__________________________THOROUGHLY COMPOSED

On top of it all, in terms of innovavtion and meticulous detailed work, have to be my three albums that evolve around odd-time grooves. After obtaining a degree in Sonology with all due experiments and departure from given musical traditions, I felt a strong urge to work with standard musical stems evolving around drums, bass, harmony and melody. First such album gained attention from my two musical heroes from the balkans to the extent that they became interested in collaboration. Thus came to be the albums below. Recent saturation with computer screens and mouses has brought a halt to such extended composition. Also, it is my recent conviction that all recorded music is a simulation and I am more motivated to play real music, live.

mod-folk (2020)

Microtuning, odd meters, modular processing & Bojan Zulfikarpašić = all my dreams come true, this is it, the most challenging and intense album I ever made. It took 11.5 years from suggesting to Bojan making an album on an afternoon in Toulouse, until it was completed. I have developed the scales and the themes in advance of recording Bojan's interpretations and departures from these. In the process many other musicians contributed, and you can find them listed. For many years these fragments did not appear to have any completion potential, until one day Dejan Tomka heard the hidden threads and managed to masterfully articulate them in the process of mixing the album. In retrospect, it became hugely surprising that the music exposes pain. Nevertheless, it does seem clear that this universe rests on absurd making it a divine joke.

mod-folk on bandcamp

rambo leaks (2015) ramboleaks_uncut

These are the remixes of tracks by Rambo Amadeus, all in odd meters and hilarious, especially if you understand the lyrics and know the originals. He has been very kind to offer me his compositions and outtakes to work with. The progressive nature of the result did throw him off, but thanks to certain common friends as well, he finally accepted this difficult to listen, hard to follow and painful to digest radio drama. To this day when I relisten to this album I find new relationships, both musical and narrative. The album has been released three times in different formats, but the real connoisseurs dig the uncut version the most.

                 01 emanuela
                 02 shwantzwald klinik
                 03 plastic fantastic
                 04 demode
                 05 rasta mana
                 06 abvgd
                 07 summer hit
                 08 ilidza hamams
                 09 grande valse
                 10 mr popovic
                 11 intermezzo
                 12 finale

quattrophobia (2007) zipped

This is my first thoroughly compsed album that admittedly includes remixes as well. Packed with scratches and odd rhythms this record drawing on funk, jazz and balkan music must be considered my earliest masterpiece. Three years of hard work have gone into this CD that is a milestone in turntablism prpulsing it into the odd-time cosmos. To this day it sounds fresh as it took a direction that seems still underexplored. It is youthful and light in contrast to most of my other work that carries that much more intended madness. The fear of number four is an exaggaration, it might have been more accurate to call it the boredom of number four instead.

                 01 web weaver
                 02 ki7
                 03 ajde romale
                 04 paparaczo
                 05 bee15
                 06 delusion
                 07 the dragon
                 08 midget
                 09 dog tree
                 10 maple

__________________________CHAOTIC SYNTHESIS

In the early 2000's I was blessed with access to Sonology Analogue Studio BEA5. The admiration of low-level modular processing was instantly born and the gems from that period can be found on earlier albums below. After 10 years of little to no access to CV gear the comeback to analogue sound synthesis was a blast. Having saved good cash from teaching audio synthesis I decided to invest it back into a modular synth. Additionally, the myriad design strategies of sound synthesis implementations saturated me and I was seeking to dismiss the cognitive agency. Quickly I realised that non-linear inversions in feedback produce unexpected and unpredictable intermittencies. My developed modular instrument thus consists of 3 matrix mixers, 5+ folders 10+ filters and a few, ifa any of other standard components like envelopes, oscillators and such...

mono (2015) zipped

This is my first album using only analogue modular electronics exploring chaotic synthesis. It might seem that the music consists of layers, as usual, but the fact is that these are actually monophonic, in both senses. There are no stereo signals and strictly speaking it is always a single conmplex and and largely intermittent chaotic signal. This is a system that is impossible to control and can only be steered. Akin to a good surf, the underlying forces are immense and the task is to stay alive and discover unheard and intrinsically natural sounds of electrons freaking out.

                 01 sail for sale
                 02 scrap trap
                 03 coax hoax
                 04 bravo kravo
                 05 tub of sub
                 06 formal dismal

abhorrent (2017)

My admiration for free improvisation had many outlets starting with my postgrad studies in Birmingham. Some threads surrvived a decade and flourished in this collaboration with Dominic Lash and Federico Reuben. Our attitudes seem to reaonate oh so well, and the recording of our perofrmance in Bristol was deemed good enough to call it an album and stick it on bandcamp

years apart (2023)

One of my favourite hungarian drummers is Aron Porteleki who has an extremely attentive musicality without lacking the progressive challenge. David Pap has brought us together for an improvisational gig back in 2013 when I was excited by manipulating digital samples in a live setting. 10 years later we played another gig, this time with my modular and came up with the concept for this album combining the two. Find it on bandcamp

qactus (2020)

In this album my admiration of microtonal scales meets the chaotic modular synthesis. Dunnja Crnjanski was initially interested to collaborate and performed intriguing improvisations with the keyboard based instruments that I programmed. The album was released by EXILES and also sparked an attempt for audio based video synthesis using macro photography. Find it on bandcamp

disturbulence (2016)

These are recordings of improvisational performance with Misha Cvijovic and other musicians playing acoustic intruments. The challenge of musical amalgamation with harsh noise may not have been fully accomplished yielding an uncanny duality. Nevertheless, tehe sincere intent is transparent and there is little, if any space to doubt that we are on the same journey but with radically different tools and perceptions. Albums are hosted on bandcamp

stale mate (2017)

Developing chaotic synthesis circuits it became apparent that they serve well as radical distortion effects. The sonorites were found very radical for processing wind instruments. Of many duo performances with Attila Dora some were captured on an album hosted on bandcamp and a gig on youtube

bicsaklom (2017)

Further developments chaotic procsessing yielded extreme timbres with voice inputs. Hence I sought actors and poets to explore this domain. One such improvisational performance at Tilos radio became an album now hosted on bandcamp

jalovo (2019)

Marija Sukovic recites her poems through modular synth patches.

01 jalovo

__________________________REMIXES

As far as the musical traditions I was exposed to, my main objection is the metric simplicity. Hence I spent much time with resequencing existing music into odd meters. It does seem that the key to understanding rhythm is the psychoacoustic capacity of cyclic expectation. A regular pulsation is thus the necessary point of departure together with the ability to divide time durations and appreciate the cycles of 2, 3 and 4. My interest for complexity has led me, in my teens to dive into odd meters and reject the palatabilty in search of novelty. At one point, this led to me hearing the regular ticking of a clock in a 7/8 meter. Initially unconcscious strecthing of the cyclic expectation thus develops on top of the love for displacement of cycles and their additive construction. It takes time to follow these remixes according to their cycles, and this does not necessitate being able to count them.

gagtime (2013) zipped

One of my important early inspirations has to be ragtime music. A good dose of irony and rhythmical invention delivering uplifted moods align with me tremendously. In order to augment these characteristics I engaged in recomposing tunes by Scott Joplin to groove in odd-meter rhtyhms. A very meticulous manual rearrangement of notes in MIDI format yielded what I consider a thorough study in odd-time syncopation. A good sign of having acquired odd-meter cyclic expectation is when this music appears bang-on time allowing syncopation to rise above the downbeats. This is a bold attempt to define the rhythmical framework for the next (musical) century, the way ragtime rhtythmically defined the previous one.

                 01 cascades
                 02 easy winners
                 03 elite syncopations
                 04 the entertainer
                 05 maple leaf rag
                 06 pecherine
                 07 strenuous life

dj glatko (2010...)

As a matter of rhythmical exploration I have produced many remixes of popular music. Curiously, my elitistis heritage is blocking the main stream musical expressions from appreciations. However, the popular art is a creepy and too easy to consume for maintaing a healthy distance. Hence, my solution is to recompose this music into odd meters and add a more intense rhythmical element, the jungle beat. This brought about immense healing of this inner conflict making it possible for me to love the earworms that were implanted by the marketing channels I was exposed to. In the first stage of remixing thes were done by manual splicing. Later, I have developed a weighted random based algorithm that hugely sped up the process. Find them on soundcloud

dj dokuzz (2017...)

Once I established that odd meter remixes facillitate the apprehension due to the familiarity of popular tunes, I realised that adding in a video in sync with the remix serves the purpose even better. By this time all the remixes were algorithmic, they rely on simple repetition or exclusion within every bar of the music. As such the duration of each bar shrinks or extends by the same amount. This makes it possible to stretch the video with a constant factor such that all the bars align. A variety of such video remixes is hosted on vimeo and youtube

remix phoenix (2011) zipped

A variety of early manual remixes have been published as an album that abuses the thin line between fun, love and insanity. An absolute must for rhythmically knowledgeable.

                 01 cupurlika - goran alacki
                 02 isn't she lovely - birelli & sylvain.mp3
                 03 hiwar - hassan erraji
                 04 superstition - yesterdays new quintet
                 05 uci me majko, karaj me - kocani orkestar
                 06 cold sweat - james brown
                 07 kaja - plavi orkestar
                 08 sarajevo, grade moj - halid beslic (zb remix).mp3
                 09 srce, ruke i lopata - zabranjeno pusenje.mp3
                 10 crni voz - dejan petrovic.
                 11 mas. que nada - leo gandelman
                 12 my way - paul anka

__________________________NEW DIRECTIONS

Here are some recent collaborations...

lasta (2024)

Reaching back to our student days the friendship with Quentin Sirjacq has overarched many borders. We had an intense encounter with the Codex band and both departed in different musical directions. I greatly admired tha peacefulness of his gentle music and attemted to align with my love for the sound of cymbals. We have recorded this album in his private studio in Paris, and there is another set of takes waiting for a third musician to work with, may you be interested...

lasta

extent (2024)

As a part of my artistic residency at Osmoza in Ljubljana, I had a chance to invite local musicians for rehearsals and performance. I recorded and mixed this album and contributed with my microtonal composition interpreted on a harp by Urska Preis.

extent