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Never mind, I just wish this sort of redundant behaviour wasnt used to advertise to what marvellous and subtle heights human expression can rise.There was prior to that a deluxe edition of 1000 copies in landscape art format, which sold out immediately.The audio remains the same, the imagery uses the location shots from the deluxe edition.
Fennesz has also made various contributions to compilation CDs, including the awesome Surf on DECAY (Ash International 3.9) and is a member of MIMEO, fixed line up orchestra alongside Keith Rowe, Kaffe Matthews, Jerome Noetinger, Phil Durrant, Peter Rehberg, Thomas Lehn, Rafael Toral, Gert Jan Prins, Cor Fuhler, Markus Wettstein, and Markus Schmickler. ![]() Of course, with any success comes re-issues of prior work, but in Fenneszs case its a worthwhile venture even though many of us bearded folk will have shelf or hard drive space filled with these tracks already. Those expecting the harmonic, tear-jerking near-pop of his more recent work though might be surprised to find a barrage of crushing electronic noise, but underneath the snap, crackle and pop of a faulty firewire cable is something altogether more arresting. The songs are disguised carefully, and over repeat listens gradually reveal themselves, showing slowly their distinct melodic characteristics. Released back in 1999, Ive had a while to digest Plus Forty Seven Degrees 56 37 Minus Sixteen Degrees 5108, and to strip back the Pita-patented crumbles to open up that lilting heart. Deep down there is a record of almost shoegazing proportions, something which surely influenced the newer wave of noisy ambient producers such as Tim Hecker and Aidan Baker but one which has the mathematical chops of anything Raster Noton might eulogise over. With this record Fennesz created a milestone in electronic noise music, and an album that has possibly even more relevance now, almost ten years on, than it did on its original release. JT. Since the runaway success of his Endless Summer album he has gone from strength to strength with a following that defies the musical field in which he operates. Hell, as if producing for David Sylvian wasnt odd enough he even ended up on the last Sparklehorse album. This rather lengthily titled album came out back in 1999 when he was merely a name on the lips of Wire reviewers and antisocial crate fondlers, but was a startling sign that something truly amazing was happening over in Vienna (besides great baking). Using a laptop and a guitar Fennesz conjured up cracking distorted passages of sound, somewhere in between the ear-piercing noise of the Mego label (who Fennesz also managed to notch up releases on) and the glorious harmonic drones more readily associated with Touch. However this was not only electronic music, what Fennesz had done was blend these sounds with the distorted guitar rock he had grown up on and chanced upon a sound that owed as much to My Bloody Valentine as to Hecker. Plus Forty Seven Degrees 56 37 Minus Sixteen Degrees 5108 might not have the instant appeal of Venice for instance, but give it time and it reveals great and beautiful depths this is an album that once it hooks you in rarely gives you the chance to wrestle yourself free. Any resemblence to the source material is obliterated, yet each sound somehow retains some vague, inherent qualities Beautifully designed with photography by Jon Wozencroft. JZ. Through layering, shaping and distorting sounds fennesz has created an intensely varied, often disjointed slice of outre electronica that encompasses mesmeric textures, harsh frequencies and churning sheets of noise. Recommended listening for anyone with an interest in the sonic manipulations of Oval, Pan Sonic or the Mego label, who released fenneszs Hotel Paral.lel debut. Andrew Carden. He won a prize at Ars Electronica in Linz, Austria this year, which I discovered in the press release, he promptly broke in protest of the festival organisers bias towards sponsor politics. Still this sort of petulant behaviour has to happen at least once during the lifetime of any festival, I suppose. Personally I think that if hed slowly squatted down on it until it completely disappeared, he and it would have made a more lasting impression. I mean, even Marlon Brando can bite the face off an Oscar, for Gods sake.
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