Šarlo Akrobata Шарло Акробата | |
|---|---|
 Šarlo Akrobata in 1980:Milan Mladenović,Dušan Kojić, andIvan Vdović. | |
| Background information | |
| Origin | Belgrade,SR Serbia,SFR Yugoslavia |
| Genres | |
| Years active | 1980–1981 |
| Labels | |
| Spinoffs | |
| Spinoff of | Limunovo Drvo |
| Past members | |
Šarlo Akrobata (Serbian Cyrillic:Шарло Акробата,lit. 'Charlot the Acrobat')[1] were a seminalSerbiannew wave/post-punk band fromBelgrade. Short-lived but extremely influential, in addition to being one of the most important acts of theYugoslav new wave scene, the three piece left an indelible mark on the entire music scene offormer Yugoslavia.
Spawning from theprogressive/hard rock groupLimunovo Drvo (Serbian Cyrillic:Лимуново Дрво,lit. 'Lemon Tree'), founded in 1977 by guitarist and vocalistMilan Mladenović and guitaristDragomir "Gagi" Mihajlović, after several lineup changes, moved towardsnew wave music, with the arrival of bassist and vocalistDušan "Koja" Kojić and drummerIvan "Vd" Vdović. After performing as an opening act forPankrti in April 1980, Mihajlović left the band and the remaining three members changed their name to Šarlo Akrobata, after a Yugoslav nickname forCharlie Chaplin's characterthe Tramp. Subsequently, the trio recorded four tracks which were released on the 1981 compilation albumPaket aranžman, now considered to be one of the most influential releases in the history of formerYugoslav rock music. During 1981, the band released their debut albumBistriji ili tuplji čovek biva kad..., after which, owing to irreconcilable differences between the band members, the band ceased to exist. The album received critical recognition and is regarded as one of the most notable albums of former Yugoslav rock music.
After the band disbandment, Mladenović with Vdović and Mihajlović formed Katarina II, which changed its name toEkatarina Velika after the departure of the latter two, and Kojić formed Disciplina Kičme, changing its name toDisciplin A Kitschme in 1995. In 1992, Vdović died ofAIDS, followed by Milan Mladenović's death frompancreatic cancer in 1994.
In 1978,Milan Mladenović (guitar, vocals) andGagi Mihajlović (guitar) formed theprogressive/hard rock band Limunovo Drvo, with bassist Goran "Maksa" Kovinčić and drummer Dušan "Džindžer" Dejanović.[2][full citation needed] The lineup did not last long and the band experienced frequent personnel changes, including bassist Mikica Stefanović as well as Kovinčić's and Dejanović's respective returns.[3] Despite never achieving stable lineup, the band still managed to string together a bit of an active presence on Belgrade's underground music scene, performing at theŽarkovo andŽeleznik guitar festivals, atNovi Beograd'sBlok 45, theBelgrade Youth Center, as well as staging two solo concerts at theSKC.[2] During this period, the band also recorded a few demo tracks at the famous JM Sound Studio inZagreb owned by Janko "Truli" Mlinarić and Petko Kantardijev.[2]
Still, Limunovo Drvo never managed to put out an official release although they were reportedly close to recording an album forSuzy Records, only to break apart before that could be realized.[4] Songs performed by Limunovo Drvo include "Da li se sećate?" ("Do you remember?", "Sedmi krug" ("The Seventh Circle", "Oko moje glave" ("All Around My Head"), "Limunovo drvo" ("The Lemon Tree"), "Ne veruj" ("Do Not Believe") and "Gubitak (Nešto u nama)" ("The Loss (Something Within Us)").[2]
At the end of Mladenović's and Mihajlović's creative wits, the two were joined byDušan "Koja" Kojić (bass, vocals) — who had previously played with a number of underground Belgrade bands in addition to moving in alternative and punk circles gathered around the SKC where he used to conduct public forum debates related to new wave music — as well asIvan Vdović "VD" (drums, backing vocals), a drummer with a background injazz music who performed with numerous Belgrade bands including BG5 andSuncokret. Furthermore, Kojić and Mladenović had previously played in a band Izvan Vremena, having their first performance in 1978.[5] The addition of a new rhythm section brought a change in their musical orientations through adopting a new musical direction inspired by the emergingpunk rock andnew wave scenes.[3] Upon his arrival in Limunovo Drvo, Kojić also brought along his and Milan's mutual friend Nenad "Kele" Krasavac who became the band's unofficial manager.[3] In April 1980, the new Limunovo Drvo lineup opened forPankrti at Belgrade SKC, performing a set of new and rearranged older songs, after which guitarist Mihajlović decided to leave the band and the remaining members decided to continue working as a trio, changing the name to Šarlo Akrobata.[3]
In June 1980, the band performed at a series of multiple acts free concerts, mostly featuring the newly formed new wave and punk bands, organized at the Belgrade SKC under the supervision ofNebojša Pajkić, after which, Šarlo Akrobata (labeled as Akrobata Šarlo), along withElektrični Orgazam andIdoli were recognized by theDžuboks criticMomčilo Rajin as "one of the most exciting new acts".".[6] Rajin stated that Vdović's drum playing style was "reminiscent ofStewart Copeland ofThe Police", Kojić bass playing as "a true example of simplicity and bareness to the essence of playing his instrument", and Mladenović as "matured into a true band leader".[6] Soon after, the three bands were labeled by the music critics as the core of the emerging scene, consisting of the newly formed Belgrade punk rock and new wave bands centered on SKC, which they called the "Belgrade Alternative Scene" or "BAS".[6] During November, with the performance of the song "Ona se budi" the band competed atSuboticaFestival Omladina, the event where the representatives of both theBelgrade and Zagreb new wave scene had met for the first time, claiming second jury prize behindFilm.[3]
By the Subotica performance, during autumn 1980, the band had already made their first recordings, the songs "Ona se budi" ("She is Rousing"), "Oko moje glave" ("All Around My Head"), "Niko kao ja" ("No One Like Me") and "Mali čovek" ("Little Man") at the Belgrade Druga Maca studio, owned by the former Indexi keyboard player Enco Lesić, who had also made recordings of the other two "BAS" bands, Idoli and Električni Orgazam.[7] Eventually, in coordination with Lesić and Idoli manager Dragan Papić, theJugoton executive editorSiniša Škarica came up with an idea of releasing the recordings of three bands in a compilation album, rather than releasing separatemaxi singles.[7] During the recording sessions of the three bands, the Druga Maca studio was visited by the young PGP RTB television directors,Boris Miljković and Branimir Dimitrijević "Tucko", who were at the time working together on theRokenroler (Rockenroller) television show, and in the following couple of weeks, they recorded several music videos for the songs of the three bands, all featuring the same style: a minimalist barren whitechroma key scenery surrounding the band members.[8]
The recorded music videos, including the video for the song "Niko kao ja", appeared in the third episode of the Rokenroler show, originally broadcast on New Year's Eve 1981 on R, being the debut television appearance of the three Belgrade new wave acts, as well as the first presentation of the Belgrade new wave bands to a nationwide audience outside.[8] The show became the most notable of all the Rokenroler episodes as well as the most notable work of the two directors.[8] The show also marked one of the first serious attempts of introducing themainstream music video in Yugoslav media.[8] Following the show's broadcast, in January 1981, TheDžuboks magazine journalist Nebojša Mirčetović, in the text "The Ultimate Breakup with the Apathetic Seventies", in the context of the unreleased material promoted by the music videos, stated that the show marked the "beginning of a rainbow at the end of which we would find a jar full of beautiful music waiting for the record labels to release it".[8] During following month, in the same magazine, Ivica Vdović was polled by the readers as the 10th best drummer, and Dušan Kojić as the 9th best bassist of the year 1980.[9]
Despite the intended release during the late-1980, due to the lack of vinyl material, the omnibus compilation album featuring the debut recordings of Šarlo Akrobata, along with the recordings ofElektrični Orgazam andIdoli,Paket aranžman (Package Deal), was released in February 1981 by Jugoton.[3] Despite the fact that initially all three bands were not content with the release itself, especially the album production, owing to the technical limitations of the studio itself, the half-year delay during which the three bands had evolved musically, the release proved to be one of the most influential albums in the history ofYugoslav rock music.[10] The album received positive critical reaction, with theDžuboks magazine critic Momčilo Rajin, in his review of the album, comparing the release with notability of theGrupa 220,Bijelo Dugme,Prljavo Kazalište andPankrti debut album releases.[11] The album was not a commercial success, initially being sold in about 10.000 copies with the 20.000 being sold with the subsequent reissues.[12] However, the songs from the release, including "Ona se budi" and "Niko kao ja", were listed on the greatest Yugoslav rock songs lists on several occasions.[13]
The release ofPaket aranžman was soon followed by the release of theMiša Radivojević movieDečko koji obećava (Promising Boy), for which the band recorded three songs, withGoran Vejvoda on guitar and the actorAleksandar Berček on lead vocals, which appeared on the movie soundtrack.[3] The recorded songs, for which the music was written by Kojić and the lyrics by the screenplay writerNebojša Pajkić, were performed in the movie by the fictional musical group VIS Dobri Dečaci (The Good Boys), with Kojić acting the guitar player role, Vdović the drummer role and Berček the lead vocalist and film's starring role. The songs "Slobodan" (a popular Serbianname, literally means "free"), "Balada o tvrdim grudima" ("The Ballad of Hard Breasts") and "Depresija" ("Depression), however, were never officially released.[3] In March of the same year, Šarlo Akrobata participated thePozdrav iz Beograda (Greetings from Belgrade) concert organized in Zagreb as a promotion of the Belgrade new wave scene, and a live promotion ofPaket aranžman, on which the band also promoted their debut single "Mali čovek", with "Ona se budi" as the single B-side, released prior to the event.[14]
In April 1981, the band entered the studio in order to record their debut studio album, which was intended to be released throughPGP RTB. However, during the recording sessions at the PGP RTB Studio 5, the musical editors of the record label, the composer Aleksandar Pilipenko andBojan Hreljac, formerly the bassist ofKorni Grupa, after visiting the studio during the recording of one of the experimental tracks, the label decided to drop the release.[15] Even though the original band's musical directions were based on a combination of punk rock and whitereggae music, the outcome of the album recording sessions proved turned out to be as experimental as possible, with the British new wave styles being combined with reggae, punk sound backed with dub effects.[16] The recording sessions were based on a kind of a system where Mladenović and Kojić would bring fresh raw ideas and Vdović would modify and shape them.[16] Mladenović was into poetic and melodic aspect of the whole thing while Kojić, inspired byJimi Hendrix style of playing, was turned to minimal lyrics and aggressive music which can be recognized on different tracks on the album and their work in general.[16]
Eventually, in July 1981, after purchasing the recordings from PGP RTB, the debut albumBistriji ili tuplji čovek biva kad... (Brighter or Dumber a Man Gets When...), was released byJugoton.[16] The material featured guest appearances by Goran Vejvoda, Gagi Mihajlović, Jurij Novoselić "Kuzma" from the bandFilm and Dejan Kostić fromGrupa I.[16] The producer of the album was signed as Akpiđoto (misspelled on the album cover as Aktiđoto) which represents a combination of names of the real producers: Akrobata (the band), Pile (the nickname of Mile Miletić), Đorđe (Đorđe Petrović) and Toni (Toni Jurij, a recording engineer fromLjubljana who was an expert on dub techniques).[16] The album front cover was designed by the band themselves with Goran Vejvoda (who also designed thePaket aranžman cover), the front cover featuring the band with their backs turned and facing a boy to create a kind of a notion of a mirror,[17] with the band members also contributing with their own drawings on the inner sleeve: Mladenović's drawing of his girlfriend, Kojić drew a two scene caricature and added the text fromPolitikin Zabavnik from an article about the "acrobatic ladles" to the Vdović's drawing.[18]
The title of the album was taken from theVasa Pelagić bookNarodni učitelj (The Folk Teacher), from which the song lyrics for the highly experimental track "Pazite na decu I" ("Take Care Of The Children I") were also taken.[16] Beside the experimental "Pazite na decu I" and "Ljubavna pesma", the album featured the rearranged songs from the Limunovo Drvo period, along with the new material, and the entire written material and arrangements were credited to Šarlo Akrobata, rather than the individual band members themselves.[15] However, the fact that the album did not feature the hit songs fromPaket aranžman like "Ona se budi" or "Niko kao ja", which the band considered as repetition of old material, affected the album and sales, with the album being sold in about 10.000 copies without another repressing by Jugoton.[18] Like with the case ofPaket aranžman, despite not being commercially successful, the album proved to be one of the most significant albums released in the history of Yugoslav rock music, according to a number of musicians and critics,[17] and was also featured on the greatest Yugoslav rock albums list.[19]
Following the album recording sessions on 15 May 1981 with theCroatian new wave bandHaustor, the band performed as an opening act for theGang of Four at theMusic Biennale Zagreb festival.[20] It was intended that both bands were to open the Gang of Four concert in Ljubljana, but the performance was canceled.[20] At that time, the professional and, consequently, private relations within the group had not been very well among its members, mostly because of the different views on the future directions of the band.[16] Vdović insisted on bringing in the band Goran Vejvoda and possibly even Vejvoda's girlfriend at the timeDragana Šarić, both of which the members of his side project Announda Rouge.[20] Mladenović was mostly receptive to the idea, also wanted to add a keyboard player and Vejvoda was one of the rare young musicians in Belgrade at the time who owned a Casio VL-2 synthesizer, whereas Kojić vehemently objected to it, feeling the current lineup still had much more to offer.[16] Kojić would later state, in the 2006 documentary about Ekatarina Velika,Kao da je bilo nekad, that the normal relations and communication in Šarlo Akrobata lasted only about six months.[17]
According to Kojić, the band was also reluctant to promote the album with much touring as the writing had already been on the wall since the trio barely tolerated each other at this point, knowing for some time they would soon split apart.[18] The band were also to release a newdouble A-side single "Bes" ("Anger") / "Prevaren" ("Fooled"), the former being an original version of the dub remix featured on the debut album and the latter being a power pop track version of a Limunovo Drvo track, which were recorded during the album recording sessions, but it was never released.[15] In the Autumn of 1981, they got the "Smeli cvet" award for music by Socialistic Youth Of Yugoslavia, after which the band embarked on a previously booked tour ofPoland, during which they also had an unplanned jam improvising session with some of the British jazz performers at theWarsaw jazz festival.[18] Upon returning to Yugoslavia, the band performed at a farewell showLjubljana in October 1981, which, along with the Music Biennale Zagreb festival performance, proved to be the highest attending Šarlo Akrobata concert (circa 1.000 people),[4] after which they disbanded.[16]
By the time Šarlo Akrobata disbanded, Kojić had already had several rehearsals with the band's manager Nenad Krasavac "Kele", who was also the drummer of the Belgrade punk rock bandUrbana Gerila, as a duo under the name of Disciplina Kičme, featuring himself on bass guitar and Krasavac on drums.[18] Following the disbandment, Milan Mladenović with Gagi Mihajlović on guitar, Dušan Dejanović on drums, and Zoran "Švaba" Radomirović on bass guitar, formed the band Katarina II, soon to be joined by the keyboard playerMargita Stefanović.[21] During the following year, Katarina II drummer Dušan Dejanović left the band in order to join Disciplina Kičme, and was replaced by Ivica Vdović "VD".[21] In 1983, Disciplina Kičme with the drummerSrđan Todorović released their debut albumSviđa mi se da ti ne bude prijatno (I Find Your Discomfort Appealing), featuring the tracks "Mozak" ("Brain") and "Pečati" ("Stamps"), originally performed by Šarlo Akrobata, but never officially released. The following year, Katarina II released their debut albumKatarina II, after which both Mihajlović and Vdović left the band and the rest of the lineup changed the name toEkatarina Velika.[21]
Both Disciplina Kičme and Ekatarina Velika would release a series of critically and moderately commercially successful albums throughout the 1980s.[21][22] The rivalry between the two bands heated up with the Disciplina Kičme drummer Srđan Todorović joining Ekatarina Velika in 1987.[21] During the same year, Disciplina Kičme released the EPDečija pesma (Children Song), featuring six different versions of the title track, which featured the lyrics "Nije dobro Bijelo Dugme; Nije dobra Katarina; Šta je dobro; Šta nam treba; Kičme, Kičme Disciplina") ("Bijelo Dugme is no good; And neither is Katarina; What is good?; What we need?; Kičme, Kičme Disciplina").[22] One of the versions featured the guest appearance by Vdović, who had been working withDu Du A andHeroji after leaving Katarina II,[21] on rhythm machine.[22] In 1989, Vdović formed the bandDDT with the former Urbana Gerila memberSrđan Marković "Đile" (vocals) and formerProfili Profili member Miodrag Stojanović "Čeza" (rhythm machine).[23] On 23 September 1992 Ivan Vdović, being the first officially registeredHIV positive person in former Yugoslavia, died ofAIDS at the age of 32.[23]
In 1991, Jugoton rereleasedPaket aranžman oncompact disc, becoming one of the first CD releases in former Yugoslavia.[24] The following year, with the outbreak of theYugoslav wars, Mladenović participated the antiwar projectRimtutituki,[25] and Kojić moved toLondon where, after performing in various bands, revived Discpilina Kičme with an alternative band name Disciplin A Kitschme, releasing several albums, featuring the rerecordedEnglish language versions of Disciplina Kičme songs along with new material, and achieved a cult status.[26] After releasing two albums with Ekatarina Velika, in 1994, Mladenović moved toBrazil where, with his friend and musical collaborator,Mitar Subotić, asAngel's Breath, released their eponymous album, recorded with a lineup of Brazilian musicians.[25] Upon his return, on 24 August 1994, Ekatarina Velika played what would turn out to be their last show at thePjesma Mediterana festival inBudva, as the next day Mladenović was held in a hospital, and was diagnosed withpancreatic cancer.[25] On 5 November 1994 Milan Mladenović died in Belgrade at the age of 36.[25]
Kojić continued performing with the London lineup of Disciplin A Kitschme until 2003 when he moved back to Belgrade.[26] In 2002, the actress and directorSonja Savić recorded anindependent documentary movieŠarlo te gleda (Charlot is Watching You), dedicated to the late Šarlo Akrobata drummer Ivan Vdović, which covered the story of Šarlo Akrobata and other bands from the Belgrade scene of the 1980s.[27] The following year, Igor Mirković released a book and directed a movie on the entire former Yugoslav new wave scene entitledSretno dijete (Happy Child), which featured the story on Šarlo Akrobata, however, Kojić refused to participate in the film, dissatisfied with the fact that bands likeBijelo Dugme, aprogressive rock band which switched to playing new wave music with the genre popularity, were included in the storyline.[18] In 2005, Kojić reformed a new Belgrade lineup of Disciplin A Kitschme and resumed discography and touring activities.[26] In 2007,Croatia Records, the successor of Jugoton, released a box set entitledPaket Aranžman featuring a remastered edition of the album, packed with the Šarlo Akrobata andElektrični orgazam debut albums.[24]
During theprogressive/hard rock period of Limunovo Drvo, Milan Mladenović had already discovered theBritish new wave bandsXTC andThe Stranglers, a musical preference he discovered to be sharing with Dušan Kojić "Koja", upon whose arrival in Limunovo Drvo, the band moved towardspunk rock and new wave.[6] Another new arrival which influenced the new musical orientation of Limunovo Drvo was the drummer Ivica Vdović "VD", who was more of ajazz musical background thanrock, being a fan of jazz,jazz fusion,swing andbe-bop,[28] andFrank Zappa.[18] During the earliest period of Šarlo Akrobata, the band sounded like a punk rock band rather than a new wave band, which changed with their ambition for a more minimal instrumentation.[29] During this second period, the band embracedreggae,ska andpunk funk, with theGang of Four debut albumEntertainment! andJoe Jackson debutLook Sharp! being a major influence, as documented on the compilation albumPaket aranžman.[6] In an interview, Kojić also listedJames Chance and the Contortions,The Pop Group,Public Image Limited,Miles Davis andJimi Hendrix among the band favorites.[18]
After thePaket aranžman period, the band moved towards making further experimentation which was marked as an "organized chaos" by Vdović, in which Vdović's playing open forms allowed the connection of Kojić's raw and aggressive treatment of the bass guitar as a solo instrument and Mladenović melodic guitar and vocal style.[30] Mladenović would later state that he was the force in the band which could organize in a coherent whole the sounds coming from the unrestrained bass and drums, part of which owing to the necessity to play and sing most of the time, which affected his playing style.[31] This period was documented on the band's debut and only studio albumBistriji ili tuplji čovek biva kad....[16] Following the debut track on the album, the Stranglers andMagazine-influenced waltz intro "Šarlo je nežan", the album's second track "Pazite na decu" featured the band members unexpectedly entering the studio with a few associates and switching their instruments, with Mladenović on drums and vocals, Vdović playing guitar, Kojić playing thegoblet drum and shouting, Dejan Kostić ofDu Du A on bass, andGoran Vejvoda on guitar.[28]
Another highly experimental track was "Ljubavna pesma" which was an improvisation recorded in a single take, the practice also used in the track "Čovek", featuring the exclamation "Družino" ("Camaradery") as a tribute to the bandBuldožer,[15] in which the band wanted to play as fast as possible, resulting in the most aggressive track on the album.[28] The album also featured the rearranged songs from the Limunovo Drvo period, "Fenomen", "Sad se jasno vidi", "Rano izjutra", which were rearranged to a raw punk sound, and the melodic "Samo ponekad", which featured an oriental solo at the end of the track.[15] Their fondness for ska music was continued on the release with the track "O, O, O", featuring a guest saxophone solo by Jurij Novoselić "Kuzma" from the bandFilm.[15] "O, O, O" featureddub music influences which were also found in the tracks "Bes" and "Problem", the latter featuring effects made by the collision of microphones, the placing of nylon bags over the microphones and stopping the tapes with an intense echo.[15] The album also featured thepower pop songs "Ja želim jako" and "Pazite na decu II" influenced by the British power pop scene.[15]
Šarlo Akrobata songs have been covered by various artists. In 1995, theSlovenian group2227 recorded the single "Šarlo budi nežan" ("Šarlo, Be Gentle") as a tribute to the band. In 1998, the Serbian punk rock bandDžukele performed live a cover version of the song "Fenomen" ("Phenomenon"), released on thePunk You All various artists compilation. In 1999, the Serbian punk rock bandPlejboj, on the various artists cover albumKorak napred 2 koraka nazad (A Step Forward 2 Steps Backwards), recorded a cover version of the song "Sad se jasno vidi" ("Now It Is Clearly Visible"). In 2009, the Serbian actor and musicianNikola Pejaković "Kolja" covered the song "Samo ponekad" and released it as adigital download single for his second studio albumKolja.[32] In 2013, Serbian guitaristMiroslav Tadić recorded an instrumental version of "Ona se budi" on his albumMirina.[33]
In 2002, on the Milan Mladenović tribute albumKao da je bilo nekad... (Posvećeno Milanu Mladenoviću) (As If It Had Happened Sometime... (Dedicated To Milan Mladenović)) appeared several covers of Šarlo Akrobata songs. The Serbian punk rock bandNovembar recorded a cover version of the song "O, o, o", formerHaustor frontmanDarko Rundek covered the song "Ona se budi", and thealternative rock bandVROOM covered the song "Problem". In 2003, on the Milan Mladenović tribute concert in Zagreb, theElektrični Orgazam frontmanSrđan Gojković performed the songs "Fenomen", "Samo ponekad" ("Just Occasionally") and "O, o, o", all of which appeared on the live Milan Mladenović tribute albumJako dobar tatoo!.
In 1998, in the bookYU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best Albums Of Yugoslav Pop And Rock Music), the albumBistriji ili tuplji čovek biva kad... was ranked No. 11.[34] In the same bookPaket aranžman appeared on the second place.[35] In 2015,Bistiriji ili tuplji čovek biva kad... was pronounced the second on the list of 100 greatest Yugoslav album, published by Croatian edition ofRolling Stone.[36] On the same list,Paket aranžman was ranked No. 38.[37]
TheRock Express Top 100 Yugoslav Rock Songs of All Times list, published in 2000, featured two songs by Šarlo Akrobata, "Niko kao ja" (polled No.8) and "Ona se budi" (polled No.62).[38] In 2006, on theB92 Top 100 Domestic Songs list polled by the listeners ofRadio B92, the song "Ona se budi" appeared on the fifth place and the song "Niko kao ja" appeared on the ninth place.[39]
The lyrics of 6 songs by the band (5 written by Mladenović and 1 written by Kojić) were featured inPetar Janjatović's bookPesme bratstva, detinjstva & potomstva: Antologija ex YU rok poezije 1967 - 2007 (Songs of Brotherhood, Childhood & Offspring: Anthology of Ex YU Rock Poetry 1967 - 2007).[40]
Former members
Studio albums
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