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Atol Scrap , 6/10
Tides , 6/10
Lilies (2004), 6/10

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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