Turns Me On EP

turns_me_on_coverThe intro does not leave you hanging: here comes an electro beat, lined with a relentless bassline and supported by a mix-up of samples from a well-known house track and a rhythmic litany by a male voice.

The title track has no refrain, no breakdown, just two long verses that keep on going and going. At first, the lyrics seem to be about those almost “stereotypically sexy” female adornments. The assumption that they are exclaimed with possible sexual aims is soon affirmed, but the lyrics of the second part of the track subverts the arousing into other daily phenomena not so typical of sexual hints.

My desire to talk about a fairly contemporary state of male sexuality – some kind of media programming of a “reptilian” part of the male brain to be sexually triggered with an image – is not so new. Subjective history takes me back to the solo performance called “fiberoptikal” where I wrote a song with verses: “frozen little images / are blocking my sight / making me uptight / they’re like bondage rope”, referring to the sexualized images of female body, including arousing erotic lingerie, specific body parts and their shapes, nail polish, makeup, high heels, specific body poses and movements etc. It was further developed in the performance “Frozen Images” by Wanda & Nova deViator (with Maja Delak), but didn’t make it onto our debut album “Pacification”, so only those that attended the “Frozen Images” concert performance(s) might know about it.

On the other hand, Emanat institute started to develop a new type of feminist and movement-centered burlesque performance. Informed by remix+edit appropriations via electronic dance music and contemporary technological development it was called “Image Snatchers”, a techno-burlesque. In autumn 2014 a workshop with the great performer Ursula Martinez took place, thanks to collaboration with the Ljubljana’s festival City of Women, where the seeds of another take on ‘programming of the male mind’ were planted: a burlesque number called “Turns Me On”. While researching for that piece I subjectively gravitated to a bit of personal history, a popular early house track with a moaning female voice, in my current view another example of voiced embodiment of hyper-sexualized desire, sonic enactment of submission and objectification, in a retrospect a metaphor of manipulation for profit and greed by white male capitalist.

While risking consequences of copyright infringement and a fall to a bootleg obscurity the reference to French Kiss by legendary Lil’ Louis is kept in the clear ear-view – on purpose. It should come as obvious within the context explained above, that this is a quotation, a reference to ponder about and critically reflect the contemporary exploitation of our bodies via frozen, arrested two-dimensional (sound-)images which make us turned on, to which we masturbate, to which we may climax.

Dedicated to all who suffer from erectile dysfunction.



stream/download at Bandcamp:


released August 15, 2016

written, produced and mixed by Nova deViator
vocals by Crucial Pink
mastering by Fred Miller
media & technical support: Radio Študent, Ljubljana

financial support by Emanat Institute and Patreon supporters

Thanks to The Feminalz – the legendary Image Snatchers troupe, Emanat, Klub Gromka and Ursula Martinez

Shout-out to Renoise, Processing, SuperCollider, Ardour and Linux Audio communities

available also via Spotify, iTunes, Apple Music, Google Play, Amazon, Rdio, Deezer, Tidal, Microsoft Groove, MediaNet


local data

Granular synthesis in SC

This morning I started to work on a granular machine in SuperCollider. This is what I got so far:

Rotary Signal Emitter by Sculpture [Picture-Disc LP]

Sculpture is an audiovisual performance duo from London – electronic music producer, Dan Hayhurst, and animator, Reuben Sutherland.

Sutherland ‘DJs’ with home-made zoetropic discs, intricate concentric rings of illustrated frames, projecting fragments of looping images at 33, 45 and 78 rpm – pre-Edisonian imaging technology combined with a digital video camera.

Hayhurst deploys prepared audio material (found tapes, lo-fi electronics, computer programming, and analogue noise) across 1⁄4” tape loops, hardware sampler, cassette walkman and CDJ deck.

The process is important. a kind of unstable modular collage. style. rhythm. spontaneity. input, output, and a bit in the middle called MUSIC (audible and visible) which requires the computer to be switched off.

We present here an audio video picture disc by Sculpture called Rotary Signal Emitter. It can be played conventionally or as a self contained film. It is also intended to be reusable as part of future performances.

The music: A strange amalgam of found sounds (corresponding perfectly with the found imagery), Plunderphonics, ancient electronic music recalling the BBC Radiophonic Workshop, twisted rhythms (imagine Felix Kubin playing Dubstep), all mixed hands-on on the spot.

Demonstration Reel from Sculpture on Vimeo.

'this is what it's like most of the time'
'you could call it a showreel'


bandcamp uploads

After fiddling around a bit with SoundCloud I listened to a sudden hunch and uploaded most if not all of my albums to Bandcamp: So you can now buy the digital albums or download the tracks. Your support is more then welcome.

Here’s a track from an album from year 2000.

Screenshot - 01222013 - 12:29:31 AM

review of expression front

It started as some crosslinking between fellow musicians, you know, referring and recomending… Essentially, I ended up chating with a french person (in english) over facebook chat about Sad Sam Lucky Outtakes, and ended up uploading complete album Expression Front (from 2001) to SoundCloud, and that’s the album Kevin Carnaille of “Have Faith in Sound” blog wrote about. In fact, Have Faith in Sound is amazing music blog, passionately covering a wide range of sounds and musics.

Read Nova deViator – Expression front (2001) or check it after the break.

Continue reading

lucky outtakes album

I’m working on a some kind of outtakes release with material from the process of creating music for Matija Ferlin’s “Sad Sam Lucky” performance which premiered last month in Zagreb, Croatia and a week later in Ljubljana, Slovenia, and is going to have a world premiere on Paris this month. The leftover material feels to me as quite powerful, but seems to fall into two extreme groups: long, emotional harmonic content, and quite harsh agressive noise material. At the moment I’m looking at it (listening) as a flow that jumps from one extreme to the other with abrupt cuts. However I’m not sure if it works well like this. The idea that I’m most inclined to at the moment is to create two releases – “ambiental/harmonic” one, and a noise one. Soon something comes out of it.