Gagi Petrovic

composer, performer, producer and teacher of music

Press

Highlights

  • 2024 | Choosing Freedom & Unfold Yourself: POSITIONEN #138

    Inspired by my two albums Unfold Yourselfย andย Choosing Freedom author Sven Schlijper-Karssenberg wrote the essay ‘Strategien rund um das Persรถnliche’, released in POSITIONEN #138.

    ยป๐˜ ๐˜ฉ๐˜ฆ๐˜ข๐˜ณ ๐˜ข๐˜ต๐˜ต๐˜ฆ๐˜ฏ๐˜ต๐˜ช๐˜ฐ๐˜ฏ, ๐˜ค๐˜ฐ๐˜ฏ๐˜ง๐˜ช๐˜ฅ๐˜ฆ๐˜ฏ๐˜ค๐˜ฆ ๐˜ข๐˜ฏ๐˜ฅ [โ€ฆ] ๐˜ต๐˜ฉ๐˜ฆ ๐˜ช๐˜ฅ๐˜ฆ๐˜ข ๐˜ต๐˜ฉ๐˜ข๐˜ต ๐˜ต๐˜ช๐˜ฎ๐˜ฆ ๐˜ฅ๐˜ฐ๐˜ฆ๐˜ด ๐˜ฏ๐˜ฐ๐˜ต ๐˜ง๐˜ข๐˜ค๐˜ช๐˜ญ๐˜ช๐˜ต๐˜ข๐˜ต๐˜ฆ ๐˜ฐ๐˜ณ ๐˜ฉ๐˜ข๐˜ด๐˜ต๐˜ฆ๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ๐˜ช๐˜ณ ๐˜ฐ๐˜ง๐˜ง๐˜ฆ๐˜ฏ๐˜ค๐˜ฆ, ๐˜ฃ๐˜ถ๐˜ต ๐˜ฆ๐˜ฏ๐˜ด๐˜ถ๐˜ณ๐˜ฆ๐˜ด โ€œ๐˜ช๐˜ฏ๐˜ฆ๐˜ท๐˜ช๐˜ต๐˜ข๐˜ฃ๐˜ญ๐˜ฆ ๐˜ต๐˜ณ๐˜ข๐˜ฏ๐˜ด๐˜ง๐˜ฐ๐˜ณ๐˜ฎ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ฐ๐˜ง ๐˜ค๐˜ฉ๐˜ข๐˜ฏ๐˜จ๐˜ฆ๐˜ข๐˜ฃ๐˜ช๐˜ญ๐˜ช๐˜ต๐˜บโ€. ๐˜๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฑ๐˜ช๐˜ฆ๐˜ค๐˜ฆ๐˜ด ๐˜บ๐˜ฐ๐˜ถ ๐˜ค๐˜ข๐˜ฏ ๐˜ฉ๐˜ฆ๐˜ข๐˜ณ ๐˜ท๐˜ฐ๐˜ญ๐˜ข๐˜ต๐˜ช๐˜ญ๐˜ช๐˜ต๐˜บ ๐˜ช๐˜ต๐˜ด๐˜ฆ๐˜ญ๐˜ง ๐˜ต๐˜ธ๐˜ช๐˜ด๐˜ต๐˜ช๐˜ฏ๐˜จ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ต๐˜ถ๐˜ณ๐˜ฏ๐˜ช๐˜ฏ๐˜จ, [โ€ฆ] ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ข๐˜ถ๐˜ต๐˜ฐ๐˜ฃ๐˜ช๐˜ฐ๐˜จ๐˜ณ๐˜ข๐˜ฑ๐˜ฉ๐˜ช๐˜ค๐˜ข๐˜ญ ๐˜ข๐˜ด ๐˜ข๐˜ฏ ๐˜ช๐˜ฏ๐˜ฏ๐˜ฐ๐˜ท๐˜ข๐˜ต๐˜ช๐˜ท๐˜ฆ ๐˜ฎ๐˜ฐ๐˜ต๐˜ช๐˜ท๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ฏ๐˜ฆ๐˜ธ ๐˜ข๐˜ค๐˜ต๐˜ฐ๐˜ณ.

    ๐˜๐˜ฐ๐˜ธ ๐˜ค๐˜ข๐˜ฏ ๐˜ต๐˜ฉ๐˜ข๐˜ต ๐˜ฃ๐˜ฆ? ๐˜›๐˜ฉ๐˜ข๐˜ต ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฑ๐˜ฆ๐˜ณ๐˜ด๐˜ฐ๐˜ฏ๐˜ข๐˜ญ ๐˜ญ๐˜ช๐˜ฆ๐˜ด ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ด๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ ๐˜ช๐˜ต๐˜ด๐˜ฆ๐˜ญ๐˜ง? ๐˜•๐˜ฐ๐˜ต ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฏ๐˜ข๐˜ณ๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ท๐˜ฆ ๐˜ฐ๐˜ณ ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฆ๐˜ฎ๐˜ฐ๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ข๐˜ด ๐˜ฐ๐˜ฏ๐˜ฆ ๐˜ฌ๐˜ฏ๐˜ฐ๐˜ธ๐˜ด ๐˜ฐ๐˜ณ ๐˜ฆ๐˜น๐˜ฑ๐˜ฆ๐˜ค๐˜ต๐˜ด ๐˜ช๐˜ต, ๐˜ฃ๐˜ถ๐˜ต ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ด๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ? ๐˜›๐˜ฉ๐˜ช๐˜ด ๐˜ฑ๐˜ณ๐˜ฆ๐˜จ๐˜ฏ๐˜ข๐˜ฏ๐˜ค๐˜บ ๐˜ต๐˜ฉ๐˜ข๐˜ต ๐˜ด๐˜ถ๐˜ณ๐˜ฑ๐˜ณ๐˜ช๐˜ด๐˜ฆ๐˜ด ๐˜ข๐˜ฏ๐˜ฅ ๐˜ข๐˜ฎ๐˜ข๐˜ป๐˜ฆ๐˜ด, ๐˜ค๐˜ข๐˜ฏ ๐˜ฃ๐˜ฆ ๐˜ฉ๐˜ฆ๐˜ข๐˜ณ๐˜ฅ ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ธ๐˜ฐ๐˜ณ๐˜ฌ๐˜ด ๐˜ฐ๐˜ง ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ฆ๐˜ฎ๐˜ฑ๐˜ฐ๐˜ณ๐˜ข๐˜ณ๐˜บ ๐˜ค๐˜ฐ๐˜ฎ๐˜ฑ๐˜ฐ๐˜ด๐˜ฆ๐˜ณ๐˜ด.ยซ

    […]

    ยป๐˜š๐˜ฐ ๐˜ธ๐˜ฉ๐˜ฆ๐˜ณ๐˜ฆ ๐˜ญ๐˜ช๐˜ฆ๐˜ด ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฑ๐˜ฆ๐˜ณ๐˜ด๐˜ฐ๐˜ฏ๐˜ข๐˜ญ๐˜ช๐˜ต๐˜บ ๐˜ช๐˜ฏ ๐˜ข ๐˜ด๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ? ๐˜›๐˜ฐ ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ณ๐˜ข๐˜ด๐˜ต ๐˜ต๐˜ฉ๐˜ช๐˜ฏ๐˜จ๐˜ด [โ€ฆ] ๐˜ต๐˜ฐ ๐˜ฐ๐˜ฏ๐˜ฆ ๐˜ข๐˜ฏ๐˜ฐ๐˜ต๐˜ฉ๐˜ฆ๐˜ณ, ๐˜ ๐˜ฐ๐˜ง๐˜ต๐˜ฆ๐˜ฏ ๐˜ฅ๐˜ฆ๐˜ค๐˜ช๐˜ฅ๐˜ฆ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฐ๐˜ถ๐˜ต๐˜ฆ๐˜ณ ๐˜ค๐˜ฐ๐˜ฎ๐˜ฑ๐˜ฐ๐˜ด๐˜ช๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ข๐˜ญ ๐˜ฑ๐˜ข๐˜ณ๐˜ข๐˜ฎ๐˜ฆ๐˜ต๐˜ฆ๐˜ณ๐˜ด ๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ข๐˜ญ๐˜ญ๐˜บ, ๐˜ด๐˜ถ๐˜ค๐˜ฉ ๐˜ข๐˜ด ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฎ๐˜ข๐˜ค๐˜ณ๐˜ฐ๐˜ด๐˜ต๐˜ณ๐˜ถ๐˜ค๐˜ต๐˜ถ๐˜ณ๐˜ฆ, ๐˜ฃ๐˜ถ๐˜ต ๐˜ต๐˜ฉ๐˜ฆ ๐˜ต๐˜ช๐˜ฎ๐˜ช๐˜ฏ๐˜จ ๐˜ฐ๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฎ๐˜ช๐˜ค๐˜ณ๐˜ฐ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ฎ๐˜ฆ๐˜ด๐˜ฐ ๐˜ญ๐˜ฆ๐˜ท๐˜ฆ๐˜ญ ๐˜ ๐˜ฃ๐˜ข๐˜ด๐˜ฆ ๐˜ฐ๐˜ฏ ๐˜ง๐˜ฆ๐˜ฆ๐˜ญ๐˜ช๐˜ฏ๐˜จ๐˜ด ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฎ๐˜ฐ๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต [โ€ฆ].ยซ

  • 2023 | DฬถAฬถRฬถKฬถMATTER: Prizes, Nominations and Reviews

    โ€“ย Winner of the BNG Bank Theater Prize (2023)
    โ€“ย Winner of the VSCD Prize for Best Direction (Nederlandse Dansdagen) Maastricht (2023)
    โ€“ย Nominated for a VSCD Swan Award most impressive performance (Nederlandse Dansdagen) Maastricht (2023)
    โ€“ย Nominated for the VSCD Mime/Performance Award (Nederlandse Dansdagen)ย Maastricht (2023)
    โ€“ย Selected for Het Theater Festival The Netherlands (2023)
    โ€“ย Selected for Het Theaterfestival Belgium (2023)


    “DฬถAฬถRฬถKฬถMATTER is of a rare abrasive beauty. Not often this season were the judges so blown off their chairs by the sheer power and necessity of a performance. Cherish Menzo, accomplishes an exceptional feat as creator and performer in DฬถAฬถRฬถKฬถMATTER together with Camilo Mejรญa Cortรฉs. (…) The jury praises the unadjusted power, hope and implacability of this dark matter.”
    โ€“ Nederlands Theater Festival, 2023

    ‘This performance makes you rabidly want to see everything from – and know about – Cherish Menzo […]. She blurs lines, makes our eyes bulge. She is fascinating in her thinking and in its translation to the stage. To follow very, very closely.’
    โ€“ Amรฉlie Blaustein Niddam, Toute La Culture, 14 may 2022

    ‘The somewhat abstract accumulation of (pop) cultural approaches to the black community thus seems primarily a toss-up about how the lived materiality of black bodies, in the face of a temporal unruliness parallel to the scratching of a record, can break up the darkness of a dark past.’

    ‘Cherish Menzo and Camilo Mejia Cortรฉs are impressive from start to finish, with their presence, their gestures, their looks, the way they stand on stage and their mastery of flow every time the poetic rap makes its appearance.’
    โ€“ Jean-Marie Wynants, Le Soir, 15 may 2022

    ‘DฬถAฬถRฬถKฬถMATTER is a punky performance, a trip full of mystery and symbolism. Dark in its consequence, light at the end of the tunnel.’
    โ€“ Moos van den Broek, Theaterkrant, 16 may 2022

    ‘The performance delivers an exciting and alienating connotation to ‘dark matter’ โ˜…โ˜…โ˜…โ˜…โ˜†’

    ‘Whether teetering on their stiletto latex boots or slipping naked through black paint, the duo surprises with powerful images after each blackout. Thanks to the bold lighting design, chilling soundtrack and haunting rap songs that Menzo and Cortรฉs spit out live, Darkmatter becomes not only a fascinating descent into the heart of the darkness that lurks within us all, but also a poetic critique of representation that celebrates the richness of being black.’ โ˜…โ˜…โ˜…โ˜…
  • 2021 | Choosing Freedom: Vital Weekly

    Full review on Vital Weekly 1297, by Sven Schlijper-Karrsenberg.

    “Choosing Freedom as per the title itself invokes a political act, however personal or societal. Therewith the work fits neatly into the conceptual realm Petrovic has been mining with previous works, consisting of themes like isolation and destruction, oppression or the diametrical opposite which can be found in freedom. And not only that: but also: what that is, what freedom, being free entails, as in freedom of expression or, closer to this release: in autonomous composition. (That twiddling with the volume knob. The sense of uneasy quiet or too quiet. Was that just my set of arbitrary expectations? And was that a display of unfreedom perhaps, bound by what I expected, bound to fail?)

    […]

    First and foremost, this is a collection of forward-moving and boundary-smashing presentations which defy categorization or determination. These are no butterflies pinned in a viewing cabinet: this is the total bright and breezy and carefree population of a huge butterfly garden, the humid air therein, the plants, the greenhouse itself, yes even the hortus as a whole โ€“ a biotope of uncharted possible musical species.”

Interviews

  • 2024 | Choosing Freedom & Unfold Yourself: POSITIONEN #138

    Inspired by my two albums Unfold Yourselfย andย Choosing Freedom author Sven Schlijper-Karssenberg wrote the essay ‘Strategien rund um das Persรถnliche’, released in POSITIONEN #138.

    ยป๐˜ ๐˜ฉ๐˜ฆ๐˜ข๐˜ณ ๐˜ข๐˜ต๐˜ต๐˜ฆ๐˜ฏ๐˜ต๐˜ช๐˜ฐ๐˜ฏ, ๐˜ค๐˜ฐ๐˜ฏ๐˜ง๐˜ช๐˜ฅ๐˜ฆ๐˜ฏ๐˜ค๐˜ฆ ๐˜ข๐˜ฏ๐˜ฅ [โ€ฆ] ๐˜ต๐˜ฉ๐˜ฆ ๐˜ช๐˜ฅ๐˜ฆ๐˜ข ๐˜ต๐˜ฉ๐˜ข๐˜ต ๐˜ต๐˜ช๐˜ฎ๐˜ฆ ๐˜ฅ๐˜ฐ๐˜ฆ๐˜ด ๐˜ฏ๐˜ฐ๐˜ต ๐˜ง๐˜ข๐˜ค๐˜ช๐˜ญ๐˜ช๐˜ต๐˜ข๐˜ต๐˜ฆ ๐˜ฐ๐˜ณ ๐˜ฉ๐˜ข๐˜ด๐˜ต๐˜ฆ๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ๐˜ช๐˜ณ ๐˜ฐ๐˜ง๐˜ง๐˜ฆ๐˜ฏ๐˜ค๐˜ฆ, ๐˜ฃ๐˜ถ๐˜ต ๐˜ฆ๐˜ฏ๐˜ด๐˜ถ๐˜ณ๐˜ฆ๐˜ด โ€œ๐˜ช๐˜ฏ๐˜ฆ๐˜ท๐˜ช๐˜ต๐˜ข๐˜ฃ๐˜ญ๐˜ฆ ๐˜ต๐˜ณ๐˜ข๐˜ฏ๐˜ด๐˜ง๐˜ฐ๐˜ณ๐˜ฎ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ฐ๐˜ง ๐˜ค๐˜ฉ๐˜ข๐˜ฏ๐˜จ๐˜ฆ๐˜ข๐˜ฃ๐˜ช๐˜ญ๐˜ช๐˜ต๐˜บโ€. ๐˜๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฑ๐˜ช๐˜ฆ๐˜ค๐˜ฆ๐˜ด ๐˜บ๐˜ฐ๐˜ถ ๐˜ค๐˜ข๐˜ฏ ๐˜ฉ๐˜ฆ๐˜ข๐˜ณ ๐˜ท๐˜ฐ๐˜ญ๐˜ข๐˜ต๐˜ช๐˜ญ๐˜ช๐˜ต๐˜บ ๐˜ช๐˜ต๐˜ด๐˜ฆ๐˜ญ๐˜ง ๐˜ต๐˜ธ๐˜ช๐˜ด๐˜ต๐˜ช๐˜ฏ๐˜จ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ต๐˜ถ๐˜ณ๐˜ฏ๐˜ช๐˜ฏ๐˜จ, [โ€ฆ] ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ข๐˜ถ๐˜ต๐˜ฐ๐˜ฃ๐˜ช๐˜ฐ๐˜จ๐˜ณ๐˜ข๐˜ฑ๐˜ฉ๐˜ช๐˜ค๐˜ข๐˜ญ ๐˜ข๐˜ด ๐˜ข๐˜ฏ ๐˜ช๐˜ฏ๐˜ฏ๐˜ฐ๐˜ท๐˜ข๐˜ต๐˜ช๐˜ท๐˜ฆ ๐˜ฎ๐˜ฐ๐˜ต๐˜ช๐˜ท๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ฏ๐˜ฆ๐˜ธ ๐˜ข๐˜ค๐˜ต๐˜ฐ๐˜ณ.

    ๐˜๐˜ฐ๐˜ธ ๐˜ค๐˜ข๐˜ฏ ๐˜ต๐˜ฉ๐˜ข๐˜ต ๐˜ฃ๐˜ฆ? ๐˜›๐˜ฉ๐˜ข๐˜ต ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฑ๐˜ฆ๐˜ณ๐˜ด๐˜ฐ๐˜ฏ๐˜ข๐˜ญ ๐˜ญ๐˜ช๐˜ฆ๐˜ด ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ด๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ ๐˜ช๐˜ต๐˜ด๐˜ฆ๐˜ญ๐˜ง? ๐˜•๐˜ฐ๐˜ต ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฏ๐˜ข๐˜ณ๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ท๐˜ฆ ๐˜ฐ๐˜ณ ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฆ๐˜ฎ๐˜ฐ๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ข๐˜ด ๐˜ฐ๐˜ฏ๐˜ฆ ๐˜ฌ๐˜ฏ๐˜ฐ๐˜ธ๐˜ด ๐˜ฐ๐˜ณ ๐˜ฆ๐˜น๐˜ฑ๐˜ฆ๐˜ค๐˜ต๐˜ด ๐˜ช๐˜ต, ๐˜ฃ๐˜ถ๐˜ต ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ด๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ? ๐˜›๐˜ฉ๐˜ช๐˜ด ๐˜ฑ๐˜ณ๐˜ฆ๐˜จ๐˜ฏ๐˜ข๐˜ฏ๐˜ค๐˜บ ๐˜ต๐˜ฉ๐˜ข๐˜ต ๐˜ด๐˜ถ๐˜ณ๐˜ฑ๐˜ณ๐˜ช๐˜ด๐˜ฆ๐˜ด ๐˜ข๐˜ฏ๐˜ฅ ๐˜ข๐˜ฎ๐˜ข๐˜ป๐˜ฆ๐˜ด, ๐˜ค๐˜ข๐˜ฏ ๐˜ฃ๐˜ฆ ๐˜ฉ๐˜ฆ๐˜ข๐˜ณ๐˜ฅ ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ธ๐˜ฐ๐˜ณ๐˜ฌ๐˜ด ๐˜ฐ๐˜ง ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ฆ๐˜ฎ๐˜ฑ๐˜ฐ๐˜ณ๐˜ข๐˜ณ๐˜บ ๐˜ค๐˜ฐ๐˜ฎ๐˜ฑ๐˜ฐ๐˜ด๐˜ฆ๐˜ณ๐˜ด.ยซ

    […]

    ยป๐˜š๐˜ฐ ๐˜ธ๐˜ฉ๐˜ฆ๐˜ณ๐˜ฆ ๐˜ญ๐˜ช๐˜ฆ๐˜ด ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฑ๐˜ฆ๐˜ณ๐˜ด๐˜ฐ๐˜ฏ๐˜ข๐˜ญ๐˜ช๐˜ต๐˜บ ๐˜ช๐˜ฏ ๐˜ข ๐˜ด๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ? ๐˜›๐˜ฐ ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ณ๐˜ข๐˜ด๐˜ต ๐˜ต๐˜ฉ๐˜ช๐˜ฏ๐˜จ๐˜ด [โ€ฆ] ๐˜ต๐˜ฐ ๐˜ฐ๐˜ฏ๐˜ฆ ๐˜ข๐˜ฏ๐˜ฐ๐˜ต๐˜ฉ๐˜ฆ๐˜ณ, ๐˜ ๐˜ฐ๐˜ง๐˜ต๐˜ฆ๐˜ฏ ๐˜ฅ๐˜ฆ๐˜ค๐˜ช๐˜ฅ๐˜ฆ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฐ๐˜ถ๐˜ต๐˜ฆ๐˜ณ ๐˜ค๐˜ฐ๐˜ฎ๐˜ฑ๐˜ฐ๐˜ด๐˜ช๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ข๐˜ญ ๐˜ฑ๐˜ข๐˜ณ๐˜ข๐˜ฎ๐˜ฆ๐˜ต๐˜ฆ๐˜ณ๐˜ด ๐˜ณ๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ๐˜ข๐˜ญ๐˜ญ๐˜บ, ๐˜ด๐˜ถ๐˜ค๐˜ฉ ๐˜ข๐˜ด ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฎ๐˜ข๐˜ค๐˜ณ๐˜ฐ๐˜ด๐˜ต๐˜ณ๐˜ถ๐˜ค๐˜ต๐˜ถ๐˜ณ๐˜ฆ, ๐˜ฃ๐˜ถ๐˜ต ๐˜ต๐˜ฉ๐˜ฆ ๐˜ต๐˜ช๐˜ฎ๐˜ช๐˜ฏ๐˜จ ๐˜ฐ๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฎ๐˜ช๐˜ค๐˜ณ๐˜ฐ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ฎ๐˜ฆ๐˜ด๐˜ฐ ๐˜ญ๐˜ฆ๐˜ท๐˜ฆ๐˜ญ ๐˜ ๐˜ฃ๐˜ข๐˜ด๐˜ฆ ๐˜ฐ๐˜ฏ ๐˜ง๐˜ฆ๐˜ฆ๐˜ญ๐˜ช๐˜ฏ๐˜จ๐˜ด ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฎ๐˜ฐ๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต [โ€ฆ].ยซ

  • 2021 | 15 Questions: Gagi Petrovic talks Sound

    Full questions and answers, interwoven with music to illustrate the answers.

    “My sonic preferences in making music lie in capturing what doesnโ€™t yet exist, music that departs from its style-defining characteristics. I think itโ€™s important to question dogmas of music making practices, so that music as a whole can keep developing into new shapes of artistic expression.

    (…)

    Ultimately I think all my music is a form of emotional expression. Concepts, both within and outside of music, often carry a function of creating an artistic framework, a theme, musical variations, generating inspiration for finding new ways of making and sharing music.

    (…)

    In general I use my own recordings as samples and source materials. Whether I sample a heating, heavy rain, a broken speaker or an acoustic guitar with voices, I enjoy capturing them with my field recorder Zoom H2n. This results in โ€˜flawedโ€™ recordings, filled with background noise, surroundings and spatial information. For me, the richer the source is spectrally the more interesting it is to work with. Especially when zooming in on minusculeย details while processing a sample, it often generates unexpected digital artefacts. This kind of material inspires me to keep going.

    (…)

    I think ears give us a primal connection to the world around us, both natural and cultural. A lurking predator, a cry for help, a soothing breeze, children laughing… Hearing enables us to distinguish imminent danger from safety. Additionally ears are a primary tool for receiving verbal communication with other people. Conveying ideas, concepts, feelings, desires … before most people were able to read and write, hearing already played a significant role in understanding the intentions of friends and enemies. Because itโ€™s such an old and experienced sense, I believe hearing is far more intuitive and intimate than sight. I think smell and touch are even more intimate than hearing, because they require the source to be physically closer.”

  • 2018 | Maya & Gagi – Constellations: Gonzo (circus)

    Full interview in GC #146, by Peter Bruyn.

    “A cellist who also arranges and improvises and an inquiring composer who uses electronics as an instrument. Plus both their voices. Maya Fridman and Gagi Petrovic experiment on the interface between sound and song, mainly letting their intuition do the work. The result is pure musical expression, without concept, and without text.”

     

Reviews

  • 2023 | Unfold Yourself: Luminous Dash

    Patrick Bruneel writes about the album:

    “It travels from Disrupt to Arise and clearly caresses the ears. The album starts very dark with anger eruptions yet sporadic lights. Sounds that offer hope, but it’s still in an early stage. So it still frustrates and keeps collapsing onto darkened black. Towards the end it becomes more joyful, almost danceable, with beats that proclaim the return of the human Petrovic

      • DUTCH (original): “Van Disruptย tot en naarย Arise gaat het en dat is duidelijk te merken aan de klanken die onze oren strelen. Waar het bij het begin van het album heel donker klinkt, spaarzaam ook meestal op een sporadische woede-uitbarsting na, duiken er stilaan lichtjes op. Klanken die hoop geven maar het is nog pril, stuikt nog wel eens in elkaar en wordt weer donker zwart. Naar het einde toe wordt het vrolijker, bijna dansbaar zelfs, met beats die de terugkeer van de mens Petrovic inluiden.”
  • 2023 | Unfold Yourself: De Subjectivisten

    NNM (new music by Dutch artists), states:

    You don’t hear the abstraction as much, but feel the multitude of emotions, see imagery and experience the story. It’s impressive to achieve this with only electronics. The album also offers hope and consolation. Moreover, this shows simply a profound beauty, one that doesn’t bare itself easily and unfolds slowly.

      • DUTCH (original): “Je hoort niet zozeer de abstractie maar voelt veeleer de emoties, ziet de bijbehorende beelden en ervaart het verhaal. Ik vind als je dat met elektronica kan bewerkstelligen zo buitengemeen knap. Daarbij biedt hert album ook hoop en troost. Los daarvan is het ook gewoon van een diepgravende schoonheid, die zich niet gemakkelijk blootgeeft en zich langzaam ontvouwt.”
  • 2021 | Choosing Freedom: Vital Weekly

    Full review on Vital Weekly 1297, by Sven Schlijper-Karrsenberg.

    “Choosing Freedom as per the title itself invokes a political act, however personal or societal. Therewith the work fits neatly into the conceptual realm Petrovic has been mining with previous works, consisting of themes like isolation and destruction, oppression or the diametrical opposite which can be found in freedom. And not only that: but also: what that is, what freedom, being free entails, as in freedom of expression or, closer to this release: in autonomous composition. (That twiddling with the volume knob. The sense of uneasy quiet or too quiet. Was that just my set of arbitrary expectations? And was that a display of unfreedom perhaps, bound by what I expected, bound to fail?)

    […]

    First and foremost, this is a collection of forward-moving and boundary-smashing presentations which defy categorization or determination. These are no butterflies pinned in a viewing cabinet: this is the total bright and breezy and carefree population of a huge butterfly garden, the humid air therein, the plants, the greenhouse itself, yes even the hortus as a whole โ€“ a biotope of uncharted possible musical species.”

  • 2021 | Choosing Freedom & Recalcitrance: Nieuwe Noten

    Full review by Ben Taffijn.

    “Wat we op โ€˜Choosing Freedomโ€™ horen is bijzonder gruizige elektronica, het soort geluiden dat je krijgt als de muziek gaat rondzingen. Aan alles hoor je dat het bewegen van de hand over die GEST precair is, het gaat, zo leert het ritmische โ€˜Scattered Perceptionโ€™ ons bijvoorbeeld, om nauwkeurig doseren. Wat het album ook bijzonder maakt, is dat Petrovic, door de donkere klankwolken, het effectief inzetten van stilte en die gruizige structuur, spanning in zijn muziek weet te brengen. Vooral in โ€˜Emotional Manipulationโ€™ is dat het geval, een titel die hij ongetwijfeld nog heeft overgehouden vanย  zijn studie psychologie. Daarnaast heeft dat kale, gruizige ook iets industrieels, alsof je je in een werkplaats bevindt.”

      • ENGLISH: “What we hear on ‘Choosing Freedom’ is very gritty electronics, the kind of sounds you get when the music starts to sing around. You can hear from everything that moving the hand over that GEST is precarious to dose accurately, something the rhythmic ” Scattered Perception’ teaches us for example. What also makes the album special is that Petrovic manages to bring tension to his music by the effective use of silence and gritty structures through the dark sound clouds. Especially in ‘Emotional Manipulation’ that’s the case , a title that undoubtedly emerged from his psychology studies. In addition, that bare grittiness also has something industrial, like being in a workshop.”
  • 2018 | Ob-literate: Vital Weekly

    Full review on Vital Weekly 1166, by DM.

    “Instead we are confronted with a static and massive presence of sound; a radical and dark work with a sometimes-frightening effect. The solo voices move in a distance, what gives a strong impression of an enormous room or space. There is something static in this work. Long linear moving abstract electronic sounds, or long sustained organ sound, are interspersed with other sounds and cracks. The five voices dwell around as lost lonesome souls in this enormous spatial emptiness. This is music with an enormous emotional and disorientating impact.”

     

  • 2018 | Ob-literate: Musik An Sich

    Full review by Wolfgang Kabsch.

    “Das hier ist ganz harter Tobak. Musikfreunde, die schon mal mit Scott Walker und ร„hnlichem in Kontakt gekommen sind, sollten mal ein Ohr wagen. Fรผr einen Einsteiger ist dieses Werk eher nicht geeignet.”

      • ENGLISH: โ€œThis is very hard stuff here. Music lovers who have already come into contact with Scott Walker and the like should venture forth. This work is not really suitable for a beginner.โ€
  • 2018 | Ob-literate: Yeah I Know It Sucks

    Full review, by Kaino Buko.

    “Odd? Yes, but it is a oddness that is most surreal, music that comes at you like collages of voices and sounds, as if we are hearing multiple speakers in a museum-like environment after the lucid drugs kicked in. The walls have been melting, paintings might transform and the floor is all wobbly; it might make a sane person slightly paranoid, a intellectual stroke his or her chin & crazy people like (I presume) you and me a little bit more sane?”

  • 2018 | dp[a] + hsh: Gonzo (circus)

    Full review by Maarten Schermer.ย 

    “Fraai, en het maakt nieuwsgierig naar de dansperformance waar ze voor gemaakt werden, hoewel ook die wel eens zeer beklemmend zou kunnen zijn.”

      • ENGLISH: “Beautiful, and it makes you curious about the dance performance they were made for, although that could also be very oppressive.”