Arovane

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Review: Ve Palor by Arovane

It’s been nearly a decade since Uwe Zahn’s last record. In a field that demands constant innovation, that’s a timespan of geological proportions. Most electronic artists would feel compelled to reinvent themselves to conform with current trends, but Zahn hasn’t.

And there’s absolutely nothing wrong with that. When you’re this good, you don’t have to settle for being a revolutionary.

Zahn has an odd but satisfying way of playing fragmentary melodies and rhythms against each other, but he never sinks to the rigors of the avant garde. His arrangements are marked by an ear for craftsmanship, and even the most unexpected elements come together in a satisfying way.

The sound design rivals Robert Henke in its attention to detail. The title track and “Gniddt” stand out particularly well in this regard. I’m tempted to say “C ll lt” recalls Lusine, but it’s really the other way around.

If I have one complaint, it’s that the sequencing is a bit haphazard, making this feel like a collection of singles rather than a unified album. 

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Lilies by Arovane

Uwe Zahn likes to take his time between records. It’s been five years since the release of his debut Atol Scrap, and two since its masterful followup Tides. Atol Scrap wasn’t the best or most distinctive record of its time, but it was pleasant enough, and although it was a bit lacking in character, the underlying craftsmanship of the arrangements was commendable. In the end, though, it was just another airless IDM record with angular structures. This isn’t to say it’s not worth a listen; it’s just that it didn’t have much to distinguish it from the rest of the pack.

For his second album, Zahn paired with Christian Kleine for Tides, which was something of a revelation. Kleine supplied several guitar figures, which Zahn arranged into a haunting and programmatic meditation on the French seashore. Tides was by turns beautiful and dramatic, all the while managing to neatly sidestep the New Age pitfalls of such a project.

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