Live at Sala Santa Cecilia

A 1 track minimal/glitch single (19m ) — released June 27th 2005 on Touch
This release features an edit of the duet between fennesz and sakamoto at their performance at Sala Santa Cecilia, Rome on 28th November 2004 - an introduction to a new collaboration between two highly regarded composers. Award-winning composer and musician Ryuichi Sakamoto has made a career of crossing musical and technological boundaries. Sakamoto has experimented with, and excelled in, many different musical styles, making a name for himself in popular, orchestral and film music. Never one to be satisfied with the status quo, Sakamoto continues to push the envelope of his artistry, marrying genres, styles and technologies for the first time to create new and exciting directions in musical expression. Sakamoto's best-known work is probably the soundtrack of Merry Christmas, Mr. Lawrence, which won him the Anthony Asquith Award for Film Music from the British Academy of Film and Television Arts (BAFTA). His subsequent score for Bernardo Bertolucci's 1987 film The Last Emperor won him an Oscar, a Grammy and a Golden Globe, as well as the Los Angeles Film Critics Association award and a BAFTA nomination for Best Original Score. In 1978, Sakamoto released his first solo album and formed Yellow Magic Orchestra along with Haruomi Hosono and Yukihiro Takahashi. YMO was immediately Recognized as an international sensation from Japan. The group's second album sold well over a million copies and led to a world tour, making them, with Kraftwerk, the kings of technopop. Releasing eleven albums over the next five years, YMO developed a following that continues to the present day, and its influence on the rave, techno and ambient movements is widely recognized. Christian Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. 'Imagine the electric guitar severed from cliché and all of its physical limitations, shaping a bold new musical language.' - (City Newspaper, USA). 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. His two latest studio albums, Venice [Touch 2004] and Endless Summer [Mego, 2001] have set him apart from legions of glitch musicians working to a minimal, computer-based aesthetic.'

Waves of glitches and subdued electronics form a soundscape in which drowning is unavoidable and, frankly, a pleasure. - Joris Heemskerk Plan B

?Oozes emotional nudity and broken beauty, its only short coming is that it's only 19 minutes long? - Joris Heemskerk Plan B

"Laptop props of the manth go to Fennesz and Ryuichi Sakamoto, who released Sala Santa Cecillia?this is cutting edge, minimal, micro post-ambient business, all staticky fuzz and drones and gentle tonal washes in a live performance stylee?.rather fantastic" - Underground

"...snaking its way through clouds of noise, pulsating bubbles, erupting guitar sequences, glitch-ridden plains and razor-sharp soundwaves...it is only to be hoped that they will soon commit this fruitful partnership to album length." - The Milk Factory

What lingures most after you've heard this performance is the beauty, power and authority that gets better and more moving with repeated plays - Boomkat.com

"?this piece is an enigmatic, swirling affair, both soothing and unsettling in turns? - Steve Nickolls DJ

whether perceived as architecture, landscape or succession of morphing events - continue to fascinate and point to just how much potential territory >> remains to be mapped, of which this is one miniature, but richly >> detailed zone. - Colin Buttimer WWW.BBC.CO.UK

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