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*Excerpts from the album. Now available at Experimedia.net.* It's always a pleasure to hear new solo material from Christian Fennesz, who continues even at this stage in his career to refine and develop his sound. His latest effort is in fact and original soundtrack to a film by Edgar HonetschlŠger, though you might not know it from listening to it. The press release, with its talk of "the story of mankind's quest for the future," does a good job of illustrating for the listener the contextual framework for which Fennesz was tasked with providing audio accompaniment. Sonically, the album is full of the type of granular processed guitar phrases we're accustomed to hearing from the Viennese guitarist. Lush pads and skittering high end delays form beds over which lyrical guitar phrases are delicately placed. Tracks from his collaborative album with Ryuichi Sakamoto, "Cendre," are interspersed with these new pieces, with Sakamoto's piano adding high drama in contrast to Fennesz's sizzling guitar drones. A bit more understated than his most recent longplayer "Black Sea," "Aun" proves to be a compelling listen and a worthy inclusion into Fennesz' already exceptional discography. Alex Cobb, Experimedia
Christian Fennesz's score of the film AUN: The Beginning And The End Of All Things -- a 100 min., 35mm feature drama written/directed by the Austrian artist/filmmaker, Edgar Honetschläger. It is an Austrian/Japanese co-production realized by Edoko Institute, Vienna and Ribo Ltd., Tokyo in cooperation with KGP Vienna. AUN was supported by the Austrian Film Institute, the Vienna Film Fund, the ORF (Austrian TV), the province of Upper Austria, the City of Tokyo, Tochigi Province, Shizuoka province, Yamanashi province. AUN: The Beginning And The End Of All Things tells the story of mankind's quest for the future, his desire to create the tomorrow, his fear of and loathing for the apocalypse. It spins the Faustian theme twice and lays bare open the inexhaustible Judea/Christian believe in progress, which by the 21st century has taken over the entire world and has succeeded in maneuvering the globe into a situation that can't be solved by means of economics and science anymore. Enlightenment's merits have taken the West's ability to sense what is not to be seen, what is only to be felt. Beliefs are so much more than religion, than monotheistic concepts. Souls and spirits exist not only in film. Denial and neglect of eternal laws lead to extinction -- of the individual and the entire human race. AUN invents rituals as well as mythologies and worships the creator of it all -- nature -- by playfully laying out its dichotomy with human culture. The film equals mankind's beauty with nature by announcing that "everything mankind creates is nature." Sadly, the hubris ends and gives the audience the chance to heartily weep for the world. Director's statement: "AUN: The Beginning And The End Of All Things follows the strings of thoughts the late Claude Lévi-Strauss revealed in his anthropological essays throughout the 20th century, as well as those of Japan's unique Shintoism, whose millions of gods inhabit and preserve nature. The film focuses on the dichotomy of man/nature and envisions a future world where life will be nothing but sensual. It contains references to Brazilian writer Clarice Lispector, Italian anthropologist Fosco Maraini and the Japanese writer Yoko Tawada."
Release/catalogue number: ash9.5cd
Release date: Jun 28, 2012