Atomai constructs a bridge between the hiss of the past and the synthesis of the future.
SIGNALAI 3 continues ambient journeys through old tape recordings and new inventive adaptations of audio technology.
An exploration of signal processing by manipulating found footage, tape artifacts and integrating harps, strings and flutes.
The Third Policeman was recorded live, without any overdubs, using computer, MIDI keyboard, and controller / 2025.
The album is a subtle allusion to Flann O’Brien’s absurdist novel The Third Policeman, reflecting its surreal and enigmatic atmosphere through sound.
Noise which is not nihilistic mixed with positivity which is gritty. For those who deal with and appreciate the whole.
Perfection looks unnatural and repulsive, but imperfections are beautiful. Pleasure is painful, but healing your wounds is joy.
The album was created and released during a period of turmoil in this world – a global pandemic, an increasing number of wars, an epidemic of propaganda and false news, ever prevalent ignorance, while the AI revolution is elevating shortcomings of our minds to unforeseen levels. There is so much pain in releasing accumulated tensions and yet releasing them is inevitable and necessary, always leading to a relief.
You are the reason I believe this Reality is such a waste.
You believe the euphoria about a lie you are special.
You become the noise in the music of the universe.
You remain the same fantasizers of nice and fuck.
I wish you all be dead.
Part 8 out of 8 from Joy of Creation.
If you keep making music about discovery, we will make the Reality in which you live so miserable, you will not have any joy in exploring it.
The spawn of an alter-ego for this euphoria infested world of liars, to feed it a mandatory supply of garbage to make them fuck off, in order to have time for what makes it worth the effort.
The album is trying to disguise itself in what this Reality prefers and completely fails.
Part 7 out of 8 from Joy of Creation.
This is what people said about this music and what this music said about theirs.
You want all music to be about euphoria to fuel your fantasy driven life, while this music is about the joy of discovery, to fuel the exploration of the way this universe operates.
It’s boring to you, because you like to fuel your euphoria driven fantasy. Your music is boring to me because it is all the same – tup tis to tis.
Part 6 out of 8 from Joy of Creation.
Noisy and chaotic experiments with where the music starts in the presence of sounds.
Material which is not preferred is the definition of noise. What makes music become noise? When it plays something that is not expected?
What if nothing is being expected, but it is just an experiment of things that did not become music yet? A by-product of exploration of how to explain an idea, before it has manifested.
Part 5 out of 8 from Joy of Creation.
An experiment with functions the composition and sound design take in communicating the idea of music.
All of the tracks share the same lead melodies and most of the patterns, but they use completely different samples.
Which part of the music remains the same? The ideas or the ways they are perceived? If the perception is different, how do you know the ideas were the same?
Part 4 out of 8 from Joy of Creation.
An exploration trying to answer a curiosity-driven question – what distinguishes a combination of sounds from music?
Why do we like certain tracks and why do we make them like that in the first place? Experiments with engagement in music, to find out why the enjoyment that comes from listening has nothing to do with the joy itself.
Throughout the album, it becomes apparent that it has something to say. It is a communication.
Part 2 out of 8 from Joy of Creation.
The starting point of musical discovery, using the signature step sequencer of Fruity Loops 3.
Quirky and weird experiments with sounds, with no intent to tell anything at all. A fun activity for a five year old, having no other purpose than enjoying the endless ways to experiment with samples and composition.
The album develops the idea of engagement in music out of enjoyment, which turns the fun activity into something meaningful.
Part 1 out of 8 from Joy of Creation.
A compilation from the days, when the soldering iron would be left on at night. Noises of the past coming through crackling cables, originating from self-oscillating handmade devices. And a long-forgotten vacuum triode – 6P3S.
Music was not what got the party started – amplifiers did. They were the very first devices I’ve made and one of those utilized that particular triode. Then came a vacuum tube multivibrator oscillator. Once I heard a sound originate from a couple of parts connected by wires, I got inspired to go further.
The next device is still being used today – a ten-step analog sequencer. It gave rise to techno beats in my music, which heard throughout the album, transformed those abstract modular noises into a space, to be filled with movement.
Let’s go.
Failure of reality in the numbers of the system questions their purposes for the observer with its source of reality being the system itself. Due to quantization noise, logic fails at every single variable yet making sense, proving it is useless being the only usable unit of measurement. The system is stuck in a sequential feedback loop applying workarounds because of a major design flaw – capability of only a single answer that always ends the sequence in a contradiction.
Dissonant soundscapes of reverb manipulated into a confusing structure led by clinically digital pulses of noise.
Sermons is bolus’s first full length release and originally started as a soundtrack to an imaginary film, but became a composition in it’s own right during production.
It moves from undulating rhythms and samples derived from satanic possession and religious fervour, to organs and the drone – drone-like compositions usually attributed to Bolus.
The final part of entropija live retrospective gathers together excerpts from three separate events and three home sessions.
What may be the most diverse package yet, “genealogija C” features glitches, fractured post-IDM beats, violent bursts of feedback, mutated radio transmissions, minimal synth loops, electroacoustic manipulations and electrifying hostile noise attacks, that all somehow flow organically into each other.
The album trespasses different genre territories by walking on the edge between cohesion and total break-down. This is entropija live experience at its most adventurous.
“The Cat Has Left” is the actual song I was singing in my childhood after I’ve been done with “The Cat Has Cometh”. So, I borrowed the name for this album which features remixes of the most insane tracks from my previous one, first composed during live performances and then recreated.
My music is not always dark, but when it is – it is never dark.
THINK POSITIVE!!!
If you squeeze a full discography of minimal techno into 14 minutes you will get a crêpe.
EAT FRUITS!!!
Life is to be enjoyed slowly.
CALM DOWN!!!
“Every moment is in a constant flux of interaction and change.”
“HUEHUEHUE!!!” – said changing colour hues.
