He was a pioneer of electronic music in former Yugoslavia, since he mixed and produced a number of celebrated albums of Yugoslav new wave acts such as Ekatarina Velika, Haustor, Marina Perazić in the course of the 1980s.
In 1986, his fusion of electronic music and Yugoslav folk lullabies, In The Mooncage was awarded the International Fund for Promotion of Culture from UNESCO, which included a three-month scholarship to research Afro-Brazilian rhythms in Brazil.
[2] Subotić released his first recordings in an original way: the tracks that were signed under the pseudonym Rex Ilusivii were delivered personally by him to the Radio Novi Sad reception desk addressed to Dragan Gojković "Goja", the host of the Yu pop scena (Yu Pop Scene) and Novi Vidici (New Horizons) cult radio shows, which subsequently broadcast the recordings without knowing the author's true identity.
[2] After a year of sending new compositions to Gojković every week, Subotić decided to reveal his identity, after which came a live presentation of his work with performances in Novi Sad, Belgrade, Zagreb, Ljubljana, Sarajevo and Subotica.
[4] The compositions recorded in the period between 1983 and 1985 were a part of Subotić's project Promene (Changes), the title being self-explanatory of the musical experimentation Subotić had undertaken, in which Subotić collaborated with a number of already well-known musicians, resulting in a number of true radio hits:[3] Zoran Janjetov "Janja" in the track "Jeti" ("Yetti"), Jakarta vocalist Igor Popović in the songs "Ptice" ("The Birds") and "Arabija" ("Arabia") featuring Tomo in der Mühlen on guitar, Ekatarina Velika frontman Milan Mladenović in the cover of the James Brown song "Sex Machine", Denis i Denis singer Marina Perazić in the song "Plava jutra" ("Blue Mornings"), and Dorian Gray frontman Massimo Savić in the composition "Facedance".
[2] The composition "Zla kob" ("Doom"), recorded under the obvious influence of Serbian orthodox music, was included by Zoran Modli on the PGP RTB various artists compilation Ventilator 202 vol.
[3] Subotić's debut studio album Disillusioned, having been turned down by the major Yugoslav record companies, was released as a part of the 30th anniversary celebration of the Radio Novi Sad show Randevu sa muzikom (A Rendezvous with Music) in a limited pressing of 500 copies.
[4] The recording sessions featured Milan Mladenović, Uroš Šećerov, Massimo Savić, Električni Orgazam bassist Zoran Radomirović "Švaba", and the pianist Branka Parlić.
"[5] Simultaneously with the album recording and release, Subotić had worked on music for television, theatre plays and choreodramas: for Haris Pašović's "Jelka kod Ivanovih" ("Fir Tree at Ivan's") and "Mara SAD" ("Mara USA"), Nada Kokotović's "Nojeva barka" ("Noah's Ark"), "U potrazi za izgubljenim vremenom" ("A Quest for Lost Time"), "Plavobradi" ("Bluebeard") and "Medeja" ("Medea"), and Sookie John "Šma" ("Shma").
[6] In the spring of 1994, with Milan Mladenović, he started recording material for their collaboration project Angel's Breath, featuring a array of Brazilian musicians (percussionist João Parayba, guitarist Fabio Golfetti, vocalists Mariza and Madalena) combining alternative rock with Serbian and Balkan traditional music.
[6] The album featured guest appearances by the vocalists Cibelle, Katia B and Taciana, jazz guitarist Andre Gerrasiatti, percussionist João Parayba and the members of Mestre Ambrósio.
[12] However, on 2 November 1999, on the evening of the São Paulo Confessions album promotion, in an attempt to rescue the recordings from his studio which had been caught up in a fire, Subotić died at the age of 38.
[18] In 2002, a group of musicians from Brazil and the United Kingdom, including Cibelle, Trio Mocotó member João Parahyba, Marina Lima, Phil Asher and Juryman, recorded the Suba tribute album Tributo.
[19] In 2005, the Rex Ilusivii In Vitro / Suba Within Us ballet based on Subotić's life was written by choreographer Aleksandra Ketig and the soundtrack for the play was released on the album of the same name.