Music Reviews

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Artist: Fennesz (@)
Title: AUN - The Beginning and the End of all Things
Format: CD
Label: Ash International
Rated: *****
It frequently happens that composers of soundtracks or any other cultural product whose format they have to adapt to have to acquiesce in some "limitations" or bearings of their creative skills. This is not the case of talented Austrian musician Christian Fennesz as it seems that his aesthetics manages to receive "anointment" by a prolific artistic fellowship with Austrian director Edgar Honetschaeger for his movie "AUN - the beginning and the end of all things", whose meaningful plot based on a symbolic story where reflections on mankind's quest for the future and desire to forge it, focusing on the dichotomy between man and nature while offering a less sensual vision of mankind's future whose challenges cannot be faced just with economic or scientific tools by walking on philosophical paths of Japanese Shintoism and anthropological essays by Claude Levi-Strauss, looks complementary to the cues offered and the breeze of thoughts inspired by the listening of Fennesz's music. Listeners who already know Fennesz's past releases willeasily notice the ontogenetic transformation of his style as AUN sounds almost totally free from glitch constituent, in spite of the fact he's considered one of the most important pioneer of that branch; he minimizes that constituent with traces of electronic buzzes and discharges, sweetened pebbles or bubbles within bubbles which are wisely thrown or injected through pinpricks of needles threaded in his amniotic fluids (a process which is quite clear in tracks like "Mori" or "Shinu") whereas his reasearch reaches the highest peaks when it sounds focused on the balance and amalgamation between acoustic inserts and placid melodies, resulting in genuine sonic pearls such as the two main themes - "Aun40", whose dilutions look like gradually staining, and "Aun80" with hooking guitar splashes -, the delicate guitar-tinged melody of "Nympha", the softened ascension of "Sasazuka" as well as the three (already issued on the collaborative release "Cendre" in 2007) tracks - the obscure cogitation of "Aware", the daydreaming "Haru" and the pensive catharsis of "Trace" - where Ryuichi Sakamoto drips his piano. I can say Aun is another masterstroke by a musician which got accustomed to nimble brilliant musical motions.



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