Vienna-based guitarist Religious Fennesz is among the many artists from the observed Editions Mego label, which releases mostly free-form ambient and experimental electronica. Comparable in a few respects to the task of Seefeel or Experimental Sound Study, Fennesz’s six-string soundscapes are both darker compared to the previous and more technical and intricate compared to the second option, combining thick, multi-layered linens of treated acoustic guitar and synth with slim, odd-metered digital percussion and interesting sampler function. A previous person in Austrian underground experimental rock and roll group Maische, Fennesz in addition has worked with many notable music artists, with one of is own most intensive collaborations getting Fenn O’Berg with Mego co-founder Peter “Pita” Rehberg and Jim O’Rourke. Fennesz in addition has performed ensemble parts for conceptual and media artwork installations. His initial single work with Mego, the Device EP, premiered in 1995 and highlighted four paths of spectacular, uncompromising ambient and electro-acoustic music, merging components of experimental electro/techno with seriously treated electric guitar and electronics. Resort Paral.lel followed in 1997, and Fennesz’s 1998 one Has contained nearly unrecognizable abstract “addresses” from the Rolling Rocks’ “Color It Dark” as well as the Seaside Guys’ “Don’t Chat (Put YOUR MIND on My Make).” 1999 noticed the discharge of many collaborative albums, like the Magic Sound of Fenn O’Berg (Mego) and Music for an Isolation Container with Zeitblom and Rantasa (on Rhiz Information). Fennesz’s second single record Plus 40 Seven Levels 56′ 37″ Minus 16 Levels 51′ 08″, a far more ambient effort documented in his garden, was released by Contact in past due 1999. Unlimited Summertime, released in 2001, brought him back again to the Mego flip. A lot more melodic and available than his prior work, the record blended Seaside Boys-inspired melodies with cutting-edge notebook production methods and severe glitching. The record was an enormous critical achievement, charting in various year-end (and finally decade-end) best-of lists, and creating his reputation as you of experimental digital music’s most well-respected performers. The following 12 months, Touch released Field Recordings 1995-2002, which put together the Device EP alongside various compilation songs and remixes. Even more collaborations made an appearance, including a break up EP with Primary on FatCat Information, Covered Islands with Polwechsel on Erstwhile Information, Invisible Structures #2 with Mika Vainio on Audiosphere, as well as the Return of Fenn O’Berg on Mego. Japanese label Headz released Fennesz’s single disc Reside in Japan in 2003, which helped build momentum for the extremely expected Venice, released by Contact in 2004. Including a visitor appearance by vocalist David Sylvian, the recording was another crucial achievement. After collaborative albums with AMM co-founder Keith Rowe and French designer eRikm, Fennesz started collaborating with composer and Yellowish Magic Orchestra co-founder Ryuichi Sakamoto, 1st around the 2005 EP Sala Santa Cecilia and on 2007 full-length Cendre, both released by Contact. His next single recording, the darker Dark Sea, made an appearance on Contact in 2008. He released two singles within Touch’s 7″ series: the single release Changeover and Amoroso with Philip Jeck and Charles Matthews. A cooperation with Sparklehorse within the Within the Fishtank series premiered by Konkurrent in ’09 2009. This year 2010, Fenn O’Berg released the studio room recording In Stereo in addition to two Reside in Japan LPs, all on Editions Mego. Fennesz also combined Something That Provides Form then one THAT WILL NOT by Steven Hess and Sylvain Chauveau’s task On, that was released by Type. Just one more collaborative discharge, Knoxville (Thrill Jockey, 2010) was an improvised live documenting with drummer Tony Buck and fellow guitarist David Daniell. Small cassettes Szampler and Remiksz (with Stefan Goldmann) made an appearance in the Tapeworm through the same season. In 2011, Fennesz released single EP, Seven Superstars, on Touch. Another cooperation with Sakamoto, double-CD Flumina, also made an appearance on Contact that season. Fenn O’Berg’s In Hell was released by Editions Mego in March of 2012, as well as the soundtrack record AUN: THE START and End of most Things (including single Fennesz pieces in addition to collaborations with Sakamoto) premiered by Ash International several months afterwards. Fennesz also produced his go back to Editions Mego being a single musician with Fa 2012, an unusually dance-oriented one including a remix by Tag Fell. Double-live LP 17.02.12 appeared on Tune Routine in 2013, with a restricted box set model including a Compact disc and two Dvd videos. Tribute to John Cage in Four Parts, a tribute to John Cage documented live with Patrick Pulsinger, premiered by Col Legno that season. 2014’s Bécs noticed Fennesz wrapping his electro-acoustic digesting around live drums and modular synthesizers. Conceived because the sequel to Countless Summer, the record premiered by Editions Mego. Fennesz added to David Sylvian’s spoken term recording There is a Light That Enters Homes with No Additional House around the corner, released by Samadhisound close to the end of 2014. In 2015, Fennesz and Ruler Midas Audio released the mainly ambient Release 1 on Ninja Melody. Also that 12 months, AirEffect (with Ozmotic) made an appearance on German label Folk Knowledge. Fennesz’s Mahler Remix, predicated on Gustav Mahler’s symphonies and originally released digitally in 2014, was presented with a double-vinyl concern by Contact in early 2016. Afterwards in the entire year, Editions Mego released It’s Hard for me personally to Say I AM SORRY, the very first duo cooperation between Fennesz and Jim O’Rourke.
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|The Departure||2017/I||Documentary composer: additional music|
|Le passeur des Lieux||2016||Documentary musician|
|Nothing Personal||2009/II||Short musician|
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