performance, and the band's frontmanZoran Miščević became one of the first Yugoslav rock stars and asex symbol.^[6] The media often promoted rivalry between Siluete and Elipse.^[7] Initially formed as a beat band, Elipse moved tosoul music and added abrass section when they were joined by vocalist Edi Dekeng, an African student fromCongo, in 1967.^[7] Crni Biseri featured the prominent musicianVlada Janković "Džet", who later formed the bandTunel and became a well-knownRadio Belgrade host. Sanjalice were one of the first former Yugoslavall-female rock bands. The members of Džemtlmeni, brothersŽika andDragi Jelić, later formed the highly successfulprogressive/hard rock bandYU Grupa. Although all of these bands released only7-inch singles andextended plays – with the exception of Crni Biseri, which recorded their only studio albumMotorok in 1976, and Bele Višnje, which recorded their old songs and released them on the albumPesme naše mladosti in 1994 – they had major influence on the subsequent development of the scene.

Korni Grupa was one of the first Serbian rock bands to achieve major mainstream popularity. Formed in 1968 by formerIndexi keyboardistKornelije Kovač, the band recorded many commercial pop songs released on 7-inch singles, with which they achieved huge popularity and appeared on pop music festivals throughout Yugoslavia. Already influenced byprogressive rock, the band moved towards progressive sound with the arrival of vocalistDado Topić, continuing, however, to release commercial singles. Korni Grupa's 1971 debut albumKorni Grupa was the firstlong play album by a rock act coming from Serbia, and the fourth long play album by a Yugoslav rock act. The band's second,symphonic rock-oriented album,Not an Ordinary Life, released under the name Kornelyans in 1974, was one of the first Yugoslav albums released through a foreign record label. Despite the success with the singles they released in Yugoslavia, the band disbanded due to the little success ofNot an Ordinary Life and the song "Moja generacija", with which the band represented Yugoslavia at the1974 Eurovision Song Contest.

By the time Korni Grupa disbanded, other Serbian progressive rock bands, likeYU Grupa andSmak, had already achieved huge mainstream popularity. YU Grupa, formed in 1970 by formerDžentlmeni members, brothersDragi andŽika Jelić, is often considered the longest-lasting Serbian rock band.^[8][9] Having released several successful singles which featured a fusion of progressive/hard rock andBalkantraditional music, YU Grupa released their first album,YU Grupa (1973), which became one of the best selling Yugoslav rock albums of the 1970s.^[10] The band continued to release successful albums, but with thepopularity of new wave, the band disbanded in 1981. However, the band reunited in 1987 and has released a number of well-accepted hard rock-oriented albums since. The bandSmak fromKragujevac, formed by guitar virtuosoRadomir Mihailović "Točak" in 1971, was, during the second half of the 1970s, competitive with the bandBijelo Dugme fromSarajevo. Smak released several hit singles before releasing theirself-titled debut in 1975, considered to be one of the most successful debut albums informer Yugoslavia. The band's later releases,Satelit (1976),Crna dama (1977) andStranice našeg vremena (1978), saw similar success, but the band disbanded in 1981 for the similar reasons like YU Grupa. The band reunited and disbanded several more times during the 1980s and 1990s, releasing albums that saw little commercial success, although the 2012 reunion of the band's default lineup saw large interest by the audience and covering in the media.^[11][12][13]

The end of the 1970s featured the appearance of the pop rock bandRani Mraz. Rani Mraz was formed in 1978 by a formerŽetva memberĐorđe Balašević, and during the initial period went through several lineup changes. The most famous lineup featured Balašević, Verica Todorović,Bora Đorđević andBiljana Krstić, the latter two joining Rani Mraz after leaving theacoustic rock bandSuncokret. This lineup of the band released the highly popular single "Računajte na nas", a song which praised the legacy of theYugoslav Partisans from a slightly different perspective than habitualsocialist realism, and soon became an anthem of Yugoslav youth. Đorđević, however, soon left the band to formRiblja Čorba. Rani Mraz released two well-received albums,Mojoj mami umesto maturske slike u izlogu (1979) andOdlazi cirkus (1980), before disbanding in 1981. With the release of the albumPub (1982), Balašević started a very successful solo career, spanning up to the present, establishing himself as the most popular Serbian singer-songwriter.

The hard rock bandRiblja Čorba, formed in 1978, achieved huge success with their debut single "Lutka sa naslovne strane" (1978) and their debut albumKost u grlu (1979). Their following albums,Pokvarena mašta i prljave strasti andMrtva priroda, both released in 1981, launched them to the top of the Serbian and former Yugoslav rock scene despite theirhard rock sound withblues andheavy metal^[14] elements, and thanks to their provocative social- and, since the release ofMrtva priroda, political-related lyrics written by the band leaderBora Đorđević. After the albumIstina (1985) the band, although still generally fitting into hard rock, started gradually turning towards softer sound, managing to sustain their popularity throughout the decade. However, in the 1990s, Riblja Čorba's popularity heavily declined inCroatia andBosnia and Herzegovina during theYugoslav wars, when Ðorđević became an active supporter of the Serbian troops inRepublika Srpska andRepublika Srpska Krajina, which he demonstrated by recording controversial songs "E moj druže zagrebački" (which was recorded as a response toJura Stublić's song "E moj druže beogradski") and "Ljetovanje" with the bandMindušari fromKnin. However, Ðorđević was also strongly opposed to presidentSlobodan Milošević and he demonstrated his attitude by writing a number of anti-government songs released on Riblja Čorba albumsZbogom, Srbijo (1993),Ostalo je ćutanje (1996) andNojeva barka (1999), and on his solo albumNjihovi dani (1996).

The end of the 1970s and the beginning of the 1980s featured the appearance of three popular solo singers:Slađana Milošević,Bebi Dol andOliver Mandić. Aleksandra "Slađana" Milošević released her debut single "Au, au" in 1977. The single saw huge success and was followed by a successful albumGorim od želje da ubijem noć (1979). In 1984, she recorded a highly popular ballad "Princeza" withDado Topić. During the 1990s and 2000s, she experimented with various musical genres and her popularity heavily declined. Bebi Dol and Oliver Mandić both used simplepop rock forms combined withjazz,synthpop andfolk music. Bebi Dol, born Dragana Šarić, with her debut single "Mustafa" (1981) quickly gained the public's attention. Her debut albumRuže i krv (1983) gained positive reviews and good commercial reception. Having high ranks at theMESAM andJugovizija festivals, she was, with the song "Brazil", the last representative of the Socialist Federative Republic of Yugoslavia at theEurovision Song Contest. Having released her second albumRitam srca (1995), her popularity declined and she withdrew from performing in the late 1990s, returning in the early 2000s. Oliver Mandić, though active in the 1970s as a member of various progressive rock bands, it was his debut albumProbaj me (1980) that brought him the nationwide popularity. With hits appearing on his albumsZbog tebe bih tucao kamen (1982) andDođe mi da vrisnem tvoje ime (1985), controversial stage performance and clothing style, Mandić achieved large attention and high record sales. In the early 1990s he semi-retired, appearing occasionally only until today.

After the decline of thenew wave scene in Serbia, part of the bands moved towards more commercial rock and pop rock sound.Električni Orgazam, after releasingKako bubanj kaže in 1984, released their commercially most successful albums,Distorzija (1986) andLetim, sanjam, dišem (1988), the latter featuring the anthem hit-song "Igra rock 'n' roll cela Jugoslavija". Električni Orgazam continued with the same musical directions in the 1990s withZašto da ne! (1994) andA um bum (1999). In 2007, Električni Orgazam performed as an opening act forThe Rolling Stones, on the concert held at the BelgradeUšće park.^[15]Idoli, after releasing their debutOdbrana i poslednji dani (1982), recorded their second studio album,Čokolada (1983), which featured a combination of pop rock,funk andelectronic music. The album turned out to be the greatest commercial success by the band. Having recorded theŠest dana juna soundtrack (1985) in the 1960s pop rock manner, the band split up andVlada Divljan released his debut albumTajni život A. P. Šandorova (1988), stylistically similar to the previous Idoli releases. The bandZana, fronted by vocalistZana Nimani, after their early new wave works moved towards synthpop and pop rock, releasing successful albumsDodirni mi kolena (1982) andNatrag na voz (1983). After the departure of frontress Zana Nimani in 1984, the band changed several vocalists, gradually moving away from the rock scene towards pop music. The reformedPiloti released the highly successful albumKao ptica na mom dlanu in 1987. With the following albums,Osmeh letnje noći (1988) andNeka te bog čuva za mene (1990), the band maintained their popularity, which even increased in the 1990s with theZaboravljeni soundtrack album (1993). However, the band disbanded in 1997 and, in the meantime, Piloti frontmanZoran "Kiki" Lesendrić released the albumNedelja na Duhove (1995) with former Idoli membersSrđan Šaper andNebojša Krstić under the nameDobrovoljno Pevačko Društvo. During the late 1990s and 2000s Lesendrić worked as a songwriter before releasing his first, very successful solo albumMesec na vratima in 2008, after which he reformed Piloti. Other new wave acts that made a shift towards more commercial sound after the decline of the scene includeBezobrazno Zeleno (which moved towards pop rock),U Škripcu (which moved towardssynthpop and pop rock) andLaki Pingvini (which moved towards synthpop andNew Romantic).

The pop rock bandBajaga i Instruktori, formed in 1984 by former Riblja Čorba memberMomčilo Bajagić "Bajaga", after releasing their debut, highly successful solo albumPozitivna geografija in 1983 (originally released as Bajagić's solo album, but, as it featured musicians which would later become members of Bajaga i Instruktori, included in the band's official discography), started releasing successful albumsSa druge strane jastuka (1985)Jahači magle (1986), andProdavnica tajni (1988), all becoming mega-hits. Bajaga i Instruktori entered the 1990s as one of the most popular Serbian rock acts, managing to maintain the gained popularity through the 1990s.^[16]

The mid-1980s pop rock bandsAmajlija,Poslednja Igra Leptira,Divlji Anđeli,Slomljena Stakla,Ruž,Alisa,Banana,Jugosloveni,Bel Tempo andVampiri had a vast number of album sales, however, the majority of them disbanded before reaching the 1990s, or at the very beginning of the decade. Poslednja Igra Leptira, formed in 1980 and led by charismatic frontmanNenad Radulović, also known as Neša Leptir, achieved success with their pop rock songs with humorous lyrics, but disbanded in 1989. Radulović released his solo albumNiko nema što piton imade, whichparodied "novokomponovana muzika", in 1989, before dying oftumor in 1990. Bel Tempo, formed in 1986 by brother and sister Vlada andSuzana Petričević, released two pop rock albums with jazz elements before disbanding in 1992. Vampiri's sound was influenced by the 1950sdoo-wop androckabilly. However, with the breakout of theYugoslav Wars, their sound seamed misplaced and the band disbanded in 1993. They reunited in 1995 and released the albumPlavi grad, and, in 1997,Monkey Food, experimenting with different musical genres on the latter. However, the band disbanded once again in 1998.

Popular rock acts of the late 1980s and the 1990s wereGalija,Partibrejkers andDejan 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 ofDaleko je Sunce (1988),Korak do slobode (1989), andIstorija, ti i ja (1991), entering the 1990s as one of the most popular Serbian rock bands. In the 1990s, Galija promoted theSocialist Party of Serbia, which had provoked a part of the critics and fans to proclaim Galija a "state band".^[17] Nevertheless, albumsKaravan (1994),Trinaest (1996) andVoleti voleti (1997) were well received by majority of the fans. Thegarage/punk rock band Partibrejkers gained large popularity with the albumsPartibrejkers I (1985),Partibrejkers II (1988),Partibrejkers III (1989) andKiselo i slatko (1994). FormerBulevar 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) andJa bih da pevam (1996).

Popular acts of the 1990s includeDel Arno Band,Van Gogh,Babe,Prljavi Inspektor Blaža i Kljunovi,Familija, and the Belgrade fraction of the bandZabranjeno Pušenje. Pioneers of Serbian and former Yugoslavreggae scenes,^[18] Del Arno Band, formed in 1986, were always closely associated with the rock scene. Although they released only three full-length studio albums during twenty-five years of career, Del Arno Band managed to remain on top of Serbian reggae scene.^[18] The band Van Gogh started their career with the release of theirdebut self-titled album in 1986, but disbanded a year later. The band reunited in 1990, and throughout the 1990s released the albumsSvet je moj (1990),Strast (1993),Hodi (1996) andOpasan ples (1999), which made them one of the most popular acts on the Serbian rock scene. Babe, starting in 1992 as a side project of Bajaga i Instruktori memberŽika Milenković, Električni Orgazam memberGoran Čavajda and Riblja Čorba memberZoran Ilić, with the release of their debut albumSlike iz života jednog idota (1993) gained popularity with their humorous songs. After the departure of Čavajda, having releasedSlike sna i jave (Samo za buntovnike) (1999), Babe ended their activity. Another popularcomedy rock band,Prljavi Inspektor Blaža i Kljunovi, formed by charismatic frontmanIgor Blažević in 1993, quickly gained mainstream popularity with lyrics inspired by musical, film and sport stars. The bandFamilija was formed in 1994 by former Vampiri, U Škripcu and Košava members, and saw large popularity with their albumsNarodno pozorište (1994) andSeljačka buna (1997), which featuredska/pop rock songs with humorous lyrics. With the outbreak of theBosnian War the band Zabranjeno Pušenje fromSarajevo split into two factions, both named Zabranjeno Pušenje: theSarajevo fraction, led by the original Zabranjeno Pušenje guitaristSejo Sexon, and the Belgrade faction, led by the original Zabranjeno Pušenje vocalistNele Karajlić. The Belgrade faction released the albumJa nisam odavle in 1997, and, after recording the soundtrack for the filmBlack Cat, White Cat by the directorEmir Kusturica, moved towardsworld music, starting to perform with Kusturica under the name to The No Smoking Orchestra. The band saw large popularity outside Serbia, however, their new sound is better accepted abroad than in their home country.^[19]

The 2000s featured popular bandsNegative,Neverne Bebe andNight Shift. The power pop band Negative, featuring the formerTap 011 vocalistIvana Peters, formed in 1999, released several successful albums and had successful appearances on several musical festivals.Neverne Bebe, formed in 1993 by the keyboard playerMilan Đurđević, having released three studio albums and having several lineup changes, released highly successful albumDvoje – The Best Of, featuring two female vocalists and featuring rerecorded versions of the band's old songs, after which they became one of the top mainstream acts of the Serbian scene. Thepost-grunge/hard rock bandNight Shift, although formed in 1991, released their debut, successfulcover albumUndercovers in 2002. In 2009 the band releasedBez zaklona which featured their own songs. Beside the mentioned bands, the veterans of the Serbian rock scene,YU Grupa, with their comebackDugo znamo se (2005),Đorđe Balašević, with the albumsDnevnik starog momka (2001) andRani mraz (2004),Riblja Čorba, withPišanje uz vetar (2001),Ovde (2003),Trilogija (2007) andMinut sa njom (2009),Bajaga i Instruktori, withZmaj od Noćaja (2001),Šou počinje u ponoć (2005) andDaljina, dim i prašina (2012),Električni Orgazam withHarmonajzer (2002) andTo što vidiš to i jeste (2010),Galija withDobro jutro, to sam ja (2005) andMesto pored prozora (2010),Partibrejkers, withGramzivost i pohlepa (2002) andSloboda ili ništa (2007), andVan Gogh, withDrUnder (2002),Kolo (2006) andLavirint (2009), maintained their popularity throughout the 2000s and early 2010s.

The Serbian acoustic scene emerged in the late 1960s with the appearance of thehippie subculture in Serbia, but reached its peak in the early 1970s with the bandsPorodična Manufaktura Crnog Hleba,Vlada i Bajka,Lutajuća Srca,S Vremena Na Vreme,DAG, andSuncokret, most of them being a part of theBelgrade acoustic rock scene, naming themselves "akustičari" ("acousticans").^[20]

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 andJugoslav Vlahović in 1968, released their only albumStvaranje in 1974, and disbanded in 1975. The duo Vlada i Bajka saw success with their early recordings, but disbanded in 1975. In 1993, the duo reunited, and recorded their first full-length album,Ja nisam ja (1994), which featured the hit song "Beograd", recorded with singersBora Đorđević andDušan Prelević, and actorsDragan Nikolić,Nikola Kojo andDragan Bjelogrlić. Acoustic/progressive rock band S Vremena Na Vreme, formed in 1972, were, beside being a pioneers of the acoustic scene, one of the first former Yugoslav bands to incorporatetraditional music elements into their music. The band's debut self-titled album, released in 1975, was widely praised by the critics. After releasing their third,electric-oriented album,Paviljon G in 1979, S Vremena Na Vreme disbanded. They reunited in 1993, releasing a studio and a live album, before disbanding once again in 1997.

Lutajuća Srca, formed in 1970 inNiš, released many 7-inch singles and four studio albums, and remains best known for their hits "Još malo", "Jefimija" and "Brod za sreću". DAG, formed in 1972, although a part of the Belgrade acoustic rock scene, used electric instruments on their only studio albumSećanja (1974). One of the last acoustic rock bands, Suncokret, appeared in 1975, featuringBora Đorđević and Nenad Božić on acoustic guitars and vocals and two female vocalists,Biljana Krstić andGorica Popović. The band started releasingfolk music-inspired singles and, in 1977, released their only album,Moje bube. The following year, having written the song "Lutka sa naslovne strane", which the band refused to perform, Đorđević, together with Krstić, left the band, moving toRani Mraz. Suncokret continued to perform with a changed lineup, led by female vocalistSnežana Jandrlić, until 1980 when they disbanded. Beside the mentioned bands, part of the Belgrade acoustic rock scene was the singer-songwriterSrđan Marjanović during the first several years of his career.

Throughout the 1980s, the acoustic scene did not exist, however, the appearance of the firstunplugged concerts in the late 1980s introduced the popularity of acoustic music in the following decade. Bora Đorđević's andArsen Dedić's 1987 unplugged performance inTerazije Theatre, released on the official bootleg albumArsen & Bora Čorba Unplugged `87, was one of the first unplugged concerts in Serbia and former Yugoslavia. However, it was in the 1990s that the Serbian rock acts started performing unplugged more often. The first official unplugged live album was released by thebritpop bandEva Braun in 1993, and in the following year the Music Television of Serbia organized an unplugged festival in BelgradeSava Centar. The recordings of Eva Braun,Rambo Amadeus,Laki Pingvini,Babe,Dejan Cukić,Milan Delčić,Du Du A,Del Arno Band,Kazna Za Uši, and others appeared on the various artists compilationBez struje in 1995.^[21] During the 1990s, the unplugged concerts in Serbia were mainly organized by theNovi Sad television station NS Plus in Novi Sad Studio M. Influenced by the already popularMTV Unplugged,NS Plus Unplugged concerts of Dejan Cukić,Kerber, S Vremena Na Vreme,Električni Orgazam,Vlada Divljan & Old Stars Band andGaravi Sokak, all held in 1996, andLove Hunters, held in 1998, were released on live albums throughout the late 1990s.YU Grupa released only a part of their 1996 unplugged concert in Studio M, featuringKornelije Kovač on piano, on their 2007 albumLive. An unplugged album was also released byGeneracija 5 in 2002, but their unplugged concert, held in 1995, was not a part of theNS Plus Unplugged series.

The 1990s also featured several notable acoustic non-live releases. Thefolk rock bandGaravi Sokak, after the release of their 1994 acoustic-oriented albumSlova tvoga imena, started performing on acoustic instruments only and turned towards pop sound. In 1996, the singer-songwriterĐorđe Balašević released acoustic folk rock-oriented albumNa posletku....

During the 2000s, the acoustic music featured only a few notable releases. In 2000, Dejan Cukić recorded an acousticBob Dylan tributeDivlji med, featuringSerbian language lyrics. In 2002,Block Out leaderNikola Vranjković released a solo albumZaovdeilizaponeti, featuring lyrics from his book of the same title released with the CD. In 2002, Đorđe Balašević released the albumRani mraz, stylistically similar toNa posletku.... In 2002, the reformedGriva held an unplugged concert in Studio M, the recording of which was released on the albumGriva & Co. — Live in 2010.

Serbian rock scene featured several notable singer-songwriters. One of the most important authors wasĐorđe Balašević. He started his career in the 1970s as a member of the bandŽetva and the leader of the bandRani Mraz, before starting, with the release of the albumPub (1982), a very successful solo career spanning up to the present. Despite the fact that his work in Žetva and Rani Mraz was mainlypop rock-oriented, in his later career he often used elements of rock,chanson andfolk music, with some of his works, likeNa posletku... (1996) andRani mraz (2004) being entirelyfolk rock-oriented. Balašević's lyrics often dealt with humorous or political- and social-related themes.

Other notable singer-songwriters areSrđan Marjanović andNikola Čuturilo. Initially a part of the Belgrade acoustic rock scene, Srđan Marjanović released his debut albumSrđan Marjanović i prijatelji, which he recorded with members ofYU Grupa, in 1974. During his career he released twelve studio albums. Nikola Čuturilo rose to fame as the guitarist forRiblja 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 rock dominated the Serbian rock scene throughout the 1970s, with the acts such asDogovor iz 1804.,Korni Grupa,YU Grupa,Smak,Pop Mašina,Dah,S Vremena Na Vreme,Opus,Tako, andIgra Staklenih Perli being the most notable representatives.^[22] With the emergence of thenew wave scene at the beginning of the 1980s, Serbian progressive rock bands saw the decline of popularity and most of them ceased to exist.

Dogovor iz 1804. was short-lived, but played a pioneering role on a Yugoslav progressive rock scene as one of the first bands to move away from the 1960srhythm and blues sound. They were followed byKorni Grupa. Formed in 1968 byKornelije Kovač, the band had gone through many lineup changes and featured many famous musicians, including vocalistsDušan Prelević,Dalibor Brun,Dado Topić,Zdravko Čolić andZlatko Pejaković. The band gained mainstream popularity with their simple pop-oriented songs, but moved towards progressive rock after they were joined by singer Dado Topić. Nevertheless, the band continued to record pop-oriented songs and represented Yugoslavia at the1974 Eurovision Song Contest with the song "Moja generacija". In 1973, the band, under the name Kornelyans, released thesymphonic rock-oriented English language albumNot An Ordinary Life. Korni Grupa disbanded shortly after, but reunited in 1987 to perform at the Legende YU Rocka (Legends of YU Rock) concerts.

YU Grupa, formed in 1970 by formerDžentlmeni members, brothersDragi andŽika Jelić, were one of the pioneers in incorporating elements oftraditional music of the Balkans into rock,^[23][24][25] and achieved huge popularity with their fusion of progressive/hard rock and folk found on their7-inch singles. Members of YU Grupa performed as a support band for guitaristsBata Kostić,Vedran Božić,Josip Boček andGoran Bregović on theKongres rock majstora (Congress of Rock Masters) concert and album. YU Grupa disbanded in 1981, but reunited in 1987, continuing to record successfulhard rock-oriented releases throughout the late 1980s, 1990s and the 2000s.

Smak, formed in 1971 by guitaristRadomir Mihajlović Točak, often considered one of the top and most influential guitarist on the former Yugoslav rock scene, and drummerDejan Stojanović "Kepa", did not get a default lineup until 1975 by which time bassistZoran Milanović, vocalistBoris Aranđelović and keyboard playerLaza Ristovski consisted the official band membership. Smak performedjazz-influenced progressive rock, but also incorporated elements of folk,blues and hard rock into their sound. The band achieved huge popularity in the 1970s, with their releasesSmak (1975),Satelit (1976),Crna dama (1977) andStranice našeg vremena (1978). However, the band's popularity heavily declined at the beginning of the 1980s. Smak disbanded in 1981, and reunited and disbanded several times since.

Pop Mašina, formed in 1971, performed progressive/hard rock, but their debut albumKiselina (1973) also featuredacid andpsychedelic 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 brothersVidoja andZoran Božinović, formed the hard rock/heavy metal bandRok Mašina.

S Vremena Na Vreme, formed in 1972, were one of the pioneers of the Yugoslavacoustic rock scene, but also incorporated progressive rock elements into their music. They were also one of the first former Yugoslav rock bands to incorporate folk music elements into their songs. The band's debut self-titled album, released in 1975, was widely praised by the critics. S Vremena Na Vreme disbanded in 1981, but reunited in 1993, and disbanded once again in 1997.Dah, formed in 1972 and led by guitaristZlatko Manojlović, also combined progressive rock with folk. In 1975, Dah moved toBelgium and started a short-lasting international career under the name Land. After returning to Yugoslavia, the band recorded the albumPovratak (1976) and disbanded shortly after. In 1977, Manojlović formed the progressive/hard rock bandGordi, which made a shift towards heavy metal in the 1980s.

The bandOpus was formed in 1973 by former YU Grupa organist Miodrag Okrugić. The band disbanded after releasing only one symphonic rock-oriented album,Opus 1 (1975), withDušan Prelević on vocals.^[22] Another symphonic rock-oriented act was the bandTako, formed in 1974, which performed a fusion of symphonic andjazz rock.^[22]

Progressive/psychedelic rock bandIgra 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) andVrt 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 albumApokaliptus in 2013.^[26]

Other notable bands that incorporated progressive rock elements into their music includePorodična Manufaktura Crnog Hleba,DAG,Galija andNeverne Bebe. Porodična Manufaktura Crnog Hleba, formed in 1968, and DAG, formed in 1972, wereacoustic rock bands, but, as S Vremena Na Vreme, also incorporated progressive elements into their music. Galija, formed in 1977, released their debut, progressive rock-oriented albumPrva plovidba in 1979. Although the band's several following releases featured similar progressive rock sound, the band started gradually turning towards mainstream rock, and reached the peak of popularity in the late 1980s and early 1990s. Neverne Bebe, formed in 1993, in the initial period of their career incorporated progressive rock elements into their music, but in the 2000s (decade) turned towardspop rock sound.

Although some of the 1960s bands performed covers of songs byhard rock pioneers likeCream andJimi Hendrix Experience, hard rock gained large popularity in the early 1970s with the works ofprogressive rock bandsPop Mašina,YU Grupa andSmak. Pop Mašina, formed in 1971, was one of the first Serbian and Yugoslav bands to move away fromrhythm and blues towards harder sound. Their sound featuredprogressive, hard,psychedelic andacid rock elements. Pop Mašina disbanded in 1977. YU Grupa, formed in 1970, performed progressive/hard rock, and their songs often featuredtraditional music elements. The band disbanded in 1981, only to reunite in 1987. Since their comeback album,Od zlata jabuka (1987), their work has been mostly hard rock-oriented. Smak, formed in 1971, performedjazz-influenced progressive rock, but their sound often featured hard rock,blues and folk elements. The band moved towards more commercial hard rock at the beginning of the 1980s with the albumRock cirkus, but the album saw little success and the band disbanded shortly after, having constant reunions disbandments throughout the 1980s and 1990s.

The late 1970s featured the appearance of hard rock bandsGeneracija 5 andRiblja Čorba, the latter one becoming one of the most notable acts of Serbian and former Yugoslav rock scene. Generacija 5, formed in 1977, managed to gain a loyal fan base with their albumsGeneracija 5 (1980) andDubler (1982), but disbanded in 1982. In 1985, the band's former leader, keyboardistDragan Ilić wrote the music for the song "Za milion godina", which was recorded by a group of Yugoslav musicians (including former members of Generacija 5) as a contribution toLive Aid. Generacija 5 reunited in 1992, but has released only two studio albums since. Their 2006 albumEnergija featured Smak frontmanDejan Najdanović as guest vocalist on the entire album.^[27] In 1978, formerSuncokret andRani Mraz memberBora Đorđević and SOS membersMiša Aleksić,Rajko Kojić andVicko Milatović formed the hard rock bandRiblja Čorba. After the recording of their debut hit single "Lutka sa naslovne strane" they were joined by guitaristMomčilo Bajagić (who, having left Riblja Čorba in 1984, formed the highly successfulpop rock bandBajaga i Instruktori). Riblja Čorba debut albumKost u grlu (1979) saw huge success, and the band became very popular in a few months period. The albumsPokvarena mašta i prljave strasti (1981),Mrtva priroda (1981) andBuvlja pijaca (1982), the latter featuring softer sound than the band's first three releases, were also well received by fans and critics alike, and Ðorđević's provocative political- and social-related lyrics, caused him to become one of the most controversial musicians in Yugoslavia. The albumVečeras vas zabavljaju muzičari koji piju (1984) was poorly received, and after its release Kojić and Bajagić were excluded from the band. However, the band triumphed with the following album,Istina (1985), recorded with guitaristsVidoja Božinović andNikola Čuturilo. Although more heavy metal-oriented than any of the band's previous works and often considered Riblja Čorba'smagnum opus,^[28]Istina was also the album after which the band, although still generally fitting into hard rock, started turning towards softer sound. However, the band managed to sustain their popularity and remained one of the most popular acts of the Serbian rock scene until today.

The beginning of the 1980s saw the appearance of firsttraditional heavy metal releases, most notably byGordi,Rok Mašina andRatnici, and the new generation of hard rock bands, most notablyKerber,Griva andBalkan. In 1981, progressive/hard rock band Gordi, formed in 1977, released the albumPakleni trio which marked their shift towards heavy metal, making Gordi one of the first Serbian and former Yugoslav traditional heavy metal bands. Although only the last two Gordi albums,Pakleni trio andKraljica smrti (1982), were heavy metal-oriented, these are generally considered the most notable Gordi releases and considered milestones on the Serbian and former Yugoslav heavy metal scenes.^[14][29][30] During the same year, former Pop Mašina members formed the short-lasting hard rock band Rok Mašina, which disbanded in 1982, after releasing only onealbum. A part of the material the band intended to release on their second studio album was released in 1983 on theheavy metal-oriented EPIzrod na granici.^[31] Hard rock band Kerber, formed in 1981, released their debut albumNebo je malo za sve in 1983, but it was their second album,Ratne igre (1984), that launched them to fame.^[32] The band's melodic hard rock sound was well received, and their following two albums,Seobe (1986) andLjudi i bogovi (1988), kept them on the top of Yugoslav hard rock scene.^[32] However, in the late 1990s, the band went on hiatus, reactivating in the late 2000s. Hard rock bandGriva, formed in 1982, saw commercial success after the release of their third albumGriva (1987) which featured a combination of hard rock andglam metal with thetraditional music of Vojvodina, disbanding in 1992. In 1982, Riblja Čorba drummer Vicko Milatović formed the heavy metal bandRatnici, which later changed the name to Warriors and, without Milatović, moved to Canada. In 1984, they recordedan album for the foreign market, but disbanded in 1986. In 1982, guitarist Aleksandar "Leki" Cvetković formed the hard rock bandBalkan. Cvetković's social-related lyrics were heavily influenced by the lyrics of Bora Ðordevic andAzra leaderBranimir Štulić. The band released four studio albums before disbanding in 1989.

The late 1980s featured the appearance of the bandLove Hunters, female singerViktorija, and the emergence ofglam metal scene, with the bandsKarizma andOsvajači being the most notable representatives. Love Hunters, formed in 1987, initially performedpunk blues, but later moved towards hard rock. As their songs featured English language lyrics, during the first several years of existence the band did not manage to break through to mainstream media, but achieved mainstream popularity in the 1990s. Viktorija, known for her husky voice, started her career as a member of the girl groupAska, starting her solo career in 1988 with the albumSpavaćeš sam. She combinedpop rock, hard rock and glam metal and saw huge popularity in the late 1980s and early 1990s, before she semi-retired at the end of the 1990s. The band Karizma released two albums before disbanding at the beginning of the 1990s.^[33] The band Osvajači released their debut glam metal-oriented albumKrv i led, which they recorded withLaza Ristovski on keyboards, in 1990, while their second albumSam (1995) marked the band's slight shift towards heavier sound. Osvajači disbanded in 1997, and reunited in 1999 with the new vocalist, releasing the albumVrelina, but disbanding a year later.^[34]

The late 1980s also saw the emergence of the firstextreme metal acts, which saw little mainstream popularity in Serbia and former Yugoslavia in general during the 1980s. Thethrash metal bandHeller, formed in 1985, released arguablythe 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 bandBombarder, originally based inSarajevo, moved to Belgrade after the beginning of theBosnian War, where the band continued to record and perform.^[35]

The 1990s featured only several notable, mostlycrossover thrash, metal acts:Sick Mother Fakers,Dead Ideas, andSvarog, the latter also being one of the pioneers ofsludge anddoom metal in Serbia. The 2000s saw the revival of the Serbian heavy metal scene and brought a variety of heavy metal genres, with most of the bands being gathered around BelgradeRadio 202. The most notable bands of the movement were the hard rock/heavy metal bandKraljevski Apartman, formed in 1995, and progressive/power metal bandAlogia, formed in 2000, both gaining a large fanbase.^[36][37][38] The band Pero Defformero, which parodiesturbo folk combining it with heavy metal and humorous lyrics, gained popularity in the 2000s, despite being active since the early 1990s. Another notable acts of the 2000s and 2010s includeblack metal bandsMay Result andThe Stone,gothic metal bandAbonos,death/doom metal bandRain Delay,industrial/alternative metal bandTrigger, and others.

The 2000s also saw the revival of the hard rock scene. The hard rock bandCactus Jack, influenced by the1970s hard rock, was formed in 1998, but saw their commercial success in the 2000s. Thepost-grunge/hard rock bandNight Shift, even though formed in 1991, released their debut albumUndercovers 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 albumBez zaklona in 2009. The second half of the decade featured the appearance of new hard rock acts, likeAtlantida,Art Diler,Death Saw, and others.

Despite the facts that many 1960s rock bands, such asCrni Biseri,Daltoni,Elipse, and others performedrhythm and blues, and many 1970sprogressive andhard rock bands, such asPop Mašina,YU Grupa,Smak andRiblja Čorba, incorporatedblues elements into their music, the first Serbian blues band, Blues Kvintet, was formed in 1979. They held their first concert at Mašinac club in Belgrade in spring of 1981, which is considered the first blues concert by a Serbian band.^[39]

During the 1980s many notable blues/blues-rock bands was formed:Sirova Koža (also known internationally as Raw Hide), formed in 1982;Point Blank andBlues Trio, both formed in 1983;Zona B, formed in 1987; Di Luna Blues Band, formed 1989. The bandHush, led by female guitaristAna Popović, released their debut and only albumHometown in 1998. In 1999, Ana Popović moved toNetherlands and started a successful international career. The 2000s brought a new generation of blues rock bands:Šinobusi (formed in 2001),Texas Flood (formed in 2004),Cotton Pickers (formed in 2004), and others.

The development ofpunk rock in Serbia started inNovi Sad with the bandsPekinška Patka and Gomila G, both formed in 1978. Pekinška Patka, formed by vocalist Nebojša Čonkić, pronounced themselves "the firstOrthodox punk rock band", which was against the attitude of theLeague of Communists of Yugoslavia, which promotedatheism. 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 ofRamones andSex 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 theWorld War II liberation ofStepanovićevo in 1979, where the band performed the song "God SaveMartin Bormann" and Čonkić of Pekinška Patka blowncondoms 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 Serbianska band,Kontraritam.

In the meantime, Pekinška Patka gained mainstream popularity and recorded their first releases. At theSuboticaFestival 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 byJugoton. After the album release, the lineup changed, and the arrival of the youngZoran "Bale" Bulatović on guitar, brought the stylistic changes, firstly moving towardsnew wave, and eventually topost-punk. The band's second albumStrah od monotonije is considered the first post-punk release in Serbia and formerYugoslavia. After the album release, the band disbanded.

The appearance of the first post-punk album on the Serbian scene influenced appearance of post-punk andgothic rock bands and releases. Zoran "Bale" Bulatović (guitar) and Marko "Mare" Vukomanović (bass guitar), both from Pekinška Patka, withLa Strada membersSlobodan Tišma (vocals) andIvan Fece Firchie (drums) formed the first gothic rock band in Serbia,Luna, releasing only one album,Nestvarne stvari (1984). Beside Luna, the notable gothic rock act was alsoTrivalia fromNiš, formed in the second half of the 1980s. Gothic rock, however, saw little popularity in Serbia. Another Niš band, post-punk/darkwave bandDobri Isak, released their only albumMi plačemo iza tamnih naočara in 1983. The album, which was one of the first albums in Serbia released through anindependent record label, saw little success at a time of its release, but saw critical acclaim when it was rereleased in 2009.^[40][41][42] Other bands which featured the post-punk/gothic rock influences were the new wave bandsElektrični Orgazam, on their second albumLišće prekriva Lisabon (1982), andIdoli, on their debutOdbrana i poslednji dani (1982), and thealternative rock bandEkatarina Velika, firstly called Katarina II, on the albumsKatarina II (1984),Ekatarina Velika (1985) andS' vetrom uz lice (1986).

The second generation of punk rock acts in Serbia featuredPartibrejkers,Kazna Za Uši andToni Montano fromBelgrade. Serbiangarage punk bandPartibrejkers, formed in 1982, brought the public's attention to themselves with their live appearances and musical style, even as a demo act. The band was formed by formerUrbana Gerila andRadnička Kontrola frontman,Zoran Kostić "Cane" and guitaristNebojša Antonijević "Anton", the two being the mainstay members of the band. By the time the band released theirdebut, self-titled album, in 1985, they already gained much popularity, kept through their later successful releasesPartibrejkers II (1988),Partibrejkers III (1989),Kiselo i slatko (1994) andLedeno doba (1997), entering the 2000s as one of the top mainstream acts of the Serbian rock scene. In 1986, another prominent garage punk band was formed,Kazna Za Uši, but the band became prominent in the 1990s, winning the first place atGitarijada festival in 1992 and releasing their debutIspod zemlje in the same year. During the mid-1980s the former vocalist of the punk rock band Radost Evrope, Velibor Miljković performed as a solo act using the pseudonymToni Montano, and his albums featured a combination of punk rock androckabilly, also found on his future releases.

Other prominent representatives of the second generation of punk rock bands in Serbia featuredKragujevac bandsKBO! andTrula 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 bandTrula Koalicija in 1986 with the vocalist Predrag "Skaki" Drčelić.

Punk rock continued to be popular in the 1990s with the appearance the bandsAtheist Rap andZbogom Brus Li fromNovi Sad,Goblini fromŠabac,Džukele fromSubotica andNovembar fromNiš. Atheist Rap's sound, a combination of punk rock with humorous lyrics found on their studio albumsMaori i Crni Gonzales (1992),Ja eventualno bih ako njega eliminišete (1996) andII liga zapad (1998), was described by the band themselves as "happy punk". Zbogom Brus Li combined punk rock andfolk music ofVojvodina into a style the band describes as "tamburaški punk" ("tamburitza punk")^[43][44] on their albumsPenk Punk Pink Pank Ponk (1995) andZlobro (1997). The band Goblini was formed in 1992, and with the release of their first two studio albums,Goblini (1994) andIstinite priče I deo (1994), the band had become a live attraction, performing in Serbia and abroad. On their third studio albumU magnovenju (1996), the band was joined byLeonid Pilipović from the band Džukele. After the album release, Pilipović returned to his own band, which, having released their debutGledajući u mrak in 1994 and the second albumZubato Sunce in 1998, disbanded. Punk rock band Novembar released three studio albums,Deguelo (1994),Blues južne pruge (1997), andLicem prema zemlji in (2000) featuring the band's combination ofAmerican guitar oriented rock sound combined with punk rock,pop punk andnew wave influences.

The 2000s featured disbandment and reunions of many punk rock groups. In 2001, Goblini disbanded, reuniting in 2010.^[45] In 2002, Džukele, Novembar and Trula Koalicija disbanded, but the latter two reformed a few years later, Trula Koalicija with a new lineup in 2005, and November in 2007, releasing a new album,Radulizam in 2008. Džukele guitarist and vocalist Slobodan Vukosavljević formed thegarage rock band Nafta, which released the albumsSamo senke prolaze (2008) andAlternator (2011).^[46] In 2004, at theEXIT festival,gothic rock bandLuna reunited in the original lineup, and, four years later at the same festival, the originalPekinška Patka lineup reunited to perform at the festival main stage, alongsideSex Pistols.^[47] The band announced the release of a cover album, featuring songs performed at the Yugoslav 1960s pop festivals.^[48]

The origin of thenew wave scene in Serbia can be found inBelgrade 1970s bands Zvuk Ulice, Limunovo Drvo and Hipnotisano Pile. The three bands featured the future members of the Serbian new wave bandsIdoli,Šarlo Akrobata andElektrični Orgazam. Zvuk Ulice memberVlada Divljan, with two friends,Nebojša Krstić andSrđan Šaper formed a conceptual band VIS Dečaci in 1979, whose photographs appeared in theVidici youth magazine and attracted media's attention. The band soon included bassistZdenko Kolar, also from Zvuk Ulice, and drummerBoža Jovanović and was renamed toIdoli, in 1980. Limunovo Drvo, featuring guitaristsMilan Mladenović andDragomir Mihajlović "Gagi", performedhard rock for two years, before adopting the new wave andpunk rock musical style on the arrival of the bassistDušan Kojić "Koja" and drummerIvan Vdović "VD". After the departure of Mihajlović, the band was renamed toŠarlo Akrobata.Električni Orgazam was formed as an ad hoc band of the melodic hard rock band Hipnotisano Pile. The band was formed to perform at the 1980Palilula Culture Olympics as an opening act for Hipnotisano Pile. GuitaristLjubomir Jovanović "Jovec" was to play the drums and the drummerSrđan Gojković "Gile" was to play guitar and sing lead vocals. The band gained the public's attention at the performances and, soon after, the band ended their activity as Hipnotisano Pile and continued as Električni Orgazam.

Idoli, Šarlo Akrobata and Električni Orgazam had their first recordings released on the compilationPaket 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 ofsoc-realist iconography. It was broadcast for the first time at the New Year's Eve on the then-popularRokenroler 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 theirself titled EP in 1981 andOdbrana i poslednji dani in 1982, the latter polled in 1998 as the greatest Yugoslav popular music album in the bookYU 100: najbolji albumi jugoslovenske rok i pop muzike,^[49] Električni Orgazam released theirself titled debut in 1981 andpost-punk orientedLišće 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 inPoland and thePolish bands recorded a tribute to the Yugoslav rock bands, including cover versions of Idoli and Električni Orgazam songs, released on the 2001 albumYugoton. By 1983, Idoli and Električni Orgazam had moved towards mainstream pop and rock, and Šarlo Akrobata disbanded.

Due to the success ofPaket aranžman,Jugoton wanted to release another compilation featuring the new new wave and punk rock acts from Belgrade. The compilationArtistička radna akcija, released in 1981, featuredRadnička Kontrola,Bezobrazno Zeleno,Profili Profili,Defektno Efektni,Urbana Gerila,Petar i Zli Vuci,U Škripcu,Pasta ZZ,VIA Talas andTV Moroni, each with two songs, but it did not repeat the success of the previous compilation. Half of the bands did not release any other recordings except the ones on the compilation. Bezobrazno Zeleno released twopop rock-oriented studio albums, Profili Profili releaseda split album with Kazimirov Kazneni Korpus, Petar i Zli Vuci released two singles, U Škripcu released several studio albums and gained mainstream popularity moving tosynthpop and pop rock, and VIA Talas releasedone studio album before disbanding in 1982.

Other notable new wave acts include Belgrade actsBulevar, fronted by laterBajaga i Instruktori vocalist and solo singerDejan Cukić, which released two albums,Loš i mlad (1981) andMala noćna panika (1982),Piloti, which released albumsPiloti (1981) andDvadeset godina (1982) before disbanding, turning towards pop rock after their 1987 reunion, andKozmetika, which released only one album,Kozmetika (1983), and Novi Sad actČista Proza, which released only one album,Čista Proza (1983). Initial works of the bandsLaki Pingvini andZana 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 ofGrupa I,Du Du A,Pekinška Patka,Kontraritam,Doktor Spira i Ljudska Bića,La Strada,Obojeni Program andGjurmët, as well as in the works of some acts that gained popularity in the 1970s, most notablySlađana Milošević andLaboratorija Zvuka.

One of the first Serbiansynthpop acts was the bandBeograd, which were also one of the pioneers of the former Yugoslavelectronic music scene. The band was formed in 1981, and in 1983 released their only albumRemek depo, which featured a combination of synthpop andbrass instrument-orientedsoul.

With the decline of thenew wave scene around 1982, some new wave bands, likeU Škripcu andZana, moved towards synthpop.Artistička radna akcija participant U Škripcu, having started as a conceptual new wave band in 1980, moved towards synth music. The band's debut albumGodine ljubavi (1982), featuring several hit songs, was followed by even more successfulO je! (1983) and the EPNove godine (1983). However, on their later releases, the band turned towardselectropop sound, which, having proved unsuccessful, led them to disband. Despite two reunion comeback albums (in 1987 and 1990), the band could not repeat the early success. In the 1990s, the band's vocalistMilan Delčić "Delča" formed theelectronic rock band Delča & Sklekovi. Zana, named after the band's vocalistZana Nimani, having released their debut albumLoše vesti uz rege za pivsku flašu (1981), made a shift towards radio-friendlypop rock,New Romantic andsynthpop sound with the release of their second albumDodirni mi kolena (1982). Despite the success ofDodirni mi kolena and the following album,Natrag na voz (1983), vocalist Nimani left the band. The rest of the band continued performing as Zana, changing several vocalists and gradually turning towards pop music.

Other notable synthpop acts include bandsLaki Pingvini,D' Boys andJakarta. Laki Pingvini, despite working occasionally and with an unsteady lineup since 1979, gained mainstream popularity in 1983 with the debut EPŠizika. Their debut albumMuzika za mlade (1984) was also successful, however, their later releases did not repeat the previous success. The band disbanded in 1989, but had short reunions in 1994, 1995 and 2006.^[50] The duoD' Boys featuring a formerVIA Talas member Miško Petrović (also known as Miško Plavi) and a former West Germankrautrock groupJane member^[51]Predrag Jovanović (also known as Peđa D'Boy), was formed in 1982. With the albumsAjd' se zezamo (1984) andMuvanje (1985), the band became popular with humorous lyrical style, featuringkitschy and frivolous motifs dealing with nightlife, parties and girls. The band disbanded in 1985, with Jovanović forming a short lived Peđa D'Boy Band and later pursuing a solo career, and Petrović joiningPiloti and thenEkatarina Velika, and later taking up playing accordion and forming his Miško Plavi Band. The bandJakarta, formed in 1981, released theirsynth-funk-oriented debut albumMaske za dvoje in 1984, featuring several hits. However, the band moved towardspop rock on their second albumBomba u grudima (1986).

Funk rock in Serbia appeared in the 1980s with the bandsJakarta,Heroina andOktobar 1864. Formed in 1981, Jakarta released theirsynth-funk-oriented debut albumMaske za dvoje in 1984, featuring several hits. However, despite the success of the first album, the band moved towardspop rock on their second albumBomba u grudima, which was not well received by the fans, and the band ceased to exist in 1986. The band Heroina, formed in 1982, featuredZoran Janjetov, at the time already a well-known comic book artist, as vocalist.^[52] Their debut and only studio album,Heroina, released in 1985, featured a mixture of funk andart rock. Oktobar 1864, formed in 1984 and featuring the female vocalistTanja Jovićević, released theirdebut self-titled album, released in 1987, featuring several hit songs. On their two following albumsIgra bojama (1988), andCrni ples (1990), they successfully combined funk rock withjazz and pop elements. Despite the successful career, they disbanded in 1992 and Tanja Jovićević pursued a solo career as a jazz and funk musician. In 2005, she started collaborating with thefunk band Rich Bitch and with them, in 2008, released the album10.^[53] During the 1980s, funk influences could also be found in the works ofIdoli andDisciplina Kičme.

In the following decades funk rock was again popularized in Serbia with the appearance ofDeca Loših Muzičara andPlejboj in the 1990s. Formed in 1988, Deca Loših Muzičara played a combination of funk and rock, found on their albumsDobar dan (1992), andProlećni dan (1995). In 1998, the band wrote music for theVirus theater play, in which the main character was played by the actorIvan 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 andsoul withska,punk rock,jazz fusion andpop rock on their albumsSviraj dečko (1994) andOverdrive (1997).

The alternative rock scene developed in the early 1980s with the decline of thenew wave scene, when a part of the new wave scene became the base of the future Serbian alternative rock scene. The pioneers of alternative rock can be found inNovi Sad bandsLaboratorija Zvuka, with their eccentric style,erotic lyrics, unusual line ups and bizarrecircus-inspired stage performances,La Strada, featuring the poetSlobodan Tišma on guitar and vocals,Obojeni Program, featuring formerUrbana Gerila vocalist Branislav "Kebra" Babić, and thegirl bandBoye whose debut albumDosta! Dosta! Dosta! (1988) was the first Serbianall-female release since the 1960s.

In Belgrade, formerŠarlo Akrobata membersDušan Kojić andMilan Mladenović formed two of the most notable bands of the alternative rock scene in Serbia,Disciplina Kičme andEkatarina Velika. Former Šarlo Akrobata bassist and vocalist Dušan Kojić Koja, formed the bandDisciplina Kičme in 1982. The band, in the initial period consisting only of Kojić and the drummerSrđan "Žika" Todorović, combining influences frompunk rock,funk,jazz fusion,motown,jungle, and the works ofJimi Hendrix. During the early 1990s, the band moved to London and changed the name to Discipline A Kitschme, performing with female vocalist, African-American singer Gofie Bebe, only to return to Serbia in the mid-2000s. Ekatarina Velika, having at first called Katarina II, featured former Šarlo Akrobata and Limunovo Drvo guitarists Milan Mladenović andDragomir Mihajlović. Having released theirpost-punk influenced records, the band moved to a more guitar-orientedalternative rock, found on their releasesLjubav (1987),Samo par godina za nas (1989), andDum dum (1991). Another prominent figure of the Serbian alternative rock scene,Mitar Subotić, also known as Rex Illusivi, a composer, producer and one of the pioneers ofelectronic music in Serbia, was closely associated with the works of Ekatarina Velika. In 1985, Subotić, Mladenović andGoran Vejvoda started the short-lived project Dah Anđela. At the about same time, Subotić was closely associated with the work of theart rock bandHeorina, which featured comic book artistZoran Janjetov on vocals. In 1990, Subotić moved toSão Paulo, Brazil, where he worked as a musician and producer. In 1994, Subotić and Mladenović, with a group of Brazilian musicians, reactivated the project asAngel's Breath, releasing the albumAngel's Breath in 1994.

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,Van Gogh andRambo Amadeus. Despite the fact that Van Gogh, formed by guitaristZvonimir Đukić "Đule", releasedtheir debut self-titled album in 1986, which was also the year of their formation, it was in the early 1990s that the band which, having disbanded, and reformed in 1990, became successful with the albumsSvet je moj (1991),Strast (1993),Hodi (1996), andOpasan ples (1999). In the 2000s the band moved towards more commercial sound, and established themselves as one of the top mainstream acts on the Serbian rock scene. TheBelgrade-basedMontenegrin singer-songwriter Antonije Pušić, who works under the pseudonym Rambo Amadeus, with his debut albumO tugo jesenja (1988), created the unique combination of different musical styles, includingjazz, rock, andfolk music, which he called "turbo folk". The term was later used for the subgenere of the folk music from theBalkans. Pušić continued in the same manner on his later releases also making influence on theSerbian hip hop scene with the albumsHoćemo gusle (1989) andPsihološko propagandni komplet M-91 (1991).

The beginning of the 1990s featured the prominent alternative rock acts:Dža ili Bu,Darkwood Dub,Presing,Kanda, Kodža i Nebojša, andBlock Out fromBelgrade,Obojeni Program fromNovi Sad andBjesovi fromGornji Milanovac. Dža ili Bu, formed in 1987, featuring a combinationhard rock andpunk rock, with their 1992 albumHej mornari presented the political situation in the country with their ironical lyrical style. Darkwood Dub, formed in 1988, performed a combination ofelectronic music and rock.Presing, formed in 1990, combinedpost rock,soul,free jazz andkrautrock.Kanda, Kodža i Nebojša, formed in 1991, performed a combination of rock, jazz andreggae. Block Out, formed in 1991, initially inspired by various diverse bands andgrunge/hard rock-oriented, after the release ofCrno, belo i srebrno (1994) started to move towards a darker, heavier atmosphere and sound underNikola Vranjković's songwriting, combining elements ofdoom metal,psychedelic rock, hard rock and punk rock with social-related lyrics. Obojeni Program, although formed in 1980, released their debut albumNajvažnije je biti zdrav in 1990. Bjesovi, formed in 1989, combining grunge, hard rock, psychedelic rock and doom metal, released their debutU osvit zadnjeg dana in 1991, but achieved success with the release of their second,self-titled album, released in 1992.

The mid-1990s featured the disbandment ofEkatarina Velika, and the formation of the bandsSupernaut,357,Jarboli,Kristali andE-Play. The band Supernaut, featuring formerRadnička Kontrola memberSrđan Marković, influenced bySuicide, wrote plays and performed a combination of art exhibitions, theater plays and rock concerts. 357 performed a combination ofhard rock,rap rock, Serbianfolk andreggae, combined with socially critical lyrical style. Jarboli, a guitar-oriented club band formed in 1993, independently released the prominent albumČizmanoga, but after the album release, moved to a more softer rock sound, found on their later releases. Kristali, like Jarboli, were formed in 1993, and combined the simplepop rock song structures backed withbrass sections, making a communicative musical performance found on their releasesKristali andDolina ljubavi. E-Play, featuring a majority of female members, combined alternative rock with various electronic music genres.

The 2000s brought new alternative rock acts, large number of them usually denoted as Nova srpska scena (New Serbian Scene).

The late 1980s brought a variety ofpunk rock bands and genres on the Serbian scene and theOi!,ska,hardcore punk andpop punk bands emerged from the local demo scenes to the major record labels and nationwide popularity.

The Oi! scene, withRitam Nereda andDirektori, 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 towardsska music, which became very popular on the Serbian scene. Even though ska appeared in the early 1980s with the bandKontraritam, formed in 1980, which released onlyone album before disbanding in 1983, it was only with the bands likePlejboj andFamilija 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, andpop rock, found on their albumsSviraj dečko (1994) andOverdrive (1997). Familija, formed in 1994, gained popularity with their ska/pop rock songs with humorous lyrics found on their albumsNarodno pozorište (1994) andSeljačka buna (1998). However, despite the success of the releases, they disbanded in 1998. In 2003, the band's former vocalist Dejan Pejović formed the bandThe Dibidus, whose albumsThe Dibidus (2003) andTrenerka 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 bandsSick Mother Fakers from Belgrade, which were one of the pioneers of the genre in Serbia,Ništa Ali Logopedi fromŠabac, which featuredaccordion-orientedSerbian folk music combined with hardcore punk, therapcore bandSunshine from Belgrade, which combined rap and hardcore punk with sexually overt lyrics, and the hardcore punk/metalcore bandOverdrive fromZrenjanin. One of the most popular bands of the genre wasEyesburn, abrass-oriented combination of hardcore punk andreggae music. The band's growing popularity with the releases ofFool Control /2000) and laterSolid (2003), gave them the opportunity to tour Europe withSoulfly. The band disbanded in 2005, but reunited in 2011.^[54]

Pop punk scene in Serbia mainly developed in the 1990s, due to the popularity of the bandsOružjem Protivu Otmičara,Six Pack andČovek Bez Sluha. Oružjem Protivu Otmičara from Zrenjanin are one of the pioneers of the genre inSerbia and their 1996 albumBarbieCue became one of the most popular releases of the 1990s.Six Pack andČovek Bez Sluha, the two bands currently having the same vocalist Milan "Miki" Radojević, the former fromSmederevska Palanka, and the latter fromKragujevac, moved from local prominence to performing abroad and having their recordings released by foreign record labels. The popularity of the genre continued in the 2000s (decade) with the work of the above-mentioned bands and the newly formed bandsLude Krawe, formed in 1998,Super s Karamelom, featuring two female vocalists, formed in 2003, andStrip, initially a project by Serbiangraphic and comic book artists, which combines graphic art withpower pop andpop punk, formed in 2005.

Despite being a part of the developed Yugoslavindustrial rock scene, Serbian scene gave a small number of notable acts. One of the most notable acts was the bandVIVIsect fromNovi Sad, which was formed in 1989 and released two cassette albums. Early 1990s brought acts like Overdose fromBelgrade and alsoKatarza fromNovi Sad, both whom combined industrial rock with elements ofalternative rock andcrossover. Another two notable 1990s acts were the bandsRetromind fromKruševac and Pure fromJagodina, both combiningMinistry-likeindustrial metal with rock music. The late 1990s brought new industrial rock acts into the scene, such asDreDDup andŽexon 5 fromNovi Sad andKlopka za Pionira fromPančevo.DreDDup released seven albums, did several European tours and also collaborated with cult Slovenian industrial groupBorghesia. The 2000s brought new bands to the scene:Monolith fromNis, Syphil fromSombor, Figurative Theatre and Pornhouse fromNiš.

Several notable acts incorporated industrial rock elements into their sound:grindcore bandUrgh!, with their 2001 albumSumo, alternative rock bandDža ili Bu, with their 2007 albumUltra muk, and alternative rock act,Supernaut, drawing on many different musical influences, featured a kind ofexperimental variant of industrial rock.

The bandsBlock Out fromBelgrade andBjesovi fromGornji Milanovac were the representatives ofgrunge on the Serbian rock scene. After their debut albumCrno, belo i srebrno (1994), the earlyhard rock concept of Block Out started to move towards a darker, heavier atmosphere and sound underNikola Vranjković's songwriting. The followupGodina 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 ofsocialism in Serbia. With the release of the next album,San koji srećan sanjaš sam (1998), the band moved from grunge sound towardsart rock andalternative rock. Bjesovi released their debutU 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 albumSve 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 theChristian rock projectPesme iznad istoka i zapada (2001).^[55] The band reformed with a new lineup in 2000 and releasedBolje ti in 2009.

The 2000s featured three notablepost-grunge bands,Night Shift,Euforia, andBroken Strings. Night Shift, even though formed in 1991, released their debut albumUndercovers in 2002. The album, which featured covers of songs by various rock and pop artists, was well-accepted by the audience and the critics, and the band moved towards writing their own songs, releasing their second albumBez zaklona in 2009. Euforia, formed in 1999 and mainly influenced byNirvana, released their debut, self-titled album in 2005. The band single "Blokovi" was pronounced the Single of the Year 2005 on theB92 annual singles top list.^[56] The band continued performing, and in 2008 released their second album2.Broken Strings, starting as aPearl Jam tribute band, moved towards writing their own material. Winning the 39thGitarijada festival inZaječar, the band released their debut albumSvaki trenutak ostaje... in 2007.^[57]

Britpop appeared in Serbia with the bandEva Braun fromBečej, and the band's factionPopcycle. Eva Braun was formed in 1990 by Goran Vasović, Petar Dolinka and Milan Glavaški. Influenced byThe Beatles,Little Richard,The Byrds, and the Serbian bandIdoli, the band released their debut albumPrisluškivanja in 1992. The album had minor hits, but the single "Sasvim običan dan" found on the band's second albumPop music, released in 1995, had drawn the public's attention to the band's work. TheRolling 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 albumHeart Core repeated the success of the previous release, and the band, having performed at theInternational Pop Overthrow, also gained the opportunity to release an album for the North American market with the release ofNowhere Land. In 2000, the band started working on an ambitious project which came out asEverest 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 albumOrbitalna putovanja in 1996, andPopcyclopedia 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 albumPlayback in 2011. In 2006, Glavaški, with a group of Serbian and Hungarian musicians formed his side project,alternative country/pop rock bandRebel Star.

Other notable representatives of the Serbian britpop scene areKristali,Veliki Prezir,Instant Karma andLutke.

TheIrish folk andCeltic rock scene appeared inSerbia with the works ofOrthodox Celts fromBelgrade. During the mid-1980s, Dušan Živanović, the drummer of thepub rock bandRoze Poze, wanted to form a band which would perform cover versions of Irish folk songs, and the influence of the idea was partially achieved through the works of Roze Poze. However, it was in 1992 that Živanović formed the first Serbian Irish folk band called Orthodox Celts with the vocalistAleksandar "Aca Celtic" Petrović and violinist Ana Đokić. The band, having released their first two albums,Orthodox Celts (1994) andThe Celts Strike Again (1997), which mainly featured cover versions of Irish folk songs, started writing their own material. Since the release ofGreen Roses in 1999, the band centered on writing and recording their own songs. The traditional performances forSaint Patrick's Day and at theBelgrade Beer Fest made the band become a live attraction, having well-visited live appearances in Serbia and abroad.

During the early 2000s, appeared two bands,Tir na n'Og andIrish 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 andSerbian folk music withpunk rock, and their debut albumTir na n'Og was released in 2006.^[59] However, in 2008, the band changed the name to Alfapop and moved towardspower 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 albumSo Many Words... in 2005. In 2011, they releasedNew Tomorrow, their first album not to feature any covers of Irish folk songs.

The term Nova srpska scena (New Serbian Scene) was coined in the second half of the 2000s by the web magazinePopboks, which was initially one of the main promoters of the scene.^[61] Although the term was mostly used to denote bands promoted in Popboks and released their albums through the record label Odličan Hrčak,^[62][63] the term was also often used to denote many young Serbian bands formed after 2000.^[61] Also, some of the bands active in the 1990s, most notably thealternative rock bandGoribor,^[64] were closely associated to the scene. The bands differed by genre: although a part of the bands were influenced by theYugoslav new wave and the contemporaryindie andpop rock,^[65] not all the bands considered part of the scene were. The most notable bands which were associated with the scene includeKlopka Za Pionira,Multietnička Atrakcija,The Mothership Orchestra,Nežni Dalibor,Repetitor,Petrol,S.A.R.S.,Stuttgart Online,Svi Na Pod!,Zemlja Gruva,ŽeneKese,Virvel,Kralj Čačka and others.^[66]

In 2007,PGP-RTS, in cooperation with Popboks, released the compilation albumJutro će promeniti sve?, which featured songs by sixteen bands associated with the scene.^[67] By the end of the decade, the most notable representatives of the scene released their debut albums.Goribor, formed in 1996, gained popularity in the 2000s with their demo recordings officially released through the Croatian label Slušaj Najglasnije!, releasing their first studio album,Goribor, in 2007.^[68]Petrol, formed in 2003, released their debut album,Nezgodno vreme opasni dani, in 2008.^[69]Nežni Dalibor, active in the 1990s and reformed in 2000, released their debut album,Sredstva i veštine, in 2008.^[70]Repetitor, formed in 2005, released their debut album,Sve što vidim je prvi put, in 2009.^[71]S.A.R.S., which gained nationwide popularity with the hit song "Buđav lebac", released their debut, self-titled album in 2009.^[72]

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]

• EX YU ROCK enciklopedija 1960–2006, Janjatović Petar;ISBN 978-86-905317-1-4
• Fatalni ringišpil: hronika beogradskog rokenrola 1959—1979, Žikić Alkesandar, publisher: Geopoetika, Belgrade, Yugoslavia, 1999
• Siniša Škarica,Kada je rock bio mlad: Priča s istočne strane (1956.-1970.),V.B.Z. d.o.o., Zagreb, 2005. godine.ISBN 953-201-517-5
• Punk u Jugoslaviji, Dragan Pavlov and Dejan Šunjka, publisher: IGP Dedalus, Yugoslavia, 1990
• Moj život je novi val, Branko Kostelnik, knjiga intervjua, publisher: Fraktura, Zagreb, Croatia, 2004
• Od Čivija do Goblina: šabačka rock enciklopedija, Ivković Živko, 1999;OCLC 163351502
• NS Rockopedija, novosadska rock scena 1963–2003, Bogomir Mijatović, Publisher: SWITCH, 2005
• Enciklopedija niškog Rock 'n' Rolla 1962 – 2000, Stanojević Vladan;ISBN 86-902517-1-5
• Neka druga scena, Davor Bogdanović; Publisher: GraphIT, 2009
• Riblja čorba, Jakovljević Mirko;ISBN 86-83525-39-2
• Nevidljive terazije Slobodana Stojanovića Kepe, Jakovljević Mirko;ISBN 86-83525-67-8
• Ljuba Ninković: S vremena na vreme, Kajlovic Vladimir;ISBN 86-7784-033-8

• 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

• Serbian rock music
• Music scenes
• Serbian styles of music

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