Igra Staklenih Perli
| Igra Staklenih Perli | |
|---|---|
 |
|
| Background information | |
| Also known as | ISP, ISP Quartet |
| Origin | Belgrade, Serbia |
| Genres | Progressive rock, psychedelic rock, space rock, krautrock |
| Years active | 1976 – 1985 (reunions: 2011) |
| Labels | PGP-RTB, Kalemegdan Disk, PGP-RTS, Second Harvest |
| Associated acts | Igra Staklenih Perli The Next Generation |
| Website | Official website |
| Members | Zoran Lakić Vojkan Rakić Slobodan Trbojević Dragan Šoć |
| Past members | Draško Nikodijević Predrag Vuković Sinister Borg Ivan Stanković Ivan Pajević |
Igra Staklenih Perli (Serbian Cyrillic: Игра Стаклених Перли; trans. The Glass Bead Game) is a Serbian and former Yugoslav progressive/psychedelic rock band from Belgrade.
The band was formed in 1976 by old school friends, Zoran Lakić (keyboards) Vojkan Rakić (guitar) and Predrag Vuković (percussion). The band was named after Hermann Hesse's book The Glass Bead Game with musical influences by Can, early Pink Floyd, Hawkwind, Tangerine Dream and Jimi Hendrix. Until the arrival of the bass guitarist and vocalist Draško "Dracula" Nikodijević, the band did not appear live.
Their first live appearances were at the Amateur Theatre Tokovi festival in Voždovac and in the Dadov Theatre. In 1977, drummer Dragan Šoć was included into the lineup. Having played numerous free concerts at Belgrade's SKC and Belgrade's Block 45, the band established a cult status and was offered to record an album. In 1978, they entered the studio and recorded their debut, self-titled album which featured the tracks "Gušterov trg" ("Lyzzard Square"), "Solarni modus" ("Solar Modus"), "Putovanje u plavo" ("Voyage into Blue"), "Pečurka" ("Mushroom") and "Majestetski kraj" ("Majestic End"). They described their music as "the music of the stream of consciousness". The cover was designed by Vuković. By then, the group was appearing with Goran Cvetić, a disk jockey and a journalist, who was in charge of the light show, slide shows and film projections during the performance. Their appearance at the Belgrade's College of Dentistry was bootlegged by Cvetić on a simple tape recorder for his personal archive.
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