AROVANE
Lilies (2023 Remaster)
Boomkat Product Review:
Uwe Zahn's follow-up to 2000's 'Tides' recalls a trip to Japan, coaxing boundless warmth from mangled drum breaks and his characteristic synth sequences.
Released in 2004, 'Lilies' was at the time expected to be a swan song for Zahn - the closing track is called 'Good Bye Forever" after all. And while the German producer would return again in 2013 after almost a decade of inactivity, an air of solemn finality still haunts the album. Keplar's reissue finishes their Arovane reissue campaign and draws a neat line beneath the producer's pre-retirement era. By this time, his interest in crunchy "Tri Repetae"-inspired beats and gaseous dub textures had diminished completely, but the whimsical mood that permeated his productions since 1998's "i.o." was still very much present. Just check 'Passage To Nagoya' - on the surface the washy, chopped breaks, Japanese announcements and granulated pads sound a million miles from Zahn's earliest material, but as soon as the soft, criss-crossing lead synths emerge we're transported back into a thematic universe that's impossible to hear any other way. 'Cry Osaka Cry' is even more affecting, bringing the harpsichord clangs Zahn centered on "Tides" back to the table and flattering them with Boards of Canada-inspired scrapes and saturated minor stabs.
The accompanying press release claims the album might work as an alternative soundtrack to "Lost in Translation" and that's not far off the mark. Certainly the album's centerpiece 'Pink Lillies' with its nonchalant vocal from kazumi sounds as if it's trapped between two worlds, and the solemn, beatless finale remains one of Zahn's most cinematic moments - we're honestly surprised it was never snapped up by some eager eared music supervisor. As Zahn reflects on aging and his crumbling relationship with Berlin, he infuses his compositions with a sense of loss, movement and longing that's more present than on any of his other albums. It might be the most tender release of his canon.
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Boomkat Product Review:
Uwe Zahn's follow-up to 2000's 'Tides' recalls a trip to Japan, coaxing boundless warmth from mangled drum breaks and his characteristic synth sequences.
Released in 2004, 'Lilies' was at the time expected to be a swan song for Zahn - the closing track is called 'Good Bye Forever" after all. And while the German producer would return again in 2013 after almost a decade of inactivity, an air of solemn finality still haunts the album. Keplar's reissue finishes their Arovane reissue campaign and draws a neat line beneath the producer's pre-retirement era. By this time, his interest in crunchy "Tri Repetae"-inspired beats and gaseous dub textures had diminished completely, but the whimsical mood that permeated his productions since 1998's "i.o." was still very much present. Just check 'Passage To Nagoya' - on the surface the washy, chopped breaks, Japanese announcements and granulated pads sound a million miles from Zahn's earliest material, but as soon as the soft, criss-crossing lead synths emerge we're transported back into a thematic universe that's impossible to hear any other way. 'Cry Osaka Cry' is even more affecting, bringing the harpsichord clangs Zahn centered on "Tides" back to the table and flattering them with Boards of Canada-inspired scrapes and saturated minor stabs.
The accompanying press release claims the album might work as an alternative soundtrack to "Lost in Translation" and that's not far off the mark. Certainly the album's centerpiece 'Pink Lillies' with its nonchalant vocal from kazumi sounds as if it's trapped between two worlds, and the solemn, beatless finale remains one of Zahn's most cinematic moments - we're honestly surprised it was never snapped up by some eager eared music supervisor. As Zahn reflects on aging and his crumbling relationship with Berlin, he infuses his compositions with a sense of loss, movement and longing that's more present than on any of his other albums. It might be the most tender release of his canon.
Boomkat Product Review:
Uwe Zahn's follow-up to 2000's 'Tides' recalls a trip to Japan, coaxing boundless warmth from mangled drum breaks and his characteristic synth sequences.
Released in 2004, 'Lilies' was at the time expected to be a swan song for Zahn - the closing track is called 'Good Bye Forever" after all. And while the German producer would return again in 2013 after almost a decade of inactivity, an air of solemn finality still haunts the album. Keplar's reissue finishes their Arovane reissue campaign and draws a neat line beneath the producer's pre-retirement era. By this time, his interest in crunchy "Tri Repetae"-inspired beats and gaseous dub textures had diminished completely, but the whimsical mood that permeated his productions since 1998's "i.o." was still very much present. Just check 'Passage To Nagoya' - on the surface the washy, chopped breaks, Japanese announcements and granulated pads sound a million miles from Zahn's earliest material, but as soon as the soft, criss-crossing lead synths emerge we're transported back into a thematic universe that's impossible to hear any other way. 'Cry Osaka Cry' is even more affecting, bringing the harpsichord clangs Zahn centered on "Tides" back to the table and flattering them with Boards of Canada-inspired scrapes and saturated minor stabs.
The accompanying press release claims the album might work as an alternative soundtrack to "Lost in Translation" and that's not far off the mark. Certainly the album's centerpiece 'Pink Lillies' with its nonchalant vocal from kazumi sounds as if it's trapped between two worlds, and the solemn, beatless finale remains one of Zahn's most cinematic moments - we're honestly surprised it was never snapped up by some eager eared music supervisor. As Zahn reflects on aging and his crumbling relationship with Berlin, he infuses his compositions with a sense of loss, movement and longing that's more present than on any of his other albums. It might be the most tender release of his canon.
Boomkat Product Review:
Uwe Zahn's follow-up to 2000's 'Tides' recalls a trip to Japan, coaxing boundless warmth from mangled drum breaks and his characteristic synth sequences.
Released in 2004, 'Lilies' was at the time expected to be a swan song for Zahn - the closing track is called 'Good Bye Forever" after all. And while the German producer would return again in 2013 after almost a decade of inactivity, an air of solemn finality still haunts the album. Keplar's reissue finishes their Arovane reissue campaign and draws a neat line beneath the producer's pre-retirement era. By this time, his interest in crunchy "Tri Repetae"-inspired beats and gaseous dub textures had diminished completely, but the whimsical mood that permeated his productions since 1998's "i.o." was still very much present. Just check 'Passage To Nagoya' - on the surface the washy, chopped breaks, Japanese announcements and granulated pads sound a million miles from Zahn's earliest material, but as soon as the soft, criss-crossing lead synths emerge we're transported back into a thematic universe that's impossible to hear any other way. 'Cry Osaka Cry' is even more affecting, bringing the harpsichord clangs Zahn centered on "Tides" back to the table and flattering them with Boards of Canada-inspired scrapes and saturated minor stabs.
The accompanying press release claims the album might work as an alternative soundtrack to "Lost in Translation" and that's not far off the mark. Certainly the album's centerpiece 'Pink Lillies' with its nonchalant vocal from kazumi sounds as if it's trapped between two worlds, and the solemn, beatless finale remains one of Zahn's most cinematic moments - we're honestly surprised it was never snapped up by some eager eared music supervisor. As Zahn reflects on aging and his crumbling relationship with Berlin, he infuses his compositions with a sense of loss, movement and longing that's more present than on any of his other albums. It might be the most tender release of his canon.
Black vinyl LP in die-cut sleeve with poly-lined inners. Edition of 500 copies.
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Boomkat Product Review:
Uwe Zahn's follow-up to 2000's 'Tides' recalls a trip to Japan, coaxing boundless warmth from mangled drum breaks and his characteristic synth sequences.
Released in 2004, 'Lilies' was at the time expected to be a swan song for Zahn - the closing track is called 'Good Bye Forever" after all. And while the German producer would return again in 2013 after almost a decade of inactivity, an air of solemn finality still haunts the album. Keplar's reissue finishes their Arovane reissue campaign and draws a neat line beneath the producer's pre-retirement era. By this time, his interest in crunchy "Tri Repetae"-inspired beats and gaseous dub textures had diminished completely, but the whimsical mood that permeated his productions since 1998's "i.o." was still very much present. Just check 'Passage To Nagoya' - on the surface the washy, chopped breaks, Japanese announcements and granulated pads sound a million miles from Zahn's earliest material, but as soon as the soft, criss-crossing lead synths emerge we're transported back into a thematic universe that's impossible to hear any other way. 'Cry Osaka Cry' is even more affecting, bringing the harpsichord clangs Zahn centered on "Tides" back to the table and flattering them with Boards of Canada-inspired scrapes and saturated minor stabs.
The accompanying press release claims the album might work as an alternative soundtrack to "Lost in Translation" and that's not far off the mark. Certainly the album's centerpiece 'Pink Lillies' with its nonchalant vocal from kazumi sounds as if it's trapped between two worlds, and the solemn, beatless finale remains one of Zahn's most cinematic moments - we're honestly surprised it was never snapped up by some eager eared music supervisor. As Zahn reflects on aging and his crumbling relationship with Berlin, he infuses his compositions with a sense of loss, movement and longing that's more present than on any of his other albums. It might be the most tender release of his canon.
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