Oavette: Oavette LP

The fusion of acoustic instrumentation and electronic-influenced composition has a modest but persistent foothold in jazz. Listeners might reference examples like Vijay Iyer Trio's "Hood" from Break Stuff, Nik Bärtsch's Ronin, or perhaps most notably, Dysnomia by Dawn of Midi. Despite the emotional gulf between Dysnomia and, say, Keith Jarrett Trio's Standards in Norway, both albums share a traditional piano trio format and are likely categorized under jazz. Where Jarrett's work is expressive and melodic, Dawn of Midi constructed a soundscape of mechanical precision—repetitive, mathematical, nearly devoid of overt sentiment. Yet acoustic instrumentation gives the album a tactile presence: the sound remains grounded in physical performance, offering a hypnotic, almost meditative experience through its rhythmic intensity.

Enter Nagoya, Japan's Oavette, who build compellingly on the notion of acoustic-electronic cross-pollination. With a lineup of two electric guitars, electric bass, and drums, the group—Yuto Tamei (guitar), Genki Nishikawa (guitar), Takuma Mori (bass), and Hayato Ota (drums)—belong to Toyama's Tokei Records, an indie label with a roster of guitar-based rock outfits. Despite this affiliation, Oavette's meticulous interplay and intricate rhythmic layering might better situate the band in a realm of experimental jazz minimalism. Their debut, Oavette LP, unfolds as a patient, polyrhythmic suite, informed as much by Steve Reich as by post-rock, and executed with a clarity that feels architectural in design.

Tracks with cryptic titles such as "Anig," "Javv," and "Quet" forgo traditional melodic structure in favor of evolving textures and cyclical rhythmic patterns. The album functions best as a continuous whole: transitions are subtle but deliberate, and the ensemble performs with an airtight cohesion, responding to shifts in pulse and dynamics like a single consciousness.

Oavette's sound may evoke the precision of a Swiss timepiece, but the music itself proves dynamic. Hear the conclusion of 'Zf,' in which a cascade of pinprick guitars on a sea of ambiance shifts, without missing a beat, to the clean, polyrhythmic sound of 'Neus.' Or the breathtaking pitter-patter of rim clicks from drummer Hayato Ota halfway through 'Greeting.' These moments elevate Oavette LP beyond stylistic homage, revealing a band that approaches rhythmic complexity not merely as a technical exercise, but as a vehicle for emotional subtlety.

Whether Oavette LP qualifies strictly as jazz remains debatable, but the question feels irrelevant in the face of Oavette's awe-inspiring synergy. Their debut carves out thrilling new territory in instrumental music, finding a delicate balance between acoustic warmth and electronic pulse.

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