The “Ex-Yu Time Travel through Stories and Records” panel at the Kontakt conference was dedicated to the fifth, expanded edition of the ExYu Rock Encyclopedia by Petar Janjatović. In dialogue with Darko Kujundžić, the famous graphic designer of covers for numerous Yugoslav bands, key moments and influences that shaped the Yugoslav rock scene were illuminated.
Janjatović explained how the process of collecting and selecting information has changed over the years. In the digital age, the challenge has become the selection of relevant data from a sea of available information. The routine of incorporating new information into his work whenever he comes across it has become an integral part of Janjatović’s approach to maintaining the encyclopedia’s currency.
The conversation expanded to the impact of digitalization on the music scene. Janjatović highlighted the example of the reissue of the album “Bitanga i Princeza” by Bijelo Dugme, where the original analog recordings showed greater durability compared to digital formats, underlining the importance of preserving original materials.
In choosing covers for his book, Petar Janjatović is guided by criteria that convey the spirit of the Yugoslav rock scene. Each cover represents more than a visual identity. It carries emotion and history.
For his work “Ex-Yu Time Travel through Stories and Records”, Janjatović chose covers that reflect the diversity and richness of the rock culture of former Yugoslavia. His goal was to visually present the essence of the music era that stretches throughout the book.
Janjatović emphasizes that a cover is more than decoration. It is crucial for connecting readers with the content and evoking nostalgia. Also, covers play an important role in preserving the visual history of the rock scene.
Building on this, Kujundžić shared his experience of creating covers for the reissue of the album “Pljuni istini u oči” by Buldožer, where original materials and photographs are used to bring the album back to life. This process not only preserves the aesthetics of the original releases but also serves as a bridge between the past and present, providing context to the social and political landscape of the time. Kujundžić highlighted that the task in reissuing cult albums is to find original photographs, but when this is often not possible, he makes do by recreating the original cover, searching for original fonts, correcting any errors in signatures or graphics that existed in previous editions.
The renaissance of vinyl records and books as cultural goods was emphasized through projects like the vinyl reissue of the “Šarlo Akrobata” album. These projects not only preserve history but also offer new generations insight into the richness of the Yugoslav rock scene.
Through the dialogue between Petar Janjatović and Darko Kujundžić on the “Ex-Yu Time Travel through Stories and Records” panel, the importance of preserving the Yugoslav rock heritage was illuminated. Examples such as the reissue of classic albums and challenges in collecting and selecting information in the digital age illustrate how music remains a vital part of the regional cultural identity, inspiring and connecting generations.
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