sonic landscapes. shifting perspectives.
drift.zen is not a genre. It’s a current.
Sound becomes motion. Stillness becomes rhythm.
What starts as ambient slowly mutates – deep, atmospheric layers folding into each other, touched by minimal techno, melodic echoes, and hypnotic pulses.
Each track is a trip.
No map. No goal. Just a sonic line to follow – through shadow, texture, emotion, and back again.
Things rise, dissolve, repeat in new shapes. Like memory. Like breath.
Influences melt. BPMs stretch.
drift.zen is less about beats, more about gravity shifts.
Less drop – more drift.
Made for late-night headphones, long drives, open tabs, closed eyes.
For losing track of time in the best way possible.
Ambient:
My sonic obsession kicked off in ’86, lost in Simple Minds’ “New Gold Dream,” when my buddy Aco, the guy who shaped my taste in weird music, dropped Jean-Michel Jarre’s “Oxygène” on me. It was like a sonic sucker punch. Couldn’t get enough. Played it non-stop, devoured Jarre’s entire catalog, and spent a year getting lost in those sounds every damn night. Aco turned me on to other giants of the genre – Eno, Schulze, Tangerine Dream, Oldfield, Floyd, Kraftwerk… the list goes on. My love for those trippy, expansive soundscapes, where my mind could roam and explore, was born.
When I started making my own music, my first experiments were in crafting deep, immersive sounds. Eno’s “Music for Airports” was a game-changer, pushing me to blend electronic and classical elements, creating a fusion that captures the vastness of ambient and the emotional punch of movie scores.
Techno:
Fast forward to late summer ’94 in Novi Grad, Bosnia. A group of us were deep into a haze of Pink Floyd, smoke, and booze. Enter Emil, another musical guru, grinning and clutching a stash of tapes. He introduced me to Prodigy’s “Experience” and “Music for the Jilted Generation,” kicking my tastes into electronic overdrive.
But the real turning point came a few years later. War exploded, and after a year living with barely any power, I escaped to Belgrade. The best part? Hours after getting off the bus, I found myself at a massive rave. It was 1995, and Goa Trance was sweeping the continent. The sharp crack of 808 hi-hats cut through the chaos, dragging me into a long and intense trip through the world of electronic music – techno, minimal, tech, and deep house. Over the years, deep minimal tech house became my drug of choice, but I often veer off into uncharted territory. Messing with sounds and styles, always pushing boundaries – that’s the thrill of my musical adventures.