For seven years now, Hton's ecstatic melodies have walk around the intimate space of their listeners who have followed their path from an acoustic/experimental minimalistic duo to the stylistic delicacy of the four-piece band. Ljubiša Jojić and Igor Dević met in 2004 in Novi Sad, Serbia and started working on their conceptual album Joseph Plateau whose immanent nerve they succeded to perserve in the releases that occured later: Hton EP (Listen Loudest! in 2009) and Hton EP II (self-released, 2010). The album includes first two singles, and even though it has remained unreleased, it represents a finish point of one era and a guideline for their future work. In 2007 they grabbed electric guitars and welcomed aboard a new member, drummer Ozren Lazić, with whom they recorded an improved version of the song Marshal Tito's Parade that surpassed all expectations. This change got the wind at their backs to strart experimenting with percussions, synthisizers and electronic samples, but in this first EP we could still feel the protectiv presence of some night angels (Superintendent And The Nine Ballerines, Promo CD, 2006) watching over their creation. Brún, Ambilight and Far Away From This are characterized by electronic sound of guitars, energetic drums and psychedelic synths. Being the only instrumental on Hton EP II, Ambilight offers a beautiful enrichment of the main theme by introducing gradually some interesting new shades till letting it subside in echos slowly towards the end. The bass is playing hide-and-seek with us until it's powerful "awakening" appearance in Awakable, supporting evocative lyrics and inevitable ethereal vocals, preparing the groung for a simple indie song such is Marjena (mirror) - most suitable for the completion of our journey through the underworld of Hton.

*The band's name is pronounced [χθόν] and was derived from Chthonic deities that are part of ancient Greek mythology.

                                                                                                                                                   Aleksandra Jelačić, 2011.