U Škripcu’s debut album, Godine Ljubavi, feels like the lesser-known sibling of Idoli’s seminal Odbrana i Poslednji Dani, but in its own quirky, offbeat way, it still demands attention. Released in 1982 and recorded with the bass-playing talents of Zdenko Kolar from Idoli, this album presents a fascinating snapshot of post-punk and avant-garde experimentation from Belgrade. While it may not have the same sharp peaks of brilliance or overall consistency as its more famous contemporaries, Godine Ljubavi still holds up as an intriguing and worthwhile listen for anyone who enjoys the dark, unpredictable undercurrent of new wave and experimental music.
Opening with Hamuamule, the track sets the tone with its strange, almost disorienting blend of new wave and avant-garde elements. The moaning, ethereal vocals create an unsettling atmosphere, almost as if the song is being performed in some city’s narrow, mysterious alleyways. It’s an odd, hypnotic start to the record. Južno Voće and Proleće follow with raw and haunting vocals, evoking the shadowy, restless vibe of post-punk like Joy Division and The Cure. The baritone delivery feels emotionally charged and unstable, but there’s a glimmer of hope or tension that cuts through, adding complexity to the record’s dark, driving rhythm.
Moj Brod dives deep into experimental territory, where funky rhythms and abstract, off-kilter electronic noises bring to mind the restless energy of Talking Heads’ Crosseyed and Painless. It’s quirky, playful, and yet undeniably unsettling, walking the line between structured funk and a more avant-garde sensibility. Closing out side A is Kao u Boji, a standout track – arguably the most cohesive and compelling on the album. Its post-punk grooves are infectious and intense, while the jagged, industrial undertones make it feel cold and urban. It’s danceable, yet distinctly unsettling. The intensity and mood make it a definitive highlight.
The second side opens with Ti Imaš Dosta Godina, continuing the electronic-rock style and leaning heavily on synthesisers. The track is upbeat, but the danceable rhythms carry a certain distance, quite similar to some of the tracks on Beograd’s Remek Depo. Ti Nisi offers a striking shift with its deep, almost foreboding bass lines, pulling the mood back down into a darker, colder space. The track has an oppressive weight to it, different from the earlier new wave elements, and it carries a more brooding, serious tone.
Closing the album, Samuraj is a slow-building, atmospheric journey, evoking the same electronic textures and tensions that defined Idoli’s Odbrana i Poslednji Dani and similarly, it feels very emblematic of industrial city-life. At 6 minutes and 28 seconds, it’s a relatively long track that pushes the boundaries of ambient sound, allowing for a meditative yet tense listen.
Godine Ljubavi may not have the same level of cohesion or memorable highs as a certain Odbrana I Poslednji Dani, but it’s a rewarding experience for anyone willing to dive into its strange, experimental world. The album balances between the raw energy of early post-punk and the more cerebral, atmospheric landscapes of avant-garde music, making it a fascinating piece of ’80s music history. Whether you’re a fan of U Škripcu, Zdenko Kolar, or simply looking to explore lesser-known new wave sounds, this record is definitely worth a listen.
