Rating:
Genre:
Electronica
Release Date: 03/23/2004
Talk about "highly anticipated": fans of
Fennesz had three years to marvel in his
Endless Summer CD. Meanwhile, the album became a hit in left-field
electronica, exerted a major influence on countless sound-alikes, and even allowed
Fennesz to break -- however slightly -- into the mainstream. Is
Venice better than
Endless Summer? No, but the fact that it doesn't disappoint, despite the expectations generated by this
bona fide follow-up, is by itself a commanding feat. The reason why
Venice doesn't top its predecessor is because it follows a rather similar recipe and therefore lacks the effect of surprise. Otherwise, it is a very fine release, highly enjoyable yet genre-pushing, and unmistakably
Fennesz from beginning to end. The melodies that haunted
Endless Summer's washes of granulated
noise are still present, although in a more subtle form. Except for one standout exception, you won't be whistling these tunes in the shower, as the melodic component is more evanescent, but the impression of listening to "songs" remains strong. In that respect, highlights include the delicate opener
"Rivers of Sand" and
"The Point of It All." The album features two extra contributors. One of them was predictable; after all,
Fennesz had appeared in duet with
David Sylvian on the latter's 2003 solo CD,
Blemish. They do it again in
"Transit," a beautiful song about departures that makes one think the pair should definitely work on a full-scale collaborative project (it could be
Sylvian's best collaboration since the
Sylvian/
Fripp albums). The second guest is Viennese guitarist
Burkhard Stangl, a maverick improviser and puzzling
experimentalist. His appearance on two tracks,
"Laguna" and
"Circassian" (the latter another highlight) follows up on
Fennesz's 2002 collaboration with his
improv quartet,
Polwechsel. These two pieces (on which
Fennesz joins on guitar) have a light post-
folk flavor. The album is marvelously sequenced, with short soundscapes articulating mood shifts. The only weak point is found in the closing track,
"The Stone of Impermanence," significantly harsher in texture and sound than what came before, which makes for an uncomfortable finale -- the piece would have worked better at midpoint, tempered by gentler neighbors. Still,
Venice is another success and every bit as delightful as its predecessor. The presence of
David Sylvian will make it easier for new fans to jump in.
~François Couture, All Music Guide
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