At this point, I consider myself quite well accustomed to Markus Popp's penchant for bold stylistic reinventions, yet this latest album managed to completely blindside me nevertheless. To be fair, however, Ovidono is not quite a pure Oval album, as Popp is joined by return collaborator Eriko Toyoda and artist/actress Vlatka Alec. The latter, in fact, is responsible for the album's concept: transforming the poetry of Ovid and Ono No Komachi into sound art that evokes "the tactile, immersive quality and intimacy of ASMR." The trio definitely succeeded in that regard, as Ovidono is probably the finest ASMR-inspired album that I have yet heard, but it is also a bit more ambitious than just a hallucinatory swirl of hushed and sibilant voices. Obviously, that would have been just fine by me too, as Popp is an absolute wizard at chopping and reassembling sounds. However, Ovidono is also quite compelling compositionally, as Alec and Toyoda's voices are backed by music that lies somewhere between noirish torch song, deconstructed piano jazz, and the uneasy dissonances of Morton Feldman.
The opening "Dormant" does a fine job of setting a suitably bleary, haunted, and hallucinatory mood, as tumbling minor key piano melodies cast a spell of unease beneath a flickering swirl of ghostly whispers. The music reminds me a bit of some of the prepared piano pieces from Aphex Twin's Drukqs, but a more fluid and melodically sophisticated version. If Ovidono was simply nine subtly nightmarish piano miniatures in the same vein, it would probably be a legitimately excellent album, but "Dormant" feels like a goddamn masterpiece with the added layers of Alec and Toyoda's seductively hissing, popping, and clicking voices panning around my head. Wisely, Popp does not make any drastic changes to that winning formula for the other pieces, but he does vary the tone enough to give each piece its own distinct character. For example, the second piece ("Lost in Thought") features ghostly flutes and vocals of a more stammering and fluttering nature that seem to dissolve into a rain of clicks and pops. "As I Do" is a bit more of a departure, however, as it initially feels like I am trapped inside a haunted music box with a conspiratorial Japanese ghostess. As it progresses, however, it becomes increasingly spacy and blossoms into an immersively chiming and quivering fantasia of harp-like sweeps and Gilli Smyth-style space whispers. Yet another highlight is "Feeling," which evokes a melancholy pianist sadly twinkling his way across the keys in a nearly empty, neon-lit bar (a scene nicely enhanced by the hushed and flickering voices burrowing psychotropically into my subconscious). The closing "Over" is another personal favorite, as Popp's piano takes a brighter tone that is further warmed by shimmering and droning strings. It has a simple straightforward beauty that I do not normally associate with Popp's work, but I quite like it and the sibilant swirl of sensuous voices around it makes for good company. The remaining pieces are all similarly strong and offer their own twists, so I expect some of them will someday become favorites as well. Then again, I cannot foresee myself ever having much urge to single out an individual piece, as this entire goddamn album is brilliant.
Samples can be found here.