Pips, Chips & Videoclips

Pips, Chips & Videoclips (stylized as PIPSCHIPS&VIDEOCLIPS, and often abbreviated as PCVC)^[1] are a Croatian rock band formed in Zagreb in 1992. Active for over three decades, the band has released eight studio albums and is widely regarded by Croatian music critics as one of the most significant and enduring rock acts of their generation.

The band first attracted wider public attention in the early 1990s, particularly with the song “Dinamo ja volim”, which became closely associated with supporters of GNK Dinamo Zagreb and is frequently described in Croatian media as an unofficial supporter anthem.^[2] During the late 1990s and early 2000s, the band established a broader artistic and critical reputation through albums such as Fred Astaire, Bog and Drveće i rijeke, earning major Croatian music awards and recognition for a sound that evolved from early alternative and Britpop influences toward more experimental and art-rock-oriented approaches.

In the following decades, the band maintained its prominence through both studio work and an extensive live career, encompassing large open-air concerts as well as multi-night club residencies in Zagreb. Their 2023 album Vesna marked a return to studio releases after a longer hiatus and was interpreted by critics as a mature continuation of the band's long-standing artistic trajectory.

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). In later interviews, Ivaniš has described the band's beginnings as tied to the Zapruđe neighbourhood of Zagreb and the group's early social circle there, including gatherings around local meeting spots such as the Grill Zapruđe diner, where the members socialised and discussed forming the group prior to regular rehearsals.^[3] The band's name is reported as a wordplay referencing the film Sex, Lies, and Videotape.^[4]

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”.^[1] 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.^[2] Around the same period, the band appeared as a supporting act for Mišo Kovač at a large charity concert held at Stadion Poljud in Split. The performance, attended by approximately 50,000 people, has been described in later accounts as one of the band's earliest major live appearances before a stadium audience.^[5][6]

Other tracks from Shimpoo Pimpoo, including “Gume na kotačima” and “Prvi joint u ustima”, also remained part of the band's live repertoire in subsequent years. Retrospective accounts have described 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, with Shimpoo Pimpoo gaining particular visibility among supporters of GNK Dinamo Zagreb.^[7] During the mid-1990s, songs from Shimpoo Pimpoo were featured in Borivoj Radaković's theatre play Dobro došli u plavi pakao (“Welcome to the Blue Hell”), expanding the band's presence beyond the music scene.^[5] 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.^[8]

In December 1995, following several early line-up changes, the band released their second studio album, Dernjava, which further developed their alternative rock sound while emphasising urban-themed lyrics and storytelling that became characteristic of their early work.^[9] The album received the Porin Award for Best Alternative Rock Album in 1996.^[10] Retrospective commentary has frequently described the album as one of the notable releases of the Croatian alternative rock scene of the 1990s.^[11] By the mid-1990s the band's core line-up consisted of Dubravko Ivaniš, Alen Kraljić, Mario Borščak and Igor Paradiš, forming the foundation for the group's subsequent development.^[5] The album credits also list several additional musicians alongside the core members, including keyboardist Davor Striček and guitarist Igor Ratković, while guitarist Davor Viduka is credited among the contributors.^[12]

Songs from the album, including “Poštar lakog sna” and “Malena”, later became enduring parts of the band'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”, presented as an adaptation of a widely recognised supporter song rather than an original composition, reflecting the football-related cultural references present in the band's early work.^[13] Later critical commentary described “Poštar lakog sna” as a reinterpretation of The Pogues' “A Rainy Night in Soho”, highlighting the influence of Shane MacGowan and Irish folk-punk songwriting on the band's early material.^[14] 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, including members of Kojoti, as well as Goran Bare, Davor Gobac and Davorin Bogović.^[15] “Malena” gained recognition for its lyrics referencing the Zagreb neighbourhoods of Zapruđe and Utrina, 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 period.^[16][17]

In 1997, the band retreated to the slopes of Učka to record their third studio album, Fred Astaire. The record marked a major critical and commercial breakthrough for the group and is widely regarded as one of the defining Croatian rock releases of the late 1990s. Musically, it combined melodic guitar-driven alternative rock with ironic and introspective lyrics that further developed the band's urban songwriting style.^[18] The album received the Porin Award for Album of the Year at the 1998 Porin Awards.^[19] It also received several Crni mačak awards from the Croatian rock press.^[5] The success of the album culminated in the band's largest concert to date, held on 30 April 1998 at Dom Sportova in Zagreb.^[5]

Among the album's best-known songs was “Plači”, recorded as a duet with Darko Rundek, which received the Porin for Best Vocal Collaboration.^[19] Other notable tracks included “Nogomet” and “Sex u školi”, which became regular parts of the band's concert repertoire. Commentary in Croatian music journalism has noted the ironic tone of “Nogomet”, which reflects on the cultural prominence of football in Croatian society.^[20] Around the same period 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).^[5]

In 1999, the band released its fourth studio album, Bog. Following the success of Fred Astaire, the album introduced denser arrangements and a darker, more introspective tone that reflected the band's evolving alternative rock approach.^[21] 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.^[22] In a later interview, Ivaniš described Bog as a document of the band's internal disintegration, with the song “Narko” representing the culmination of these tensions, and it has remained one of the band's most widely recognised songs from this period.^[23]

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 and Tristan Karas departed the band, prompting media speculation regarding the group's future. The tour was nevertheless completed in 2001 with guitarist Nikola Radman joining the band during its later phase.^[24] By the conclusion of the tour in 2001, the line-up that had defined much of the band's late-1990s output had effectively come to an end.^[24]

Following the completion of the Fenomenalan dan tour and the end of the band's long-standing 1990s formation, the band 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.^[5] Later accounts describe this period as a transition away from the cohesion of the band's earlier line-up toward a more fluid and uncertain phase in its development. Ivaniš also recalled that the earlier idea of the band as a close-knit unit had begun to dissolve during this period.^[25]

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 noted that the group had been largely absent from the city's live circuit, had undergone line-up changes, and returned with a partly new formation alongside the album's release.^[26] Retrospective commentary frequently frames Drveće i rijeke as a stylistic shift, moving away from the band's earlier Britpop-oriented associations toward influences such as Radiohead and The Flaming Lips.^[27] Contemporary commentary has also noted the band's continued tendency to draw from and reinterpret contemporary global alternative influences during this phase.^[28]

During this period, the band also pursued an early internet-oriented strategy for the local rock scene, using their official website for experimentation, including live webcam streams from rehearsals, moderated chats hosted by frontman Dubravko Ivaniš, and online remix and design contests related to Drveće i rijeke.^[5] Reflecting on this period in later interviews, Ivaniš described the band's earlier working dynamic as one based on near-daily rehearsals, which continued “up to and including Drveće” and shaped both the album's sound and the group's cohesion. He also characterised the internal rupture within the band as a moment that prompted a reassessment of its future direction.^[25]

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” unplugged broadcast and expressed satisfaction that the band issued the recording, calling it “a fine and solid album” that “in a way recapitulates our career”.^[29] A contemporary review praised the acoustic performance for its focused arrangements and musicianship.^[30] By the mid-2000s, accounts note that the period of frequent line-up changes had begun to subside and that the band's personnel gradually stabilised.^[5][25]

Following the stabilisation that emerged after the Drveće i rijeke period, the band 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. The album was received as a continuation of the band's exploratory phase following Drveće i rijeke.^[31]

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.^[32] 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.^[33]

The touring cycle that followed culminated in the band's first concert video release, 2x2, 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 2x2, 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. The 2x2 project has been described as the band's first concert video release, documenting performances recorded at the Zagrebački plesni centar in March 2011.^[34]

In 2013, the band released the studio album Walt, their first full-length release after a prolonged recording hiatus. Contemporary reviews described it as a conceptually cohesive and stylistically mature work that foregrounded the band's established sonic identity rather than following contemporary trends.^[35] The album was also noted for its thematic coherence and reflective tone within the band's later discography.^[35] The Walt cycle was followed by Akustični Walt, a DVD release featuring acoustic live versions of the album's material and presented by the band as a do-it-yourself production.^[36]

After completing the Walt cycle, the band gradually moved away from the traditional album-oriented release model and began focusing on standalone digital releases, typically accompanied by music videos. This approach has been described as a shift toward a more flexible release model, with the band focusing on individual tracks rather than cohesive studio albums. During this period, they released a series of singles without announcing a new studio album, including “K1”, “Tek da nas podsjeti”, “3PM” and “Kung Fu lekcije”.^[37][38][39] Ivaniš described “K1” as conceived from the outset as a central element of the band's live performances.^[40]

During this period, long-time drummer Ivan Levačić and bassist Marko Levanić departed from the band, marking further changes in the rhythm section. Subsequent live performances featured Viktor Slamnig on bass and Pavle Gulić on drums as part of the band's touring line-up.^[41] Despite these changes, the band remained active as a live act and continued to release new material on an occasional basis. In 2021, bassist Marko Levanić rejoined the band, marking the end of this transitional period and preceding the group's renewed studio activity in the early 2020s.^[42]

In 2022, the band marked the 30th anniversary of its 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 large and diverse audience.^[43][44] 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”.^[45]

Following the anniversary celebrations, the band returned to studio work and released the album Vesna in 2023, their first studio album in ten years.^[46] The album was preceded by the singles “Pariz” and “Većinom”.^[47] Reviews noted that Vesna combined elements of the band's earlier guitar-driven sound with the more layered and electronic approach of their later work, incorporating synthesizers and programmed elements while drawing on contemporary alternative pop influences.^[48] The album was also described as a revitalisation of the band's sound, reconnecting with elements of their earlier work while maintaining the stylistic developments of their later phase.^[49]

In the years following the release of Vesna, the band 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,^[50] and three consecutive sold-out concerts at the Boogaloo club in December 2024.^[51][52] Between these club residencies, the band also performed a large free open-air concert in Park Vjekoslava Majera in Zapruđe in 2025, attended by an estimated ten thousand people and described by local media as a return of the band and Ivaniš to the neighbourhood from which the band originated.^[53] 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.^[54][55]

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.^[56]

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.^[57]

With Fred Astaire (1997), the band 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.^[58]

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.^[59]

Following Bog, changes in the band's line-up coincided with a noticeable shift in musical direction. Beginning with Drveće i rijeke (2003), the band 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.^[60]

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.^[35]

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.^[49]

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.^[56][61]

The artistic approach of Pips, Chips & Videoclips has been closely associated with the songwriting and vocal perspective of Dubravko Ivaniš, whose work has remained the band's primary creative constant despite changes in musical direction and personnel. Rather than adhering to a fixed genre or stylistic framework, the band has emphasized adaptability and continuity of authorial perspective, treating stylistic change as an integral part of its identity.^[56]

Ivaniš's lyrics frequently employ introspection, irony and self-referential distance toward established rock conventions. This stance is explicitly articulated in the song “Pjevač Beatlesa i Stonesa”, whose refrain rejects identification with canonical rock mythology in favor of a more personal and locally grounded artistic position. Across the band's discography, such gestures have often been interpreted as a distancing from traditional rock-star mythology rather than a rejection of rock tradition itself.^[56][1]

A defining element of the band's artistry has been its sustained engagement with contemporary musical contexts. Ivaniš has spoken publicly about following current developments in popular music and about his interest in genres beyond traditional rock, including electronic music and trap, framing them as relevant expressions of the present rather than as stylistic threats. This outlook has informed the band's gradual incorporation of modern production techniques, electronic textures and rhythm-focused arrangements, particularly in its later work.^[61]

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.^[62][63]

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.^[64]

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.^[60]

Taken together, these assessments and the band's continued visibility in live performance have positioned the band as a durable reference point within Zagreb's post-1990s rock scene.^[62][63]

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.^[65][66]

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.^[67][68]

• Shimpoo Pimpoo (1993)
• Dernjava (1995)
• Fred Astaire (1997)
• Bog (1999)
• Drveće i rijeke (2003)
• Pjesme za gladijatore (2007)
• Walt (2013)
• Vesna (2023)

• Official website
• Pips, Chips & Videoclips discography at Discogs
• Pips, Chips & Videoclips discography at MusicBrainz
• Pips, Chips & Videoclips on Bandcamp