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Kultura Kultura Zanimljivosti ZP Izdvojeno

Hrvoje Bubić: Intervju s Marko Jović

 

Marko Jović je mladi umjetnik iz Osijeka, koji pod imenom Xtematic bavi se noise glazbom. Marko je započo svoj umjetniči život slušajući različite stilove elektronske glazbe kao što su techno, breakcore, drum and bass, trance, hardcore, industrial. Otkrio je i počeo stvarati raditi harsh noise ( podstil noise glazbe, op. prev.), dark ambient, glich, hnw. Za Solin Live, Marko govori o noise glazbi, suradnicima iz Hrvatske kao iz cijelog svijeta, i o budućosti noise glazbe.

Kao uvod, možete li mi reći o Vašim počecima vezanim uz glazbu? S 12. godina ste otkrili elektronsku glazbu, a sa 16. ste se opredjelili za noise i eksprimentalnu glazbu pod umjetničkim imenom Xtematic?

Prvo hvala Vam na interesu! Elektroničku muziku počeo sam najviše otkrivati preko utjecaja svojih bratića. Kada bi ih posjećivao slušao bi techno, house, trance, hardstyle… Od svih žanrova mislim da sam se najviše naslušao trance muzike u to vrijeme (Dj Tiesto, ATB, Cosimc Gate, Armin van Buuren…). Znao sam tada često pržiti muziku na cd-ove, mislim da čak I neke od tih cd-ova još uvijek imam. Nakon određenog vremena počeo sam otkrivati mračnije I teže stvari kao što su hardstyle I hardcore (video isječak od Dj Pile sa Qlimax-a 2005. mi je dosta urezan u sjećanje). Osim hardstyle-a I hardcore-a veliki utjecaj na mene je I vršila mračnija drum and bass muzika (darkstep, militarystep, techstep, skullstep… naravno volim I lakšu stranu ovog muzičkog žanra). Zbog jedne poprilično loše stvari, igrom slučaja, došao sam u kontakt sa experimentalnim projektom Diazepa.M. Osoba koja stoji iza tog projekta otkrila mi je svijet eksperimentalne I noise muzike (većinom preko YouTube linkova). Sve više sam sam počeo istraživati I kopati različite projekte po internet. Ubrzo sam dobio ideju/osječaj potrebe da I sam počnem djelovati u tim muzičkim vodama, pa sam tako počeo eksperimentirati sa zvukom. U početku sam znao I surađivati sa Diazepa.M-om (imali smo I zajednički projekt Neurotranzistors). Počeo sam razmišljati kako bih mogao nazvati svoj alter ego te nakon nekoliko promjena imena došao sam do Xtematic-a. Mislim da mi je ovo ime palo napamet dok sam se tuširao, razmišljao sam o nekome nazivu koje neće ništa striktno predstavljati niti se vezati za nešto specifično (na ovaj način postigao sam ogromnu količinu slobode).

Vaš prvi rad bio je harsh noise album objavljen na etiketi Shit Noise Records, te uz to ste surađivali s imenima kao što su The New Blockers, Adrien Miller, Pain Jerk. Recite nam nešto o ovome.

Točno, moji prvi radovi pod Xtematic-om objavljeni su kao split izdanje zajedno sa muzičkim projektom To-Bo na Shit Noise Records-u (Njemačka) kao mini CDr. Po mom nekom osobnom shvaćanju Shit Noise Records bazirao se dosta na određeni humor I slobodu. Nakon toga počeo sam dolaziti u kontakt sa sve više različitih projekata I izdavačkih kuća iz cijelog svijeta (većinom preko Soundcloud-a ili Facebook-a). Sve sam više počeo surađivati s različitim ljudima, većinom u obliku muzičkih kolaboracija ili split-ova koji su se izdavali pod različitim izdavačkim kućama na različitim formatima. The New Blockers je legendarna dadaistička skupina koja je odmah, nakon otkrića, počela djelovati na moju inspiraciju I motivaciju. Taj njihov cijeli anti pristup bio je veliko gorivo u mojim početcima. Jednog dana odlučio sam pokušati doći u kontakt s njima te sam Im poslao e-imail. Pozitivan odgovor sam dobio nakon mislim 1-2 mjeseca čekanja (mislim da sam u određenom trenutku I zaboravio na taj poslani e-mail). Napisali su mi da su zainteresirani za suradnju s mojim projektom te mi poslali svoje materijale na cd-u preko pošte (taj cd još uvijek čuvam). Sa završetkom produkcije kompozicija počeli smo tražiti izdavačku kuću, dobio sam ubrzo pozitivnu poruku u kojoj je pisalo da će izdanje biti napravljeno u dvije verzije kroz Equation Records. Equation Records odlučio je napraviti ovo izdanje kao standard vinil LP verziju (80 kopija, crna ploča sa zlatnim šljokicama + 80 kopija, pola crna pola zlatna ploča) te kao 25 kopija special artist edition (ova verzija sadržavala je 7″ vinil solo izdanje od The New Blockers I ručno rađeni artwork). Adrien Miller spade u kategoriju projekata s kojima sam prvobitno počeo surađivati, s njim sam nastavio surađivati I idućih nekoliko godina. Nažalost s Pain Jerk-om još nisam imao priliku surađivati, on mi je također veliki heroj noise-a te se nadam da će se suradnja jednog dana dogoditi.

Na sceni ste već 10. godina, kako gledate na noise scenu, bilo to u inozemstvu ili ovdje u Hrvatskoj, te da li noise ima perspektive, pošto ste izjavili da je experimentalna glazba u usponu.

Tih 10 aktivnih godina dosta je brzo proletjelo. Jako sam sretan što sam u tome periodu imao mogućnost upoznati puno ljudi iz cijelog svijeta, razmjenjivati ideje I interese te širiti spektar svoga znanja. Ovim putem se ponovno želim zahvaliti svim ljudima, iz cijelog svijeta, s kojima sam nešto postigao na ovaj ili onaj način! Mislim da se može osjetiti kako se scena dosta raširila, odnosno zbog interneta (najviše) sve više ljudi dolazi u kontakt s ovim “čudnim I podzemnim” žanrom muzike. Nekako se to može najviše osjetiti na Facebook grupama, Youtub-u ili Soundcloud-u. Naravno ogromna je razlika između scene u Hrvatskoj I npr. scene u Americi ili Japanu. Mislim da ljudi iz tih država mogu bolje I lakše razumjeti ove stvari zbog njihove veće otvorenosti prema novim stvarima (ovdje ne govorim o tipu ljudi koji su teški alternativci nego o nekom općenitom tipu ljudi, veliki utjecaj ovdje ima sami mentalitet ljudi I sl.). U određenoj razini, iz svoje neke percepcije, dosta ljudi iz Hrvatske stavljaju noise muziku I sound art/dizajn u isti koš što je po mom shvaćanju krivi pristup. Ako pričamo o striktno noise žanru on ne bi trebao biti pod nikakvim akademskim utjecajima ili sl., odnosno on bi trebao biti apsolutno slobodan. Naravno ja volim oba dvije stvari I ne volim reći ja sam striktno noise umjetnik s obzirom na to da neki moji radovi spadaju I u ambijentalne, eksperimentalne radove I sl.

Noise/eksperimentalni utjecaji mogu se zadnjih godina dosta osjetiti u technu, filmskoj muzici, A/V instalacijama, računalnim igricama… Mislim da Hrvatska scena više teži nekim akademskim I konceptualnim pristupima nego čisto muzičkim, odnosno ono što želim reći je to da npr. u Hrvatskoj će veća posjećenost biti ako vi na eventu imate raspisani neki koncept nego da npr. idete nekim čisto koncertnim pristupom koji je u drugim državama više izraženiji (napravi se event sa 3-5 ili više projekata, svako nastupa npr. 30 min – 1 h I ljudi uživaju u čistom zvuku bez čitanja nekih dugačkih opisa). Ovime ne želim nikog pljuvati ili reći što je bolje, nego samo kako ja to shvaćam. U zadnje vrijeme dosta gledam A/V instalacije-performanse te bih se volio razvijati I u tome smjeru, radovi umjetničkih kolektiva Sila Sveta, StratoFyzika, Tundra, NONOTAK I sl. Imaju veliki utjecaj na mene. Noise I eksperimentalna muzika svakako imaju perspektivu, to je nekakvo polje koje je beskonačno široko I bez granica. Ovi žanrovi muzike spadaju u one koji nemaju rok trajanja. Upravo ta sloboda daje tu perspektivu beskonačnosti. Volio bih vidjeti da se u Hrvatskoj u budućnosti pojavi festival koji je karakterno I tematski sličan kao Berlin Atonal odnosno kombinacija audio-vizualnog doživljaja. U zadnjih nekoliko godina u Osijeku ekipa koja vodi evente kao što su TRAUM, Temptation, Hipertenzija I sl. radi odličan posao što se tiče obrazovanja publike – iako su ove stvari fokusirane na techno zvuk oni su savršen primjer kako odgajati publiku I dati ljudima odličan audio-vizualni doživljaj. Ako govorim o eventima/organizacijama koji se striktno vežu uz eksperimentalne I noise žanrove treba spomenuti Sine Linea, Barutana, AudioArt Festival, MMML studio, ZEZ Festival, ISPOD BINE, Izlog suvremenog zvuka I sl.

Osnovali ste vlastitu diskografsku kuću Xernex, kako bi promovirali svoje radove. Kako ste došli do te ideje o pokretanju vlastite diskografske kuće, da li surađujete s drugim diskografskim kućama kao i izvođačima te koje su prednosti i nedostaci kod vođenja vlastite diskografske kuće?

Xernex sam osnovao zato što u Hrvatskoj nema puno ovakvih izdavačkih kuća (u smislu žanrova muzike kojima se bave) te također da mogu promovirati radove drugih projekata. Ideja o osnivanju vlastite izdavačke kuče mi se javila također kao neki oblik potrebe. Xernex sam osnovao 2013. godine, 2019. Godine Xernex prestaje s radom. Kroz svoju izdavačku kuću također sam upoznao puno različitih ljudi. S drugim izdavačkim kućama sam najviše surađivao u obliku izdavanja svojih vlastitih radova na njima odnosno rijetko kad je Xernex imao neku direktnu suradnju s drugom izdavačkom kućom, većinom je funkcionirao kao solo stvar. Što se tiče izvođača to je obrnuta stvar, mislim da sam I najmanje svojih radova izdao na Xernex-u. Mislim da je najveća prednost upoznavanje novih ljudi odnosno širenje poznanstava, također taj neki osjećaj pružanja potpore je veliki plus. Kao nedostatak većinom vidim to da morate ulagati dosta veliku količinu vremena I novaca ako želite raditi fizička izdanja, s obzirom da u svijetu postoji puno ovakvih izdavačkih kuća a u Hrvatskoj je to još uvijek dosta “underground” ne možete ciljati veliku zaradu pa je to neki rizik. Osim toga ne vidim ništa drugo kao nekakvi veći problem.

Za kraj, koji su Vam budući projekti, planovi, suradnja? Znam da ste bili u Splitu 2019. godine u sklopu Ganz Nove fesitival, tj. Festival Nove Perforacija?

Trenutno imam tri izdanja u procesu izrade: jedno split izdanje s dva projekta iz Japana, jedna kolaboracija s projektom iz Austrije I jedno solo izdanje. Solo izdanje trebalo bi izaći u srpnju van u digitalnom obliku a ovo dvoje će vjerojatno biti u fizičkom formatu. U aspektu nastupanja uživo trebao bih napraviti live za 10 godina postojanja ali to je trenutno samo ideja koju treba još razraditi I vidjeti koje su mogućnosti te kada bi uopće to bilo moguće realizirati. Također pozvan sam da dođem nastupati u Skoplje krajem ove godine. Neki ostali umjetnički projekti trenutno su na standby-u. U zadnje vrijeme ulazim u neka propitkivanja pa je svašta moguće.

For the start, could you tell us about your begginnigs related to music? At age of 12, you discovered the electronic music, while at age of 16., you turned to noise and experimental music under the artist name Xtematic?

First, huge thank you on interest. I disoverd the electronic music mostly under the influence of my couisns. When I would visit them, I would listen to techno, house, trance, hardstyle….

From most genres, I think that I listen mostly trance music in that time (DJ Tiesto, ATB, Cosmic Gate, Armin van Buuren…). I used at that time, burn music on cds, I belive that I still have some of this cds. After some time, I started to discover darker and heavier stuff like hardstyle and hardcore (video clip from DJ Pile from Qlimax 2005. is still in fresh memory).

Among the hardstlye and hardcore, huge influence on me was darker drum and bass music (darkstep, militarystep, techstep, skullstep.. of course I love the lighter side of this music genre). Becouse one very bad thing, acidently, I came in contact with experimental project Diazep M. Person who is stands behind that project, has discovered me the world of experimental and noise music (mostly via YouTube links). I started to explored more and more and dig it various projects on internet. Soon I got an idea/feeling of need for start doing in this music circles, so that is how I start to experimenting with the sound. At begginnig, I used to collaborated with Diazep M. (we had a common project Neurotranzistors). I started to think how could call my alter – ego, and after some changes, I came to the name Xtematic. I belive that this name came to my mind while I was taking a shower, I was thinking about the some name that won’t mean nothing serial or be related to something special (by this way I got the huge sum of freedom).

Your first work was a harsh noise album, released on labal Shit Noise Records, and you also collaborated with names like The New Blockers, Adrien Miller, Pain Jerk. Tell us something about this.

Correct, my first worst works under the name of Xtematic were released as split edition together with music project To – Bo on Shit Noise Records (Germany) as mini cd. Under my opinion of Shit Noise Records, were very much based on specific humor and freedom. After that, I was getting the contact with more different projects and labels from whole world (mostly via Soundcloud or Facebook). I used to collaborated more with different people, mostly in form of music collaboration or splits that would released under different labels on different formats. The New Blockers is legendary dadaistic group, which at once, after my discover, started to work on my inspiration and motivation. Their whole anti access was big fuel in my starts. One day I decide to try to get in contact with them, so I send them an email. I received the positive response, I belive after 1 – 2 months of waiting (I think that in some moment I forget on that email I sent). They wrote me that they are interested for collaboration with my project, and they send me their materials on cd vie post mail (I still keep that cd). With the end of production of composition, we were looking for label, I soon got the positive response, in which were saying that edition will be made it in two versions via Equation Records. Equation Records decide to make this edition as standard vinyl LP version (eighty copies, black record with golden parts + eighty, half black half golden record), as well twenty five copies special artist edition (this version were included 7′ vinyl solo release of The New Blockers and handmade artwork).

Adrien Miller is included in category of projects that I was at start I begun to collaborated, and I continued to collaborate under next few years.

Unfortunately, with Pain Jerk, I didn’t had a chance to collaborate, he is also my big noise hero and I hope that collaboration will happen one day.

You are on the scene almost 10. years, how do you look on the noise scene, whatever would be foreign or here in Croatia, and does noise has a perspective, since you said that experimental music is on its highlight.

These 10. active years has gone so fast. I am very happy for in that period, I had a oportunity to meet a lot of people from whole world, sharing the ideas and interests, as well to expand the spectar of my knowledge. By this way I would love to thank whole people, from whole world, from which I menage on this or that way! I belive that you can feel it how scene spread quite bit, more likely becouse internet (mostly), more and more people are coming in contact with these “strange and underground” music genre. Somehow it could be feel it mostly on Facebook groups, Youtube, Soundcloud. Of course, there is a huge difference between scene in Croatia or for a example in America or Japan. I belive that people from that countries could better and easier understand because their openness to newer things (here I am not talking about people who are real alternatives, rather some specific type of people, here people’s mindset has huge influence). In some specific level, from my point of view, most people from Croatia are putting noise music and sound art/design into the same meaning, which is from my perspective, wrong acces. If we talk strickly about noise genre, it shouldn’t be under any academic ifluences or similar to, respectively it should be absolutely free. Of course, I love both two things, and I don’t like to say that I am strictly noise artist, considering that some of my works belong to ambient, experimental works and similar.

Noise/experimental influences in last years could feel it in techno, movie score, A/V instalations, computer games…. I think that croatian scene tends more to some academic and conceptual approaches than purely musical ones, that is I want to say, that in Croatia the attendence will be higher if you have a concept annouced at event than, for example if you go with a purely concert approach, which is more pronouced in other contries ( it makes an event with 3 – 5 or more projects, each performing eg. 30 min – 1 h and people enjoying clear sound without reading some long descriptions). By this I don’t want to spit on anyone or say what is better, but only how I understand. Lately, I’ve been watching a lot A/V instalations – performances, and I would like to develop in that direction as well, works of art collectives Sila Sveta, StratoFyzika, Tundra, NONTAK and etc. have a big impact on me. Noise and experimental music certainly have a perspective, it is wide and without borders.

These genres belong to those that have no expiration date. It is this freedom that gives that perspective of infinity. I would love like to see a festival appear in Croatia in the future that is similar in character and theme to Berlin Atonal, ie a combination of audio – visual experience. In the last few years in Osijek the team leading the events such as TRAUM,Temptation, Hipertenzija etc. have been doing a great job in terms of audience education – althought these things are focused on techno sound, they are perfect example of how to educate audience and give people great audio – visual experience. If I talking about events/organizations that are strictly related to experimental and noise genres, we should mention Sine Linea, Barutana, AudioArt Festival, MMML studio, ZEZ Festival, ISPOD BINE, Izlog suvremenog zvuka, etc.

You founded your own record company Xernex, to promote your work. How did you come up with the idea of starting your own record company, do you work with other record companies as well as performers, and what are the advantages and disadvantages of running your own record company?

I founded Xernex because there are not many such publishing houses in Croatia (in terms of music genres they deal with) and also that they can promote the works of other projects. The idea of founding my own record label came to me also as some form of need. I founded Xernex in 2013, in 2019 Xernex stops working. Through my publishing house I also met a lot of different people. I mostly collaborated with other record labels in the form of publishing my own works on them, that is, rarely when Xernex had any direct collaboration with another record label, it mostly functioned as a solo thing. As for the artists, it’s the other way around, I think I’ve published the least of my work on Xernex. I think that the biggest advantage is meeting new people or expanding acquaintances, also that some feeling of support is a big plus. As a disadvantage, I mostly see that you have to invest a lot of time and money if you want to do physical editions, given that there are a lot of such publishing houses in the world and in Croatia it is still quite “underground”. . Besides, I don’t see anything else as a bigger problem.

Finally, what are your future projects, plans, cooperation? I know that you were in Split in 2019 as part of the Ganz Nova festival, ie the Nova Perforacija Festival?

I currently have three releases in the making: one split release with two projects from Japan, one collaboration with a project from Austria and one solo release. The solo release should come out in July in digital form and the two are likely to be in physical format. In terms of performing live, I should make it live in 10 years of existence, but at the moment it’s just an idea that still needs to be worked out and see what the possibilities are and when it would be possible to realize it at all. I was also invited to come to perform in Skopje at the end of this year. Some other art projects are currently on standby. I致e been getting into some questioning lately so anything is possible.

mm

ABOUT THE AUTHOR

Student morskog ribarstva u Splitu, član umjetničke udruge Dadanti gdje obavljam funkciju voditelja glazbenog odjela i glumačke družine Banana Split. Bavim se poezijom, glumom, glazbom, novinarstvom i performansima...

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