History
In 1992, Dubravko Ivaniš and Alen Kraljić met in Zagreb and formed the band Pips, Chips & Videoclips. Shortly afterwards, they were joined by Mario Borščak (bass guitar) and Igor Paradiš (drums). According to later interviews with Ivaniš, the band’s early formation is often anecdotally associated with gatherings in the Zapruđe neighbourhood of Zagreb, particularly around the local diner Grill Zapruđe, where the members socialised and discussed forming the group prior to regular rehearsals. [1] [2] The band’s name is a wordplay referencing the film Sex, Lies, and Videotape .
In December 1993, the band released their debut studio album Shimpoo Pimpoo. The album included the song “Dinamo ja volim”, which became one of the group’s most recognisable early recordings. Ivaniš later stated that the song was partly inspired by The Adicts’ adaptation of “You'll Never Walk Alone”. [3] The song opens with a recitation of the poem “Popevke sem slagal” by Dragutin Domjanić. Over time, “Dinamo ja volim” became closely associated with supporters of GNK Dinamo Zagreb and has frequently been described in Croatian media as one of the club’s unofficial fan songs. [4]
Other tracks from Shimpoo Pimpoo, such as “Gume na kotačima” and “Prvi joint u ustima”, remained part of the band’s live repertoire in subsequent years. Retrospective accounts often describe the band’s early reception as being closely tied to subcultural and football supporter circles rather than the mainstream Croatian rock scene of the early 1990s. [5]
In 1994, Pips, Chips & Videoclips performed as a supporting act to Mišo Kovač at a charity concert held at Stadion Poljud in Split. [6] During the same period, songs from Shimpoo Pimpoo were featured in Borivoj Radaković’s theatre play Dobro došli u plavi pakao (“Welcome to the Blue Hell”), further expanding the band’s presence beyond the music scene. In 1995, the band composed music for the theatre production Mafija!, directed by Lukas Nola, marking one of their earliest collaborations with the Croatian theatre community. [7]
Dernjava (1995–1997)
In December 1995, following several early line-up changes, Pips, Chips & Videoclips released their second studio album, Dernjava . The album received the Porin Award for Best Alternative Rock Album in 1996. [8]
The album credits list several additional musicians alongside the band’s core members at the time, including keyboardist Davor Striček and guitarist Igor Ratković, while guitarist Davor Viduka is also credited among the contributors. [9]
Songs from the album such as “Poštar lakog sna” and “Malena” became enduring parts of the group’s catalogue and were regularly revisited in live performances. The album also featured the band’s rendition of the well-known football anthem “You'll Never Walk Alone”, included as an adaptation of a widely recognised supporter song rather than as an original composition, reflecting the football- and supporter-related cultural references present in the band’s early work. [10]
Later critical commentary described “Poštar lakog sna” as a reinterpretation of The Pogues’ “A Rainy Night in Soho”, highlighting the influence of Shane MacGowan’s songwriting on the band’s early material. [11]
“Malena” later gained additional recognition for its lyrics referencing the Zagreb neighbourhoods of Zapruđe and Utrine, areas closely associated with the band’s formation and early identity. Croatian media have frequently interpreted these references as autobiographical markers that emphasise the group’s local roots and urban background during this phase of their career. [12] [13]
In 1996, the band released a music video for “Poštar lakog sna”, which featured cameo appearances by several prominent figures from the Croatian rock scene of the period, including members of the band Kojoti, as well as Goran Bare, Davor Gobac and Davorin Bogović. [14]
By the mid-1990s, the band’s core line-up consisted of Dubravko Ivaniš, Alen Kraljić, Mario Borščak and Igor Paradiš, forming the foundation on which subsequent line-up developments were built.
Fred Astaire and Bog (1997–2001)
In 1997, Pips, Chips & Videoclips withdrew to the slopes of Učka to record their third studio album, Fred Astaire . The album represented a major critical and commercial breakthrough for the band and is widely regarded as one of the most prominent Croatian rock releases of the late 1990s. At the 1998 Porin Awards, Fred Astaire received the Porin for Album of the Year, while the song “Plači”, recorded in collaboration with Darko Rundek, won the Porin for Best Vocal Collaboration. [15]
During the same period, the album was highly recognised by the Croatian rock press, receiving several Crni mačak awards, including honours for Best Rock Album, Best Song, Best Music Video, Best Vocal Collaboration and Best Production. [16] The success of Fred Astaire culminated in the band’s largest concert to date, held on 30 April 1998 at Dom Sportova in Zagreb, confirming their status as one of the leading Croatian rock acts of the era. [17]
Around the same time, the authorised biography of the band, Dugi vikend u zemlji čudesa, written by Ante Perković, was published. The band also contributed the song “Mrtav čovjek” to the soundtrack of the Croatian feature film Mondo Bobo (1997). [18]
In 1999, the band released its fourth studio album, Bog . Although initially received more reservedly than its predecessor, the album later gained significant critical recognition. At the 2000 Porin Awards, Bog won Porin for Best Rock Album as well as for Best Album Artwork. [19] The album also received multiple Crni mačak awards, including Best Rock Album, Best Rock Artist, Best Production and Best Artwork. [20]
Bog was promoted through the theatrical Fenomenalan dan tour, staged in theatres across several major Croatian cities. During the tour, long-time guitarists Alen Kraljić (Kralj) and Tristan Karas (Tićo) departed the band, developments that prompted media speculation regarding the group’s future. Nevertheless, the tour was completed in 2001, with guitarist Nikola Radman joining the band during its later phase. [21]
By the conclusion of the Fenomenalan dan theatre tour in 2001, the original line-up that had defined much of the band’s 1990s output had effectively come to an end, marking the closure of one creative cycle prior to a period of significant restructuring.
Line-up changes, Drveće i rijeke and Dokument (2001–2005)
Following the completion of the Fenomenalan dan tour and the end of the band’s long-standing 1990s formation, Pips, Chips & Videoclips entered a new phase characterised by instability, reconfiguration and a reassessment of their musical direction. In the early 2000s, Croatian media speculated about a possible breakup, although the band remained active and began working on new material that would eventually result in the album Drveće i rijeke . [22]
During this transitional period, the band also pursued an unusually early internet-oriented strategy for the local rock scene. Contemporary accounts describe the group’s official website as a platform for experimentation, featuring live webcam streams from rehearsals, moderated chats hosted by frontman Dubravko Ivaniš, and online competitions such as remix and cover-design contests related to Drveće i rijeke. [23]
The comeback culminated in 2003 with the release and live presentation of Drveće i rijeke, marking the band’s return to major Zagreb stages after a longer absence. A contemporaneous concert announcement emphasised that the group had been away from the city’s live circuit, had changed members, and returned with a “partly new line-up” alongside the album’s release. [24] Retrospective commentary frequently frames Drveće i rijeke as a decisive stylistic shift, moving away from the band’s earlier Britpop-oriented associations toward influences and reference points such as Radiohead and The Flaming Lips. [25]
Reflecting on this period in later interviews, Ivaniš recalled that prior to the mid-2000s the band functioned through near-daily rehearsals, describing it as “the band at rehearsal every day… all those years… up to and including ‘Drveće’,” an approach that shaped both the album’s sound and the group’s internal cohesion. [26] In the same interview, he characterised the earlier rupture within the band as a moment when “the childish idea of the band as a family evaporated,” prompting a reassessment of the group’s future direction. [27]
A key confirmation of the band’s artistic reorientation arrived with Dokument , recorded during their appearance on the Slovenian radio programme Izštekani (Val 202) and released in 2005. In a 2006 interview, Ivaniš described Izštekani as a “legendary” broadcast built around an unplugged format and stated that he was pleased the band issued the recording, calling it “a fine and solid album” that “in a way recapitulates our career.” [28] A contemporary review praised the acoustic performance for its focused arrangements and musicianship, reinforcing Dokument as a central release that demonstrated the band’s maturity following several years of instability. [29]
By 2005, the period of constant reshuffling began to subside, and the band’s line-up gradually stabilised, laying the foundation for the long-term formation that followed in subsequent years.
Pjesme za gladijatore, digital release and 2×2 (2006–2011)
Following the stabilisation that emerged after the Drveće i rijeke period, Pips, Chips & Videoclips entered a new creative phase marked by a further expansion of their experimental tendencies. In 2007, the band released Pjesme za gladijatore , an album that continued the exploratory trajectory of the early 2000s while shifting toward a more pronounced indie pop and psychedelic rock aesthetic. Critics noted that the record brought the band closest to contemporary alternative reference points, with one review observing strong parallels to the sound and production approaches associated with The Flaming Lips and producer Dave Fridmann, while also pointing out that this influence occasionally dominated the album’s overall character. [30]
The album also marked the first studio release to fully feature the post-transition core line-up, with Krunoslav Tomašinec (Šinec) and Zdeslav Klarić (Zdey) now firmly established as full members, contributing to the band’s evolving sonic identity after the extensive reshuffling of the previous years. Reflecting on this period, frontman Dubravko Ivaniš emphasised the importance of creative risk and constant reinvention, framing the band’s development as a process that required moving beyond established formulas rather than reproducing past successes. [31]
Pjesme za gladijatore was also notable for its release strategy. Prior to its general retail availability, the album was announced as being accessible through digital channels linked to a mobile distribution partnership, reflecting the band’s early interest in alternative modes of distribution beyond traditional physical formats. [32]
The touring cycle that followed culminated in the band’s first concert video release, 2×2, issued in 2011 as a DVD documenting a live performance recorded in Zagreb. Ahead of the DVD release, a selection of songs from the same concert was made available as the live CD Poštar zvoni 2×2, distributed as a promotional bonus with the Croatian daily newspaper Jutarnji list . According to contemporary commentary, the CD previewed the upcoming DVD and showcased a range of the band’s concert staples, illustrating the close relationship between the group and its audience and the celebratory atmosphere of the performances recorded for the full video release. [33]
The 2×2 project marked the band’s first comprehensive audio-visual documentation and effectively closed a creative cycle that had begun with Pjesme za gladijatore.
Walt and singles phase (2013–2022)
In 2013, Pips, Chips & Videoclips released the studio album Walt , their first full-length release after a prolonged recording hiatus. Contemporary reviews described the album as a conceptually cohesive and stylistically mature work that foregrounded the band’s established sonic identity rather than following contemporary trends. [34]
The Walt album cycle was followed by Akustični Walt, a DVD release featuring acoustic live versions of the album’s material. The project was presented by the band as a do-it-yourself production and documented a stripped-down concert interpretation of the Walt repertoire. [35]
After completing the Walt cycle, the band gradually shifted away from the traditional album-oriented release model and began focusing on standalone digital releases, typically accompanied by music videos. During this period, Pips, Chips & Videoclips released a series of singles without announcing a new studio album, including “K1” (2017), “Tek da nas podsjeti” (2017), “3PM” (2018) and “Kung Fu lekcije” (2018). [36] [37] [38]
Several of the songs from this period, particularly “K1”, became regular features of the band’s concert setlists in subsequent years.
During the same period, long-time drummer Ivan Levačić and bassist Marko Levanić left the band. New members were subsequently introduced in live performances, with concert reports identifying Viktor Slamnig on bass and Pavle Gulić on drums as part of the band’s updated line-up. [39]
Despite these changes, Pips, Chips & Videoclips remained active as a live act and continued to release new material on an occasional basis, establishing this era as a transitional phase between traditional album cycles and later renewed studio work.
30th anniversary and Vesna (2022–present)
In 2022, Pips, Chips & Videoclips marked the 30th anniversary of the band’s formation. The anniversary was highlighted by a large-scale concert held on 10 September 2022 at ŠRC Šalata in Zagreb, which presented a retrospective overview of the band’s career and attracted a broad audience spanning multiple generations. [40] [41]
As part of the anniversary period, the band also performed the song “Dinamo ja volim”, which had appeared only sporadically in their concert repertoire in previous years. Frontman Dubravko Ivaniš had earlier explained that the band approaches concert setlists as a cohesive artistic whole rather than a “jukebox”, stating that audiences attend a Pips concert “to hear the band, not to order songs”. [42]
Following the anniversary celebrations, the band returned to studio work and released the album Vesna in 2023, their first studio album in ten years. [43] The album was preceded by the singles “Pariz” and “Većinom”. [44]
Reviews noted that Vesna partly returned to a more guitar-driven sound associated with the band’s earlier work, while also incorporating more synthesizers and programmed elements than on previous releases and drawing inspiration from contemporary artists blending alternative pop, rock and electronic approaches. [45] [46]
In the years following the release of Vesna, Pips, Chips & Videoclips developed a practice of performing multi-night concert residencies in Zagreb-based clubs, typically towards the end of the year. This included five consecutive sold-out concerts at the Sax! club in late 2023, [47] three consecutive sold-out concerts at the Boogaloo club in December 2024 (4–6 December), [48] [49]
Between these club residencies, the band also performed a large free open-air concert in Park Vjekoslava Majera in Zapruđe in 2025, an event attended by an estimated ten thousand people and described by local media as a symbolic return of Pips, Chips & Videoclips and Ivaniš to the neighbourhood from which the band originated. [50]
The concert series concluded with six consecutive concerts at the Vintage Industrial Bar between late December 2025 and early January 2026, after an additional date was added due to high demand. [51] [52]
Such residencies have been described by local media as a way of strengthening the band’s connection with audiences in more intimate settings, while also acknowledging the role of Zagreb’s club venues in sustaining and promoting the city’s music scene. [53]
Musical style and influences
Pips, Chips & Videoclips are generally described as a rock band whose sound has evolved through several distinct phases while retaining a consistent authorial focus centered on vocalist and songwriter Dubravko Ivaniš. Across their career, the band has drawn on British guitar rock, punk and post-punk, alternative and art rock, as well as electronic and contemporary pop influences, often recontextualizing them within a local cultural framework. Ivaniš has repeatedly emphasized openness to current musical developments rather than adherence to a fixed genre identity. [54]
Early phase and Britpop-oriented rock (1993–1999)
The band’s early recordings, including Shimpoo Pimpoo (1993) and Dernjava (1995), were rooted in punk-derived energy and British guitar rock traditions. This period established a direct, guitar-driven sound shaped by influences associated with British and Irish rock, combining raw structures with melodic songwriting. During this phase, the band recorded “Poštar lakog sna”, a reinterpretation of The Pogues’ “Rainy Night in Soho”, highlighting the importance of narrative lyricism and Celtic-inflected musical references in their formative work. [55]
With Fred Astaire (1997), Pips, Chips & Videoclips reached wider mainstream visibility. The album has frequently been associated with the Britpop era, both musically and visually; during this period the band adopted a public image aligned with contemporary British guitar bands such as Oasis, whose modernized interpretations of 1960s mod aesthetics formed a broader cultural reference point. Musically, Fred Astaire combined assertive guitar riffs with polished production, marking a transition toward a more self-assured and contemporary rock sound. [56]
This phase culminated with Bog (1999), an album often regarded as the point at which the band consolidated its rock authorship. While continuing to operate within a broadly accessible rock framework, the album introduced denser arrangements and production elements reflecting late-1990s alternative trends. The song “Pjevač Beatlesa i Stonesa”, with its refrain “Ja nikad neću biti pjevač Beatlesa i Stonesa”, articulated an ironic distance from classic rock mythology and signaled a refusal to model the band’s identity on inherited rock archetypes. [57]
Experimental turn and alternative expansion (2003–2013)
Following Bog, changes in the band’s line-up coincided with a noticeable shift in musical direction. Beginning with Drveće i rijeke (2003), Pips, Chips & Videoclips moved away from Britpop-associated guitar rock toward a more atmospheric and experimental approach. The album became associated with comparisons to Radiohead, including parallels drawn between the song “Vjetar” and “Pyramid Song”, reflecting a broader turn toward mood-driven arrangements and unconventional song structures. [58]
Subsequent releases, including Pjesme za gladijatore (2007) and Walt (2013), continued this trajectory, incorporating electronic textures, darker tonal palettes and a more cohesive conceptual approach. This period further distanced the band from mainstream rock conventions while aligning their sound with international alternative and art-rock currents of the 2000s and early 2010s. [59]
Later work and contemporary influences (2020–present)
In later work, particularly on Vesna (2023), the band further expanded its sonic palette while maintaining continuity with earlier phases. The album combines guitar-driven structures with prominent keyboards and rhythmically driven arrangements, reflecting influences associated with artists such as Radiohead, The Flaming Lips and LCD Soundsystem. Reviews have noted the integration of electronic and dance-oriented textures, indicating an ongoing engagement with contemporary popular music rather than a return to earlier stylistic models. [60]
Ivaniš has cited formative influences including The Police, The Clash, The Smiths, Pixies and Nick Cave, while also referencing artists such as MGMT and Arcade Fire among those he has followed in later years. He has additionally spoken about his interest in contemporary genres outside traditional rock, including trap, framing them as part of the broader musical landscape rather than as stylistic templates. [54] [61]
Legacy
Pips, Chips & Videoclips are frequently described in Croatian media as a cult Zagreb rock band and among the most important acts associated with the city’s rock scene, with a career spanning more than three decades and a catalogue that remains a reference point in domestic rock retrospectives. [63] [64]
Their reputation has been reinforced by long-standing live popularity in Zagreb, including major headline concerts and extended club residencies, as well as high-profile appearances such as a joint performance with Josipa Lisac. [65]
Critical reassessments of their discography through anniversary features and rankings have emphasized artistic coherence and stylistic evolution, with a consistent authorial focus centered on Dubravko Ivaniš. [66]
Taken together, these assessments and the band’s continued visibility in live performance have positioned Pips, Chips & Videoclips as a durable point of reference within Zagreb’s post-1990s rock landscape.
The band’s influence has also extended through the subsequent work of its members in other prominent Croatian bands and projects. Former guitarist Alen Kraljić was a member of Majke, while former bassist Vanja Marin performed with Kojoti and Majke. The electronic project ABOP includes former Pips drummer Ivan Levačić alongside current member Ivan Božanić. [67] [68]
Collaborations across their catalogue have further contributed to the band’s profile. The track “Plači” from Fred Astaire features Darko Rundek, while other guest contributors include Ante Gelo, Ratko Vojtek, Ana Rucner, Soulfingers, Anđa Marić, and Jadranka “Yaya” Ivaniš of Jinx. [69] [70]
