Ovro – Revisited
05/01/2012 § Leave a comment
I’m not always passionate about albums which have to be rehashed and reformatted, but in the case of Ovro’s “Revisited” an overhaul was vital. A lot of the work on this disc can be found on the CDR “Estrainer”, such a limited release that it’s impossible to find a copy. The term “revisited” doesn’t just apply to some older material in an improved form though, but to a spacial and geographical return as well. Many of the tracks within this album contain field recordings from Ovro’s trip to St Petersburg, jimmied into her trademark style of glitch dark ambient. “Revisited” is an emotional journeying for the petite Fin, both as a reworking of her older music seen dragged into the daylight for a makeover, and an aural scrapbook of her Baltic expeditions.
I first came across Ovro’s work a few years ago through the Horizontal/Vertical EP released under Drone Records. Even though it was put out in the same year as “Revisited”, there is a stark difference in feel between the two releases. “Revisited” has much more centre, much more focus than the H/V EP, which in comparison comes across as an experimental dark ambient orphan, the runt of a drone litter thrown on the “by the same artist” pile and glossed with special packaging. “Revisited” is altogether a greater and more intriguing work. It shows Ovro as a thinking dark ambient artist, one who gives subtle clues to her real interests, real world identities and concerns, all expressed through the mirror of her select aural voice.
One has to be careful with field recordings. In my mind there’s always the question of whether one passively collects ambient sounds or goes looking for them, and the former seems far more genuine. It’s akin to the difference between writing music naturally or intentionally aping your favourite inspirations. Fortunately a lot of the sounds within “Revisited” are incidental rather than overblown, mixed well with the atmosphere and the dark ambient underlay. As usual, Ovro punctuates the music with her usual stuttering and glitching white noise, breaking up the ambience which can so easily wallow in self-stagnation.
The field recordings are the main attraction here, comprising anything from distorted vocal patterns to crowd buzz to snatches of street conversation, but with a professional aptitude Ovro is able to create something intriguing, unsettling and beautiful out of them. Strangely enough, even though the majority of the sounds were collected in Russia, this record has more of a Middle Eastern feel. There are no silken arabesque clichés here though. Even in the closing cadences of the wonderful “Ukok” we feel as if we are an unseen, unwelcome interloper in a private mosque, hazardously listening to something never intended for Western ears. These sounds were meant to pass without remark, but here they are, stolen from their ephemeral timelines and permanently pasted onto our subconscious.
“Revisited” is very much a work of personal intrigue but one which likes to retain anonymity and introspection. It’s more of a showcase than a journey; at no point do we feel as if we are following our mentor around as much as being sporadically map-pointed to various destinations. This unfortunately works to the album’s detriment since there seems to be little cohesion, little meshing of themes, everything is just dropped in and swirled around for effect. We’ll never totally understand the stories behind these sounds, but we can still relate to their emotional gravity. This, perhaps, is the most vital thing being communicated here – we don’t have to physically exist in a location to appreciate its effects. The power and weight of a single sense can be enough, and Ovro is highly capable of demonstrating how.