(Crocodiles Are Coming), “Nebo” (Heaven), “Kapetan Esid”(Captain Esid),“Debela devo- jka”(Fat Girl) and“Ne postojim”(I Don’t Exist) are associated with the 1980s, as the golden years of the new wave, but they communi- cate equally well with the new audience and new social circumstances. Gile has also in the meantime released the solo album“Evo sa- da vidiš da može”, created – along with Vlada Divljan –“Rock’n’roll for kids”, which genera- tions have grown up with (but also rock’n’roll not for kids), he wrote music for films that are now considered obligatory material for studies of domestic cinematography... During the 1990s, Električni Orgazam was part of the anti-war story and, togeth- er with members of the bands Partibrejk- ers and Ekatarina Velika, released the song “Slušaj‘vamo”(Listen over‘ere), which raised a voice of protest against the mindless wars on the territory of the former Yugoslavia and offered a dose of common sense. On the eve of the new millennium, they released the album“A um bum”, which Gile thought had to be released precisely in 1999, when Serbia had survived the NATO bomb- ing, and in 2010, to celebrate 30 years of the band’s work, a new phase was launched with the album “To što vidiš to i jeste”...
And what we see from today’s per- spective is that Gile and Električni or- gazam, through all those years, through all their phases, ups and downs, timeless songs – have shown that they have matured in rock’n’roll with dignity and consistency. - Now when I play “Golden Parrot”, at the age of 57, I’m not the same Gile as the one who recorded it at the age of 19, or who performed it at 25 or 35. I’m different now, and that song has some new dimen- sion at every concert. The same goes for other songs. Thanks to the changes that we are passing through, the attitude towards them is always fresh, some new Gile always appears on stage and plays some old song, but in a slightly different way – explains Gile for Elevate. He recalls the past with a smile and without nostalgia. He generally considers nostalgia a harmful thing, “like some kind of stone around the neck, that cannot lead to anything smart and productive”. He also thinks that people today overly idealise the 1980s, but he doesn’t deny that his new- wave generation“smashed the door to the freedom of creative expression”and that this was the most creative period on the scene of the former Yugoslavia.
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