Fennesz
Mosaic
Boomkat Product Review:
Billed as Christian Fennesz's most reflective album, 'Mosaic' is a mature, concentrated set of textured guitar granulisations that plays like a sequel to 'Venice', with the Austrian artist's deconstructionist sense of pop melodicism underpinning even his most abstract experiments.
'Mosaic' got its title from Fennesz's labour intensive production approach, where he would build each element separately, slowly assembling a full, vivid soundscape piece-by-piece. It's the first he's written beginning to end without a break, working from 9 to 5 each day in his Vienna studio, and although he started without a set concept, there's a sense that he was at least partly inspired by the recent 20th anniversary reissue of 'Venice'. This album pulses with the same feeling of wonder, but it's been tempered by age and experience; if 'Venice' was moody and whimsical, 'Mosaic' augments those feelings with deeper reflections. Each composition sounds as if it's been sculpted and stretched even further than before; those heartstring-pulling harmonies still buzz in the background, but they've been smudged, prodded and pulled.
Take 'Loved and the Framed Insects' as an example, and it doesn't reveal itself too quickly. Fennesz wrote the track in 7/4, and while its rhythm is hard to discern at first, its momentum - like a pop song played backwards - makes it sound distinct and unusual in the best way. Similarly, 'Personare' takes its inspiration from '80s West African pop music, and presses it through Fennesz's usual digital meat grinder, turning the levitational melodies into gaseous traces. On 'Goniorizon', Fennesz obliterates the memory of various "hard rock guitar riffs", stacking them on top of each other and extracting the harmonies, transforming them into brokenhearted drones.
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Boomkat Product Review:
Billed as Christian Fennesz's most reflective album, 'Mosaic' is a mature, concentrated set of textured guitar granulisations that plays like a sequel to 'Venice', with the Austrian artist's deconstructionist sense of pop melodicism underpinning even his most abstract experiments.
'Mosaic' got its title from Fennesz's labour intensive production approach, where he would build each element separately, slowly assembling a full, vivid soundscape piece-by-piece. It's the first he's written beginning to end without a break, working from 9 to 5 each day in his Vienna studio, and although he started without a set concept, there's a sense that he was at least partly inspired by the recent 20th anniversary reissue of 'Venice'. This album pulses with the same feeling of wonder, but it's been tempered by age and experience; if 'Venice' was moody and whimsical, 'Mosaic' augments those feelings with deeper reflections. Each composition sounds as if it's been sculpted and stretched even further than before; those heartstring-pulling harmonies still buzz in the background, but they've been smudged, prodded and pulled.
Take 'Loved and the Framed Insects' as an example, and it doesn't reveal itself too quickly. Fennesz wrote the track in 7/4, and while its rhythm is hard to discern at first, its momentum - like a pop song played backwards - makes it sound distinct and unusual in the best way. Similarly, 'Personare' takes its inspiration from '80s West African pop music, and presses it through Fennesz's usual digital meat grinder, turning the levitational melodies into gaseous traces. On 'Goniorizon', Fennesz obliterates the memory of various "hard rock guitar riffs", stacking them on top of each other and extracting the harmonies, transforming them into brokenhearted drones.
Boomkat Product Review:
Billed as Christian Fennesz's most reflective album, 'Mosaic' is a mature, concentrated set of textured guitar granulisations that plays like a sequel to 'Venice', with the Austrian artist's deconstructionist sense of pop melodicism underpinning even his most abstract experiments.
'Mosaic' got its title from Fennesz's labour intensive production approach, where he would build each element separately, slowly assembling a full, vivid soundscape piece-by-piece. It's the first he's written beginning to end without a break, working from 9 to 5 each day in his Vienna studio, and although he started without a set concept, there's a sense that he was at least partly inspired by the recent 20th anniversary reissue of 'Venice'. This album pulses with the same feeling of wonder, but it's been tempered by age and experience; if 'Venice' was moody and whimsical, 'Mosaic' augments those feelings with deeper reflections. Each composition sounds as if it's been sculpted and stretched even further than before; those heartstring-pulling harmonies still buzz in the background, but they've been smudged, prodded and pulled.
Take 'Loved and the Framed Insects' as an example, and it doesn't reveal itself too quickly. Fennesz wrote the track in 7/4, and while its rhythm is hard to discern at first, its momentum - like a pop song played backwards - makes it sound distinct and unusual in the best way. Similarly, 'Personare' takes its inspiration from '80s West African pop music, and presses it through Fennesz's usual digital meat grinder, turning the levitational melodies into gaseous traces. On 'Goniorizon', Fennesz obliterates the memory of various "hard rock guitar riffs", stacking them on top of each other and extracting the harmonies, transforming them into brokenhearted drones.
Boomkat Product Review:
Billed as Christian Fennesz's most reflective album, 'Mosaic' is a mature, concentrated set of textured guitar granulisations that plays like a sequel to 'Venice', with the Austrian artist's deconstructionist sense of pop melodicism underpinning even his most abstract experiments.
'Mosaic' got its title from Fennesz's labour intensive production approach, where he would build each element separately, slowly assembling a full, vivid soundscape piece-by-piece. It's the first he's written beginning to end without a break, working from 9 to 5 each day in his Vienna studio, and although he started without a set concept, there's a sense that he was at least partly inspired by the recent 20th anniversary reissue of 'Venice'. This album pulses with the same feeling of wonder, but it's been tempered by age and experience; if 'Venice' was moody and whimsical, 'Mosaic' augments those feelings with deeper reflections. Each composition sounds as if it's been sculpted and stretched even further than before; those heartstring-pulling harmonies still buzz in the background, but they've been smudged, prodded and pulled.
Take 'Loved and the Framed Insects' as an example, and it doesn't reveal itself too quickly. Fennesz wrote the track in 7/4, and while its rhythm is hard to discern at first, its momentum - like a pop song played backwards - makes it sound distinct and unusual in the best way. Similarly, 'Personare' takes its inspiration from '80s West African pop music, and presses it through Fennesz's usual digital meat grinder, turning the levitational melodies into gaseous traces. On 'Goniorizon', Fennesz obliterates the memory of various "hard rock guitar riffs", stacking them on top of each other and extracting the harmonies, transforming them into brokenhearted drones.
Packaged in the now familiar DVD-style case with artwork and photography by Jon Wozencroft.
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Boomkat Product Review:
Billed as Christian Fennesz's most reflective album, 'Mosaic' is a mature, concentrated set of textured guitar granulisations that plays like a sequel to 'Venice', with the Austrian artist's deconstructionist sense of pop melodicism underpinning even his most abstract experiments.
'Mosaic' got its title from Fennesz's labour intensive production approach, where he would build each element separately, slowly assembling a full, vivid soundscape piece-by-piece. It's the first he's written beginning to end without a break, working from 9 to 5 each day in his Vienna studio, and although he started without a set concept, there's a sense that he was at least partly inspired by the recent 20th anniversary reissue of 'Venice'. This album pulses with the same feeling of wonder, but it's been tempered by age and experience; if 'Venice' was moody and whimsical, 'Mosaic' augments those feelings with deeper reflections. Each composition sounds as if it's been sculpted and stretched even further than before; those heartstring-pulling harmonies still buzz in the background, but they've been smudged, prodded and pulled.
Take 'Loved and the Framed Insects' as an example, and it doesn't reveal itself too quickly. Fennesz wrote the track in 7/4, and while its rhythm is hard to discern at first, its momentum - like a pop song played backwards - makes it sound distinct and unusual in the best way. Similarly, 'Personare' takes its inspiration from '80s West African pop music, and presses it through Fennesz's usual digital meat grinder, turning the levitational melodies into gaseous traces. On 'Goniorizon', Fennesz obliterates the memory of various "hard rock guitar riffs", stacking them on top of each other and extracting the harmonies, transforming them into brokenhearted drones.
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