Over the last four years, Seattle synthesist Panabrite (aka Norm Chambers) has become one of America's most prolific and proficient creators of transcendent electronic music. Although under-appreciated in his own city, Chambers has been gaining fans and critical respect worldwide with a torrent of releases that evoke the prime work of ambient music's pioneers, the top tier of kosmische-musik makers, and the more mystical end of the new-age spectrum. He is a disciplined student of a wide range of cerebral genres, weaving elements from these styles into his own distinctive tapestries, balancing melodic playfulness with compositional rigor.
As noted, Chambers is an ardent explorer of great, underground music and it's demonstrated on Pavilion as "a love letter to some Italian albums from the classic '70s era of minimalism and prog," such as Lovisoni/Messina's Prati Bagnati Del Monte Analogo, Franco Battiato's Clic, Claudio Rocchi's Suoni Di Frontiera, and American-to-Rome transplant Alvin Curran's Canti E Vedute Del Giardino Magnetico. Chambers praises their "freewheeling studio experimentalism crossed with the most elegant, stunning (non)ambient music." He strove for a similar feeling in Pavilion by playing 90 percent of everything by hand and opting for minimal use of sequencers.
