Fennesz & Ryuichi Sakamoto - Haru [Audio]

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Album: Cendre [ALBUM]
Track: 3 of 11
Title: Haru
Artist: Fennesz & Ryuichi Sakamoto
Label: Touch
Cat#: TONE32
Formats: Digital/12" Vinyl
Digital Release: 21st May 2007
Physical Release: 21st May 2007

About This Release:

Ryuichi Sakamoto and Christian Fennesz blend the unstructured and imaginative qualities of improvisation with the satisfying sculpture of composition. Sakamoto's piano, his style reminiscent of Debussy and Satie, perfectly complements Fennesz with his powerful blend of shimmering guitar and passionate electronics. Cendre was recorded between 2004 and 2006, Fennesz would send Sakamoto a guitar or electronic track and Sakamoto would compose his piano piece. Vice versa - Sakamoto initiating a track with a piano composition and Fennesz responding. Meanwhile they met for live shows, or communicated via digital means to compare notes, swap ideas and develop themes.. the cyclical process continued right up until they met up for the final mix in New York City February of 2006. Together they have combined to create 11 tracks of satisfying and challenging possibilities...

Reviews for This Release:

"Cendre sounds – even within it's stripped down sonic palette – like the world is existing, living, breathing amidst its wordless sonic poetry." - Rich Hanscomb (Rant Magazine)

"This first, full-length recording by Christian Fennesz and Ryuichi Sakamoto is a hauntingly beautiful piece of work. It's essentially a marriage of delicate acoustic piano played by Sakamoto and ambient textures courtesy of Fennesz. As such, cendre (all text is studiously rendered in lower-case) is a very different work from the duo's first release, the 19 minute Sala Santa Cecilia (2005), on which it was nearly impossible to tell which performer contributed which sounds. First piece, ''oto'', is ushered in on a gulf stream current. Sakamoto drops brief, pendant chords that fall into opaque depths like pebbles into a blue ocean. The texture of ''aware'' is grittier, as if gravel were being ground to dust in an iron cylinder. Sakamoto's piano briefly merges and disappears into the mixture before clearly delineated upper notes appear like sudden stars in a night-sky, followed by reassuring chords suggestive of a comforting hand on the shoulder. By the fourth piece, ''trace'', Sakamoto's melodic approach is familiar, which makes his decision to sketch unresolved patterns all the more unsettling. Fennesz's setting changes key as well and the mood becomes tremulous and uncertain. There's a new-found eeriness that conveys a sense of disruption and loss. Sakamoto's piano sounds treated, as though the hammers, Cage-like, have been muffled. His brief return to the initial melody towards the end only underlines the beauty of the composition. In addition to the reference to Cage, it's impossible not to relate Cendre to two other key piano and electronics recordings: Harold Budd and Brian Eno's The Pearl and Sakamoto's ongoing collaboration with German artist Alva Noto. cendre is ultimately closer to Budd and Eno's work as no overt rhythms trouble or pierce Sakamoto's playing. The amount of space the two performers allow each other is remarkable. Although the predominant initial impression is of Sakamoto's piano, familiarity gradually reveals Fennesz's contributions as equally rich and essential. cendre is a sure bet for lovers of sonic pulchritude." - Colin Buttimer (BBCi)

"This piano/electronics duo is an arrangement Ryuichi Sakamoto has been recently exploring in concert, with ultra-minimalist Alva Noto among others, so it seems a natural for his second collaboration with Christian Fennesz. Listening to Cendre after returning again to Sala Saint Cecilia, their EP from 2005, affirms that the two records couldn't be more different. The latter was a single live 19-minute track that found Sakamoto inhabiting the abstract digitalia we've come to associate with Fennesz, directing his diverse talent toward epic computer- based composition. Cendre feels like a meeting of equals occurring precisely halfway between the two. The obvious precursors here are the two albums composer Harold Budd made with producer Brian Eno. Like Ambient 2/Plateaux of Mirror and The Pearl, Cendre consists of one person playing delicate pieces on an acoustic piano while another fills the ample spaces with electronic treatments. Eno's contributions to the Budd records were sometimes so subtle you weren't sure he was doing anything beyond giving the reverb slider an occasional bump. Fennesz' omnipresent drones and crackly beds of sound, on the other hand, are central here, providing a virtual room for Sakamoto's piano and regularly shifting t...