• Novi_sad | Mort Aux Vaches

    15 nov. 2009, 9h49m

    Novi_sad | Mort Aux Vaches

    -Format : cd

    -Composed by Novi_sad

    -Recorded and produced by Berry Kamer and Maurice Woestenburg at VPRO, Amsterdam 20th February 2007.

    -Released by Staalplaat in an edition limited to 500 copies with exceptionally unique artwork, 3-panel silkscreened old cut vinyl records cover.
  • Novi_sad | Jailbirds

    2 nov. 2008, 9h24m

    Novi_sad's new album 'Jailbirds' is out now by Sedimental.

    Novi_sad | Jailbirds

    Komdu! Hvert? 21:06"

    Torched estates 19:40"

    -Format : cd

    -Operated and formed by Novi_sad, November 2006-May 2007

    -Mastered by Novi_sad and Elektroware at Dsp Lab, Athens

    -Released by Sedimental in an edition limited to 500 copies and housed in plastic-free gatefold sleeves with spine, art design by cs.

    A work of highest quality and a truly unique vision with a significant multiplicity in its action on the listener. 'Jailbirds' is a density of sound, acting in three-dimensions, not as auditory sound effect, but as music with depth both physically and in functionality. Its intensity and purposefulness based in specific conceptual foundations and enhanced by a mastery (and transcendence) of technical means.

    You can listen to samples here:


    Frans de Waard, Vital weekly

    The fastest rising star in the world of microsound might be Novi_sad, being on Thanasis Kaproulias. He has a damn fine debut CD ‘Misguided Heart Pulses, A Hammer, She, And The Clock’ (see Vital Weekly 611), and his work has been on TouchRadio and soon a release in the ‘Mort Aux Vaches’ series.

    The attraction of his music lies, I think, in the combination of microsound and dark ambient music. There are the cracks and hisses of micro world, but also the thunderous deep ambient drones which can be top heavy, like in the opening ‘Komdu! Hvert?’. Field recordings, the call of the birds, leak through here, as the deep bass dies out very slowly for the rest of duration of the song.

    ‘Torched Estates’ starts out with some nasty high pitched sounds, but throughout the pieces moves into various heights and depths, and it strikes me that this is the more complex piece of the two on this release. Many heavily processed field recordings are present, but then also sometimes naked and pure.

    Whereas the first is built around one theme, is the second piece more a collage of various moods and textures. Quite loud microsound altogether, and thus a strong break with tradition. Great one.

    Creaig Dunton, Brainwashed

    On his second full-length release, this young Greek composer continues refining his technique of meshing abrasive electronic noises, pure digital drones, and field recordings into small audio ethnographies that are more than happy to make jarring, unexpected transitions.

    Consisting of two 20 minute pieces, the first half, ‘Komdu! Hvert?’ is the more subtle and simple of the two tracks. Opening with quiet rushing water that gradually and gradually increases in intensity, it is met early on by a deep pulsing bass tone that can definitely cause pain at higher volumes.

    This slowly transitions into a whistling track of white noise, the bass thump replaced with a droning low end tone, slowly being met with looping found sound elements and other indecipherable textures. Eventually sheets of shimmering tones and chirping birds become the focus of the track, a more ambient and lighter resolution to a dark beginning. The piece closes with a high-tension line like hum and the sound of crickets, a perfect metaphor for the combination of organic and synthetic presented here.

    ‘Torched Estates’ is, in comparison, simultaneously more complex and dissonant. It begins with sheets of rain that get louder and louder as a high frequency emergency tone cuts through the mix, which is painful enough before a swelling of digital noise becomes the focus, all culminating into a violent quick digital squelch before falling away, leaving an eardrum numbing bass note.

    This constant rumbling eventually enshrouds a subtle bit of static and clicking that stays consistent, eventually allowing layers of analog lo-fi noise to come in and command attention. While it begins to resemble a harsh noise recording in intensity, dynamically it stays sparse enough to allow the subtleties to be heard, rather than just violently commanding attention. It ends with the emergency type tones that opened the track, the sound of a typewriter, and eventually a shrill, tinnitus inducing tone that would make Ryoji Ikeda proud.

    While still a young composer, Thanasis Kaproulias is already establishing himself as a powerful and innovative artist in this field of experimental music. His attention to detail is especially noteworthy, as is his use of pure electronic as well as organic found sounds in unison. I foresee Novi_sad being regarded as among the top experimentalists in the very near future.

    Jos Smolders, Earlabs

    Novi_Sad’s second album features two tracks that are rather extreme in their approach, but with patience offer a lot.

    The record company describes his music as follows:”What is significant in his work is the multiplicity of its action on the listener. It is a density of sound, acting in three-dimensions, not as auditorysound effect but as music with depth both physically and in functionality. Its intensity and purposefulness based in specific conceptual foundations and enhanced by a mastery (and transcendence) of technical means collapses amplified environmental recordings, drone manipulations, structured ambient soundscape, microtones and overtones into unified whole.”

    I think that is quite aptly described. There are two tracks on this disc. The first is a fine slowly evolving track. Starting with the sound of a streaming river, which is soon accompanied by the bass drone of a ship’s motor. After some time this bass is subsided in favour of more harmonic, tonal basses, though not as deep as the motor. There’s also a hissy quality. The blending of the first into the second and then into the third part is quite well paced. Slowly higher pitches are added and then we hear nature sounds on top of the harmonies. This continues for about 18 minutes when suddenly everything stops and we hear “komdu! Hvert” a couple of times. This conversation was recorded from the Islandic movie “Noi Albinoi”. Then the motor kicks in again and continues for a couple of minutes. Quite a strange movement in the final part. I don’t see the connection but in a way I don’t mind that, either.

    The second work is only a bit shorter than the first one (19′40″). It starts with trees which are swept by gusts of wind. Now it’s high pitch which accompanies the field recording. Then these to die down quickly to be replaced by a 100 hz humm. This humm is overlayed with sparse high pitch ticks which become more present in due time. The bass slowly becomes less audible and the ticks are left alone. A nasty hiss and higher pitched noise enters, the ticks leave and again field recordings come up. This time it sounds like a filtered recording of a pneumatic hammer.

    In a way this could all be a dream. Or perhaps a soundtrack to it. But, especially track 2 has all the qualities to accompany a nightmare. Like the previous release of Novi_Sad this is expressive material but it could do with more balance. Or perhaps more unbalance; yet more abrupt changes. On the one hand there are these clear cuts (from drone into sudden silence) but there are also the slow fade-outs and fade-ins which tell a different story.