Arovane is the project of Berlin's multi-instrumentalist Uwe Zahn.
Following the EPs Pole, Arovane and Icol Diston,
later collected on Icol Diston (Din, 2002),
that introduced his brand of dub-influenced dance music, the album
Atol Scrap (DIN, 1999), which compiled Arovane's singles,
offered a bold experiment on textures
(ethereal clicking textures that ebb and flow) and
indirectly coined the equivalent of ambient music for the "glitch" movement
by borrowing the best from
Autechre's glitch music and
Aphex Twin's ambient house.
Tracks:
Nonlin.r (1:31),
Tascel_7 (5:42),
Thaem Nue (7:29),
Ambelio (5:50),
Scapen te (6:16),
Norvum (7:44),
Revart Amx (5:02),
Failed (5:15),
Amine (5:28),
R/elet (6:41),
Atol Scrap (7:25).
Where Atol Scrap was a study in complexity,
Tides (City Centre Offices, 2000) is a study in simplicity.
Zahn deconstructs hip-hop grooves and rock guitars and mixes them with
the most baroque instrument of them all, the harpsichord,
and with natural sounds (water, crickets, seagulls, bells),
in order to achieve an elegant and somewhat spiritual
calm that is meant to reproduce the hypnotic motion of the sea.
Zahn is basically borrowing the idea from the
warm, melancholy, organic "tides" of Brian Eno's Music For Airports,
with a nod to Debussy-ian impressionism and to new-age relaxation, except
that he is a son of the hip-hop age.
Theme heralds the fusion of Bach and DJ Shadow that fully blossoms in the cyclical The Storm.
What is truly unique is the slick mixes of guitars that creates an effect
akin to a labyrinth of distorted mirrors, as in the downtempo Tides
or the ambient Seaside.
Strings, beatbox and crystal drones lull Deauville to a stately ending.
Arovane's short album
Lilies (City Centre Offices, 2004), inspired by a trip to Japan,
is enveloped in a nostalgic atmosphere that betrays Uwe Zahn's soul behind
the machines.
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