Fennesz Sakamoto*Cendre

Label:Touch – Tone 32
CD, Album
Style:Modern Classical, Experimental, Ambient



Companies, etc.



Recorded at KAB Studios, NYC, Legacy Recording Studios, Studio A-509, NYC and at Amann Studios, Vienna.
Mixed at KAB Studios, NYC.
Mastered @ Skye Mastering.

©&℗ 2007 Touch
All songs published by Touch Music [MCPS]/KAB America Inc.

Issued in a 6-panel Digipak.

Label code misprinted as lc 34104 on CD face. Touch's label code is LC 13014.

Barcode and Other Identifiers

  • Barcode (Text): 5 027803 903227
  • Barcode: 5027803903227
  • Label Code: lc 34104
  • Rights Society: MCPS
  • Matrix / Runout: 3BC.CO.UK TONE32 01
  • Mastering SID Code: IFPI L136
  • Mould SID Code: IFPI 04A0
  • Mould SID Code: IFPI 0401
  • Other (hub): MADE IN THE UK

Other Versions (5)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Cendre (CD, Album)CommmonsRZCM-45525Japan2007
Cendre (CD, Album, Unofficial Release)Commmons (2)RZCM-45525Russia2007
New Submission
Cendre (CDr, Album, Promo)CommmonsnoneJapan2007
New Submission
Cendre (2×10", 33 ⅓ RPM, Limited Edition)TouchTone 32VUK2021
Cendre (11×File, FLAC, Album, Reissue, Stereo)TouchTONE32UKUnknown



  • Headphone_Commute's avatar
    Here's a 2007 release that I've been meaning to cover in detail for a while. Touch Music was launched in 1982, initially releasing cassette magazines. Twenty five years later, Touch is at its peak, perfecting their output with carefully selected works by Christian Fennesz, Ryuuichi Sakamoto, Oren Ambarchi, Biosphere, Ryoji Ikeda, Philip Jeck, Chris Watson and Mika Vainio, amongst others. Since the 90s, Fennesz and Sakamoto have performed live, with Sala Santa Cecilia being their first collaborative EP (Touch, 2005), recorded live at Auditorium della Parco Musica for the Romaeuropa Festival. Two years later, the duo got together to compose their first full length LP, Cendre. In between these two releases, Fennesz recorded an album with Keith Rowe, Toshimaru Nakamura and Oren Ambarchi, under a collective moniker 4g, titled Cloud (Erstwhile, 2005). Meanwhile, prolific Sakamoto (recording since 1978) released a remix album, Bricolages (Warner Music Japan, 2006) with a collection of reworked tracks by an amazing roster of artists like Alva Noto, Taylor Deupree, Snd, Richard Devine, Slicker and even Craig Armstrong. Needless to say that I was pretty excited to hear what the couple come up with, with such an amazing web of connections and an array of experiences. And Cendre doesn't disappoint. Sakamoto is back at the piano, this time bathed in a warm lush of ambient bliss, as flooded by Fennesz. The reverberations of drone-like pads almost swallow the notes whole, occasionally letting them cut through the descending fog, and shoot up like a sparkling reflection of a dying star. Editors at Boomkat have said it best : "The fact that you're reading this review assumes you're of a certain musical disposition, and if you are in any way interested in the more beautiful things in life, the sensitive yet experimental end of modern music - pay close attention as this album is just about as good as it gets." A modern classical marvel. The latest from Fennesz is Transition EP (Touch, 2008), while Sakamoto released a collaboration with Christopher Willits, titled Ocean Fire (12k, 2008).
    • FLuViRuS's avatar
      Edited 17 years ago
      Cendre is a slow, moving, impressionistic collaboration of substantial quality between Fennesz and Sakamoto. Fennesz provides the sparse, sometimes-shimmering, sometimes-hazy atmospheric canvas upon which Sakamoto sprinkles his minimalist piano tinkles. Sakamoto's piano sings with emotive longingness (Haru, Trace, Abyss), flows like an unsettled river (Amorph, Mono, Kuni, Abyss), or flirts with the air with its chromatic sonorities (Aware, Oto, Cendre, Glow, Kokoro, Trace). As the final track, Abyss, fades off into an ethereal void thanks to Fennesz's magical touch, one emerges from an entranced state and realises what a beautiful album Cendre is.


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