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Idoli (Serbian Cyrillic: Идоли; trans. The Idols) were a Serbian new wave band from Belgrade. They are considered to be one of the most notable acts of the Yugoslav rock scene, and their 1982 album Odbrana i poslednji dani was on several occasions voted by the music critics as the greatest Yugoslav rock album.[1][2]

Key Information

History

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Background: Merlin and Zvuk Ulice

[edit]

The roots of Idoli are found in a Belgrade-based band called Merlin (not to be confused with the Sarajevo-based pop rock band of the same name that would appear later and achieve Yugoslavia-wide popularity) and then jazz and pop rock band Zvuk Ulice consisting of Vlada Divljan on guitar and vocals, bassist Zdenko Kolar, keyboard player Dragan Mitrić, drummer Kokan Popović, Bora Antić on saxophone and Dragana Milković on piano and vocals.[3]

Besides performing covers of various 1960s Anglo-American hits, Zvuk Ulice also wrote their own songs. In 1978, they performed at the BOOM Festival in Novi Sad and Gitarijada festival in Zaječar.[4] Despite completing several recording sessions in a Radio Belgrade studio, none of the recorded material was ever released. Mitrić moved on to Bulevar and Popović joined Slađana Milošević's backing band.

VIS Dečaci and formation of the band

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The first ideas of forming Idoli came up in 1979 when a youth magazine published photos of a band called Dečaci which were actually photos of the first Idoli lineup. The photos featured witty remarks like, for example on March 8, 1979, a photo signed "Dečaci emancipuju žene" ("The Boys emancipate women"). At the same time Belgrade walls were ornamented with graffiti announcing the formation of the band.[5] "Margita je dečak" ("Margita is a boy", the first ever graffiti in Belgrade dedicated to Margita Stefanović who later became Katarina II keyboardist), "Dečaci ne plaču" ("Boys Don't Cry") or "Srđane budi čovek" ("Srđan, be a man") are only a few examples.[6] Having created a media campaign and gained the public's attention, the band had to prove their existence and start playing.

VIS Idoli was officially formed on March 1, 1980, when the band had their first rehearsal. The first lineup consisted of primary school friends Vlada Divljan (guitar, vocals), Zdenko Kolar (bass), Boža Jovanović (drums) and Divljan's high school friends Srđan Šaper (percussion, vocals) and Nebojša Krstić (percussion). At that time the band collaborated with Dragan Papić who was a kind of media activist. The band manipulated the media very well. For example, they were to announce a change to the band's name on several occasions and the new names would be "Apoloni 5" (Appolos 5) or "Idoli plus bradonje" ("The Idols plus the bearded") because of Kolar and Jovanović's wearing beards.

In June 1980, the band made their first live appearance at Belgrade's SKC (Student's Cultural Center) with the leading Serbian new wave acts. After a month of existence, the band released their first single with a magazine called "Vidici" and it consisted of two tracks, "Pomoć, pomoć" ("Help, help") and "Retko te viđam sa devojkama" ("I Rarely See You With Girls"), a song with a gay-hint.[7] Already parting ways with Papić, the band recorded another version of the track as a B-side of Maljčiki single, but this time in Zagreb with the producer Goran Bregović. At the 1980 Festival Omladina, which had been delayed from May to the autumn due to Tito's passing, new wave bands from Zagreb and Belgrade met for the first time. Idoli appeared with the track "Zašto su danas devojke ljute?" ("Why Are The Girls Angry Today?") and won one of the prizes.[8]

Idoli, with Električni Orgazam and Šarlo Akrobata participated in the project called Paket aranžman with four tracks, "Schwule Über Europa" (German for "Gays Over Europe", a parody on the attitude towards Germans) "Plastika" ("Plastic"), "Maljčiki" (Russian for "Boys", a parody on Social-Realist art and propaganda) and "Amerika" ("America"). The promotional video for "Maljčiki" was banned on national television and some radio stations after the Soviet embassy responded.[9]

Commercial success

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The band had its first independent concert on June 25 at the garden of Belgrade's SKC. The scalpers sold the tickets four times the original price. The opening acts were Bezobrazno Zeleno, VIA Talas, Marko Brecelj and Feo Volarić.

The next release was a self-titled EP or mini LP as it was called in former Yugoslavia, featuring six tracks including a cover version of Chuck Berry's "Come On" ("Hajde") and Darko Kraljić's "Devojko mala", with two different music videos. Film members Mladen Juričić (also known as Max Wilson) playing harmonica and Jurij Novoselić (also known as Kuzma Videosex) who played organ made guest appearances. The record was produced by another Film member, Ivan Stančić Piko. The cover of the album is the Red Nude by Amedeo Modigliani. Jugoton later re-released the EP with Film's live EP in Kulušić as a compilation album Zajedno. A tour with Film came in 1981 when they traveled in a boat and played in sea side resorts. In the summer of 1981, a new drummer became Kokan Popović who previously played with Divljan and Kolar in Merlin and Zvuk Ulice.

The band started recording their first album in autumn 1981 with Goran Vejvoda and Dušan Mihajlović Spira who ought to have been the assistant producer as they wanted to produce the record by themselves. After a short period Mihajlović left and the only assistance was Mile Miletić Pile. The recording of the album took more than four hundred hours which was a record in former Yugoslavia still to be broken. Guests on the album were Bebi Dol who did backing vocals on "Odbrana" ("Defence"), and Vuk Vujačić, Goran Grbić and Slobodan Grozdanović were a brass section on "Senke su drugačije" ("The Shadows Are Different"). Odbrana i poslednji dani came out in early 1982. It got the name from a Borislav Pekić book with the same title on which the whole album is based. It is a complex concept album dealing with an anthropological approach towards orthodoxy. The track "Poslednji dani" ("The Last Days") originally entitled "Maršal" ("Marshall"), dedicated to former Yugoslav president Josip Broz Tito, did not include the last verse due to the record company disapproval. A detail from a cloth on a Saint Nicholas icon was used as the cover and the font used on the record was a Cyrillic font similar to the one used in the Miroslav's Gospel. The band won the best album and the best cover award in 1982. In 1986 Yugoslav rock critics voted Odbrana i poslednji dani the best Yugoslav rock album of the 20th century.

In July 1982, Zdenko Kolar went to serve in the army and his replacement was Bulevar bassist Branko Isaković. The band started recording a new album in London with producer Bob Painter. Even though they changed their style to pop/rock, Čokolada went platinum and the title track became their greatest commercial hit. There was a slight scandal about the track being composed by Dušan Gerzić for the band Via Talas and Šaper presenting it as an Idoli track. However, Gerzić was credited co-author on "Bambina" which was released as a single. For this record Divljan wrote only "Radostan dan", "Vetar i zastave" and "Ja sam tu" (for which Divljan added a verse from Mišo Kovač track "Plakat će zora" written by Drago Britvić) because he was about to graduate mining and geology at the University of Belgrade. At the same time Šaper graduated from his studies in movie directing. Guest appearances on the album were reporter Vivien Goldman who was a guest vocalist and producer Bob Painter who played the keyboards. The original idea was to release a double EP called "U gradu bez sna", but Jugoton refused and released it as a long play album.

Breakup and post-breakup

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After performing in Ljubljana, in March 1984, due to conflicts between the members, the band ceased to exist. The last Idoli release was a soundtrack for the movie Šest dana juna directed by Dinko Tucaković. Most of the soundtrack was written by Divljan, while other members took part in the recording process. Šaper did the vocals, Kolar and Isaković did the bass, Piko Stančić and Boban Đorđević did the drums, keyboards were recorded by Đorđe Petrović and Dragan Ilić and guitars by Katarina II member Dragomir Mihajlović "Gagi" and saxophone by Vuk Vujačić. Guest vocalists were Mišo Kovač on "Da je duži moj dan" ("If my day was longer") and folk singer Jahija Gračanlić (also known as the Cosmic Bosnian) on "Ja je zovem meni da se vrate" ("I Am Calling Her To Come Back") appearing instead of a Divljan's gay-themed folk song "Zaljubljen sam u svog jarana" ("I am in love with my buddy") that remains unreleased to this day.

Following the breakup, Krstić and Šaper wrote music for the singer Biljana Krstić, they also recorded an album called Poslednja mladost u Jugoslaviji with the band Unutrašnja Imperija (consisting of Dragomir Mihajlović "Gagi" (guitar), Branko Isaković (bass) and Dragoljub Đuričić (drums)). In 1995 the two recorded one more album this time forming a band Dobrovoljno Pevačko Društvo with Zoran Kiki Lesendrić from Piloti. The CD was called "Nedelja Na Duhove and was released through Eastfield Music. The album was recorded in Budapest and produced and arranged by Kiki Lesendrić. As studio musicians appeared Nenad Stefanović Japanac (bass and guitar), Milan Đurđević (keyboards), Istvan Alapi (guitar) and Zoltan Hetenyi (drums). Backing vocals were done by Aleksandra and Kristina Kovač.

After the album release, the two quit their musical careers. Šaper started a marketing business with his firm "Idols & Friends", worked as a creative director in "Saatchi & Saatchi" and "Ogilvy & Mather" and lately is the head of "McErricson". He acted and wrote the theme for "Davitelj protiv davitelja" and directed music videos and worked on TV and movie soundtracks. He is also active in politics and is head of the Serbian Democratic Party. Krstić became a physician, working at the island of Vis and then at the Hyatt Regency hotel in Belgrade. He also acted in the film Šest dana juna. After his medical career he took up marketing until he became president Boris Tadić's advisor. He is also a member of the Democratic Party.

Vlada Divljan and Zdenko Kolar performing with Nevladina Organizacija in 2010

Divljan started a solo career in 1988 when he released his first solo album Tajni život A. P. Šandorova and with Srđan Gojković Gile from Električni Orgazam released two rock albums for children, Rokenrol za decu ("Rock 'n' Roll for Children) in 1989 and Rokenrol bukvar ("Rock 'n' Roll Alphabet") in 1990. In 1991 he moved to Australia only to return in 1995 when he formed the Old Stars Band. The recordings of two shows, on January 18 and 24 in M Studio in Novi Sad, was released on live album Odbrana i zaštita (B 92, 1996). In 1999 he moved to Vienna. His next two albums were released with Old Stars Band. In the meantime he collaborated with Kiril Džajkovski and worked on several movie soundtracks. At the moment he is recording a new solo album with the work title Esperanto, with a new backing band called Nevladina Organizacija. Divljan died in Vienna in 2015.[10]

Zdenko Kolar worked as a driver of a trolley car and acted in TV commercials. He formed Zona B in 1987, the band recorded five albums featuring covers of blues classics and their own songs. He was a member of the Old Stars Band and currently works in Nevladina Organizacija beside Zona B.

Kokan Popović and Dragan Mitrić (who played keyboards in Zvuk Ulice, but was not a member of Idoli) were also in a band called Propaganda which released only one album in 1982, partially featuring material from the Zvuk Ulice period. Popović now lives in Johannesburg and in 2006 he presented to the Belgrade audience with his band Kokan and the Traitors which consists of Serbian musicians living in Johannesburg.

In 2007 Croatia Records released a four-CD box set VIS Idoli consisting of all studio works except the first Vidici single. The same record label released a box set consisting of Paket aranžman, Električni Orgazam and Šarlo Akrobata debut albums.

Vlada Divljan died in Vienna on March 5, 2015, after a long illness.[11]

Legacy

[edit]

Idoli are one of the most influential and most covered Yugoslav and Serbian rock bands. Bands like Eva Braun, Ništa Ali Logopedi, Euforia, Kristali, and others recorded cover versions of their songs. Even rap/hip hop acts such as Gru and Wikluh Sky made versions of Idoli songs. Various artist project Yugoton consisting of Polish rock bands recorded a tribute to Yugoslav popular new wave bands including Idoli tracks "Maljčiki" (Pol. "Malcziki") and "Retko te viđam sa devojkama" (Pol. "Rzadko widuję cię z dziewczętami"). "Maljčiki" was released as a first single from the record.

In 1998, the album Odbrana i poslednji dani was polled as the greatest Yugoslav popular music album in the book YU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best albums of Yugoslav pop and rock music).[12] In the same book Čokolada was ranked No. 46,[13] and VIS Idoli was ranked No. 71.[14] In 2015, Odbrana i poslednji dani was pronounced the greatest Yugoslav album in the special issue of Croatian edition of Rolling Stone.[2] On the same list VIS Idoli was pronounced No. 20[15] and Paket aranžman was pronounced No. 38.[16]

The Rock Express Top 100 Yugoslav Rock Songs of All Times list featured two songs by Idoli: "Maljčiki" (polled No. 32) and "Kenozoik" (polled No. 66).[17] The B92 Top 100 Domestic Songs List features three idoli songs: "Maljčiki" (ranked No. 18), "Rusija" (ranked No. 25), and "Moja si" (ranked No. 52).[18] In 2011, the song "Maljčiki" was polled, by the listeners of Radio 202, one of 60 greatest songs released by PGP-RTB/PGP-RTS during the sixty years of the label's existence.[19]

The lyrics of 11 songs by the band were featured in Petar Janjatović's book Pesme bratstva, detinjstva & potomstva: Antologija ex YU rok poezije 1967 - 2007 (Songs of Brotherhood, Childhood & Offspring: Anthology of Ex YU Rock Poetry 1967 - 2007).[20]

In 2016, an alley in Novi Sad was officially named Vlada Divljan Alley.[21]

Discography

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Main article: Idoli discography

References

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[edit]
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Idoli

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Idoli was a Serbian new wave and pop-art rock band formed in Belgrade, Yugoslavia, on 1 March 1980. Comprising core members including guitarist and vocalist Vlada Divljan, bassist Zdenko Kolar, vocalist Srđan Šaper, and drummer Boža Jovanović, the group drew from punk, new wave, and art rock influences to produce satirical and subversive material that critiqued consumer culture and societal norms in socialist Yugoslavia. Their debut EP VIS Idoli (1981) employed Warhol-inspired tactics, such as mass-producing and distributing novelty records mimicking commercial pop to mock the music industry, sparking debates over artistic intent versus commodification. The band's breakthrough came with the 1982 studio album [[Odbrana i poslednji dani]], released on Good Friday, earning acclaim as a pinnacle of Yugoslav rock for its production and lyrical depth. This release, however, ignited controversy due to its cover art adapting an Orthodox fresco of Saint Nicholas into a modern, ironic context, challenging religious and cultural sensitivities under the Titoist regime. Idoli disbanded in 1984 amid internal tensions and shifting musical landscapes, but their innovative approach profoundly shaped the Novi val scene and subsequent generations of Balkan rock acts. Vlada Divljan, a driving creative force, continued solo work until his death from complications related to appendix cancer in Vienna on 5 March 2015, at age 56.

Formation and Early Development

Precursors: Merlin, Zvuk Ulice, and VIS Dečaci (1970s-1980)

In 1976, guitarist and vocalist Vlada Divljan formed the Belgrade-based band Merlin shortly after completing his studies, drawing initial influence from jazz-rock and emerging punk elements in the local underground scene. The group quickly rebranded as Zvuk Ulice (Sound of the Street), reflecting a shift toward broader new wave experimentation while retaining core punk attitudes. Zvuk Ulice's lineup consisted of Divljan on guitar and vocals, Zdenko Kolar on bass guitar, Kokan Popović on drums, Dragan Mitrić on keyboards, and Bora Atić on saxophone, fostering early collaborations that would carry into later projects. The band performed covers of Western acts like The Rolling Stones and The Kinks alongside original compositions, securing spots at festivals such as the 1978 BOOM event in Novi Sad, which highlighted Belgrade's nascent punk and new wave energy. Despite these live efforts, Zvuk Ulice produced no official recordings and disbanded in 1979 amid the evolving Yugoslav rock landscape. By late 1979, Divljan joined forces with artist Srđan Šaper and bassist Nebojša Krstić to initiate the satirical project Dečaci (The Boys), initially presented as a fictional youth band through staged photographs published in the magazine Vidici. This stunt, intended to parody emerging idols of consumer culture and the superficiality of rock stardom, sparked unauthorized graffiti across Belgrade, amplifying underground buzz without formal gigs or releases. Evolving into VIS Dečaci—a vocal-instrumental ensemble emphasizing art-punk mockery—these experiments laid the conceptual groundwork for ironic aesthetics and media manipulation in Belgrade's countercultural milieu, bridging raw punk origins with provocative performance art.

Official Formation and Initial Lineup (1980)

VIS Idoli was officially formed on March 1, 1980, during its inaugural rehearsal in Belgrade, spearheaded by guitarist and vocalist Vlada Divljan and guitarist and vocalist Srđan Šaper, who sought to establish a professional new wave ensemble amid the city's burgeoning underground music scene. This date marks the band's crystallization as a distinct entity, transitioning from prior informal collaborations into a structured group oriented toward punk-influenced new wave, distinct from the state-approved popular music prevalent in late socialist Yugoslavia. The initial lineup comprised primary school acquaintances Vlada Divljan on guitar and vocals, Srđan Šaper on guitar and vocals, Zdenko Kolar on bass, and Boža Jovanović on drums, with Nebojša Krstić contributing sporadically on guitar during early activities. These members, drawn from Divljan's earlier projects, convened to refine their sound through regular rehearsals, selecting the name "Idoli" (Idols)—prefixed as VIS Idoli for Vocal-Instrumental Group Idols—to evoke a satirical nod to pop culture icons while positioning the band within the subversive Yugoslav punk and new wave currents that critiqued mainstream entertainment norms. This formation occurred against the backdrop of cultural ferment in Belgrade's alternative scene, shortly before Josip Broz Tito's death on May 4, 1980, as youth musicians reacted to the rigidities of Tito-era artistic controls by emulating Western punk aesthetics—emphasizing raw energy and irony over ideological conformity—without aligning with sanctioned socialist realism or overt political messaging. The band's early organizational focus remained on internal cohesion and repertoire development, eschewing immediate public performances to solidify its identity apart from state-influenced pop structures.

Career Trajectory

VIS Idoli EP and Breakthrough (1981)

The VIS Idoli EP, the band's debut EP, was recorded in April 1981 at Tonski Studio RTZ in Zagreb and issued later that year on vinyl in a limited initial pressing that quickly gained traction. Featuring six tracks characterized by fast-paced new wave rhythms and ironic lyrics drawing from Western punk influences, the EP exemplified their subversive approach. Notable tracks included "Malena," an art-rock love song; "Zašto su danas devojke ljute," a punk anthem; and "Devojko mala," a cover that became a hit, contributing to the EP's success. The standout single "Maljčiki," a satirical take on Soviet-style socialist realism depicting idealized proletarian youth as absurdly effeminate "boys" hammering away in factories, had propelled their earlier recognition via the 1981 commercial single and Paket aranžman compilation. This track, building on the band's earlier independent single "Pomoć, pomoć" distributed via the youth magazine Vidici, exemplified their DIY approach to production and promotion, bypassing major state-approved channels while still leveraging Jugoton for wider vinyl distribution primarily in Belgrade and Zagreb. The EP's underground appeal stemmed from its evasion of overt censorship through coded subversion, contrasting the era's mandated socialist optimism with punk-infused irony that resonated in youth subcultures amid Yugoslavia's tightening economic controls. Sales exceeded 200,000 copies, marking a breakthrough for the Yugoslav new wave scene and establishing VIS Idoli—then comprising vocalist Srđan Šaper, guitarist Vlada Divljan, bassist Zdenko Kolar, and drummer Boža Jovanović—as a countercultural force without reliance on official media endorsements. Key to this momentum were live performances, such as the band's first independent concert on June 25, 1981, at the Studentski Kulturni Centar (SKC) garden in Belgrade, where scalpers resold tickets at quadruple the price, signaling organic demand among urban youth alienated from state-sanctioned culture. These shows, emphasizing raw energy and anti-establishment humor, cultivated a devoted fanbase in alternative venues, setting the stage for broader visibility while adhering to the band's ethos of self-managed dissemination over centralized promotion.

Odbrana i Poslednji Dani Album and Critical Peak (1982)

[[Odbrana i poslednji dani]], Idoli's debut full-length studio album, was released on April 16, 1982, by Jugoton as a conceptual work drawing from Borislav Pekić's novel of the same title. The 13-track record fused new wave instrumentation—including guitars, bass, drums, and synthesizers—with experimental and satirical elements parodying Yugoslav partisan mythology and orthodox traditions, as evident in songs like "Kenozoik," "Poslednji Dani," and "Nebeska Tema." This approach marked a departure from the band's prior EP, emphasizing abstract soundscapes and historical subversion that resonated in Yugoslavia's constrained cultural environment under socialist governance. The album rapidly achieved commercial prominence, establishing Idoli at their critical zenith as one of the era's leading Yugoslav rock releases, with its appeal tied to the band's ability to channel youth discontent through coded critique amid limited artistic freedoms. Džuboks magazine critics selected it as the top album and best cover art for 1982, underscoring its immediate critical and market validation. Yugoslav rock critics further affirmed its peak status by voting it the finest domestic rock album in a 1986 poll, linking the record's subversive parody of official narratives to its enduring draw in a market suppressed by ideological controls. Promotional activities amplified this success, including live performances that drew large crowds and garnered media attention for portraying youth subcultures in ways that implicitly contested state-sanctioned views on generational conformity. These efforts solidified the album's role as Idoli's critical high point before internal shifts diminished subsequent output.

Subsequent Releases and Declining Momentum (1983)

In 1983, Idoli released their second studio album, Čokolada, which marked a shift toward more commercial pop-rock elements compared to the satirical edge of prior works. The album, recorded at Atmosphere and Eden studios in London, featured tracks such as "Čokolada," "Radostan Dan," "Tiho, Tiho," and "Bambina," blending new wave influences with accessible melodies but drawing mixed reception for lacking the prior innovation and cultural bite. Critics noted it as disappointing in the context of the band's earlier breakthroughs, with retrospective assessments rating it around 3.1 out of 5 on aggregate user platforms, lower than the acclaim for 1982's Odbrana i poslednji dani. This period saw lineup adjustments, including bassist Branko Isaković joining amid emerging interpersonal strains, signaling internal fatigue after rapid success. Concurrently, the broader Yugoslav new wave scene waned post-1982, influenced by creative exhaustion in the genre and Tito's 1980 death ushering economic stagnation, including rising debt from 1970s loans and global recession effects that constrained cultural funding and audience spending. These pressures contributed to diminished momentum, with Idoli's outputs appearing less subversive and reliant on established satirical tropes without renewal, contrasting empirical peaks in sales and attendance from 1981-1982 releases like VIS Idoli, which exceeded 200,000 units. No major tours or additional singles materialized in 1983, underscoring a pivot from peak activity.

Dissolution and Aftermath

Breakup Causes: Internal Conflicts (1983-1984)

The internal conflicts precipitating Idoli's breakup intensified during the promotional tour for their 1983 Čokolada album, where quarrels among members over artistic direction and personal ambitions eroded group cohesion. Bassist and conceptual driving force Srđan Šaper later attributed the split to a collective desire for innovation amid creative stagnation, stating, "Idoli could have made ten more ‘Defenses’, but we wanted something new," reflecting fatigue with replicating the satirical new wave formula of their 1982 peak. These tensions, particularly between frontman-guitarist Vlada Divljan's musical focus and Šaper's broader pop-art vision, were compounded by egos and unresolved leadership dynamics, as the band lacked a dedicated manager to mediate disputes or handle logistics. Financial mismanagement further strained relations, with poor business acumen leading to uneven revenue distribution despite Čokolada's strong sales of 200,000 copies; Divljan purchased a modest Fića car, while Šaper acquired a used Špacetek, yet Šaper insisted finances were not the decisive factor. The absence of professional infrastructure in Yugoslavia's independent rock scene—devoid of state subsidies or stable support systems—amplified these frictions, as touring relied on improvised arrangements prone to logistical failures and interpersonal flare-ups. Šaper described a gradual "fading energy" among members as the underlying dynamic, culminating in irreconcilable rifts without formal mediation. The conflicts reached a breaking point after a March 1984 concert in Ljubljana, after which the band effectively disbanded by the end of the month, marking the end of their primary active collaboration. However, original members including Vlada Divljan, Srđan Šaper, Zdenko Kolar, and Branko Isaković collaborated on the soundtrack for the film Šest dana juna, released under the Idoli name by Jugoton in 1985. This release marked the final output under the band name, with no subsequent activity.

Members' Post-Band Pursuits and Deaths (1984 onward)

Following the band's effective dissolution in 1984 amid internal conflicts, members diverged into varied pursuits, with some sustaining musical endeavors amid the fragmentation of Yugoslavia, while others pivoted to non-music fields like advertising, public relations, and manual labor, reflecting limited collective momentum post-peak. Vladimir "Vlada" Divljan maintained a solo career after 1985, releasing pop-rock material and contributing to film scores, though without recapturing Idoli's commercial heights. He collaborated as a guest guitarist with Zona B, the blues-oriented project formed by former bandmate Zdenko Kolar in 1987, including performances of blues standards. Divljan resided in Vienna later in life and died there on 5 March 2015, at age 56 from complications related to appendix cancer. Zdenko Kolar, Idoli's drummer, took employment as a tram driver with Belgrade's public transport in the late 1980s while appearing in television commercials. He founded Zona B in 1987, leading the group to produce five albums blending blues covers and original compositions through the 1990s and beyond, and later joined Divljan in the Old Stars Band for reunion-style performances. Srđan Šaper shifted to marketing shortly after the breakup, founding I&F McCann Grupa, a regional advertising network, and establishing himself as a creative entrepreneur and author, with ventures spanning communications in eight Southeast European countries by the 2010s. Nebojša Krstić, a guitarist and vocalist, leveraged his medical background into public relations, owning a marketing agency before advising Serbian President Boris Tadić and affiliating with the Democratic Party; he later emerged as a political commentator and RTS board member. Other contributors, such as bassist Boža Jovanović, adopted lower profiles outside music, with scant public records of sustained professional activities post-1984, emblematic of the era's challenges for former Yugoslav rock figures.

Musical Characteristics

Style, Genre Influences, and Sound Evolution

Idoli's core musical style blended new wave with post-punk and punk rock elements, featuring angular guitar riffs, driving basslines, and propulsive drumming that emphasized rhythmic urgency over technical virtuosity. Tracks often employed short song structures, typically under four minutes, with fast tempos—such as the 162-174 BPM of "Maljčiki"—to evoke punk's raw energy while incorporating new wave's melodic hooks and detachment. Early production was sparse and lo-fi, relying on basic studio setups reflective of the Yugoslav independent scene's resource constraints, including limited access to advanced equipment amid state-controlled distribution. This minimalism amplified the band's abrasive edge, prioritizing live-wire intensity over polished sheen. Genre influences stemmed primarily from Western punk and new wave exports, with Idoli adapting the anarchic drive of punk ensembles and the quirky, syncopated grooves of new wave acts to a local palette shaped by bootleg tapes and underground exchanges. The Yugoslav new wave scene, of which Idoli were a flagship act, echoed global post-punk's emphasis on innovation amid scarcity, but without romanticizing the regime's intermittent tolerance for imports; instead, bands navigated censorship and economic barriers through self-reliant creativity. Empirical traits included distorted guitars layered over steady 4/4 beats and occasional synth accents, fostering a sound that critiqued conformity through sonic disruption rather than overt complexity. Over their brief active period, Idoli's sound evolved from the visceral post-punk of the 1981 VIS Idoli EP—marked by its garage-like rawness and pop-rock leanings—to the more refined experimentation on the 1982 album Odbrana i Poslednji Dani. The latter introduced broader textural variety, such as enhanced reverb and subtle electronic flourishes, while retaining punk's immediacy; production quality improved via better studio access post-breakthrough, yet preserved an unvarnished bite against overproduction. This progression mirrored the band's commercial ascent, shifting from DIY constraints to modest professionalization without diluting their confrontational core, as the 1983 album Čokolada experimented further with dissonance but lost some initial momentum.

Lyrical Themes: Satire, Social Critique, and Subversion

Idoli's lyrics frequently utilized satire to expose the absurdities inherent in Yugoslav socialist ideology, employing exaggeration and parody to undermine official narratives without overt confrontation. In the song "Maljčiki" from the 1981 VIS Idoli EP, vocalist Vlada Divljan crafted a parody of Soviet socialist realism, depicting idealized proletarian figures—hardened industrial workers reveling in communal labor—in a manner that highlighted the disconnect between propaganda and lived reality. This approach extended to mocking the rigidity and decadence of the socialist system, using camp humor and ironic exaggeration to ridicule communist ideology's emphasis on collectivism over individual agency. Social critiques in Idoli's work targeted the hypocrisies of Yugoslav society, including consumerism's encroachment under state-controlled economics, militarism's glorification, and the erosion of socialist humanism into bureaucratic conformity. Tracks on the 1982 album Odbrana i poslednji dani reframed "heroic" defenses of the system through absurd, introspective lenses, questioning personal freedom amid systemic constraints and reflecting urban youth's alienation from enforced collectivism. These lyrics avoided romanticized rebellion, instead prioritizing stark realism about societal disillusionment, such as the failure of ideological promises to deliver prosperity or autonomy. Subversion occurred through linguistic ambiguity and allusion, allowing critiques to circulate in underground and youth circles while evading direct censorship by Yugoslav authorities. By layering irony over familiar propaganda tropes—such as exaggerated worker anthems or veiled references to post-Tito taboos like nationalism—Idoli fostered discourse on individualism and resistance, distinguishing their output from state-approved art and aligning with broader new wave tendencies to challenge establishment norms via metaphorical indirection. This method enabled the band to probe deeper causal failures of socialism, like the prioritization of ideological myth-making over empirical societal needs, without endorsing alternative ideologies.

Controversies and Political Dimensions

Album Cover and Religious Imagery Backlash (1982)

The album cover for Idoli's Odbrana i poslednji dani, released on April 16, 1982, by Jugoton, featured a fragmented detail from an Orthodox Christian fresco depicting Saint Nicholas, rendered in a stylized, ironic manner to evoke themes of spirituality and identity. This imagery prompted immediate criticism from religious and conservative circles in socialist Yugoslavia, where official state ideology emphasized atheism and suppressed religious expression as antithetical to socialist unity; detractors accused the band of blasphemy and using sacred Orthodox symbols to provoke or endorse superstition over materialism. Conservative interpreters further viewed the cover as a veiled promotion of Serbian nationalism, given the Orthodox connotations in a multi-ethnic federation wary of ethnic particularism. Yugoslav authorities, adhering to policies against religious or nationalist agitation, expressed unease with the non-atheist visuals, reportedly pressuring Jugoton to shift production and distribution from Belgrade to Zagreb, avoiding direct confrontation but signaling informal censorship limits. Band members, particularly bassist and vocalist Srđan Šaper, responded in later interviews by framing the cover and album as an artistic exploration of spiritual and esoteric motifs blended with rock elements, intended as a satirical critique of dogmatic nationalism rather than genuine endorsement, drawing from Borislav Pekić's novella of the same name for philosophical depth. The controversy boosted the band's visibility without resulting in formal bans or seizures, as Jugoton proceeded with release; while sales reached around 150,000 copies—fewer than prior hits—the album garnered critical praise, including a positive NME review, underscoring the regime's selective tolerance for cultural provocation amid loosening controls in the early 1980s.

Regime Interactions, Censorship Challenges, and Interpretations of Nationalism vs. Anti-Socialism

Idoli's performances and recordings were subject to monitoring by Yugoslav authorities, including the League of Socialist Youth and cultural committees, reflecting the regime's vigilance over youth culture despite Yugoslavia's relatively permissive stance compared to other Eastern Bloc states. The band's use of irony and ambiguity in lyrics allowed them to critique societal norms without direct confrontation, as seen in the 1981 song "Maljčiki," which satirized militarism and proletarian mythology through exaggerated depictions of army life, prompting condemnation from the Soviet Embassy for its perceived mockery of socialist ideals. This approach tested the limits of the SFRY's "self-management" system, where official rhetoric emphasized worker autonomy and cultural openness, but practical oversight often demanded alignment with partisan values; veiled references, such as equating "May" with Tito's cult in the 1982 album Odbrana i poslednji dani, enabled release while subtly undermining deification narratives. Interpretations of Idoli's work diverge along ideological lines, with left-leaning analyses emphasizing subversive elements like queer undertones in tracks such as "Retko te viđam sa devojkama" (1980), framing the band as challenging patriarchal and heteronormative structures within socialism. Right-leaning perspectives, particularly in post-breakup contexts, highlight exposures of socialist hypocrisies, such as bureaucratic inertia and mythic unity, interpreting satirical jabs at regime icons as proto-anti-communist dissent rather than mere cultural provocation. The band members, including lyricist Srđan Šaper, consistently rejected overt nationalism, positioning their output as urban cosmopolitan critique rather than ethnic advocacy, though ironic incorporations of Orthodox imagery fueled contrary readings. Critics from conservative circles accused Idoli of contributing to moral decay by promoting hedonism, homosexuality, and Western decadence, viewing songs blending queer themes with Orthodox chants—like "Moja si"—as deliberate erosion of traditional values under a socialist veneer that tolerated such influences to maintain youth quiescence. Regime-apologist narratives have claimed the band's mockery of religious symbols served to appease authorities by aligning with secular socialism, yet causal evidence from their consistent ironic deconstructions of authority—extending to Tito-era personality cults and proletarian glorification—demonstrates a broader anti-authoritarian impulse, not confined to orthodoxy or selective compliance. In post-Yugoslav reinterpretations, especially in Serbia, Idoli's satire has increasingly been cast through an anti-communist lens, portraying their pokes at SFRY's fracturing myths as prescient warnings against socialist overreach, overshadowing earlier subversive or apolitical framings amid rising nationalist sentiments. This shift reflects broader debates on source credibility, where academic and media accounts from the 1980s often downplayed systemic critiques due to institutional alignments with lingering socialist paradigms, while contemporaneous band statements and foreign reviews better capture the ironic thrust against hypocrisy.

Enduring Impact

Critical Recognition, Awards, and Rankings

Idoli's album Odbrana i poslednji dani (1982) was voted the best Yugoslav rock album of the 20th century by Džuboks magazine critics in 1985, highlighting its conceptual innovation and satirical depth amid limited artistic freedoms. This recognition underscored the album's role as a pioneering work in Yugoslav new wave, distinct from more conformist rock outputs tolerated by authorities. The band's contributions to the 1981 compilation Paket aranžman earned awards for best album and best cover design in 1982, reflecting early acclaim for their raw, subversive energy shared with peers Šarlo Akrobata and Električni Orgazam. Retrospective rankings affirm sustained critical esteem. Odbrana i poslednji dani topped the 1998 YU 100 list of the best Yugoslav pop and rock albums, polled by 70 Serbian music experts. In 2015, Rolling Stone's ranking of the 100 greatest ex-Yugoslav albums placed the same record first, citing its enduring influence on regional rock aesthetics. Such placements emphasize empirical metrics of impact over narrative-driven hype, rooted in the band's ability to deliver uncensored critique in a regime-constrained scene.

Influence on Yugoslav and Post-Yugoslav Music Scenes

Idoli's contributions to the 1981 compilation album Paket aranžman, including tracks such as "Maljčiki", "Plastika", and "Amerika", helped establish the Yugoslav New Wave as a vibrant, satirical alternative to mainstream rock, blending punk energy with pop accessibility and social commentary on consumerism and foreign influences. This release introduced these elements to broader audiences across republics, inspiring subsequent punk and New Wave acts in cities like Zagreb, Ljubljana, and Sarajevo by demonstrating how experimental sounds could critique societal norms within a socialist framework. Their 1982 album Odbrana i poslednji dani further solidified this influence, recognized as the most eclectic Serbian rock recording of its era through its fusion of reggae, psychedelia, and conceptual artistry, which encouraged later bands to experiment beyond conventional genres. In republics beyond Serbia, Idoli's model of subversive lyrics—exemplified by "Maljčiki"'s mockery of rigid youth conformity—provided a template for anti-establishment expression, propagating New Wave's spread to Croatian and Slovenian scenes amid varying degrees of local censorship. Post-1991, amid the Yugoslav Wars, Idoli's catalog endured as a cultural touchstone in alternative rock circles, particularly in Serbia, where tracks retained radio play and live cover performances despite political fragmentation. Bands such as Ništa Ali Logopedi and Croatian group Eva Braun recorded versions of Idoli songs, evidencing direct transmission of their punk-inflected style and satirical edge into 1990s and early 2000s post-Yugoslav indie scenes. This legacy extended to fostering resilience in underground music, with Idoli's emphasis on irony over overt nationalism offering a counterpoint to wartime propaganda, influencing expressions in successor states' alternative circuits into the 2010s.

Personnel

Core Members and Contributions

Vladimir "Vlada" Divljan functioned as the frontman, lead vocalist, and guitarist for Idoli, serving as the band's primary songwriter during its formative years from 1980 onward. His compositions drove the group's early punk-influenced new wave sound, including tracks on the 1980 single "Pomoć, pomoć / Retko te viđam sa devojkama" and the 1981 EP VIS Idoli. Divljan's role extended to shaping the band's raw, energetic performances that marked their emergence in Belgrade's underground scene. Srđan Šaper contributed vocals, guitar, and percussion while acting as a key conceptual force behind Idoli's multimedia approach, incorporating visual art and media elements into their output. As a co-founder alongside Divljan and Nebojša Krstić in 1979, Šaper influenced the band's artistic direction, evident in projects like the satirical VIS Idoli EP released in 1981, which blended music with provocative imagery. His inputs emphasized irony and subversion in the group's early recordings and presentations. The rhythm section featured Boža Jovanović on drums from 1980 to 1981, providing foundational beats for initial releases such as the debut single and EP. Zdenko Kolar handled bass duties through 1982, supporting the live and recorded efforts that established Idoli's sound. Nebojša Krstić added percussion and backing vocals, contributing to the ensemble's texture on key early works like VIS Idoli. These members formed the stable core during Idoli's active period, enabling the band's transition from underground gigs to broader recognition by 1982.

Lineup Changes and Supporting Roles

Idoli experienced minimal lineup alterations during their active period, with the most notable shift occurring in the summer of 1981 when original drummer Boža Jovanović was replaced by Kokan Popović, a musician who had prior collaborations with guitarists Vlada Divljan and Zdenko Kolar in bands including Zvuk Ulice. Popović's addition stabilized the rhythm section ahead of the band's debut album Odbrana i poslednji dani, released on April 16, 1982, and he remained through subsequent releases until the group's dissolution in 1984. This single change contrasted sharply with the frequent personnel flux in contemporary Yugoslav new wave acts, where bands often cycled through members amid economic pressures and ideological tensions. Recordings frequently incorporated guest contributors for enhanced arrangements, particularly on Odbrana i poslednji dani, which featured Goran Vejvoda on guitar and synthesizer, Vuk Vujačić on saxophone, Goran Grbić on trumpet, and Bebi Dol providing backing vocals. These auxiliaries supplemented the core ensemble without prompting permanent shifts. Producers played key supporting roles in the band's early output; Enco Lesić oversaw sessions for the 1981 compilation Paket aranžman and singles like "Maljčiki," ensuring polished production amid limited resources. Live performances occasionally relied on external support, such as the backing band Karavele during 1983 tours alongside Električni Orgazam, where musicians like Branko Trajkov provided additional instrumentation. However, no further core changes materialized before the band's informal breakup following their 1983 album Čokolada, preserving the relative continuity that defined their output.

Discography

Idoli's releases, encompassing unique materials, are listed below in chronological order.
YearTitleFormatLabelTypeNotes
1980Pomoć, pomoć / Retko te viđam sa devojkama7" singleVidiciSingleInsert with Vidici magazine; critiques urban alienation; initial recording of "Retko te viđam sa devojkama".
1981Maljčiki / Retko te viđam sa devojkama7" singleJugotonSingleSatirical take on Soviet youth; re-recorded "Retko te viđam sa devojkama"; produced by Goran Bregović; distinct from compilation versions.
1981Paket aranžmanLP, cassetteJugotonCompilationVarious artists; Idoli contribute four songs, including re-recorded "Maljčiki" produced by Enco Lesić.
1981VIS Idoli12" mini-LPJugotonEPUntitled 6-song release; initial pressing ~2,000 copies, total sales >200,000 (double gold); tracks include "Zašto su danas devojke ljute" and cover "Devojko mala".
1982Odbrana i poslednji daniLP, cassetteJugotonStudio albumDebut; 13 tracks: 1. "Kenozoik", 2. "Poslednji dani", 3. "Moja si", 4. "Senke su drugačije", 5. "Nemo", 6. "Nebeska tema", 7. "Rusija", 8. "Igrale se delije", 9. "Jedina / Uzurlikzurli", 10. "Odbrana", 11. "Gde si sad cica-maco", 12. "Glavna ptica / Skrati svoj dugački jezik", 13. "Hajde, sanjaj me, sanjaj"; released April 16.
1983ČokoladaLP, cassetteJugotonStudio album10 tracks including "Bambina" and "Radostan dan"; recorded in London.
1985Muzika iz filma "Šest dana juna"LP, cassetteJugotonSoundtrack5 pop-rock songs by Idoli, 2 songs (one chanson and one folk) with guest vocalists, and 5 instrumentals; recorded 1984-1985; released July 12.

Studio Albums

Idoli produced two full-length studio albums during their active period (1980-1984), both initially on vinyl by Jugoton, with later CD reissues by Croatia Records, followed by the 1985 soundtrack.

EPs and Singles

Early releases preceded formal label support and lacked commercial charting, favoring underground circulation amid Yugoslav preferences for state pop. Later singles like "Bambina" / "Stranac u noći" (1983) derived from albums. No further non-album EPs or singles during active years; posthumous compilations reissued material without new content.

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