I'm pretty sure that many lovers of Fennesz sound bought this record, which is the conceptual follow-up of "Endless Summer" after 13 years on renowned Austrian label Editions Mego, for sight unseen and many of them are delighting their eardrums and their brains by continuous listening. The sonic strategies to throw the sound of guitar towards computational and sideral heavens by means of heavy sound processing and thunderous drone-like electronic scraping are so guessed that even the noisier moments of the album such as "The Liar" and "Liminality", unpredictable and quicksilver entities after the opening jazzy drumming and the lukewarm psychedelia of strummed acoustic guitars of the opening "Static Kings", are really blissful. The warm embrace of infinite space looks like a thrilling bear hug while listening the hypnotic deep organ and the skylarking bleeps of "Pallas Athene", whose rising effulgence could let you imagine that Christian Fennesz experieenced a close encounter of the third kind with some Greek God (or Goddess). The distortions of the blissful guitar strumming on the title-track, the Hungarian name of Wien, sounds like the removal of coronary occlusions which blocked that feeling of infinite love and compassion that soaked some previous stuff by this talented sound-poet. After "Sav", the collaborative track with Cedric Stevens and maybe the haziest parenthesis of the album with its impenetrable layers of microsopunds and gurgles, the final "Paroles" goes out in style by means of a mainly acoustic track, where electronic residual clinkers are just trifling interferences which got fully absorbed by the delicate beauty of an immaculate guitar plucking.