Here’s a digipak from Sub Rosa, which is curiously short on words, given the idea-packed brief. To summarise crudely, Novi_sad has taken commissioned tracks by four artists and then applied audio analysis from “rare sonic phenomena” on other planets, as well as “data and numerical elements” from neuroscientific studies.

Normally, I bemoan albums which rely on liner notes to justify or “explain” the sounds within; but, in this case, I really would have liked to have known what Novi_sad has done, in practical terms. Without this knowledge, the tracks assume the appearance of glorified remixes to my mind. "Audio analysis on: Decametric noise storms and radio storms on Jupiter. Applied data from: Neuroimaging with bipolar disorder and children with serious emotional disturbances.” (the fourth track’s processes) sounds fascinating and brilliant on paper, but essentially becomes just words when listening to the track itself. Saying this, I could, of course, figure out for myself the sonic traces of these methods - and perhaps thats indeed the ideal solution.

So, we have four tracks, each operating in a similar area, but quite different. The first is Novi_sad’s processing of material from BJ Nilsen (I will omit each lengthy “process description” and instead direct you towards Novi_sad’s website if you are interested.) This hovering drone, punctuated by the breathing of machines, builds from almost choral/organ tones and atmospheres to a more weathered and blown-out environment; gracefully disintegrating. I’m not au fait with Nilsen’s work, so its hard to know how much Novi_sad has warped his commission; neither am I overly aware of Daniel Menche - the provider for the second piece - but I know enough to recognise some elements. These are, namely, the low, low drones and hissing that permeate the whole track. The near-twelve minute work certainly conjures forth the “Ghostly planetary plasma waves” that the audio analysis was based on, with juddering, sub-bass ruptures and clouds of treble that threaten to smother. The track climaxes with more choral tones, though this time of the more ethereal variety. The third piece builds with material from Francisco Lopez and build it certainly does, crafting a reverberating, rhythmic, post-industrial landscape. This percussive menagerie gathers intensity, before a warbling drone emerges - as if constructed from a decayed orchestral tape. This “raising of temperature” is an apt precursor to the last track, formed from processed Mika Vainio sounds. Possibly my favourite work on the cd, its founded on a weighty, spacey drone; accompanied by ear-tingling crackling around its edges. Over time, these treble elements come to dominate; producing a really beautiful, visceral experience. The track suddenly cuts out a couple of times, before deploying reverberating thuds and bell-like tones; this effectively “breaks the spell”, in a way that the other pieces don’t. When the drone scratches back in, noisily and messily, its an effective antidote to the sheen of the rest of the album.
 
If I’m honest, sonification and its ilk, on the whole, leaves me cold; or at least a little non-plussed. This issue is bypassed here by the sheer quality of the sounds themselves. The last two pieces, in particular, are wonderful constructions; truly conjuring sonic allusions to the idiosyncrasies of the cosmos and the brain. If I had one complaint, it would be that Novi_sad seems to “finish” each track - whether at its climax, or in its middle - by introducing sounds of a “melodic” or “surface” nature - the final cherry on the cake, so to speak. This use of choral or “orchestral” drones is maybe overused… Nevertheless, this is a very solid album; of definite interest if you know those four track contributors - regardless of your thoughts on the “science” of the release.