No disrespect to The Liminal, obviously, but to these ears the most compelling recent sliver of Fennesz isn't his recent hymn to the must-read site but rather today's track of the day - his hissingly vaporous, faintly mournful follow blind piece for the recent Morning Line 'pavilion' in Vienna.
(It's one of several lovely responses to the installation: hear Terre Thaemlitz & Carsten Nicolai's contrastingly maximal & minimal contributions below too. A further six in the full set, & more - including Lee Ranaldo, Chris Watson, Mark Fell & CM von Hauswolff - from earlier installations (Seville curated by Florian Hecker, Istanbul by Russell Haswell...)
Blurb ("topographic spatializations"!): "follow blind builds on a sonic world of highly processed guitar sounds and drones, a sort of signature sound Fennesz has persistently developed and honed over the past decades. Its condensations, accelerations, and topographic spatializations also form the basis for the composition for The Morning Line. Layers and parallel trajectories of superimposed guitar drones with various frequencies are combined to form an overtone melody or seem to blend into each other in their overtone ranges. Yet that melody changes constantly as the visitor moves through the installation, and so a sort of meta-music emerges that is perceived in forever new ways relative to one’s position in The Morning Line. The sounds slowly roam the structure of the pavilion; the pace of the changes is experienced as depending on whether the perceiving body is in motion or takes up a static position. The dimensions ofThe Morning Line and the large number of speakers allow the sounds to form epic surfaces."
Since the Fennesz clip is somewhat unsatisfying (much too short & watch out for the brutal chopping-off at the end), you too may be sad enough to download it here for looping...
Hear the new-ish Seven Stars (Spotify) & blurb/buy it (Touch).
1 comment:
Terre's piece on this page was only for the vinyl audio release. Her actual installation soundtrack was more like a re-working of "Means from an End" (the high-pitched track).
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