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Ah yes, this is what we’ve been waiting for this summer. An unexpected visit by the two main rhetoric deconstructionists from the digital avantgarde scene. They’ve come to split the fifteenth 12” of the Fat Cat Split Series releases. What Austrian Christian Fennesz distinguishes from his contemporaries or let’s say the clicks & cut wankers, is that he in his sonic edge cuttings is not too abstract or being too smart. Instead he uses his skills for pure emotional content, especially on his breakthrough album Endless Summer. On this new release Fennesz again uses guitarmanipulation as a means to explore new possibilites. Besides being less atmospheric and maybe not really quite renewing, Fennesz is still pushing the envelop in fractured, shifting layers of sounds. On the first track Badminton Girl, there’s a constant swirl of short noises overlapping each other fast. In the following works there are duets between frequency-moods and crumbling traces of pop. 47 Blues, the closing track, sounds like an outtake from Endless Summer, but also like Brian Eno fooling around with (jazzguitarist) Wes Montgomery. Although there’s not much else to fuzz about, this 12” just confirms the strong reputation of Mr Fennesz as a protagonist of computerbased music. Despite his disapponting gig at the KRAAK-festival in Hasselt a few months ago, where he acted like a typical laptopfetishist making extremely predictable music, Robert Mansons contribution to this record as Main is actually, eh, fantastic. The former Loop guitarist creates sounds out of the good old rock guitar mixed with other sources. Needless to say it doesn’t quite sound like your average noiseband. Besides guitar Hampson uses bowed cymbals and prepared stringsounds treated and processed through powerbook software. In one long track called Rive, you’ll never know what to expect and what comes next. Good. Mainly what Hampson is trying to do in much of his work is to deconstruct the guitarsounds iconic status. With every new release his achievement is becoming better and better it seems. Each time stepping away further from familiar digital sounds and getting closer to an accessible variant on Stockhausen. Hampson understands not to use the loop-technique, the repetitive drones and pulses too much, but instead uses waves of unsettling moods and an almost physical subtlety to create fascinating music. And at the same time an ideal headphonetrip! Slightly, this guy’s work is moving more and more towards classical electronic music, which is a great compliment I think. So, if you are too lazy to check out the works of Stockhausen or Ligeti, Hampsons Rive will do just fine instead. It is on the one hand a modest but none the less much detailed and rich work, almost musiqe concrètesounding. And it’s also installationmusic for your own imaginary exhibition at the Stedelijk Museum.
http://www.kindamuzik.net/recensie/fennesz-main/split-12/1844/
Meer Fennesz / Main op KindaMuzik: http://www.kindamuzik.net/artiest/fennesz-main
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