- Audio CD (July 3 2001)
- Format: Import
- Label: Mego Austria
- ASIN: B00005M6CH
- Other Editions: Audio CD
- Average Customer Review: 4.4 out of 5 stars See all reviews (7 customer reviews)
Product Details
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| 1. Made In Hong Kong |
| 2. Endless Summer |
| 3. A Year In A Minute |
| 4. Caecilia |
| 5. Got To Move On |
| 6. Shisheido |
| 7. Before I Leave |
| 8. Happy Audio |
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Most helpful customer reviews
5.0 out of 5 stars
Listen to the samples,
By A Customer
This review is from: Endless Summer (Audio CD)
Endless Summer is a good example why you should never trust written music reviews. It has all the ingredients for an intelligent-sounding review e.g. acoustic guitar meets computers, noise meets kitch and some subtle references to whatever. After the wave of praise-reviews talking about the above someone was bound to look through it all and be smart and say 'well it has all the right ingredients but its not really that good' or just plain 'it sucks'. The reason for this review-war is of course that the real qualities of this album (and all music) are not academic but abstract emotional personal stuff which cant be put into words. Personally i cant explain why i love this album.
4.0 out of 5 stars
fascinating,
By Thaddeus (nyc) - See all my reviews
This review is from: Endless Summer (Audio CD)
Fennesz is my new favorite music discovery. Whenever I go see a rock show and there is a guy up there with a guitar and a huge cabinet amp full of processors and gadgets, I get excited. Fennesz is that guy but with a laptop. Ambient music gets a good seeing to with an element of live instrumentation. Fennesz, along with Squarepusher (the nuttiest bass player ever), gives me hope for the future of my guitar.
5.0 out of 5 stars
Fading idealism and regret, from atomic to digital age,
This review is from: Endless Summer (Audio CD)
Wishful thinking in the face of irreversible decay, or raw-nerve exposure of the wires and circuits that were always beneath the romantic artifice of recorded popular music? Fennesz makes it easy on the ears, but not on the soul: his beautiful, skittery, irregular constellations within constellations of sound carry melody and longing as surely as the Beach Boys album this wasn't named after. It's difficult to decide if the evisceration of these tunes is a Deleuzian molecularization into flux-as-form, or a craftier Romantic device in deconstructionist's clothing. Maybe it's best simply to marvel that something so sharply digital in its immanent tactility changes emotional shades depending on the listeners vantage point or current place in life and the world. That an an album not even two years old has proven so contextually sensitive says something about the power of association, and the power of this music. Will this responsiveness to context and listener mood hold five, ten years from now? Perhaps the appeal of this sort of prickly digitalia will fade with time like so many of the sounds over the course of this album. Perhaps remembering its former appeal will add yet another layer of nostalgia. This music is too of its time, and brilliantly so, to speculate beyond the cochlear tickle of its more immediately grasped pleasures.
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