Looking at the LP itself, it overall looks very simple and to the point. The front has two women along with the album title and the back has a picture of 1 EURO along with the track listing and credits (Croatian Amor is 1989). There is nothing inside aside from the record.
Side A starts with multiple field recording sounds on track 1, "Mermaids of Jadransko." Sounds as running water splashing on the bottom of the sink and some crunching metal sounds. At 1:43, synths squeeze its way into the mix that sound very somber. A minute or two has a recording of a woman explaining what happens when "she doesn't get fucked". I remember stopping what I was doing at this point to let everything sink in. The song builds and builds until the 6 minute mark where its nothing but synths.
"Blue Skin" is the shortest but most haunting track on the album. The synths remind me of an old NES dungeon theme. There seems to be rustling sounds as well. I couldn't tell you what this could actually interpret.
"Weapons Of Paradise" starts with some noisy tape loops and warm synths in the background. The synths begin to get louder and there feedback jumps into your earbuds (or mine) to snap you out of your daydream this record can so easily put you in. This continues until the track fades out.
"Song of the Mermaids" is a much more uplifting track with the poppy synths. I want to say there are sounds of waves in this track. Some other recordings of a man's voice too.
Side B starts with a brooding "Comecon Dancer". Low end synths until something smashes and brings more textures to the ears. Around the minute mark there are indiscernible sounds such as drum rolls and what would be a woman whimpering. Synths come in saturating the entire track with some vocals in the background. The track ends with nothing but feedback.
"Liberation (Vagina Sword)" sounds like someone sitting outside with a tape recording in their lap while the sound of a monotonous drum beat comes in. More field recordings key in and so do the synths. The music goes perfectly with the title.
"Truth (The World Grew With Every Hill They Passed)" sounds like something straight out of an old grainy foreign film. One of the catchiest synth progressions on the entire album. Feedback and other effects accentuate this track as well.
The final track "Begin (Twin Sex)" starts with what sounds like an interview with a woman talking about a relationship. A lot of clanging sounds fall into place along with warm keys. A perfect ending that will put you at rest until the song is over.
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