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Arovane, "Lilies"
City Centre Offices
Even if this had been released four years ago (when Uwe Zahn was on topof his game) I would not be impressed. From his earliest releases onthe Din label, Uwe Zahn created a kind of electronic music that rivaledthe beauty and multiplicity of other well-known composers of the time.His formula has been and still is simple: write great melodies, addgreat harmonies, and layer them over manifold rhythms crafted out ofcrystal, glass, and metal timbres. Whereas this formula served as thebasis for the excellent Atol Scrap and Tides before, it has somehow degraded into the elementary and overly-naïve Lilies,now. There are wonderous moments to be found in the melodies still andthe rhythms retain their deceptively simple groove, but for some reasonthey don't mesh as well as they have in the past. It's as thoughArovane has become too simple, too brief, and suddenly concerned withthe mortal. Past endeavours were not only beautiful, but they soundedtimeless; it was as though time were standing still for Arovane and hismusic. The opening "Ten Hours" negates that magical power somehow andeach of the songs following it only put Lilies in a furtherdefinite place and time. On the plus side, Zahn still sounds more incontrol of his work than any of his contemporaries do. Whether or not Ilike it, Lilies sounds like a concentrated effort, fully shapedby its creator. "Instant Gods Out of the Box" is an excellent exampleof how electronic music can still look to its roots without beingfrozen in them and without diving into the realm of pureacademic vomit. "Pink Lilies" features gorgeous vocals over a rollingand dynamic interplay between bass, percussion, and keyboard melody.It's a prime example of how to mix traditional vocals with thesynthetic sound of computer composition. Zahn's sound hasn't changeddrastically in the last few years, but his writing has slippednoticably away from the confrontational or exuberant. Maybe this isbecause it all sounds a bit derivative or maybe it's just because Lilies sounds like such an innocent and childlike record. Where Atol Scrap blew me away with its effort to escape into the stratosphere, Liliessounds disappointingly terrestrial. The closing "Good Bye Forever" onlyreminds me of my mortal body, my absurd tasks, and my inability to betruly timeless. This isn't a terrible record, but I don't find myselfreaching for it like I have for past Arovane albums. That isn't too saythat Arovane is behind his contemporaries, either: I'm still more fondof and taken by his work than I am by certain "grade-Ae" manipulators who have found it necessary to make records for engineers and professors instead of music-lovers.-
Even if this had been released four years ago (when Uwe Zahn was on topof his game) I would not be impressed. From his earliest releases onthe Din label, Uwe Zahn created a kind of electronic music that rivaledthe beauty and multiplicity of other well-known composers of the time.His formula has been and still is simple: write great melodies, addgreat harmonies, and layer them over manifold rhythms crafted out ofcrystal, glass, and metal timbres. Whereas this formula served as thebasis for the excellent Atol Scrap and Tides before, it has somehow degraded into the elementary and overly-naïve Lilies,now. There are wonderous moments to be found in the melodies still andthe rhythms retain their deceptively simple groove, but for some reasonthey don't mesh as well as they have in the past. It's as thoughArovane has become too simple, too brief, and suddenly concerned withthe mortal. Past endeavours were not only beautiful, but they soundedtimeless; it was as though time were standing still for Arovane and hismusic. The opening "Ten Hours" negates that magical power somehow andeach of the songs following it only put Lilies in a furtherdefinite place and time. On the plus side, Zahn still sounds more incontrol of his work than any of his contemporaries do. Whether or not Ilike it, Lilies sounds like a concentrated effort, fully shapedby its creator. "Instant Gods Out of the Box" is an excellent exampleof how electronic music can still look to its roots without beingfrozen in them and without diving into the realm of pureacademic vomit. "Pink Lilies" features gorgeous vocals over a rollingand dynamic interplay between bass, percussion, and keyboard melody.It's a prime example of how to mix traditional vocals with thesynthetic sound of computer composition. Zahn's sound hasn't changeddrastically in the last few years, but his writing has slippednoticably away from the confrontational or exuberant. Maybe this isbecause it all sounds a bit derivative or maybe it's just because Lilies sounds like such an innocent and childlike record. Where Atol Scrap blew me away with its effort to escape into the stratosphere, Liliessounds disappointingly terrestrial. The closing "Good Bye Forever" onlyreminds me of my mortal body, my absurd tasks, and my inability to betruly timeless. This isn't a terrible record, but I don't find myselfreaching for it like I have for past Arovane albums. That isn't too saythat Arovane is behind his contemporaries, either: I'm still more fondof and taken by his work than I am by certain "grade-Ae" manipulators who have found it necessary to make records for engineers and professors instead of music-lovers.- samples:
