David Maxim Micic – Bilo 3.0

What does make a music record unique? Is it originality? Is it its sonic properties? For some, it may be all about the quality of production and a good mix.

Some want the songs to be embroidered with a unique theme. Others, they want to hear diverse and fluctuating vibes. Before the fact that it came from Serbia, before looking at it as a prog album, before anything else, David’s Bilo 3.0 satisfies all the preferences listed above.

 

Serbian prog scene

Historically, Serbia has never been a ‘prog’ country, per se. The likes of Smak, Igra Staklenih Perli, and even other famous ex-yu bands may have brushed up against progressive music at some point in their careers, but none of them really stuck around with the genre. I say ‘genre’, but I don’t like to think of prog as a genre, even though I am likely fooling myself. But wait for it, there’s well-founded reasoning behind this. The problem I have with some modern prog bands is that a large number of them confuse ‘math’ with ‘prog’.

Math music is all about odd time signatures, polymers and polyrhythms. It’s about evoking a weird and unique feeling in the listener and this is absolutely awesome. I love weird rhythm experimentation

Prog incorporates odd time signatures, polymers, polyrhythms, but isn’t necessarily about that. It isn’t supposed to be shreddy, although it can be; it isn’t supposed to be 4 chords in 4/4, but it can be. The thing is, it isn’t supposed to be anything in particular – the only mission of progressive music is telling a story, by evoking a wide variety of feelings, using diverse tools of music.

Why am I talking about this? Because Bilo 3.0 is progressive music, in its truest, clearest meaning.

What’s so special about it?

Simply put: Bilo 3.0 isn’t trying to sound special, innovative and original. Oh, but it succeeds. Even after years of listening to this masterpiece (it’s been 5 years now), I manage to find something new and quirky, after almost every single listen.

The 44-minute masterpiece stars off with Everything’s Fine, a track that features simple piano chords and magical-sounding violin played by Mina Mladenovic. It feels peaceful, yet like it wants to say something. A perfect beginning.

This calm intro is followed by drums and distortion, although serenity manages to remain the main theme, somehow. The djenty, low-tuned guitar sounds are something of a signature thing with David and the entire album is sprinkled with these. 

The record glides over a variety of vibes, that go from beautiful and serene, where a kid gorgeously sings slightly out of tune, to dark and ominous opera segments, to straight up weird moments, where Vladimir Lalic manically laughs over dark, dissonant riffage.

The most important thing to keep in mind here is that nothing feels forced. It is so interesting, diverse and unique, that the final product sometimes feels more like a 44-minute meditative song than a 6-song album.

David is a talented fellow. You know that someone is talented when they manage to attract more talent. Although fully orchestrated at home, from a single computer, this release features 14 musicians, in addition to David, from various backgrounds and genres and offers fantastic sound, production and mixing to the listener. It is, as a whole, true work of art.

20

/ Popnable Media