page_title: Rock music in Serbia
section_title: Alternative rock (early 1980s–present)
hierarchical_section_title: Rock music in Serbia / History / Alternative rock (early 1980s–present)
caption_attribution_description: Српски / srpski: Рамбо Амадеус
context_page_description: Serbian rock is the rock music scene of Serbia. During the 1960s, 1970s and the 1980s, while Serbia was a constituent republic of Socialist Federal Republic of Yugoslavia, Serbian rock scene was a part of the SFR Yugoslav rock scene.
  The Socialist Federal Republic of Yugoslavia was not an Eastern Bloc country, but a member of the Non-Aligned Movement and as such, it was far more opened to the Western culture comparing to the other socialist countries. Rock and roll reached Yugoslavia via foreign radio stations, most notably Radio Luxemburg, and rock and roll records, brought in from the West. Rock and roll influences reached schlager singers, most notably Đorđe Marjanović, who released the first popular music solo album in Serbia, in 1959. The end of the 1950s featured the appearances of first rock and roll acts, and the 1960s featured many beat bands, such as Siluete and Elipse, 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.
  Until the beginning of the 1970s, Serbian rock bands released only 7" singles and extended plays.
context_section_description: The alternative rock scene developed in the early 1980s with the decline of the new 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 in Novi Sad bands Laboratorija Zvuka, with their eccentric style, erotic lyrics, unusual line ups and bizarre circus-inspired stage performances, La Strada, featuring the poet Slobodan Tišma on guitar and vocals, Obojeni Program, featuring former Urbana Gerila vocalist Branislav "Kebra" Babić, and the girl band Boye whose debut album Dosta! Dosta! Dosta! (1988) was the first Serbian all-female release since the 1960s.
  In Belgrade, former Šarlo Akrobata members Dušan Kojić and Milan Mladenović formed two of the most notable bands of the alternative rock scene in Serbia, Disciplina Kičme and Ekatarina Velika. Former Šarlo Akrobata bassist and vocalist Dušan Kojić Koja, formed the band Disciplina Kičme in 1982. The band, in the initial period consisting only of Kojić and the drummer Srđan "Žika" Todorović, combining influences from punk rock, funk, jazz fusion, motown, jungle, and the works of Jimi 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 and Dragomir Mihajlović. Having released their post-punk influenced records, the band moved to a more guitar-oriented alternative rock, found on their releases Ljubav (1987), Samo par godina za nas (1989), and Dum 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 of electronic music in Serbia, was closely associated with the works of Ekatarina Velika. In 1985, Subotić, Mladenović and Goran Vejvoda started the short-lived project Dah Anđela. At the about same time, Subotić was closely associated with the work of the art rock band Heorina, which featured comic book artist Zoran Janjetov on vocals. In 1990, Subotić moved to São Paulo, Brazil, where he worked as a musician and producer. In 1994, Subotić and Mladenović, with a group of Brazilian musicians, reactivated the project as Angel's Breath, releasing the album Angel'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 and Rambo Amadeus. Despite the fact that Van Gogh, formed by guitarist Zvonimir Đukić "Đule", released their 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 albums Svet je moj (1991), Strast (1993), Hodi (1996), and Opasan 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. The Belgrade-based Montenegrin singer-songwriter Antonije Pušić, who works under the pseudonym Rambo Amadeus, with his debut album O tugo jesenja (1988), created the unique combination of different musical styles, including jazz, rock, and folk music, which he called "turbo folk". The term was later used for the subgenere of the folk music from the Balkans. Pušić continued in the same manner on his later releases also making influence on the Serbian hip hop scene with the albums Hoćemo gusle (1989) and Psihološko 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, and Block Out from Belgrade, Obojeni Program from Novi Sad and Bjesovi from Gornji Milanovac. Dža ili Bu, formed in 1987, featuring a combination hard rock and punk rock, with their 1992 album Hej mornari presented the political situation in the country w
caption: Rambo Amadeus in 2013
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