Arvio

Ovro returns after numerous live performances and some limited edition releases with her second album, which has been anticipated as a larger scale demonstration of how fast and how far this artist from Turku has developed after her limited debut.

Looking at the surface, you could consider Gegendurchgangenzeit to be completely ordinary dark ambient: the supporting element is the howl of chilling wind and humming, within which you can hear the echoes of bells ringing and surreally underwater sounds. Everything is subdued, but not of the ordinary "as if the music was playing beyond the horizon", instead it sounds like it was being played behind the wall. Surprisingly, this muffled effect creates amazingly concrete feeling to the music, which is intensified by the liveliness characteristic to Ovro. The liner notes of this album recommend trying to listen to it in different levels of volume. I have noticed the album to also be quite excellent when heard from the next room.

In my opinion, what determines whether this kind of music is good or not, is whether it feels alive or not - some albums simply seem to contain a soul and life, while others feel like insignificant dabbling, regardless of the structure being static or dynamic. Gegendurchgangenzeit is a rather minimalistic album, yet it is brimming with dynamics. Most of all, it feels like it downright breathes life of its own. It is also a very harmonious whole, so I can only recommend it.

John Björkman

Ovro - Gegendurchgangenzeit

Ovro palaa runsaiden livekeikkojen ja joiden pienjulkaisujen jälkeen toisella albumillaan, jota on odotettu laajempana osoituksena siitä kuinka nopeasti ja kuinka pitkälle turkulaisartisti on rajoittuneen esikoisensa jälkeen kehittynyt.	Artisti: Ovro Formaatti: CD Levy-yhtiö: Some Place Else Julkaisuvuosi: 2005 Kesto: 40 min. Kappaleita: 7
Pintapuolisesti Gegendurchgangenzeit:ia voisi pitää ihan tavallisena dark ambientina; kantavana elementtinä toimii hyytävän viiman ulina ja humina, jonka joukosta kaikuu mm. kellojen kolahtelua ja surrealistisesti vedenalaisia ääniä. Kaikkea vallitsee vaimeus, ei sellainen tavanomainen "kuin musiikki kuuluisi jostain kaukaa horisontista" vaan pikemminkin kuin se kuuluisi aivan seinän takaa. Tämä vaimeus luo ihme kyllä hämmästyttävän todellista tuntua musiikkiin, mitä Ovron ominainen eloisuus vielä tehostaa. Levyn päällä suositellaan kokeilemaan kuuntelua eri äänenvoimakkuuksilla, itse havaitsin levyn olevan myös aivan parhaimmillaan viereisestä huoneesta kuultuna. Se mikä loppujen lopuksi tällaisessa musiikissa mielestäni määrittää onko se hyvää vai ei on niinkin yksinkertaisen vaikea kysymys kuin tuntuuko se elävältä - jotkut levyt vain tuntuvat omaavan sielua ja elämää, toisten tuntuessa tyhjänpäiväisiltä väkerryksiltä, siitä riippumatta ovatko ne muodollisesti staattisia vai dynaamisia. Gegendurchgangenzeit on varsin minimalistinen levy, silti se tursuaa dynamiikkaa, mutta ennen kaikkea se tuntuu suorastaan henkivän omaa elämäänsä. Samalla se on teoksena erittäin eheä, joten en voi kuin suositella tätä. John Björkman

Takaisin - Kokoelmat - A - B - C - D - E - F - G - H - I - J - K - L - M - N - O - P - R - S - T - U - V - W - Demot

Ovro returns after numerous live performances and some limited edition releases with her second album, which has been anticipated as a larger scale demonstration of how fast and how far this artist from Turku has developed after her limited debut. Looking at the surface, you could consider Gegendurchgangenzeit to be completely ordinary dark ambient: the supporting element is the howl of chilling wind and humming, within which you can hear the echoes of bells ringing and surreally underwater sounds. Everything is subdued, but not of the ordinary "as if the music was playing beyond the horizon", instead it sounds like it was being played behind the wall. Surprisingly, this muffled effect creates amazingly concrete feeling to the music, which is intensified by the liveliness characteristic to Ovro. The liner notes of this album recommend trying to listen to it in different levels of volume. I have noticed the album to also be quite excellent when heard from the next room. In my opinion, what determines whether this kind of music is good or not, is whether it feels alive or not - some albums simply seem to contain a soul and life, while others feel like insignificant dabbling, regardless of the structure being static or dynamic. Gegendurchgangenzeit is a rather minimalistic album, yet it is brimming with dynamics. Most of all, it feels like it downright breathes life of its own. It is also a very harmonious whole, so I can only recommend it. John Björkman