Plus Forty Seven Degrees 56' 37 Minus Sixteen Degrees 51'08

A 8 track minimal/glitch album (38m 1s) — released November 29th 1999 on Touch
BACK IN STOCK Touch has re-issued a digipak version of Fennesz's first studio album for Touch, previously released as a jewel case in 1999. [There was prior to that a deluxe edition of 1000 copies in landscape art format, which sold out immediately.] It has been out of print for a couple of years. The audio remains the same, the imagery uses the location shots from the deluxe edition. This is Christian Fennesz's 2nd solo full album after the highly acclaimed 'Hotel Paral.lel' (Mego 16). He also released 'fenneszPLAYS', a 3" CD originally issued by Mego but now on Jim O'Rourke's new label, Moikai. Fennesz has also made various contributions to compilation CDs, including the awesome 'Surf' on 'DECAY' (Ash International 3.9) and is a member of MIMEO, fixed line up orchestra alongside Keith Rowe, Kaffe Matthews, Jerome Noetinger, Phil Durrant, Peter Rehberg, Thomas Lehn, Rafael Toral, Gert Jan Prins, Cor Fuhler, Markus Wettstein, and Markus Schmickler. He has also released a live CD on Touch, # TO:CDR3. 'plus forty seven degrees 56' 37" minus sixteen degrees 51' 08"' was recorded in his garden in Austria in July and August 1999; the photographs in the booklet by Jon Wozencroft embroider this.

The last anyone heard of Fennesz he was doing strange re-assembly jobs on "Don't Talk (Put Your Head On My Shoulder)" and "Paint It Black", but his new album is entirely sourced from his own material, performed on laptop and guitar in his garden over the summer. As tends to be the case with those associated with Touch and/or Mego, Plus Forty Seven Degrees is certainly not an easy listen and a fair way from his earlier Hotel Parallel album to boot. Processed feedback is the order of the day here, and plenty of it. The first track is the least adventurous but the most accessible: A throbbing feedback riff reminiscent of My Bloody Valentine hovers in the midst of icy laptop scree. Highly desirable. Subsequent tracks (there are no titles; the tracks are merely numbered from "010" to "017") are almost entirely given over to computer processing, organized in irregular patterns of blips and static to give a stuttering impression. Over time, though, the tracks do develop their own identities. A real highlight is "014", 7 minutes of cacophonous quasi-industrial computer drone with half-formed shapes stacked up behind. This tracks gets right to the innermost parts of your brain in a way few others do - very much like Farmers Manual if they decided to pursue ideas for longer than a minute and a half. None of the other tracks measure up to this, but they do have enough variations in their grainy resonance to keep you guessing what might emerge next. It's difficult to know exactly what to make of Fennesz. His music is undoubtedly of a psychedelic nature. However, there's no particularly obvious reference to drugs here and the record's packaging (all rural scenes from Austria) doesn't exactly lend any clues about his intent. Maybe it's better just to immerse yourself in his mutating channels of noise without trying to figure out what it means. Chances are you'll find plenty to explore. - John Gibson Grooves

The whole disc is a balance of clash and resolution between disparate sonic entities, a balance of stormy turbulence and itchy experimentalism. - J C Smith Outburn

AND THIS... RECORDED IN his back garden using a Powerbook and a mixing desk,fennesz' second album 'plus forty seven degrees 56' 37" minus sixteendegrees 51' 08"' (Touch) is an object lesson in just how far out there you can go with a little technology. Through layering, shaping and distorting sounds fennesz has created an intensely varied, often disjointed slice of outre electronica that encompasses mesmeric textures, harsh frequencies and churning sheets of noise. Recommended listening for anyone with an interest in the sonic manipulations of Oval, Pan Sonic or the Mego label, who released fennesz' 'Hotel Paral.lel' debut. - Andrew Carden Mojo

Fascinating walls of wiry sound stretched and kneaded by the prolific Christian Fennesz. - Outburn

Christian Fennesz makes the conditions of production, under which sounds remain to be developed, seen and heard via his laptop. And he's marking his own interventions in that process. - Jazzthetik

Like the best artisans of 'microscopic sound', Fennesz recreates the organic from the atom up; he's a Romantic seduced by the binary.Imagine a chorus of modems caroling cricket fantasias and you're halfway there. - Philip Sherburne Alternative Press

Here he takes the standard Mego language of needling synthetic tones, random clicks, buzzes and electronic blisters, and fuses them into a fluid rush of energy. - Matt Ffytche The Wire

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