Novasak at Rhinoceropolis

What Todd Novosad does is definitely not for everyone. His sound art is completely disconnected from anything resembling conventional songwriting. What he creates is not something you're likely to put on at a party or at home to relax, because its abrasive assault and sheer volume can't really be ignored...

By Tom Murphy

March 25, 2010

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What Todd Novosad does is definitely not for everyone. His sound art is completely disconnected from anything resembling conventional songwriting. What he creates is not something you're likely to put on at a party or at home to relax, because its abrasive assault and sheer volume can't really be ignored — even though you'll never hear it on mainstream musical outlets. Since 1997, Novasak (due at Rhinoceropolis on Tuesday, March 30) has built devices to generate unique, unpredictable sounds and put together the necessary P.A. setups to handle his artistic vision. Standard club systems, as it turns out, aren't equipped to effectively handle the eruptive shifts in tone and texture, not to mention the cascading, explosive low end. Whether creating a symphony of industrial percussion or interpreting the voice of the burning orange haze of collective urban light, Novasak's work is inimitable.

Tom Murphy is a writer, visual artist and musician from Aurora, Colorado. He was a prolific music writer for Westword and a documenter of the Denver music scene.

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