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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 of Nebojša Pajkić, after which, Šarlo Akrobata (labeled as Akrobata Šarlo), along with Električni Orgazam and Idoli were recognized by the Džuboks critic Momčilo Rajin as "one of the most exciting new acts".".Rajin stated that Vdović's drum playing style was "reminiscent of Stewart Copeland of The 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".Following the show's broadcast, in January 1981, The Džuboks 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".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 of Električni Orgazam and Idoli, Paket aranžman (Package Deal), was released in February 1980 by Jugoton.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 from Ljubljana who was an expert on dub techniques).The album front cover was designed by the band themselves with Goran Vejvoda (who also designed the Paket 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, 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 from Politikin Zabavnik from an article about the "acrobatic ladles" to the Vdović's drawing.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.

The album received critical recognition and is regarded as one of the most notable albums of former Yugoslav rock music.

In April 1981, the band entered the studio in order to record their debut studio album, which was intended to be released though PGP RTB.

However, during the recording sessions at the PGP RTB Studio 5, the musical editors of the record label, the composer Aleksandar Pilipenko and Bojan Hreljac, formerly the bassist of Korni Grupa, after visiting the studio during the recording of one of the experimental tracks, the label decided to drop the release.

Spawning from the progressive/hard rock group Limunovo Drvo (Serbian Cyrillic: ; trans.

Lemon Tree), founded in 1977 by guitarist and vocalist Milan Mladenović and guitarist Dragomir Mihajlović "Gagi", after several lineup changes, moved towards new wave music, with the arrival of bassist and vocalist Dušan Kojić "Koja" and drummer Ivan Vdović "VD".

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