"It's beginning to seem like all the pacesetters in Brazilian music die young. Guitar virtuoso Rafael Rabelo was lost to drugs in 1995; Chico Science, creator of mangue-beat, perished in an automobile accident in 1997; and only five months ago, a predawn apartment fire took the life of Mitar Subotic (Suba), Brazil's vanguard producer and a musician who had been leading a new generation in the development of electronic music. Suba was the first professional sound engineer to come to Brazil with an understanding of how to match his vision with the concepts of Brazilian artists, regardless of style. "The year 2000 was going to be big for Suba," says producer and A&R man Béco Dranoff. "He was finally coming to the surface and out of the São Paulo underground, becoming recognized as the hot, new mainstream producer."
Exceptionally sensitive to nuances of mood and color, Suba created fiercely expressive musico-dramatic environments by superimposing and synthesizing a wide range of dense and interweaving electronic textures, his quick mind enabling him to open and build heterogeneous collages in the studio exactly as an artist wanted. Says Béco Dranoff, "Suba had created such an innovative sound and was so far ahead of the curve that everybody wanted him. He opened a whole new door."
At the time of his death, Suba had produced tens of CD's, composed music for over 25 theater pieces and dance companies, written sound tracks for more than 15 films as well as for Yugoslavian, French, and Brazilian television, including original scores for ESSO (an affiliate of Exxon Corporation), BMW, and Philip Morris. In addition, he was negotiating with Natasha Records for the release of his solo CD, finishing production on Bebel Gilberto's, and working with Daniela Mercury and Skank on their latest projects.
Outstanding among his numerous theater works in Brazil are his sound tracks for Oswald de Andrade, Os 12 Trabalhos de Hércules, Sáfara, and Bonita Lampião, which received the São Paulo Association of Art Critics' award for best theater sound track.
Suba's story began on June 23, 1961, in Novi Sad, Yugoslavia, a melting pot of Serbians, Croats, Hungarians, Romanians, Slovaks, Bosnians, Russians, and Gypsies. He grew up in a home where both parents were journalists. His father, a well-known TV journalist, received the Villa-Lobos Award for promotion of Brazilian culture, hence Suba's early ties with Brazil. Suba became interested in music at an early age and studied music theory, accordion, and piano from 1966 until 1980 then composition and orchestration from 1980 until 1985 with professors Rudolf Bruci and Dusan Radic at the Academy of Arts in Novi Sad..." Full story: www.brazzil.com/musmar00.htmwww.suba.com.br
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