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Live at Revolver​/​Melbourne

by Fennesz


about (UK):

SETTING: It is New Years Eve and I am having dinner at a friends apartment.

PARTICIPANTS: Me, Pete Spynda, Ken Camden, Paul Groper, Ang Gagnon, Christie Gagnon, Portobello Mushrooms, Salad, Water, Vegetable Pie, Chocolate Chip Cookies

STORY: Dinner is about to begin when I suggest that we should put on the new Fennesz CD. I had already told Ken and Pete how much I liked it so it was agreed upon that Fennesz would be our dinner music. I turned the CD on and sat down at the table. I began by pouring myself a glass of water. The music begins with a quiet, rolling, scraping sound, smooth distorted tonal patterns begin to evolve slowly under the rolling. I pass Ang a mushroom and take one for myself. Pete comments on the progression, something to the extent of “I like this, it really pushes forward without really going anywhere.” He passes me the vegetable pie. I can see that Christie is beginning to look anxious. Ken comforts her with his hand on her shoulder. The music continues to grow, raising frequencies and constantly enveloping itself sometimes being interrupted by electronic glitches. Paul comments on the fact that my glass of water is beginning to shake. The progression continues building in intensity. Time begins to slow down for me. I am completely lost in the sound. Pete begins to choke on a piece of vegetable pie when the tones fade into what I will consider to be the meanest gangsta rap beat I have ever heard. This only lasts for a short while as the beat subsides and morphs into a new static tone. Pete gives himself the Hymleck against a chair. He pours himself a glass of water and tries to relax. A small digital rhythmic pattern begins to develop. Ken stands up screaming, “I feel like Darth Vader is serenading at me from the bottom of my fish tank.” Ang gets a look of fear in her eye and tells Ken it is just the music. He settles but is obviously not well. Everyone seems to be getting a bit edgier. Paul begins to twitch. Clicks, pops, and glitches begin to have small conversations between short computer tones slowly dripping together into a digital popcorn. We are all looking for a pattern here. I begin to talk about my love for early video game sound while eating a cookie, suddenly I spit the cookie out as the greatest wall of distorted sound this side of Merzbow takes over. No one can eat. No one can speak. We are all in the midst of the wild harsh drones. We are no longer in the apartment. We have entered into a laptop computer consciousness. I feel like my nose will bleed soon. Finally the distortion fades into a beautiful wave of slow morphing tones, “sound”, and mild skipping interruptions. A sense of structure begins and dinner continues. Pete says something about the simple rhythmic complexities being static like rain after thoughts. It is obvious to me at this point that this music has made us all insane. We continue to eat slowly and the music continues to morph into itself creating a tonal symphony between distortions, low end hums, scratches, and pops. Dinner is silent as the music fades. Only sixteen minutes and thirty three seconds had past but we were all different by then. Ken was convinced that his metabolism had changed. Pete just wanted to listen to Folke Rabe. Ang decided to go to sleep but complained of machine-like bugs tearing at her feet in her dreams. Christie tried to wash dishes but dropped three of them on the floor. I drove home and wrecked into a fire hydrant. When I awoke in the hospital the doctor told me that the tumor I had been diagnosed with the week before had miraculously disappeared. Thank you Fennesz!!

RESULTS: Don’t just worship Fennesz because he is from Austria. Worship him because this record is incredible


released April 2, 2000


all rights reserved



Fennesz Vienna, Austria

Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. His lush and luminant compositions are anything but sterile computer experiments. They resemble sensitive, telescopic recordings of rainforest insect life or natural atmospheric occurrences, an inherent naturalism permeating each piece. ... more

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