{"id":7060,"date":"2014-03-13T10:14:42","date_gmt":"2014-03-13T09:14:42","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=7060"},"modified":"2017-01-02T20:04:52","modified_gmt":"2017-01-02T19:04:52","slug":"ab-ovo-reviewed-by-headphone-commute","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=7060","title":{"rendered":"\u00e2\u20ac\u0153Ab OVO\u00e2\u20ac\u009d reviewed by Headphone Commute"},"content":{"rendered":"

\"Ab<\/a>
\nBesides a handful of abstract and experimental musicians, Portugal based Cr\u00c3\u00b3nica media label is a home to its founders and one of the most interesting acts, @c (pronounced \u00e2\u20ac\u0153at-c\u00e2\u20ac\u009d). Originally a trio, @c formed in 2000, and is currently made up of Miguel Carvalhais and Pedro Tudela. Their fourteenth (by my count) release is actually a soundtrack to a play, titled OVO, developed by the Teatro de Marionetas do Porto (a string puppet theater) in late 2011. I find it difficult to actually imagine the visual component of this performance, since the six pieces on the album, consecutively titled \u00e2\u20ac\u015398\u00e2\u20ac\u00b3 through \u00e2\u20ac\u0153103\u00e2\u20ac\u00b3 feature some of the most abstract and complex compositions I have heard to date. Although the music is incredibly theoretical, it is not nevertheless that hard to digest. There are components of noise, elaborate digital manipulation, and multiple conceptual layers that at first seem to be nearly chaotic, yet the mind stays interested and focused, determined to solve the puzzle presented by @c within. The sound twists, warps, and contorts, creating a tangle of obscure themes, as if the puppets themselves are perplexed at the mangled strings attached at their members. Indeed, the published score is not a direct copy of the aural component of play, but rather a reworked portion of the soundtrack, tailored to be detached from the original context. HC<\/em><\/p>\n

via Headphone Commute<\/a><\/p>\n