releases

A psychedelic and dissociative collage of improvisations melded, reformed, and cut into cohesion. This is a culmination of years of work, with a range of tonal styles from valleys of soft, plush sound to sharp mountain peaks of noise freakouts, taking influence from free jazz, noise, no wave, glitch, and a wide range of texturally and rhythmically radical (non-)musics.

Interlaced split release between Krovo and DJ Funny Powers. DJ Funny Powers continues pioneering his "cyberfunk" style of experimental electro, while Krovo debuts "micro", consisting of beats bent and twisted into angular shapes that lie somewhere between no wave and glitch. For Krovo, this release is notable for being the first one since Skk that was composed entirely in software.

Krovo's fourth album continues the project's traditional focus on texture, but this time exploring atmosphere and structure as well, with many tracks abandoning traditional forms without settling too easily into any easily definable style. It combines influences from electro-acoustic improvisation, noise, glitch, drone, and no wave into something entirely else, with periodic tangents back into regular electronic music configurations. The album is meta-conceptual in that it's a sequence of micro-concepts, each track effectively a sound world of its own.

Krovo's sixth EP, Null is an exploration of dark, glitchy, and mechanical-sounding textures, rhythms, and assorted weirdness.

Previously unreleased tracks from a split whose other side was never completed. The season of winter and feelings of depressiveness were the inspirations and theme of this release.

Another stylistic break from the first two, Krovo's third album focuses on a specific method of sound generation which was inherently unstable and inharmonic. Because of this, this album is much harsher than the first two, putting it firmly within glitch territory. However, underneath the layers of digital chaos, open-minded listeners can find shapes forming themselves into grooves and broken oscillators that cycle into organic fields of noise. The album creates dualities out of extremes, projecting nature into the digital, and life into the inanimate.

Krovo's fifth EP serves as a "spiritual sequel" to the Find EP. Its songs evolve and transform, yet remain coherent. Sounds glitch and skip, yet remain melodic.

Krovo's fourth EP consists of rearrangements of material from Senkyder, slowing the tracks into deeper, darker versions. Track 3 is notable for being a fusion of the tracks Medio and Tuls, while track 1 has altered lyrics.

Oktrans is Krovo's third EP. Conceptually, the release is about autumn, its sounds designed as auditory equivalents to the colors and textures of the season. Inspiration was drawn from breezes blowing colder, leaves changing color, nights becoming darker, and woods becoming quieter. Track 3 is a concept of its own: it's about a forest that becomes engulfed in flames.

Krovo's second EP followed shortly after the release of the second album. The songs on this release were more focused, each one having its own specific idea explored throughout the course of the track. With the exception of the last track, these songs are much more fun and lighthearted than previous works. Track 2 is one of the few Krovo tracks made on sampler hardware instead of synthesizer hardware.

Krovo's sophomore album moved away from the first album's musique concrete style, as synthesized sounds became the main musical ingredient. In fact, the entirety of this release was made using only one synthesizer, which would become the primary tool for the next several Krovo releases. Despite this, Senkyder spans a wider range of genres, from noise rock-inspired works such as Syonn and Izyae?, to traditional electronic as on Mega and Toxre, to dark ambient on Lowsetir, to the heavy distorted power noise of Mesk and cruSH. It was also notable for being the first conceptual album from Krovo, as all following albums and many EPs would continue this practice, focusing on concepts of their own.

Krovo's first EP was released after the debut album, inverting many of the properties that had been established with it. Noiser creates as much antistructure as Skk creates structure; Noiser is as harsh as Skk was soft. The last three tracks were performed entirely in real time, with the last track being the most extreme in this regard, as it is fully improvised on a single synth patch, producing a surprisingly wide range of tones and accidental rhythms. This type of patch would be revisited later on Krovo's third album, Xyko.

Krovo's first release, Skk signified the artist's turning point away from reliance on presets and towards a focus on original and more creative sounds. This release was also the last fully software-based release until krxl/Qbd, as following releases primarily used various forms of hardware. Stylistically, the music sits at a crossroads between semi-melodic musique concrete and industrial-esque rhythmic noise. The sound is heavily texturally experimental but retains most other traditional musical sensibilities.