Verdict = A Fennesz without borders
Don’t worry; you aren’t going to get any water comparisons here. It’s been referenced to death already. Yes, the last three Fennesz album covers have had images of water; yep, the new one is called Black Sea. We get it. Anyway, it’s just nice to hear from Mr. Fennesz again. The last time the world received a full length album from (Christian) Fennesz was 2004’s Venice, so when I caught news of Black Sea a couple months back I was most definitely excited. A little too excited, maybe. Almost surreal excited. From my view, Venice and its predecessor, Endless Summer, were pretty much the catalysts for the musical landscape of present day glitch and electro-acoustic composition. In only a few years the influence of those albums has blossomed into a market overflowing with every conceivable form of electronically manipulated acoustics imaginable. At least, it gave a place for such albums to be recognized in the wake of Fennesz’s accomplishments. Now, Fennesz hasn’t been silent in these intermittent years. Collaborations with Sakamoto have certainly kept him busy. But, something about a solo release just reeks of expectation. Well, I don’t plan to drag this out forever. Consider all expectations met. Black Sea is glorious. Fennesz’s distinguishing digital touch is intact and as lush and compelling as ever. As far as composition is concerned, Fennesz has removed all the fences. Instead of the tightly controlled, buzzing masterpieces of the past, Black Sea contains expansive, free roaming bliss-scapes. Yes, some water comparisons would fit quite nicely, but promises are promises. Suffice it to say that if you liked the Fennesz of the past, you’ll love Black Sea. It isn’t a carbon copy, which is part of the reason it succeeds. Black Sea takes the touchstones of Fennesz and stretches them to glorious new ends. Hopefully it won’t take another four years for Fennesz to set his magic to tape; however, if it does, Black Sea will definitely stand to fill the space inbetween.
Fennessz web site