Year 1996: the post-rock scene wasn’t an underground movement anymore, bands like Tortoise started to crossover whilst trying to maintain their underground credibility by commissioning remixes to producers like Oval. Year 2010: Oval, after an editorial silence -but not a live one, as Markus Popp has been performing all over the place– returns to the recording arena with some micro-electronica offerings resulting in the post-rock record “Oh”. Beefy drums and deep dub basslines, similar to Tortoise, with the use of glitch more as a rock based composition tool than as the backbone of liquid aesthetic, with more similarities to Jim O’Rourke’s music than the usual Oval productions. Let’s follow this: Oval was an influence on post-rock while recording for Mille Plateaux, defining the vanguard’s use of glitch. Even if we take as an example the jazz chords from “ oh!”, this Oval is closer to Isotope 217 than his own masterpiece “94 Diskont”. This is an advance of, “O”, a longer player by Markus Popp due in September, containing interesting details like the labyrinthine digiral integration of acoustic and organic sources. The crystal textures, broken strings and opaque percussion are reconfigured in structures that are close and far away of the traditional song mechanisms at the same time. Melodies that defy the Euclidian logic -but melodies after all- and a textured companion which place Oval on a close orbit with Radian, Kapital Band 1 and Denseland: that post-rock which he imagined is the post-rock that nowadays he is perfecting.