Touch

Black Sea was the follow-up album to Venice (Touch, 2004), and was originally released in 2008; Stylus Magazine's Nick Southall wrote: "Fennesz does with sound what Stan Brakhage did with film, altering its very fabric and texture, employing disorder and error as forms of communication and expression. He forces you to learn a different method of perception and interpretation, to look beneath the chaos that seems to govern the movements of life and find the patterns beneath." Fennesz's career has come a long way since Instrument, his debut for Mego in 1995, and his first solo album Hotel Paral.lel which followed in 1998. Endless Summer (Mego, 2001) brought him to a much wider audience and Venice underlined his mastery of melody and dissonance. His songs usually embody the skillful application and manipulation of dense sonic textures with a genuine feel for the live, and real-time. Black Sea features guitars that rarely sound like guitars; the instrument is transformed into an orchestra. Fennesz lists the elements used to make the compositions: "Acoustic and electric guitars, synthesizers, electronics, computers and live-improvising software lloopp." On "Glide," Fennesz duets with New Zealand's Rosy Parlane, whose work is also released on Touch. Fennesz also teams up with eMego artist Anthony Pateras whose prepared piano features on "The Colour of Three." Fennesz pushes his work into a more classical domain, preferring the slow reveal to Venice's and Endless Summer's more song- based structures. Jon Wozencroft's artwork makes visible this carefully hidden world resting beneath the surface of "the first impression." A series of shots, taken in quick succession as the tide recedes, reveals a world of specific activity only visible at a particular time and place, histories appearing and disappearing.

The Blue Beyond is produced by Touch and Audemars Piguet following Audemars Piguet Contemporary’s commission of two new compositions by Jana Winderen in 2019. 

Edition of 1000 copies, the first 100 copies numbered and signed by the artist. 

The record offers edits of two sound compositions for installations, “Du Petit Risoud aux Profondeurs du Lac de Joux” (2019) and “The Art of Listening: Under Water” (2019). “Du Petit Risoud aux Profondeurs du Lac de Joux” was first presented at Art Basel in Basel from 13 to 16 June 2019. A live performance of the piece was given at HEK (House of Electronic Arts Basel) on 11 June 2019. “The Art of Listening: Under Water” (2019) was first presented in the Rotunda, Collins Park, Miami Beach, in the context of Art Basel in Miami Beach, from 4 to 8 December 2019. “The Art of Listening: Under Water” installation was made in collaboration with Tony Myatt. It travelled to the Lenfest Center for the Arts, Columbia University School of the Arts, New York, from 3 to 13 February 2022 Commissioned by Audemars Piguet Contemporary Winderen’s practice focuses on sound and knowledge production. The artist seeks to raise awareness of the environmental issues we face as a society. Audemars Piguet Contemporary collaborated with Winderen on two new sound installations compositions. The first, “Du Petit Risoud aux Profondeurs du Lac de Joux”, was developed during two field trips to Le Brassus in the Vallée de Joux, at the heart of the Swiss Jura, where Audemars Piguet has been based since 1875. On these trips, Winderen captured sounds in the waters of the Lac de Joux and in the Risoud forest. When Audemars Piguet Contemporary invited the artist to present a second composition for exhibition in Miami Beach, Winderen proposed a site-specific sound environment. For “The Art of Listening: Under Water”, Winderen used sounds recorded in the Atlantic Ocean in the Miami area, as well as sounds from the Barents Sea around the North Pole and the Tropical Oceans to expose the constant underwater presence of human-created sound today. In both pieces, the artist offers a unique opportunity to listen closely to the underwater inhabitants of a specific region and to reflect on how human activity interacts and interferes with aquatic and also terrestrial life in a seemingly beautiful and visually calm environment. Jana Winderen often draws the fish, amphibians and plankton she meets. This release also consists of a drawing of two fish that probably would never meet; the pike from the freshwater Lac de Joux in the Jura Mountains and the snapper from the saltwater environment by Miami. About Audemars Piguet Contemporary Audemars Piguet Contemporary supports contemporary artists who wish to explore a new direction in their practice, providing them with a platform to evolve creatively through a commission. Audemars Piguet Contemporary’s team of in-house curators support the artist along each step of the commission, from inception to development to exhibition, giving artists the freedom to experiment and develop a work that might not have been otherwise possible. The resulting artworks belong to the artists and contribute to their body of work.

“Senzatempo” became a lockdown record. In 2019, a year after our last concert as a trio with Christian Fennesz, the release of his “Agora” and our first publication for Touch – “Elusive Balance” – we met in Milan. We talked about ongoing projects, the evolution of our musical language and, as is often the case when we are all three together, the more frenetic and superficial aspects of contemporary society, the difficulty of letting ideas and projects mature and how music could still play a constructive role in that context. We left each other with the intention of talking at a distance about a new project, to be developed calmly, without any hurry. In the months that followed, after e-mails in which we continued to discuss the project, we decided to work on the perception of time and to focus our attention on those periods of life in which time tends to dilate, to lose its boundaries, dedicating ourselves to the project without the fear of resting on indefinite moments of stasis – trying to take the time of creation as an ally, making the most significant ideas 'sprout', distilling emotions and crystallising them slowly. Catapulted into the first wave of the pandemic, we began to work at a distance, We exchanged different types of sound materials, sometimes raw sometimes more structured and with Christian we tried to give musical form to a surreal calm, at the same time as magmatic, uncertain emotional states. In this phase of collective confusion and almost total isolation, the first drafts of 'Senzatempo' and 'Movements I' were born. In both tracks, we tried to structure chordal waves and melodies inlaid with counterpoints with broad architectures and sinuous movements, in a sort of 'rubato', with the idea of creating an orchestral breath to the entire album. ‘Senzatempo’ is characterised by a dream melody with a dense and continuous dialogue between a sharp guitar and percussive sounds floating on an abstract and flexible pulse. ‘Movements I’, later transformed into a two-part suite, is airy and meditative; an initial acoustic shock leads to a melody resting on relaxed chords and enveloping sounds studded with noise, glitches and fragments of field recordings. After this initial work, we wanted to organise a studio session, but pandemic restrictions forced us to postpone and leave the music to mature further. The following summer, thanks to a residency project for young artists centred on the Senzatempo project and conducted by Christian and ourselves in central Italy, the opportunity arose for the first time to play the material produced thus far, and to experiment and focus on new musical ideas. In November 2021, after a concert we did in Turin, we finally devoted ourselves to the drafting of the album in a studio session lasting some days. The final versions of the first two tracks were created, with the addition of a second part to ‘Movements I’, and ‘Floating Times’ and ‘Motionless Image of Eternity’ came into being. In ‘Floating Time’, clouds of micro-sounds envelop an iridescent, sinuous melody in a sonic space delimited by sculpted percussive sounds. Lost memories seem to resurface. The end of the track takes up the beginning in a kind of ‘rondo’. ‘Motionless’ is counterpointed by telluric percussive sounds in a complex and detailed atmosphere. It seems as if nothing is moving in this sea of sound on which the guitar floats, when in fact everything is in motion in a simmer of textures and melodies that embroider counter-songs to the main refrain. The music of 'Senzatempo' moves in balance between composition and improvisation. It is a symphonic work for an imaginary orchestra in which melodies, counterpoints, dynamics and sonorities define a structural breadth reminiscent of classical music.