In the first half of the 1980s there was a generation change – the second or even the third generation of new wave bands in Zagreb gravitated towards noncommercial post-punk idiom or some sort of Bowie influenced art-rock with dark undertones. Basic punk-rock bands were somehow missing  from sight until the mid 1980s.

Previous main protagonists and initiators (1977 – 81) Azra and Film reached their creative peak and started to stagnate trying to stay hip. Prljavo kazalište  became bland and openly commercial pop-rock band too soon.

Mainstream oriented and new-wave tinged pop-rock groups like Aerodrom, Parlament (ex Obećanje proljeća) and Patrola were radio friendly and simply didn’t deliver the goods with cutting edge and lasting impact.

Boa, despite being magnificent live band, chose commercial route and failed on later records produced in the state of the art recording studio in Sweden.

Haustor – the epitome of the city  rock music that successfully connected two distinct generations – went through the phase of interim resurgence and, after a gap year (1982 ♠ JNA public service), in the fall of 1983 recorded master-piece as their 2nd album:

treci svijet discogs

Treći svijet – Jugoton (1984) – a Definitive Album from Zagreb


That said, peer group in question (1981-85) consisted of younger bands that shared stages or practice spaces but more or less followed their individual creative streaks seeking affirmation. Of them all the three most intriguing rock bands (SexA, Trobecove krušne peći & Pingvinovo potpalublje) were better inter-connected friends (Zagreb University students or near future drop-outs). During their rock existence on the margins they crossed paths with other new bands on the “scene”: Korowa Bar (post-punk w/ rhythm machine), Dorian Gray (initially theatrical art-rock with gothic leanings), Trotakt projekt (multimedia synth-pop act enamored with Bowie), La Fortunjeros (high-school punk-rock band going through the changes), and Psihomodo pop (glam punk-rock with initial art impulse).