Strange, delicate experimental songcraft from Porya Hatami and Arovane. Kaziwa features lots of stately piano, creeping around in an uncanny atmosphere of electronics. Everything feels an intimate ritual, observed from a distance.
Kaziwa is available in a regular Digipak CD edition or a fancy limited ‘art edition’ of only 75 copies which comes in the form of a set of five, corner hinged 6.5” square sheets of black fine art paper which have have been meticulously pastel buffed, punched, stamped, collaged, laser cut/burnt, and come with an attached vintage clock hand. Each set is backed with a used, antique shooting range target, and comes in a square, similarly modified translucent sleeve.
CD £44.99 TRS065
Limited art edition CD on Time Released Sound in bespoke handmade packaging. Edition of 75 copies.
LP £19.99 MD263
Limited edition, 180g gold with black haze vinyl LP on n5MD.
CD £13.99 TRS065
Limited digipak CD on Time Released Sound. Edition of 150 copies.
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- Kaziwa by Porya Hatami & Arovane
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The piano. Born two centuries ago in Italy, it has been stroked and bashed by just about everyone since. It can sound beautiful, harsh or indifferent. It has been modified, customised, emulated, modulated, deconstructed and reconstructed. Hell, we even have a Piano Day now, thanks to Frahm (but he doesn’t like to talk about it). Like that guy, Porya Hatami and Arovane (Uwe Zahn) let their fingers (and some keys and piano strings and electronics) do the talking.
Iranian-born Hatami has worked extensively with processed field recordings and electronics, and with the versatile acoustic quality of the black-and-white keys, which here they take all the focus. He and Zahn exchanged cerebral pieces and ideas. I’m just wondering what they talked about in their online exchanges. Did they ask each other what they’re having for tea? “I dunno if I’ll have time, Uwe… I’m making a rusty nail sound like a harp, I might just bob some chips in the oven.” Zahn responded by making hi-tech synths sound like vintage and modern pianos. Some of the sounds on the album are convincingly old and dusty.
Keys tinkle, harmonise and resonate within a restrained electro-acoustic framework. Glassy figures explore tangentially linear paths. Spectral shimmers are suspended above the bare bones of exploratory piano melodies. There’s just a hint of the ghost of Erik Satie in the brief moments between the notes and dust motes. ‘Kaziwa’ is Persian for dawn, and like that time of day this record frequently reaches heights of near-impossible prettiness.
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