Oddly enough, Erika’s vocals and guitar are actually kept in tact for long enough portions. Markus seems to have scaled back his digital chaos, instead using it more as a support to her songs than something to overwhelm. For tracks like “C” it sounds like Markus has overcome the criticism that he can only make sound, not songs. With a breezy guitar and gentle lyrics, it feels like it belongs to another artist. Erika did originally write the thing, so it is technically hers. However, the fact that Markus allowed it to speak for her for the most part is highly unusual for him.
“E” might be the closest we get to the Oval we know and love. This one too stays on the sidelines in terms of sheer volume, allowing fragments of quiet tones make their emotional imprint.
That’s probably the reason I like this album so much. Emotionally, it gives rather than taking like so much of Oval’s work after 94 Diskont did. Sure, this isn’t exactly pop music; there are too many strange arrangements of singing and CD noise to allow that. But it does attempt to bring Oval closer to humanity, to the concerns and thoughts of others. Plus, his defined approach to the source material is heartening. Perhaps he is human after all.