Fennesz ‎– Black Sea

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Cat# Artist Title (Format) Label Cat# Country Year
TO:76 Fennesz Black Sea(CD, Album, Dig) Touch TO:76 UK 2008 Sell This Version
RZCM-46113 Fennesz Black Sea(CD, Album, Dig) Commmons RZCM-46113 Japan 2008 Sell This Version
TO:76 LP Fennesz Black Sea(LP, Album) Touch TO:76 LP UK 2008 Sell This Version

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fivefootsteps

fivefootsteps

August 12, 2013
edited over 5 years ago
referencing Black Sea, CD, Album, Dig, TO:76
I think they didn't have to trim the album down by two songs for the vinyl version, both sides would total around 25 minutes each if done right without rearraging the songs.
kruisspin

kruisspin

August 4, 2012
referencing Black Sea, CD, Album, Dig, TO:76
i hate it when people just stealing the work from any artist just for fun or selling for the cheap lowlife money thats not belong to them.and not wanne support the artist for all his work!

this is a great album from a even greater musician.he is like Tim Hecker only a bit rougher on his songs,they are all the best in wat they making/playing for us the musiclovers who dream from a world with only such fantastic scapes!
again a nice and strong album with beautifull artwork!
presmach

presmach

July 7, 2012
referencing Black Sea, LP, Album, TO:76 LP
missing out on Colour of Three sucks big time as it's a standout track on the cd
Headphone_Commute

Headphone_Commute

December 25, 2008
referencing Black Sea, CD, Album, Dig, RZCM-46113
Here comes Fennesz, with his highly anticipated fourth studio album on Touch. Christian Fennesz is a prolific Vienna based composer who has been crafting electronic multi-layered laptop compositions with an aid of his guitar since the late 90s. Or is it the other way around? His guitar driven pieces with a heavy dose of DSP? Either way, Fennesz has developed that instantly recognizable and many times imitated sound. His vast discography extends through numerous EPs, remixes, soundtracks and collaborations, most notable of which is his work with Ryuichi Sakamoto on Cendre (Touch, 2007); as well as Cloud (Erstwhile, 2005) on which he worked with Keith Rowe, Toshimaru Nakamura and Oren Ambarchi. With a collection of works approaching the count of 30, Fennesz's last solo studio release was four years ago, Venice (Touch, 2004). So it should be no surprise that the fans jumped in anticipation to grab this 2008 release, Black Sea. And I hope the fans are not disappointed. Fennesz picks up where he left off with Venice, building on his trademark of processed and filtered guitar sound. Faint melodies cut with their pale beauty through a sharp fuzzy white haze. Sure, it may sound like over-driven, bit-crushing, pixel-offsetting, standing noise you have heard before on another album. But let me remind you once more, that Fennesz has been pioneering this sound well before the advancement of software and saturation of costly plugins on the market. On a nine-and-a-half minute track called Glide, for example, Fennesz is joined by Rosy Parlane [check out his albums Iris (Touch, 2004) and Jessamine (Touch, 2006)], to build up an incredible swell of sound, that buzzes to an orchestral crescendo, until it breaks into a tidal wave of near silence, which washes off the coast of a Black Sea. Experience Fennesz if artists like Alva Noto, Philip Jeck, Jan Jelinek, and Oren Ambarchi are on your radar.
endless.summer81

endless.summer81

December 6, 2008
referencing Black Sea, CD, Album, Dig, TO:76
The new album from Fennesz is an absolute masterpiece.

Perhaps even better than 'Endless Summer' and definitely much better than 'Venice'.

Acoustic guitar and glitchy electronics are mixed in seemingless contrast to produce a delicious audio treat.

'Grey Scale' in particular will appeal to those who have been waiting for so long to hear something that compares to 'Endless Summer'.

Fans of Fennesz's earlier works should digest this as soon as possible because it is his most comprehensive work to date.
verdemenet

verdemenet

November 25, 2008
referencing Black Sea, CD, Album, Dig, TO:76
I can see a week before this Fennesz's record was published in internet, available for all people who wanted to download. Is that slap in the face necessary that for one of the best and last musicians in show us new landscapes, new sound pictures, that have been working hardly in this album?

The romantic concept of the album has been derided by people who don't feel the music, only feel the megabyte, the more absolute nothing, music with no artist, no title, no feeling. Only the space in a computer can describe landscapes as the Fennesz's music or master John Wozencroft picture design?

Discover that genious through the album.
Thanks to Fennesz and to the best label of the year Touch Records!

Swim in the Black Sea.