Daniel Vujanic's third full-length release under the alias Baja, entitled Wolfhour, intensively displays the composer/musician's exciting approach towards a "free electronica" genre. Baja incorporates organic and digital textures, intuitive forms of songwriting, dynamic and almost classic-like complexity and - Vujanic's trademark - the manic and seemingly endless processing, editing and re-editing of the source material until it eventually becomes a wall of sound; a beautifully radiating, fractured, multifaceted digital isotope. Disregarding traditional song structures, Baja’s arrangements are duplicitous to the listener, evading predictability of their beginning or end points.

Fusing stripped-down folk, (free-)jazz, twisted pop, electroacoustic sound, maximized- minimalism, indietronics, eerie chamber music and a portion of sedative textures, Wolfhour plays with postmodern expectations as much as possible while avoiding pretentious, highbrow implications. There's at least as much ear-friendly repetition as there is stunning fragmentation. Vujanic's compositions range from psychedelic piano ambience to sunny uptempo-pop, from electronic jazz fusion to cryptic sample ruins. Leitmotifs appear, evolve and fall apart into transcribed bits of data nebula. Sounds teleport.