Creatura, the new album by OvO, comes to life as a mutant entity after a long period of gestation. It is an album whose originality is monstrous and colossal, a natural evolution of which OvO expressed on Abisso (2013). They have explored the possibility of intersections between extreme rock and electronica, digging deep, and now they come out with this protean birth which renders them once again uncategorizable, on the outside of any scene or framework. Even the artwork reflects the path marked by the sound of the album, inspired by ancient and timeless symbols and iconography, by alchemical sigils of divination cards, yet with an original and identifying style. It all came from an idea from Stefania Pedretti, translated by the hands of Coito Negato, aka Stefano Matteoli, a Tuscan illustrator and frequent collaborator with Dio Drone. For the release, OvO bet on the recently established label, which best represents the new and contemporary way of making noise and the new way of "do it yourself". OvO find themselves at the beginning of their seventeenth year of activity with very clear ideas and a will to surf a fluid contemporary state, raising new complexities and refusing to conform. The only thing which remains undismayed is their live appearances; The band are on the brink of thousands of concerts all over the world. Creatura was recorded by Lorenzo Stecconi in a barn normally used by theater companies and mixed by the testosteronic hands of Giulio Favero and polished off with mastering by Giovanni Versari. In addition to vocals and guitar, Stefania Pedretti also captured some field recordings during OvO's tour in Vietnam. Bruno Dorella took on his usual role of playing his few pieces of drums, synth and drum machine programming and samples assembled by Dorella and Garaliya (or rather Morkobot), Riccardo Gamondi (Uochi Toki), Stefano Ghittoni (Dining Rooms), a034 and Reeks (Surgical Beat Bros, No Hay Banda Trio, Germanotta Youth). In composing the pieces, OvO used some of the methodologies of electronic music. In particular, all of the base tracks of percussion and samples were first played live and then resampled, choosing loops in such a way as to reproduce the mechanical aspect typical of electronica. On top of this, Stefania added her infernal world of guitar and voice, dividing both into many layers with diverse overdubs to create this monster.