The Bogoljub project is an attempt to explore the concept of presence / absence at a time of retromania and fetishization of the previous, old, ‘original’. The recent return of music fans to analogue instruments of the 80s, vinyl etc creates a space-time vacuum. Mainstream digital technology strives to simulate analogue and old aesthetics / techniques (eg instagram) and ideas of creating for the present, the ‘now’ become very foggy. The way the futuristic sound of the late-70s/early-80s is approached, is perhaps the one of the most interesting examples of temporal deferral. This sound remains the closest western reference to an ‘aural future’ 35 years after its invention.
Within this spatiotemporal discontinuity, the Bogoljub project uses sounds (futuristic synthesizers), proto-electronic instrumentation, harmonic successions (often pentatonic) that were preferred by New Wave in an attempt to exorcise its inner ghosts. At the same time, with its excessive use of reverb and echo, as well as various noises, it creates a textual mist, so that the listeners can place their own ghosts within the lyrics. The lyrics therefore are not finished – they are free to be mis-heard – just as when someone hears an old pop song in passing and remembers it in her own way years later.
The Bogoljub project is not composed with rare keyboards and a high technological cost. Anyone interested can contact for information on how each sound has been produced.