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| | Artist : oval | |
| | Album : O | |
| | Label : Thrill Jockey | |
| | Cat. No. : Thrill 244 | |
| | Genre : Avantgarde Source : WEB MP3 | |
| | Quality : 320kbps/44.1khz/Joint Stereo Size : 286.18 MB | |
| | | |
| ª http://bleep.com/index.php?page=release_details&releaseid=26372 ª |
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| | Previous version was nuked for different encoders, that's exactly | |
| | as it came direct from the Thrill Jockey website. | |
| | | |
| | Here is a different version from bleep.com, doesnt come with the | |
| | 6 extra vinyl only bonus tracks. | |
| | | |
| | enjoy. | |
| | | |
| | Popp, who lives and works in Berlin, took some time between his | |
| | last release under the moniker SO and the "Oh" EP because he | |
| | wanted the new material to be a radical departure from his old | |
| | concepts and methods on all levels, to essentially be a second | |
| | "debut" album. For "O" Popp's creative process shares nothing | |
| | with his creative process for prior Oval albums. Previously, Popp | |
| | focused on the creation of the programs that would process sound | |
| | and effectively create the music. As a musician, Popp's process | |
| | was more theoretical in nature. Creating the platform and knowing | |
| | what that platform could and should do to the sound sources. He | |
| | selected the sound sources and then turned it over to the | |
| | platform. For ?O?, Popp uses an instrument that is very common, a | |
| | stock PC outfitted with stock sounds and plugins. He no longer | |
| | uses or creates a custom platform, but instead utilizes a readily | |
| | available instrument. What he has done with this instrument | |
| | highlights Popp's, perhaps for the first time, musicianship. Popp | |
| | spent years woodshedding with his instrument and worked | |
| | diligently to push the instrument beyond its normal sonic | |
| | boundaries. | |
| | | |
| | What is striking to note is that while the sound sources, and the | |
| | process versus musician aspect of the music could not be more | |
| | different, the resulting music shares qualities with the music | |
| | that came before. It can be heard in the tempo and in the timbre. | |
| | While the musician in Oval was formerly secondary to the process, | |
| | now it is the primary creative element and his evolution as a | |
| | musician can be clearly followed. Popp is often credited with | |
| | creating the clicks and cuts genre of electronic music. Now this | |
| | genre defining artist is putting forth the musician that was | |
| | hiding behind the technician. | |
| | | |
| | The result is a celebration in delicacy and detail: handcrafted | |
| | polyrhythmic phrases, riffs and structures, bristling with tiny | |
| | resonances. Popp is celebrating rhythms, scales and harmonies on | |
| | a small and large scale, instead of reveling in theory and | |
| | meta-discourse. The performances on this record represent a high | |
| | level of skill on his instrument, while the resulting music is | |
| | striking, compelling, and ultimately rewarding. "O", named for a | |
| | new beginning, (ground zero if you will) is just that, fresh and | |
| | new. (The EP title was a playful word game based around the album | |
| | title.) The album, made after years of practice, is for Popp | |
| | about the music. It is not about the impetus to start playing or | |
| | some theoretical exercise in ?programmed vs. played? or ?new Oval | |
| | vs. old Oval?. These comparisons, for him, are meaningless. | |
| | | |
| | On Disc 1, the ten longer pieces range from delicate, | |
| | sophisticated pop to brutally torn, electro-acoustic riffing full | |
| | of angular, colliding guitar sounds. All of the songs are | |
| | peppered with expressive and open drumming. Interestingly the | |
| | tracks were not built around a rhythm. The drum playing was an | |
| | organic part of the song evolutions, being written at various | |
| | points during each individual song's recordings. | |
| | | |
| | Disc 2 features no less than 50 concise, highly detailed pieces | |
| | that are a conscious nod to the culture of instant gratification. | |
| | Attentions spans are noticeably changed and the culture of | |
| | organic discovery is gone from the mainstream and replaced by a | |
| | hunger for the new. Consumption and criticism at warp speed. | |
| | Portability dominates the art form to an extent never before | |
| | seen. These tracks represent Popp?s personal challenge to create | |
| | pieces within a constrained framework that addresses this aspect | |
| | of music culture. Popp has even referred to these pieces as | |
| | ringtones. These one-minute tracks have a melodic finesse and | |
| | associative power that are unexpected under such constraints and | |
| | are ripe for future sampling projects. | |
| | | |
| | ?O? is Markus Popp?s long-overdue and deeply personal love letter | |
| | to music. It?s for the listener a new chapter in a fascinating, | |
| | ongoing critical dialog with music by one of the true innovators | |
| | of contemporary audio. | |
| | | |
| | Tracklisting: | |
| | | |
| | 01. Panorama 3:51 | |
| | 02. Ah! 4:07 | |
| | 03. Shhh 1:21 | |
| | 04. Glossy 2:44 | |
| | 05. Stop Motion 1:10 | |
| | 06. Sky 2:33 | |
| | 07. Beige 1:38 | |
| | 08. Brahms Mania 4:04 | |
| | 09. Cinematic 2:16 | |
| | 10. Cry 3:32 | |
| | 11. Cottage 1:47 | |
| | 12. I Heart Musik 3:22 | |
| | 13. Salamanca 1:41 | |
| | 14. Dolo 4:43 | |
| | 15. Dricas 1:11 | |
| | 16. Cyprus 3:19 | |
| | 17. Vessel 1:54 | |
| | 18. Dynamo 3:10 | |
| | 19. Finis 1:36 | |
| | 20. Emocor 2:19 | |
| | 21. Citybike 1:19 | |
| | 22. Oslo 0:58 | |
| | 23. IJ 0:56 | |
| | 24. Rivo 2:09 | |
| | 25. Pomp 0:53 | |
| | 26. Blinky 1:19 | |
| | 27. Parallax 0:51 | |
| | 28. Koral 1:46 | |
| | 29. Kolor 1:07 | |
| | 30. Auto Matic 1:40 | |
| | 31. Dream Over 1:31 | |
| | 32. Pastell 1:35 | |
| | 33. Magnify 0:51 | |
| | 34. Drift 2:00 | |
| | 35. Allover 1:37 | |
| | 36. Derby 1:45 | |
| | 37. Flax 1:26 | |
| | 38. Bergen Best 1:52 | |
| | 39. Matinee 1:46 | |
| | 40. Kukicha 2:13 | |
| | 41. 6 AM 1:33 | |
| | 42. Flamingo 1:15 | |
| | 43. Rivo II 1:02 | |
| | 44. Goodbye 1:31 | |
| | 45. Fontan 1:32 | |
| | 46. Co-Echo 0:39 | |
| | 47. Stop Motion II 1:23 | |
| | 48. Vitesse 1:24 | |
| | 49. September 0:51 | |
| | 50. Voila 1:26 | |
| | 51. Vegas Top 1:24 | |
| | 52. Expo 1:08 | |
| | 53. Lonely 0:36 | |
| | 54. Java 2:19 | |
| | 55. Klack 0:36 | |
| | 56. Project Evergreen 1:09 | |
| | 57. Rainyday 0:47 | |
| | 58. Big City Nights 0:49 | |
| | 59. Rosammie 1:07 | |
| | 60. Gallo 1:12 | |
| | 61. May Tea 1:02 | |
| | 62. Chronograph 0:39 | |
| | 63. Jank 1:02 | |
| | 64. Breezy 1:35 | |
| | 65. Press 0:40 | |
| | 66. Form Faktor 1:09 | |
| | 67. Terminal 1:06 | |
| | 68. Karo 1:11 | |
| | 69. Swiss Summer 1:14 | |
| | 70. Happyend 1:22 | |
| | ----- | |
| | 116:35 | |
| | | |
ª _ Total: 01:56:35 _ ª
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