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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Oval - O
Markus Popp
Original: Oval - O - cover pink 09-2010.jpg | 1645 * 1512px | 218.4 KB
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Original: Oval - O CD1 - 01 - Panorama.mp3 | None | 4.6 MB
Original: Oval - O CD1 - 02 - Ah!.mp3 | None | 6.2 MB
Original: Oval - O CD1 - 04 - Glossy.mp3 | None | 4.3 MB
Original: Oval - O - Ah! music video promo still 1.jpg | 5223 * 4224px | 2.3 MB
Original: Oval - O - Ah! music video promo still 2.jpg | 5087 * 4328px | 2.1 MB
Years in the making, _Oval-O_—a 2CD album with a total of 101 tracks, all bonus tracks included—is not a mere _Oval v1.5_, an iteration of old achievements, but a complete reboot in every imaginable way. And yet _Oval-O_ manages to establish a unique, instantly recognizable “Oval signature sound” all over again. _Oval-O_ is musical enough to lock the listener into an intense staring contest and “meta” enough to keep people guessing: are we hearing Markus Popp, software at work—or even hired musicians?
_Oval-O_—an entirely novel approach to playing technique, DSP wizardry (there is none!) and production. Most importantly however, _Oval-O_ represents a decisive shift in perspective: by perfecting a unique mix of virtual and real instruments being played, triggered and painstakingly recorded, _Oval-O_ establishes a convincing acoustic illusion, a _trompe l’œil_ of sorts, rendering old distinctions like “programmed vs. played” or “acoustic vs. electronic” pretty much obsolete. _Oval-O_ is Popp’s first, tentative answer to the challenges of this new “hyper-real era” of music production, where the software emulation of the physical instrument far surpasses the physical counterpart it was modeled on in terms of sonic spectrum, versatility and control options.
Links: http://www.thrilljockey.com/artists/?id=10035
_Oval-O_—an entirely novel approach to playing technique, DSP wizardry (there is none!) and production. Most importantly however, _Oval-O_ represents a decisive shift in perspective: by perfecting a unique mix of virtual and real instruments being played, triggered and painstakingly recorded, _Oval-O_ establishes a convincing acoustic illusion, a _trompe l’œil_ of sorts, rendering old distinctions like “programmed vs. played” or “acoustic vs. electronic” pretty much obsolete. _Oval-O_ is Popp’s first, tentative answer to the challenges of this new “hyper-real era” of music production, where the software emulation of the physical instrument far surpasses the physical counterpart it was modeled on in terms of sonic spectrum, versatility and control options.
Links: http://www.thrilljockey.com/artists/?id=10035
Written and produced by Markus Popp 2010
Cover Design: Frieda Luczak
Label: Thrill Jockey Records (Thrill244)
http://www.thrilljockey.com/artists/?id=10035
Cover Design: Frieda Luczak
Label: Thrill Jockey Records (Thrill244)
http://www.thrilljockey.com/artists/?id=10035
Markus Popp (DE). Ever since his first groundbreaking album releases, Markus Popp aka “Oval” continues to be one of _the_O prolific and influential forces in contemporary electronic music and a true visionary of digital audio. Popp’s now legendary early album releases sent shockwaves though the electronic music landscape and laid the foundations for an entire new class of digital sound and production aesthetics. With an undeniable instinct for the pleasantly irritating, the drastic and the dreamy—Popp pioneered “glitch” and “clicks & cuts”—but continues to inspire and provoke a new generation of musicians to this day. Popp has constantly refined his signature style and instantly recognizable aesthetics in several musical collaborations, most notably with the long-running Microstoria projects (duo with Mouse On Mars’ Jan St. Werner) and SO (with Japanese songwriter extraordinaire Eriko Toyoda). Popp has also worked for/with: Björk, Ryuichi Sakamoto, Tortoise, Mouse on Mars, Squarepuscher, Pizzicato 5, Gastr del Sol etc.