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The record I chose for this week is the three-way split LP / compilation from 1981 called Paket Aranžman, which is Croation for “package deal.” And a deal it is! You get multiple tracks each from three OG Yugoslavian punk / post-punk bands: Šarlo Akrobata (Charles the Acrobat), Idoli (Idols), and Električni Orgazam (Electric Orgasm). Paket Aranžman came out in 1981 on the Jugoton label, which has an interesting history. Beginning early in the 20th century as a company called Elektroton, in 1947 the Yugoslavian government nationalized the company, which changed its name to Jugoton and became the leading record label, record manufacturer, and chain of record stores in Yugoslavia. Throughout its 44-year history (Jugoton changed its name to Croatia Records after Yugoslavian’s dissolution in 1991), Jugoton produced many licensed releases for Yugoslavia, much as other state-run labels like Poland’s Tonpress and Russia’s AnTrop did for their respective markets. However, Jugoton’s primary mission was to promote Yugoslavian artists. As with the aforementioned labels, Jugoton’s catalog is huge and diverse, and while most of what the label released isn’t of much interest to me, a few radical bands made it onto the roster.
Before I get into what each band sounds like, I should mention that Paket Aranžman’s track listing doesn’t present each group’s songs as a solid block, but bounces between bands. Šarlo Akrobata and Idoli each have four tracks, while Električni Orgazam has three. With three bands and two sides you’re going to end up with an awkward split no matter what you do, and while each band has music on both sides of the record, side A is dominated by Šarlo Akrobata, who contribute three tracks, while side B features three Idoli tracks (including one that’s over eight minutes long, by far the longest song on the album). Električni Orgazam has the second track, but then they don’t pop up again until track 8. It’s kind of weird, but it works… the LP listens more like a cohesive album than a compilation. It helps that the bands aren’t too far apart from one another stylistically, but it’s clear the record’s producers put some thought into the sequencing.
Šarlo Akrobata has the first track on the record, so let’s talk about them first. “Ona Se Budi” is a strong start to the record, leading with a fat bass sound and a heavy, in-the-pocket groove. The song is kinda reggae—especially when the guitars come in with their stabbing upstrokes—but isn’t quite there. The bass-forwardness and the locked-in groove remind me of the Stranglers, though Šarlo Akrobata’s playing is even more accomplished… they’re really at Ruts-level musicianship here. I wonder if Paket Aranžman’s producers thought Šarlo Akrobata was the strongest band, since their songs both open and close the album? Regardless, all four of their tracks are very strong, with that heavy bass tone providing the common link as they explore Pop Group-esque art-punk on “Oko Moje Glave” and frantic ska on the closer “Niko Kao Ja” (which also has a great vocal hook in the chorus).
Električni Orgazam is the second band, and oddly enough they kind of sound like the Stranglers too, though with them it’s not so much the playing as the presence of (I think) a monophonic synth. The synth takes a prominent role on “Krokodili Dolaze,” and it’s easy to imagine that track on Black and White or The Raven. The synth isn’t as prominent on Električni Orgazam’s other two tracks, both of which have a ’77-ish rock-and-roll flavor. It’s anything but generic, though… “Vi” has a dark swagger that reminds me of early Joy Division, and the song may even have nicked its central groove from “Warsaw.”
Idoli is the third band on Paket Aranžman, and while they are the scrappiest musically, I’d be willing to bet their big vocal hooks make them many listeners’ favorite band on the compilation. “Schwüle Über Europa - Omorina Nad Evropom” has a strong folk feel with a simple vocal melody, while “Plastika” is the punkiest song on the record, a high-energy, sub-two-minute sprint with a harmonica (I think?) adding some extra flavor. Something about this track reminds me of poppy 70s Finnish punk, so if you’ve been enjoying the Eppu Normaali records we’ve been pushing, give this song a listen. “Amerika” is another standout, but it couldn’t be more different from “Plastika.” “Amerika” is built on this nervous, repetitive groove, and despite its name, the vocal melody sounds like it’s in an Arabic scale, giving the song a Middle Eastern feel. It makes me think of “Punk Islam” by CCCP (which you might recognize since a live video of the track recently made the rounds on Instagram). While its eight-minute runtime might try your patience, I think it works well to break up the mostly high-energy second side of the LP.
While all three bands contribute excellent tracks, Paket Aranžman’s thoughtful sequencing and consistent production make it sound great as an album-length listen. And unlike a lot of punk from this time and place, it’s easy to hear. It’s on all the streaming services (here are links for Apple Music, Spotify, and YouTube), and it’s been reissued many times, with a vinyl pressing as recently as 2021. So if you’re interested, there’s no excuse for not checking this out. I’m also looking forward to digging into each band’s discography, since all three have several full-lengths. I’m particularly interested in hearing more from Šarlo Akrobata, but don’t be surprised if you see me write more about all three bands in the future.