Czarat – Spring Theory (2014)
The names of the songs on the release hint at this culture clash. Opener “Czarat” is a fusion of the Russian word “Czar” and the ancient Persian god “Zarathustra.” Rostami refers to this as a “cultural mishmash” and ultimately the names are a nonsense words, creating something new from familiar ideas. The song stands as a reference to the melting pot of disparate sounds within: Motorik Krautrock and North African rhythmic pulsations, Arab synth solos, Chicago acid lines, and Japanese riffing results in an overarching East meets West sensibility, gelling together to create something novel from a chaotic, contemporary trans-cultural communication. And while seemingly heady in its references, hidden beneath its surface is a banging house music core that positions the track well for those moments when the spotlights cut out and the strobes kick in.
Or, for less intense moments, LA’s Secret Circuit takes Rostami’s original and re-interprets it as sunny Balearica, with warm acoustic guitars and delay washes that make for a round, mellow feeling that keeps the energy laidback, sleek, and sexy — like a tripped-out renegade party on some forgotten beach along California’s Pacific Coast Highway.
Finally, “Vietnamoses” rounds things out. A completely different direction, it reveals aspects of Rostami’s more experimental side, with a downtempo feeling inspired by (but, we stress, not evocative of) dub-techno juxtaposed with less overt influences from music around the world with it’s twangs and drones. Space is the key here — his whipping drum patterns lull a hypnotic trance beneath massive walls of metallic echo and delay and a heightened focus on transition (one of Rostami’s favorite themes) allows the song to grow in unexpected ways.
Purchase Digital BandCamp
Purchase Vinyl Red Eye Records (UK)
Free Style Online (JP)
REVIEWS of CZARAT
DECADES/PETER – Crash Symbols (2013)
Decades/Peter collects two related sets of recordings, two dynamic concepts that play off of one another, though Rostami’s work is normally highly narrative based thanks to his cinematic and literary influences. Peter is an aural distallation of his relationship with a former collaborator, written in his memory, and meant to encompass both his and the composer’s identity, as well as their intersection. Peter represents a more open ended collection of songs, particularly tinted by Rostami’s childhood love of video games. Decades was made as its deliberate antithesis. According to him, whereas Peter ‘croons with vocals and strings,’ Decades ‘grinds and falls apart in lush ambiance and static,’ though the thread of Rostami’s identity runs throughout. Together, they serve as a compelling introduction to the producer’s burgeoning body of work and conceptual repertoire.
REVIEWS of DECADES/PETER
http://soundcloud.com/ariarostami/sets/peter/ (FREE DOWNLOAD)
“Peter” was written and recorded in memory of my best friend, Shawn. He was the other half of the music project, feie. We had a very abnormal relationship, probably in the same way that most best friends do. “Peter” is my way of trying to explain that relationship. The album is also influenced by videogames I played in my childhood. I hoped to combine a few distinct ideas and feelings I’ve had throughout my life and simplify them into one coherent sound. It is free for download (check above for link.)
REVIEWS of PETER
Reissued on Audiobulb in 2013
Uniform is a “remix album” and a follow up to my debut album Form. Form was about the deconstruction of sound while Uniform is about the reconstruction of it. Although the album contains only three proper remixes, the five new original tracks were guided by the spirit of a remix album. The songs were put together mostly by constructing field recordings, randomly recorded piano parts, and so on to create source material and then combined afterword to create songs. The new tracks were created to have some parallelism with the remixes. Uniform discovers the differences within similarities. Uniformity is nothing more than an idea; a force that turns and breaks from human lens to human lens.
REVIEWS of UNIFORM
Reissued on Audiobulb in 2013
Form was recorded in the Winter of 2010/2011 and marks that very specific time in my life. I started recording Form after my project, feie, went on hiatus and for all I know may never exist again. This work reflects my understanding and appreciation for all things coming to an end. The album starts off kicking and screaming and slowly unwinds from then on. Sounds burst out like living organisms, somewhat imperfect and random and then fall apart by refolding into themselves. It carries a bittersweet sentiment, a dying organism so to speak. It is a desperate attempt to latch onto form, but losing it all to the elements. The sound is unstable and fragile. The low ends hold power over everything. It is a battle between what an individual pursues and the overwhelming power of nature. The last song on the album is infinitely loop-able; an old memory as it plays forever.
REVIEWS of FORM