Hubbry Logo
VideosexVideosexMain
Open search
Videosex
Community hub
Videosex
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Videosex
Videosex
Videosex
View on Wikipedia
from Wikipedia

Videosex was a Yugoslav synth-pop band formed in Ljubljana in 1982. The band was one of the most prominent acts of the Yugoslav synth-pop scene.

Key Information

The group was established in 1982, but the steady lineup was formed in 1983, consisting of Anja Rupel (vocals), Janez Križaj (bass guitar), Iztok Turk (drums), Matjaž Kosi (keyboards) and Nina Sever (keyboards). The band soon gained attention from the Yugoslav public, and their debut album Videosex '84 brought them nationwide popularity. During the following years, the band had a number of mainstream hits, at the same time maintaining artistic direction in their work, introducing elements of jazz into their songs with their second studio album Lacrimae Christi. The group ended their activity in 1992, Rupel continuing her career as a solo artist.

History

[edit]

1982–1992

[edit]

The group was formed in 1982, but did not have a steady lineup until the spring of 1983, when keyboardist Matjaž Kosi (formerly of Martin Krpan), drummer Iztok Turk (formerly of Kuzle and Otroci Socializma; in the latter band he played guitar), and bass guitarist Janez Križaj (formerly of Otroci Socializma) invited keyboardist Nina Sever and vocalist Anja Rupel to join the group.[1] Rupel, daughter of flutist and Ljubljana Academy of Music professor Feđa Rupel and schlager singer Sonja Berce, was at the time of Videosex formation a high school student and, beside singing in children's choirs and learning to play flute in a music school, had no previous experience as a performer.[1][2] The band was named Videosex after the idea of Turk and Dejan Knez of Laibach.[1] The name was initially disliked by Rupel, who, fearing her parents reaction, proposed the name Rafael (Raphael).[1]

The band had their debut performance in Belgrade's Students' Cultural Center, performing on joint concert with punk rock band Otroci Socializma and post-punk band Katarina II.[1] Their first performance in a larger venue was in September 1983 on the Novi rock (New Rock) festival in Ljubljana's Križanke.[1] The band soon gained a loyal fanbase with their synth-pop sound.[1] At the end of 1983, they published their debut release, the 7-inch single with the songs "Moja mama" ("My Mom") and "Kako bih volio da si tu" ("How I Wish You Were Here"), the latter featuring Turk on vocals.[1]

In March 1984, the band released their first album, Videosex '84, through ZKP RTLJ.[1] The album brought the group's first hit, "Detektivska priča" ("Detective Story"), a synth-pop track with lyrics about detectives searching for a female serial killer.[1] Beside the mentioned song, the album featured the songs "Ana", "Neonska reklama" ("Neon Sign"), the songs previously released on the 7-inch single, and several instrumental tracks.[1] The album brought nationwide media attention to the band, with part of the press describing Anja Rupel as a sex symbol.[2] After the album release, Matjaž Kosi left the group and formed the pop band Moulin Rouge.[1] The band continued with one keyboardist only, appearing on the YU Rock Moment festival in Zagreb.[1] In the autumn of 1984, they appeared on the MESAM festival and were the opening band on Parni Valjak tour.[1]

In March 1985, Videosex released their second album, Lacrimae Christi (Latin for Christ's Tears).[1] The title track was a version of a piece by German composer Carl Bohm.[1] The album featured Bijelo Dugme keyboardist Laza Ristovski as guest.[1] Lacrimae Christi introduced jazz elements into the band's sound.[3] The songs "Sivi dan" ("Gloomy Day") and noir-inspired "Tko je zgazio gospođu mjesec" ("Who Ran Over Mrs. Moon") became nationwide hits.[4] The album also featured the song "Pejd' ga pogledat, Anja" ("Go See Him, Anja"), originally written for Otroci Socializma by their frontman Brane Bitenc under the title "Pejd' ga pogledat, Brane" ("Go See Him, Brane").[4] After the release of the album, Nina Sever left the band, and was replaced by Andrija Pušić (formerly of Na Lepem Prijazni) and Otroci Socializma).[4] During the year, Rupel took part in the YU Rock Misija project, a Yugoslav contribution to Live Aid, singing in the song "Za milion godina", and Videosex performed on the corresponding charity concert held at the Red Star Stadium in Belgrade.[5]

After the suggestion of Lačni Franz leader Zoran Predin,[4] the band recorded the mini-album Svet je zopet mlad (The World Is Young Again) with covers of evergreens of the Slovene 1960s pop scene.[4] The recording featured drummer Dadi Krašnar (of Miladojka Youneed) and the RTV Ljubljana Dance Orchestra.[4] The album was released in 1987, and brought the hits "Orion" (originally performed by Katja Levstik), "Vozi me vlak v daljave" ("The Train Takes Me Far Away", originally performed by Beti Jurković) and "Zemlja pleše" ("The Earth Is Dancing", originally performed by Marijana Deržaj).[4] In 1987, Rupel starred in Franci Slak's films The Felons,[4] and in 1988, she made a guest appearance on the Laibach album Let It Be, singing lead vocals in their version of "Across the Universe", also appearing in the song video directed by Boris Miljković and Branko Dimitrijević and aired on MTV.[4]

In 1988, Nina Sever returned to the band, but Križaj stopped being a permanent member, continuing to work with the group in studio only.[4] In 1990, Rupel cooperated with Laibach once again, appearing on the EP Sympathy for the Devil, singing lead vocals in one of Laibach's versions of "Sympathy for the Devil".[4] In 1991, the band released their last studio album, Ljubi in sovraži (Love and Hate).[4] The album recording featured numerous guest musicians: Andrija Pušić, Dadi Krašnar, drummer Ratko Divjak (formerly of Time and September), bass guitarist Jani Hace, guitarist and percussionist Boris Romih (formerly of Begnagrad), saxophonist Mario Marolt, and others.[4] Part of the album lyrics were taken from an anthology of world children's poetry.[4] A year after the album release, the band ended their activity.[4]

Post breakup

[edit]

After Videosex disbanded, Rupel continued her career as a solo artist.[4] She has recorded seven pop-oriented solo albums.[4] Most of the songs on the albums were composed by her husband, Aleš Klinar, leader of the band Agropop, while the lyrics were written by Rupel.[4] She hosted several music shows on Slovene television and radio stations.[4] For her 2016 compilation Opus she recorded a new version of "Kako bih volio da si tu" with Psihomodo Pop frontman Davor Gobac.[4] She cooperated with Klinar's band Rock Partyzani (Rock Partysans) on their albums, and the two also wrote songs for other performers.[4]

Both Turk and Križaj dedicated themselves to music production. Turk produced albums by Laibach and other alternative acts, while Križaj produced mostly albums by mainstream acts from Slovenia and Croatia.[4] In 1998, Turk formed the house group Rotor, which featured Pissmakers bass guitarist Jani Hace and drummer Sergej Ranđelović and Miladojka Youneed saxophonist Mario Marolt, releasing two albums with them, Rotosphere (2000) and Phonophobia (2005).[4] In Pissmakers Turk played the synthesizer and programmed the rhythm machine.[4] He was a member of the alternative band 300,000 V.K., described as the "sound division of Laibach kunst".[4] He wrote music for several documentary and short films.[4]

Nina Sever worked as a piano teacher for a period of time, and later started working in the Dallas Records marketing department.[4]

In 1997, the double compilation album Arhiv (Archive) was released. The album featured songs from all four studio albums, in addition to eight previously unreleased tracks.[4] The unreleased songs were recorded during ten years of the band's career, but had previously remained unreleased as the members had been dissatisfied with them.[4] The compilation included the song "Ti si moja roža" ("You Are My Rose"), originally recorded by the group as their entry for the Jugovizija contest, but later dropped.[4]

In 2019, the band's first album was reissued on vinyl by Dutch record label Rush Hour.[4]

Legacy

[edit]

In 1996, Serbian punk rock band Goblini covered the song "Kako bih volio da si tu", under the title "Anja, volim te" ("Anja, I Love You"), on their album U magnovenju (In a Trance).[4] In 2003, Croatian pop band E.N.I. covered "Ti si moja roža" and Videosex version of "Orion" on their album Da Capo.[4] The same song was covered in 2010 by Slovenian singer Alenka Godec on her album So najlepše pesmi že napisane II (The Most Beautiful Songs Have Already Been Written II).[4] In 2007, Slovenian rock band Big Foot Mama covered the song "Moja mama" on their album Važno, da zadane.[4] Serbian pop band Frajle covered the Videosex version of the song "Zemlja pleše" for their 2017 album Ljubav na dar (Love as a Gift).[4]

In 2015, Videosex '84 album was ranked no.58 on the 100 Greatest Yugoslav Albums list published by the Rolling Stone Croatian edition.[6]

In 2006, the "Detektivska priča" track was ranked no.57 in B92's Top 100 Yugoslav songs poll.[7]

Members

[edit]
  • Matjaž Kosi - keyboards, synthesizers (1982–1984)
  • Janez Križaj - bass guitar, programming (1982–1989)
  • Anja Rupel - vocals, flute (1983–1992)
  • Nina Sever - keyboards, synthesizers (1983–1985; 1988–1992)
  • Iztok Turk - drums, programming (1982–1992)

Discography

[edit]

Studio albums

[edit]
  • Videos '84 (1984)
  • Lacrimae Christi (1985)
  • Svet je zopet mlad (1987)
  • Ljubi in sovraži (1991)

Compilation albums

[edit]
  • Arhiv (1997)

Singles

[edit]
  • "Moja mama" / "Kako bih volio da si tu" (1983)

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Videosex

View on Grokipedia
from Grokipedia
Videosex was a pioneering Slovenian and new wave band formed in 1982 in , then part of the , and active until 1992, renowned for their electronic soundscapes that captured the era's fusion of Western influences with socialist cultural constraints. The band, whose name was suggested by members of the industrial group , emerged during Yugoslavia's period of relative openness to global music trends in the , contributing significantly to the regional synth-pop scene alongside acts like Laki Pingvini and . Central to Videosex's identity was lead vocalist , a classically trained flautist whose sensual delivery complemented the opulent synthesizers and rhythmic electronics driven by core members including Matjaž Kosi on keyboards (1983–1984), Janez Križaj on bass, Iztok Turk on drums, and later Nina Sever and Goran Lisica Fox on keyboards. Videosex released their self-titled debut , Videosex 84, in 1984 through ZKP RTVL, marking a breakthrough with tracks that explored themes of youth, romance, and urban life under , such as the single "Moja Mama." This was followed by Lacrimae Christi in 1985, featuring notable songs like "Tko je zgazio gospođu mjesec" and "Pejd ga pogledat Anja," which further solidified their cult status; the saw its first international release in remastered form in 2023. The band's discography, spanning singles, , and live performances—including participation in a 1985 Yugoslav equivalent of —highlighted their experimental and synth elements, influencing post-Yugoslav electronic music.

History

Formation and early years (1982–1985)

Videosex was formed in 1982 in , the capital of the within the , by drummer Iztok Turk and bassist Janez Križaj. Keyboardist Matjaž Kosi joined the group later that year, establishing the initial instrumental core focused on synthesizers and electronic elements. The band quickly aligned with the emerging Yugoslav new wave and movement, drawing from Western influences amid a period of cultural liberalization in the region. In 1983, vocalist and additional keyboardist Nina Sever joined, solidifying the lineup and introducing a distinctive sensual vocal style that became central to the band's identity. That year, Videosex made their public debut through live performances, including a notable joint concert with band Otroci Socializma and the group later known as (formerly Katarina II). They also released their debut single, "Moja mama" backed with "Kako bih volio da si tu," via the state-owned label ZKP RTV , marking their entry into the Yugoslav music market. In 1984, Videosex recorded and released their self-titled debut Videosex (also known as Videos '84) through ZKP RTV , featuring tracks such as "Videosex" and "Črtica" that showcased their blend of electronic rhythms and provocative themes. The contributed to their rising popularity in the Yugoslav underground, earning mentions in international music press like and for their innovative sound amid limited technology. Later that year, Matjaž Kosi departed the group, with Nina Sever assuming a more prominent role on keyboards.

Later career and breakup (1986–1992)

Following the release of their second album, Lacrimae Christi, in March 1985 on ZKP RTVLJ, Videosex entered a transitional phase marked by lineup adjustments and continued activity in the evolving Yugoslav music scene. The album featured a blend of and experimental elements, including a title track adapted from a piece by German composer , signaling the band's growing artistic ambition. Keyboardist Nina Sever temporarily left the group in 1986 after contributing to the album, with Goran Lisica Fox joining as her replacement on keyboards until 1989. Andrija Pušić also began contributing on keyboards around this time, appearing on subsequent releases. In 1987, the band issued the mini-LP Svet je zopet mlad on Helidon, which showcased a more polished synth-pop sound with swing and electro influences, further solidifying their presence in Yugoslavia's new wave circuit. This period saw Videosex maintaining popularity through performances across Yugoslavia, including stops in major cities like Belgrade, Zagreb, and Ljubljana, as part of the broader touring wave that helped synth-pop acts reach wider audiences amid the country's vibrant 1980s music scene. Bassist Janez Križaj departed in 1989, contributing to internal shifts, while Nina Sever rejoined the lineup that year. The band's final album, Ljubi in sovraži, arrived in 1991 on Dallas Records, capturing a darker, more introspective tone amid Yugoslavia's mounting political and economic strains leading to its dissolution. Tracks reflected the era's uncertainties, blending trip-hop and downtempo elements with synth foundations. As the dawned, Videosex faced declining visibility due to shifting musical tastes toward harder rock and emerging genres, compounded by Yugoslavia's and ethnic tensions that disrupted cross-republic collaborations. These challenges, alongside diverging personal interests among members, led to the band's official disbandment in 1992, coinciding with the formal into independent states. pursued a solo career thereafter, while the group's activity ceased entirely.

Post-breakup developments

Following the band's dissolution in 1992, launched a successful solo career, releasing her debut album Odpri oči in 1994, followed by Ne ustavi me nihče in 2000, Vse in 2004, Ostani do konca in 2009, Opus in 2016, and Moje sanje in 2023. She has continued performing live and appearing on Slovenian television programs, blending pop with electronic elements in her work. Drummer Iztok Turk transitioned to music production and programming, including co-production of Laibach's 1988 EP Sympathy for the Devil and earlier works including Miladojka Youneed's 1987 album Ghastly Beyond Belief!. He also handled production duties for the 2011 compilation NEP - Pop Not Pop (Songs for New Europe 1985-1989), featuring tracks from the 1980s Slovenian scene. Bassist Janez Križaj, who departed the band in 1989, focused on production and engineering, recording Plavi Orkestar's 1989 album Sunce na prozoru and Pink Turns Blue's Eremite in the same year before continuing with lower-profile sessions, including contributions to the 2011 NEP compilation. His post-1990s work emphasized mixing and mastering for Slovenian acts. Keyboardist Nina Sever and late-period contributor Andrija Pušić pursued sporadic independent projects; Pušić worked as a and following his time with groups like Otroci Socializma. In 1997, Dallas Records issued the double-CD compilation Arhiv, which gathered tracks from all four Videosex alongside eight previously unreleased recordings. The band's self-titled 1984 album Videosex received a vinyl reissue in 2019 via , remastered from original tapes and licensed from RTV , which generated renewed interest among collectors of Yugoslav new wave. As of 2025, Videosex has not reunited for performances, though individual members have occasionally discussed the band's era in media retrospectives.

Musical style and influences

Synth-pop characteristics

Videosex's synth-pop sound centered on a heavy reliance on synthesizers to craft melodic hooks and drive electronic rhythms, with keyboardists Nina Sever and earlier Matjaž Kosi employing analog models to build dense, atmospheric layers typical of the genre. This approach created the band's signature cold, futuristic textures, often featuring pulsating sequences and shimmering leads that evoked the electronic minimalism of mid-1980s European acts. The rhythm section blended programmed drum machines with live drumming by Iztok Turk, who handled both percussion and programming duties, resulting in a hybrid groove that combined mechanical precision with subtle human dynamics. Turk's contributions, including on tracks like those from Ljubi In Sovraži, incorporated drum machines alongside occasional guitar and tabla elements, adding rhythmic variety without overwhelming the electronic core. Arrangements remained minimalist, prioritizing deep bass lines from Janez Križaj and interlocking keyboard patterns over dense orchestration, much like the sparse elegance heard in Depeche Mode's early work. This focus on space and repetition allowed individual elements—such as echoing synth arpeggios and steady bass pulses—to stand out, fostering an immersive, club-ready energy. Over time, the band's production evolved from the raw, demo-like aesthetic of their 1984 self-titled debut Videos '84 on ZKP RTVL, characterized by unpolished mixes and lo-fi synth tones, to smoother, more refined recordings in the late via Dallas Records releases like compilations and later albums. These later efforts featured cleaner , enhanced reverb on vocals, and tighter integration of layers, reflecting growing access to studios while retaining the genre's electronic edge. The use of Slovenian-language vocals, delivered by with a cool, emotive tone that intertwined seamlessly with the synth backdrops, added a local flavor to the Western-inspired aesthetics.

Lyrical themes and cultural context

Videosex's early lyrics centered on themes of , desire, and urban alienation, capturing the emotional disorientation of young people in a rapidly modernizing socialist society. The track "Moja Mama," a cover of a by Kuzle, juxtaposes upbeat synth melodies with depressing content about a child's fragmented memories of a mother's by train, evoking a sense of profound loss and familial detachment that resonated with alienated navigating personal traumas amid Yugoslavia's urban shifts. Songs like this exemplified the band's use of provocative narratives, including explorations of , , and transsexuality, to delve into the darker undercurrents of desire and isolation. In later albums, such as Lacrimae Christi (1985), Videosex shifted toward introspection and subtle societal critique, reflecting the escalating economic hardships and political tensions in Yugoslavia following Tito's death in 1980. Tracks like "Pejd ga pogledat Anja" employed narrative-driven to probe personal turmoil and moral ambiguity, mirroring the broader instability of a federation grappling with non-alignment's fading promise and rising without resorting to explicit confrontation. This evolution highlighted the band's growing focus on individual psychological struggles as a lens for the era's unease, blending sensual with hints of social disconnection. The band's lyrical approach was shaped by Ljubljana's alternative scene, a hub of punk and new wave crossover that thrived in the as part of Yugoslavia's progressive music ecosystem. Emerging alongside acts like and Pankrti, Videosex drew from this underground milieu to infuse with rebellious edge, using sexuality as a form of rather than the overt industrial common in the scene. Gender dynamics featured prominently in Videosex's lyrics, often conveyed through Anja Rupel's distinctive female perspective in a dominated by male voices. As a trained flautist with no prior experience, Rupel's sensual, emotive delivery brought authenticity to explorations of non-normative desire, as in the 1984 song "Ana," which depicts the "forbidden" realities of a relationship, including internalized rejection and societal ("Ana, zašto te ludo volim?" – "Ana, why do I love you madly?"). This female-centered narrative challenged heteronormative expectations, positioning Rupel as a lesbian icon and highlighting emotional vulnerability in love amid patriarchal constraints. Within socialist Yugoslavia's state-controlled media landscape, Videosex played a key cultural role in popularizing as an escapist medium, offering audiences a glamorous outlet for personal fantasy amid limited access to Western imports. By avoiding overt politics and emphasizing provocative, individualistic themes like homoerotic love and urban prowling—such as in depictions of a leaving "corpses in her wake"—the band provided relief from the era's ideological pressures, thriving through ZKP RTVL releases despite risks.

Personnel

Core members and roles

Videosex's core lineup during its active years from 1983 to 1992 featured a stable complemented by evolving keyboard contributions, with each member bringing distinct elements to the band's sound. served as the lead vocalist from 1983 to 1992, delivering a sultry and emotive style that became a hallmark of the band's identity and drew comparisons to international pop icons through her sensual, magnetic delivery. She also contributed occasionally as a songwriter, penning lyrics for select tracks during the band's tenure. Iztok Turk, a co-founder, played drums from 1982 to 1992, anchoring and infusing live performances with dynamic energy that supported the band's electronic grooves. Janez Križaj, another co-founder, handled from 1982 to 1989, providing foundational grooves that underpinned Videosex's danceable foundations. On keyboards, Matjaž Kosi shaped the band's initial sound from 1983 to 1984, contributing synthesizers and programming to the early new-wave aesthetic before departing. Nina Sever contributed synth on select tracks of the debut album and joined as a full from 1984 to 1986, returning from 1989 to 1992, where she added melodic textures through layered synth arrangements that enhanced the band's atmospheric depth. Goran Lisica Fox served as from 1986 to 1989, influencing the transitional sound on albums like Prerokbe (1987) through his production and synth contributions that maintained the band's evolving electronic style amid the mid-1980s Yugoslav music scene.

Membership changes and contributions

The band was formed in 1982, with the steady lineup established in 1983 consisting of vocalist , bassist Janez Križaj, drummer Iztok Turk, and keyboardist Matjaž Kosi. Kosi departed in 1984, after which Nina Sever joined as a full member on keyboards, contributing to Lacrimae Christi (1985); her work, alongside guest contributions from Andrija Pušić on additional synth layers, shifted the band's sound toward more complex, atmospheric arrangements characteristic of the album's jazzy elements. Sever took a hiatus from 1987 to 1988, during which Goran Lisica Fox served as keyboardist. Upon Sever's return in 1989, Janez Križaj stepped back from full-time membership around the same period, limiting his role to studio bass work while bass duties were increasingly handled through synthesizers or rotating contributors, allowing the band to adapt its rhythmic foundation for later releases. Songwriting was a collaborative effort, with Rupel and Turk focusing on vocals and rhythms, while Križaj and keyboardists like Sever and Lisica Fox provided key bass and synth elements, as seen in track credits across albums where music is attributed to multiple members. In the band's later years, guest musicians such as Andrija Pušić appeared on recordings and live performances, contributing keyboards, backing vocals, and additional percussion—for instance, on tracks from the 1992 album Ljubi in sovraži and 1991 live settings—enhancing the dense, multi-layered production as the group approached its breakup.

Discography

Studio albums

Videosex's debut studio album, Videos '84, was released in 1984 by ZKP RTV Ljubljana on vinyl (LD 0938). The record showcased raw, experimental synth-pop tracks influenced by the Yugoslav new wave scene, with standout songs including the title track "Videosex" and "Detektivska priča," which became one of the band's earliest hits. It achieved modest commercial success within Yugoslavia, establishing the group as a rising act in the local synth-pop landscape. The follow-up, Lacrimae Christi, arrived in 1985, also via ZKP RTV (LD 1250). This album demonstrated more refined production, blending cinematic synth arrangements, heavy basslines, and elements of classy pop with lighthearted swing influences. Key tracks included "Lacrimae" and "Tko Je Zgazio Gospođu Mjesec," which gained wider radio airplay across . In 1987, the band issued Svet je zopet mlad on Helidon (FLP 05-066), a that marked their peak commercial period. The release drove extensive touring and solidifying Videosex's popularity amid the evolving scene. The final studio , Ljubi in sovraži, came out in 1992 on Dallas Records (15/1992). Recorded during internal band turmoil and broader market changes following Yugoslavia's dissolution, it featured introspective and elements, highlighted by the title track "Ljubi in sovraži." Sales were lower compared to prior releases, reflecting shifting musical tastes.

Other releases

Videosex released several singles during their active years, beginning with their debut "Moja mama" / "Kako bih volio da si tu" in 1983 on ZKP RTV Ljubljana, which marked their breakthrough hit and introduced their synth-pop sound to Yugoslav audiences. Subsequent singles included "Videosex" in 1984, "Lacrimae" in 1985, "Svet je zopet mlad" in 1987, and "Ljubi in sovraži" in 1991, often serving as promotional releases tied to their albums while showcasing evolving stylistic elements like electro-swing influences in later tracks. The band produced no official EPs, though unofficial bootlegs of live recordings and rarities circulated among fans in the post-Yugoslav era. Post-breakup, the double-disc compilation Arhiv was issued in 1997 by Dallas Records, collecting rarities, unreleased material, and selections from their earlier albums to preserve their catalog for new listeners. Reissues in later decades revived interest in the band's work, including a 2019 vinyl edition of their debut album Videos '84 by , remastered from original tapes for improved audio fidelity. Digital remasters appeared throughout the on platforms like , alongside CD reissues such as the 2009 edition of Videosex by ZKP RTVS. A remastered vinyl reissue of Lacrimae Christi was released in 2023 by Matrix Musik.

Legacy

Influence on music scenes

Videosex emerged as a pioneering force in 1980s Yugoslav , introducing electronic sounds to a scene dominated by punk and new wave influences in , where the band formed in 1982 amid a burgeoning alternative music culture. By blending synth-driven melodies with provocative themes, they helped bridge the raw energy of local punk acts with the polished aesthetics of Western electronic , contributing to a distinct Yugoslav electro-pop wave that defied technological and ideological constraints under socialism. The band's role extended to fostering youth subcultures in Ljubljana's underground venues and clubs, serving as precursors to the autonomous Metelkova Mesto scene that solidified in the 1990s as a hub for alternative expression. Operating within socialist cultural policies that tolerated but scrutinized Western imports, Videosex promoted electronic experimentation and individualism, influencing the broader alternative milieu that included industrial provocateurs like —whose members even inspired the band's name—while inspiring subsequent local acts in , , and through shared festival circuits and radio play. In the post-Yugoslav era, Videosex's legacy echoed in the Eastern European synth revival of the 2000s, where their albums were reissued and featured in compilations celebrating ex-YU new wave, maintaining a status across , , and without achieving major global breakthrough. This regional impact underscored their contribution to a shared musical heritage that resurfaced amid for the socialist past, influencing contemporary acts revisiting electronics.

Recognition and revivals

Videosex's debut album, Videosex '84, received notable recognition in 2015 when it was ranked No. 58 on the list of the 100 greatest Yugoslav rock albums, as compiled by the Croatian edition of . The band's songs have contributed to a revival of their sound among contemporary artists. Anja Rupel's vocal contributions to Videosex were acknowledged in when she served on the jury for the Award, a regional honor celebrating emerging rock talent from the former , highlighting her enduring legacy in the scene. A vinyl reissue of the band's self-titled debut album by the Dutch label increased the accessibility of their music. Tracks by Videosex have been featured in retro synth events in , sustaining interest in their work amid broader nostalgia for Yugoslav pop. Academic studies on Yugoslav pop culture frequently mention Videosex as exemplars of synth-pop's role in late socialist youth expression, underscoring their niche but persistent popularity without major events in 2024–2025.

References

  1. https://rocknheavy.net/videosex-synth-pop-in-socialism-0981933cdc84
  2. https://www.discogs.com/artist/98119-Videosex
  3. https://matrixmusicarhiv.bandcamp.com/album/lacrimae-christi
  4. https://exyumusic.org/2025/11/03/videosex-videosex/
  5. https://rateyourmusic.com/artist/videosex
  6. https://www.theguardian.com/music/2021/oct/12/it-was-ridiculous-it-was-amazing-the-lost-pop-of-80s-yugoslavia
  7. https://www.last.fm/music/Videosex
  8. https://www.discogs.com/master/308466-Videosex-Videosex
  9. https://emerging-europe.com/culture-travel-sport/five-great-yugoslav-1980s-synth-pop-albums/
  10. http://jacyk70.blogspot.com/2010/12/videosex-masters-collection-83-92.html
  11. https://www.discogs.com/master/313696-Videosex-Lacrimae-Christi
  12. https://rateyourmusic.com/artist/videosex/credits/
  13. https://www.discogs.com/master/861862-Videosex-Svet-Je-Zopet-Mlad
  14. https://rateyourmusic.com/release/album/videosex/ljubi-in-sovrazi/
  15. https://www.hhv-mag.com/feature/an-introduction-to-yugoslav-music-history-part-1-music-and-market-socialism/?lang=en
  16. https://www.last.fm/music/Videosex/+wiki
  17. https://www.discogs.com/artist/190740-Anja-Rupel
  18. https://music.amazon.com/artists/B002WQ14WI/anja-rupel
  19. https://www.discogs.com/artist/237606-Iztok-Turk
  20. https://foxandhisfriends.org/
  21. https://www.discogs.com/artist/185994-Janez-Kri%25C5%25BEaj
  22. https://www.discogs.com/artist/618827-Andrija-Pu%25C5%25A1i%25C4%2587
  23. https://www.discogs.com/master/1159716-Videosex-Arhiv
  24. https://www.discogs.com/release/13494832-Videosex-Videosex
  25. https://spectrumculture.com/2023/07/25/videosex-lacrimae-christi-review/
  26. https://lyricstranslate.com/en/moja-mama-my-mama.html
  27. https://www.laibach.org/wp-content/uploads/2022/05/Electronic-Sound-Issue-88-Laibach.pdf
  28. https://www.tonnrecordings.com/journal/10-songs-ivan
  29. https://www.sigic.si/upload/custom/articles/files/SIGIC-pocket-guide-2020-za-net%282%29.pdf
  30. https://repositories.lib.utexas.edu/bitstreams/10a9654d-79fe-4787-859f-b325d9ccf6cd/download
  31. https://monoskop.org/images/c/cf/Post-Modern_Post-National_Post-Gender_Suggestions_.pdf
  32. https://www.delo.si/kultura/glasba/anja-rupel-od-videosexa-do-opusa.html
  33. https://www.discogs.com/artist/638803-Goran-Lisica-Fox
  34. https://www.discogs.com/release/415500-Videosex-Lacrimae-Christi
  35. https://www.discogs.com/release/443663-Videosex-Arhiv
  36. https://www.discogs.com/release/415293-Videosex-Svet-Je-Zopet-Mlad
  37. https://www.discogs.com/release/1899737-Videosex-Moja-Mama
  38. https://rateyourmusic.com/release/single/videosex/moja-mama-kako-bih-volio-da-si-tu/
  39. https://www.discogs.com/artist/98119-Videosex#releases
  40. https://open.spotify.com/artist/7p08UqSy44lk3s0OHGM7mU
  41. https://www.discogs.com/release/2693776-Videosex-Videosex
  42. http://dk.fdv.uni-lj.si/dela/Pece-Nina.PDF
  43. https://www.hhv-mag.com/feature/an-introduction-to-yugoslav-music-history-part-2-liberalism-and-disintegration/?lang=en
  44. https://easterndaze.net/jugoslavija-wave-new-compilations-revisiting-the-ex-yu-post-punk-and-new-wave-legacy/
  45. https://www.nacional.hr/videosex-provokativni-pioniri-jugoslavenskog-synthpopa/
  46. https://yugoblok.com/yugoslav-80s/
  47. https://globalvoices.org/2024/09/14/regional-award-honoring-milan-mladenovic-highlights-creativity-of-young-rock-bands-from-former-yugoslavia/
  48. https://www.research.ed.ac.uk/files/18682853/Spaskovska_Stairway_to_Hell.pdf
Add your contribution
Related Hubs
User Avatar
No comments yet.