ENSH

Celestial Doom, released in 2023, is a collaborative album between Mother Of and Ensh, produced almost equally by Mother Of, Ensh, and the remarkable Beau Cassidy, with additional production by Ada Vale. At its core, the album is a concept piece—a profound ode to the sun, which serves as a central metaphor for exploring existential themes of our time. From the climate catastrophe to friendship, love, and life in the city, the sun becomes a lens through which these interwoven struggles and connections are illuminated.

Musically, Celestial Doom ventures boldly into earlier territory for me, drawing on industrial, nu-metal, and even pop-punk influences. Its streamlined sound is a perfect fusion of our distinct artistic sensibilities, creating a body of work that is as thought-provoking as it is cohesive. This album marvels at the celestial while confronting the doom of the modern condition, embodying both despair and hope in its exploration of what it means to exist today.

Summer Vacation, created in 2022, unfolds like a hero’s journey—a joyous reimagining of youth and a healing of trauma through the lens of queerness. It is both a mournful lament caught in the throes of climate despair and a triumphant release into catharsis and freedom. The metaphor of Summer Vacation threads through it all, offering a hopeful message to my inner child.

The album navigates seamlessly between English and Serbian, capturing a spirit of resilience and self-discovery. Produced by me, with additional production from Ada Vale and Summer Deaths, it was mixed and mastered by Summer Deaths to bring this vibrant and deeply personal vision to life.

A romantic/love mixtape I made in collaboration with Thomas Dunbar in celebration of alternative artists from the ex-YU region. Guitars were written and recorded by Kosta Jovanović and mixing was done by Summer Deaths

Former Child is a collection of songs written and recorded between 2016 and 2018. Initially shelved in favor of releasing Okvir, which felt more immediate and cohesive, this album had a more drawn-out recording process. At the time, I was concerned the tracks might not work well as a unified album, as the writing approach leaned heavily towards standalone singles. This is why many of these songs were released individually.

The album features contributions from several close collaborators from Belgrade, including Marko Živanović (Scavneck), Kosta Jovanović, Memet, Summer Deaths, and Sergio Lounge.

Both Of Them Milenko, released in 2015 and produced by myself and Marko Živanović in Belgrade, was the closest I had to a commercial success. It followed the momentum of my Serbian-language singles like Čuti, Nedavno, and Lutam, which received regular rotation on both television and radio.

The album, split between English and Serbian, reflects this duality—both linguistically and thematically. Its songs delve into the complexities of anxiety, self-discovery, and finding one’s direction in life, encapsulating a personal journey.

One of my favorite Björk songs from her groundbreaking 1995 album Post, recorded in 2014 following the Belgrade sessions. Videographer and director Jelena Petković and I collaborated on a mini-documentary about BIGZ—an abandoned Yugoslav publishing house turned artist space—along with a performance video for this track.

Released in 2014, Belgrade was a statement piece marking my first public release after the breakup of my beloved pop-punk band, Lacerda. With this album, I leaned fully into the experimental pop grittiness that has always resonated with me. It was a chance to showcase my Björk-inspired roots while paying homage to the independent laptop artists of that era.

Completely self-produced, the album was recorded by Marko Živanović and mixed by Sam Guiana. It also features standout guitar performances from Draško Popović and Vladimir Pantić, adding depth and texture to the project.

Etobicoke, recorded in 2012/2013 by Steve Rizun, was co-written with Kyle Dawe and Michael Liorti, featuring drum contributions from Brad West and vocals from Leila Valentine. This album marked a transitional phase in my musical journey, bridging the gap between my pop-punk band Lacerda and the experimental electropop sound that would later define my work as Ensh.

With its indie rock style, the album reflects a period of bitterness and reactionary emotion following the band’s breakup—a deeply transitory chapter in my life. That’s also why I never fully launched Bosa as a project; it felt inauthentic to present it as a representation of my artistic identity. However, revisiting it after releasing numerous albums that accurately reflect me and their time of creation, Etobicoke has taken on a new significance. It stands as an intriguing snapshot within my body of work, which I’ve since decided to retroactively share.

My 2006 self-titled release, Ensh, was originally released under the Lacerda moniker but was later retroactively rebranded as an Ensh release because it marked my first solo foray into electronic music. Though raw and somewhat undefined, the album was surprisingly forward-thinking and experimental, carrying a charm rooted in its curiosity and angst. The songs are almost spiritual in their anarchistic nihilism, reflecting the perspective of a very misguided philosophy student.

Written by me and produced by Karl Gutowski and Steve Rizun, this project holds a special place in my journey. Looking back, I sometimes regret not continuing to develop my solo electronic material at the time. With more focus, I believe it could have reached a broader audience, instead of the almost decade-long detour I took to pursue my pop-punk band, Lacerda.