At a time when it is almost impossible to be original in any form of artistic expression, there is a new generation of composers – producers who are said to be the closest to the postmodernist notion of originality, when faced with the kind of meta-textualization of the art of the postmodernist era we live in. One of these people who gave the absolute meaning of the existence of electronic music is Damir Ludvig.

We are happy to witness the burning and constant interest of Ludvig’s new expressions in music and, of course, his strong and expressive talent. Just as every man, the artist, through his unremarkable work, comes to an inevitable maturity in different ways. Similarly, the creator, Ludvig, shows the developmental process which can be traced through several levels.

Following Damir’s work through the years, one notices that even starting back from a somewhat youthful naïveté he was enriched with theoretical and practical knowledge. This is the kind of knowledge of musical expression, past epochs and high sophistication with defined expression that has crystallized in the last few years of his activity, both at numerous stage performances and in the contemplative silence within the privacy of the studio. It is particularly interesting and intriguing that Ludvig did not go to the safe paths of a purely commercial understanding of electronic music, but instead chose an uncertain and particularly demanding path for the new and relatively unexplored.

Being so clean, crystal-clear and strong, Ludvig never drops to the level of an epigone. Instead he seeks and brings absolute emotion through an artistic expression as a virtue that is difficult to encounter. Damir Ludvig is just one of the few musicians who has this such importance in the life of contemporary music.

Knowing his accomplishments, it is hard not to notice the influence of the metaphysical world connected to the Far East. This influence is undoubtedly linked to Ludvig’s collaborations with Asian musicians, as well as Ludvig’s stay in Taiwan.

It is especially important to emphasize that Ludvig’s influence in life and work is accepted with a certain critical departure and is filtered through his own temperament and emotion. Even so, this was done while enriching his artistic expression with the subtle tones of Far East-style music, making the color palette observed in this way. However, I consider the contact with the Far East tradition as being manifested much more in the metaphysical perception of the world and a more in-depth perception of living with an absolute spiritual self-realization that can constitute a problem in musical art.

The trans-global IT connectivity of every corner of our planet and the incredibly rapid exchange of information brought a pretty early (and desirable) confirmation of Ludvig’s status and affirmation as a serious artist among people who deal with similar or in any other way related electronic music issues.

Damir Ludvig’s music is extremely intellectually emotional and honest, which is actually the highest quality of the present age. This is the way to which it is definitely worth seeking!

While listening to Ludvig’s music it is extremely difficult to get rid of the impression that it is inspired by a human soul who is intense and highly regarded in the world around itself and in itself.

Ultimately, regarding primary expressionism, as well as artistic experiments of any other kind, it is above all a state of mind. This is only the means by which the artist expresses oneself and it is irrelevant and must in no way affect the creation of any prejudice.

His electronic music is a reflection of the rhythm of today, our past and perhaps the hint of a more conscious and better future, an absolute bond with our mother Gaia and ourselves.

Finally, paraphrasing the words of a renowned American poet and art critic Rene Richard, we must not let ourselves miss the new composition or ignore its composer, because we may miss the long-awaited genius.