By talking with you, you’ve expressed an intricate approach when recording the second edition of the voyager podcast series. Can you talk us trough your creative process?

Probably a very often case considering the choice: almost rounded up, “hanging up in the air” what I see as a wholeness. The day after its recording, after some years it comes pretty natural. Some days after I would probably dislike everything I did and go on to something else.

I try to record the sound of my room (former bedroom, studio) in combination with software and AUXes patched on my mixerboard, theres a very small level of FXs and pedal sound. The final is tape out.

This podcast is kind of sea of small gems in their own midst of larger oceans.

Both your original works and the commitment you had recording this session shows a very strong musical understanding from you. Tell us how it all started, what brought you into music and what routes lead you to where you are today?

Well thank you for your kind words.

I had a strong connection with music since early childhood, then also attended music school until 14 or 15 years of age and it has surely affected in some or many ways how I write music. Then there were most of the time people with great musical energy around me. I realised a kind of eclecticism I have pretty early and found interesting and blissful dimensions of music in some of the most unusual places then. Hard rock, heavy metal, trash, death, math metal and other more extreme stuff you can name of filled my teen days. Started to play guitar. For some time I was in a band that played some kind of alternative, melodic hc.

I discovered true beauty of electronic music later. I’ve been producing and making all sorts of noise since 2012.

Currently you’ve released two EPs on Abstract World and Quiet Strength plus original productions on bandcamp. What’s coming next from you and what other projects are you part of?

First to mention both Andrey (AWR) and Jean (QSR) who at the time opened new horizons and that is very important for me. Was humbled and amazed.

Honestly, I have no idea what’s happening with Rage Blanche right now. Earlier this year it was an EP after which I had that feeling of “not even a composition – but it’s undeniably musical work”. Those works are most numerous this year. As much time I give to them and try to be progressive in different ways they stay just sort of experimental value or glooming in an unpretentious way. Guess I’m actually just recently started forming (probably late for many standards) that sense of drums and the “base” style/sound so maybe it can sound ridiculously massive at some moments. Not intentionally.

There are collaborations and nice surprises this year. People with whom I would play music are willing but busy, hard to get, sleazy and weird so it goes slow. Introvert and mood-swing as I am makes sure that it will be forever like that. Seriously hope not, tough.

I have an ongoing side-project which can be described as more raw and lo-fi sounding, energetic and dance oriented than RB.

Your involvement with art goes beyond music. Can you tell us more on that? Do you have a way to connect all your different artistic expressions?

There’s surely a way, like I enjoyed designing the cover for the previous EP out of some photographs and glitches. It had sense at the time.

Photography. It is art and it’s not.

Even though I have an education degree in applied photography I hate to give it an obligation and mostly I did other things for living. But it stood the test of time in my eyes, so it still goes on and things are happening in that life so that’s what keeps me. I love film and analog photography more and more. Hope to get conditions to explore the territory of larger formats in both personal-conceptual and commercial field.

There were some short video works I did which also have an expressive sound shaping dimension. They were screened on some festivals in my country a few years ago.

I’m still educating on my own in art, both as a next person in the large world of art and also in theory, I found that it is of much importance. So in times like this I’m humbled by pioneers and contemporaries who did synesthetic works. Artists which are amazing and mind-bending with their own language in multiple fields.

That very well known proverb: “the best art speaks most delicate things in a most simple way” turned out not so true for me. Actually there a lot of cases and I’m sure that I share that opinion of art – as it gets complex; unclear, abstract and has a certain theoretic dimension it will not by default put the work in anyone’s eye on some kind of art throne pedestal. From “what it is made of or defined” again isn’t crucial but I believe someone who understands what is possibly happening underneath find enjoyment in it and real value, form “more grounded” opinion and connect with the art work, even that “virtuality of the real”, clever use of technology, so it can illuminate a lot of new ways, inspire someone. I believe in that side as well.

And I’m aware that I still know so little.

Some days are simply not intended for serious art and in times like that I often found freedom and healing energy in electronic music.

When talking with you about the podcast, you showed a great interested in helping upcoming and deserving artists from your circle. Could you name some of them? And maybe share some of the collaborations you’ve had.

Old Soviet Dogs are a young band based in Belgrade and a cinematic crew whose members and friends (kino pleme) organize live soundtrack events. They have huge passion for cinema, love and dedication for promoting and hosting great emerging artists and / live acts from the area. As a band they’re making something fresh and interesting and the mix of sensibilities is a total match.

Ivan Čkonjević is doing experimental and improvisational music and really wondrous things with guitar. Guitar cloud of sound which is subtle but deep, indistinctive and beautiful would be impression of his live performance I had chance to see and hear. Also he is a former member of the post-rock band Ana Never which is in the finishing track of the podcast. Music which gives you chills and raise hairs especially live. This track (Tomorrow is a livelong day 2) is a charming left-field collab in compare to their sound in general. Check their releases at https://flutteryrecords.com/ananever

Ill try to keep it short.

All of the artist have their own story such as Ponton (https://pntn.bandcamp.com/) a great electro-acoustic atmospheric duo from Belgrade. Soundscapes and field recordings like “a movie rolling in background, while your eyes are closed”.

Dichotomy Engine’s (https://dichotomyengine.bandcamp.com/) (dis)harmonious noise on this track (In the Night) as well as that whole album and live performance with a handmade instrument “bought me” in a long run.

Cricketant (https://vimeo.com/cricketant) is a project from my hometown (Ruma) I knew about but listened to just recently and was blown away, a genius of sound which I found more interesting and richer than many of produced nowadays on much more expensive equipment.

That’s that for local artists.

I could mention probably xx others who are related and amazing in their own way.

As artists from my circle if such exists I would again mention Abstract World with whom I’m keeping touch regularly as profoundly talented and lucid, someone to keep eye on in the future. He has some interesting projects yet to come. Vena Portae (https://venaportae.bandcamp.com/) can be found on his label and they’re one of rare duos for me who can fuse this kind of IDM – influenced, atmospheric clusters with beautiful vocals.