Fennesz "Venice" (continued)
World's of Possibility (Blog):
After 2002’s Endless Summer Fennesz could have wandered further down the idyll-tronica pathway - bucolic pleasures, sparkly spangles of muted rapture, pop motifs floated in a street-side puddle of ambient nothingness. At a certain point that stuff all starts to sound like some Warp-ed vision of the ECM label, polite and restrained, surface-sheen lovely and a bit glossy: untroubled music. With Venice, Fennesz rediscovered the glorious mistiness and uncertain emotional tenor at the heart of his best work. Venice connects more to the wistfulness of “Don’t Talk (Put Your Head on My Shoulder”, the exploded spaces and hanging sculptures of sound dotted throughout Live in Japan (a more successful exploration of Endless Summer’s ideas and motifs), at times it even looks back to the wildcard experimentation of plus forty seven degrees 56’37” minus sixteen degrees 51’08”. The album title is a pun on the artist’s name, I suppose, but it also allegorises the record’s precarious structures with the slowly disintegrating city: the great sense of loss that is at the heart of beauty. Venice is highly sensual, and once or twice, it threatens to cross over into the concupiscent; at its most intoxicating it is so overwhelming you positively lose yourself, erased at the point of la petit mort. Music of jouissance? Why not (there is, after all, a great melancholy at the heart of jouissance - the very knowledge that it is always fleeting) - we need more music that deprogrammes the dead-eyed ‘virility’ of what passes for ‘pop’ these days, replacing it with music that valorises the overwhelming giddiness of pop at its most voluptuous and romantic. Perhaps Fennesz isn’t writing the ‘pop songs’, but he’s supplying the fabric, the texture, the erotic drape over the physical presence of great pop music.
(Oh - Did anyone else notice how, on “Circassian”, Fennesz gets remarkably close to the spine-melting amour of early Seefeel?)
Sonidobscuro (Peru):
Desde la década pasada el nombre del austriaco Fennesz inspira respeto debido a la calidad de sus ejecuciones musicales, el último de los cuales lo ha realizado el 2004 y lleva por título Venice (lugar donde grabó el disco) el cual merece la mayor de las atenciones por los seres ávidos de un encuentro con música de calidad. Hablar de Christian Fennesz -hoy productor y guitarrista- es remontarnos a los ochentas cuando empezó a gustar de música electrónica en la vena de Japan, Talk Talk o Heaven 17, aunque lamentablemente en su Viena natal no existía gente interesada en los mismos, por lo que tuvo que tocar guitarra hasta la creación de la banda underground de rock experimental Meische del cual fue fundador, vocalista y guitarrista.
Ya desde los noventas empezó a experimentar con dicho instrumento logrando sonoridades extrañas basadas en mezclas procesadas a través de la tecnología, todos ellos para dos sellos emblemáticos: Mego (label austriaco creado el 1994) y Touch (Inglaterra) en el que está realizando sus últimas producciones como su predecesora joya llamada Fields Recordings. Venice lo inicia 'Rivers Of Sand' el cual nos hizo pensar que andaría por los mismos senderos de su anterior entrega, guitarras procesadas sobre capas sonoras paisajistas, lo cual no se reflejaría con el transcurso de los siguientes temas. Ya con 'Château Rouge' los sonidos se tornan más intimistas, en este nos hace alucinar un ambiente de gotas de cristales al que se une por momentos el sonido de una especie de maquina procesadora con el cual se juega durante el tema. Inmediatamente viene 'City Of Light', puros sonidos de atmósferas extraterrestres en el que pareciera que todo el track fuera hecho de una sola capa, pero una atenta escucha nos llevará hacia las superposiciones de las mismas. Luego de dichos seis minutos treinta le sigue otro track con la misma duración: 'onsra', suerte de retorsiones sonoras que van pululando a lo largo del mismo en los que podemos apreciar ciertos guiños de sonoridad etérea y de ambientaciones repetitivas.
'The Other Face' posee mayor electrónica pero igual de confuso en sus tres minutos, mientras que 'Transit' (único tema cantado) se inicia con choques astrales luego de los que al promediar los cuarenta segundos se escuchará la lírica de Sylvian sobre sonoridades excentricas que asemejan distorsiones vocales. 'The Point Of It All' estremece desde un inicio por su fría composición paisajista para que al promediar los cuatro minutos se empiece a apreciar sonoridades de guitarra acústica. Más rítmico encontramos los guitarreos de Fennesz en el décimo tema 'Laguna' una suerte de slowcore noventero bien hecho al que le seguirá 'asusu' (de segundos) para terminar con 'The stone of impermanence' una suerte de descomposiciones guitarreras con similitud a distorsiones al que le seguirán sonidos más suaves entre los que podemos encontrar al de un cascabel.(?)
Finalmente, no está demás destacar sus principales trabajos en ambos labels, para Mego: el EP en vinilo en 12 pulgadas número 004 (hoy descatalogado): Instrument (1995), y en años consecutivos: Hotel Paral.Lel (1997), The single plays, The magic sound of Fenno´berg (triada compuesta, además, por Peter Rehberg "Pita" y Jim O´Rourke); Endless summer del 2001 y The return of Fenn O´Berg al año siguiente. Para Touch Musicdestacan: Plus Forty Seven Degrees 56´37 minus Sixteen Degrees 51´08" (grabado en su jardín en Austria) de 1999, Live at Revolver, Melbourne de 2000 y Fields Recordings 1995-2002, suerte de compilación de trabajos para películas, remixes y el EP: Instrument. También, el 2003 se lanzó su Live in Japan -mediante el sello Headz- y la colaboración con Sylvian en el track 'A fire in the Forest' del disco del ex-Japan, lo cual se retribuiría en el presente Venice.
Brainwashed (USA):
1. Fennesz, "Venice"
2. Devendra Banhart, "Rejoicing in the Hands"
3. Sonic Youth, "Sonic Nurse"
4. Coil, "Black Antlers"
5. Animal Collective, "Sung Tongs"
6. Devendra Banhart, "Nino Rojo"
7. Einstürzende Neubauten, "Perpetuum Mobile"
8. Tom Waits, "Real Gone"
9. Pan Sonic, "Kesto"
10. Björk, "Medulla"
betamusic (Singapore):
Three years between albums is a long time in the hyper-real world of experimental electronic music. But that's how long it's taken Austrian wunderkind Christian Fennesz to create a followup to 2000's groundbreaking Endless Summer. Venice is Fennesz's fourth studio full-length album, and, already on first impressions, a very important addition to his canon. The laptop composer had been kept busy in the three years, not just with touring but also with remixing and musical collaborations. So it's a supreme delight that Venice comes across as an unhurried, and attentively crafted work. Continuing the playful dalliance with pop first sampled on Endless Summer, Venice is pretty and accessible. "Rivers of Sand", the album's opening track tacks cavernous bass notes to sheets of feedback. "The Other Face" offers up another surprise--vocal samples were never a staple in Fennesz's music--but here they flit in and out of a repeated cycle of buzzing like disembodied spirits in search of release. The album's two highlights, depending on your preference, would either be "Circassian" or "Transit". Fans of Fennesz are always able to hear the latter's My Bloody Valentine fixation. Well, they would thrill to "Circassian", a manipulation of mutated power chords that wouldn't feel out of place on Isn't Anything. On the other hand, "Transit" features David Sylvian on vocals, and locates its still, focussed beauty on a lone organ. Quite obviously, Fennesz is a musician who's not afraid to spend as much time as he needs fashioning melodies and pursuing that perfect texture. For that unique quality alone, we should be grateful. [Lee Chung Horn]
Urb (USA):
Brainwashed (USA):
Try as I might, I can never come to an understanding of the fascination so many have with Christian Fennesz. His 2001 record, Endless Summer, never touched me in the same way it seemed to touch numerous critics and fans; even repeated listens could not cure the inertness I felt while listening to the music. Put simply: I've always found Fennesz's albums overrated and tame. That's why it came as a surprise to find Venice impressing me on some levels. As a whole the record drags on just as much as its predecessors have, but there are a few songs on the album that come out of left field and strike me to a degree that I could never have expected. The opener, "Rivers of Sand," is a pulsating work full of struggling chords and bereft melodies that disappear mysteriously only emerge triumphantly on the other end of death as some fizzling and hissing memory more powerful than before. The combination of highly-processed sound and near-pure flourishes resonates in a way that few other songs from this composer ever have. Between songs like "River of Sand" and "Circassian" are pieces that fail to evoke any happiness or intrigue in me. "City of Light" is a moaning exercise in patience that never touches on the promise of its title. While there is some peace to be found in the slowly morphing chords processed and reprocessed by Fennesz, there are few significant or lavish sounds that make continued listening a joy. Everything sounds like it is a little too perfectly in its place. Where Venice succeeds is in its more bare and acoustic moments. "Circassian" emenates an ebb and flow in the electronic realm that suggests wind-swept plains and ancient civilizations. But just below that ebb and flow is a distinct and gorgeous strumming, something for the present and familiar that sinks into my skin and makes the unknown an appreciable entity. "Laguna" works for the same reason - it's a track dominated entirely by an acoustic guitar, but with one mild and completely endearing electronic effect: a bad mic. If Fennesz is capable of melody and beauty as great as this, why he is concentrating on distortion and laptop trickery is beyond me. With the highlights safely out of the way, I can still express my confusion about Fennesz's supposed brilliance. There is no doubt in my mind that he is a gifted individual and that is capable of producing some excellent music, but the bulk of Venice suggests to me that he hasn't even begun to tap his abilities as a writer and performer. I have no doubt that this will be hailed as another incredible record and that fans everywhere will absolutely adore this record, but until Fennesz gets very experimental and takes a chance at a nearly unedited, unprocessed, acoustic record, I'll be getting my kicks elsewhere. [Lucas Schleicher]
Brian Eno’s founding maxim about ambient music was that it should be “as ignorable as it is interesting”. If this is a sufficient condition for a great record – then Fennesz has entered the arena of the truly wonderful. Like a musical Derren Brown, this album always seems to know what you are thinking and never fails to work its atmospheric magic in any situation where you find yourself listening to it. This is only Christian Fennesz’s fourth album in seven years; clearly great art takes time. Opening tracks “Rivers Of Sand” and “Chateau Rouge” pulsate with warm ambient loveliness and creak with sonic static electricity, while “Circassian” has a mildly unsettling My Bloody Valentine-esque drone that sounds as if it about to implode under its own emotional intensity, and David Sylvian croaks along to “Transit” sounding like Nick Cave. There is not a single track to find fault with here, this is a truly lovely record. And if the music doesn’t float your particular boat, Venice is almost worth owning just for the dreamy cardboard CD case with absolutely stunning photographs; another example of great cover art (which seems to be the Touch label policy - presumably an effort to stem the tide of downloading). This is a record that you should not only download, you should also own an original for yourself, and while you are at it buy one for somebody else in your life whose lot you would like to improve just a little bit… [Ed F]
Boomkat (Web):
'Venice' is the official follow up to the groundbreaking 'Endless Summer', a record with a legendary pedigree and with sales substantial enough to have shaken up its label (Mego) to the extent that they seem to have been on a mission ever since to keep it as difficult as it gets. It seems Touch has no such hangs up. This is an amazing album that will no doubt come to be as highly regarded as 'Endless Summer' though musically its a much more varied affair, reflected by the contrasting imagery in the digipak photography (an old and new rowing boat moored up / nature and classic architecture reflected through water / an ice bound airport / an evening shot of a weir). Check the heartbreak rushing melancholy of the opener 'Rivers Of Sand' to the somewhat playful 'Chateau Rouge' then the freeze framed longing of 'City Of Light'. 'Circassian' featuring the searing guitar of Burkhard Stangl will make the hairs on the back of your neck stand up. The justifiable hyped up collaboration with David Sylvian is as you'd expect, upfront confessional lyrics behind the buzz and hum of plucked electrical wirings and trapped angels - amazing. My personal favourite is 'The Point Of It All' which has the most beautiful harmonies you'll have heard close up all year plus the tempo and mood shifts. The most brutal track on display 'The Stone Of Impermanence' rounds out this collection in a pure Mego rush of ear splitting intensity but still with that essential Fennesz melodic undergrowth. This is one essential album... if you've not already bought this wondrous album, you need to do so without delay. Truly life enhancing music.
2004 Year End Inclusions:
www.neumu.net:
Venice, which somehow manages to sound like an aural translation of string theory. Or any other spatial theory that a layman like me can't hope to understand. Each song is connected by a strange, enveloping glue that makes everything sound as peaceful as the wading paddle-boat on this album's cover. The whole thing is a bit Zen I suppose, but Fennesz manages to dodge any hint of a new-age vibe with his churning chord theatrics. Every now and then an especially high wave of guitars will linger (as on the grand "Cirassian") only to eventually fade back into the ambient ocean. A touchstone of subtle brilliance.
www.popmatters.com:
Pay attention to Christian Fennesz. He is at the forefront of music's future, foiling computer brushstrokes with his undying love of pop. On Venice, he ups the ante, allowing his pieces to ebb and flow, like its namesake's watery environs. Fennesz is one of the few current digital dilettantes to fix his mouse on mood and emotion. Guitarist Burkhard Stangl's blues-ish riffing adds extra soul to what is usually a cold computer world. On "Circassian", (named for Sunni Muslims of non-Arab descent), the guitar rips like an Eno-Fripp collaboration, both synthetic calm and Hendrix pyrotechnics. On "Transit", former Japan vocalist David Sylvian's lament hints at Europe's end days. Fennesz never left the guitar; appropriately, he's recently returned to using one onstage. Venice is one of the great modern electronic works; refracting deftly embedded melody into a thousand pieces of colorful tone, the guitar's lines shining like sunlight through cracks in a wall, sharp as diamonds. [Chris Toene]
www.coolfer.com/blog/
Fennesz: Venice (Touch, March 22nd) The textures on Venice, the latest ablum by experimental electronic artist Christian Fennesz, grabbed my attention like few albums this year. It's a beautiful suite of ambient music. David Sylvian lends vocals to the song "Transit." When given the time, a listen to Venice from start to finish is really the only way to enjoy it.
www.jackpot records.com
JACKPOT RECORDS BEST OF 2004 RECOMMENDATION!! This record stops just shy of teasing listeners, as it shifts back and forth from tremendously emotional melody to static hiss. Like crying and trying to focus on your best friend's face, the momentary clarity of blinking away tears slowly obscured as your eyes fill back up. As difficult as it is beautiful, this record ought to sound just as heartachingly necessary five, even fifty, years from today.
THE CMG 2004 YEAR-END EXTRAVAGANZA: TOP 50 COMBINED RATINGS OF 2004
http://www.cokemachineglow.com/2004/combined/30-21.html
If you knew Fennesz, if you loved Fennesz, and if you were advising your friend on how to try out Fennesz, the answer would always be: “start with his latest album.” Of course, putting the words “try out” alongside “Fennesz” is immensely absurd. You don’t try out Fennesz albums. You worm your way into them, you inhabit them for days, and then you come out musically reborn. It took me at least a dozen close, uninterrupted listens, and twice that many cursory listens, to understand, appreciate and eventually love Endless Summer when that was Fennesz’s most approachable album. Venice has now taken over that title - but thankfully Fennesz’s (infinitesimally) growing “accessibility” has not taken away from the beauty of his works. [Amir Karim Nezar]
pitchformedia.com (USA):
While Jóhann Jóhannsson launched chilly air-born arias in 2004, fellow Touch artist, Parisian/Viennese electro composer and guitarist Christain Fennesz, turned-in a cavernous, reverberating My Bloody Valentine riverbed streaming with stringed miscellany and soft-cornered static. Fennesz is most most hypnotic when his instrumentation's unidentifiable. On his first studio album since 2001's Endless Summer, he evokes waterlogged, crystalline interiors and - quite magically - his opaque formula remains equally diffuse. Hyperbole aside, the only misstep is "Transit" and its tremulous vocal harmonies; but in its wake Fennesz wisely submerges the listener back into the murky instrumental depths for the album's remaining four tracks. Complementing this dark blue geography, labelhead Jon Wozencroft's accompanying photos of pitch-black ocean loam, shivering curlicues of an icy airport, peeling salty boats anchored into shadows, and the prosaic world dispersed through reflective water, unpack Venice's quiet beauty better than anything written on the album thus far. [Brandon Stosuy]
betamusic (Singapore):
Three years between albums is a long time in the hyper-real world of experimental electronic music. But that's how long it's taken Austrian wunderkind Christian Fennesz to create a followup to 2000's groundbreaking Endless Summer. Venice is an unhurried, and attentively crafted work. Continuing the playful dalliance with pop first showcased on Endless Summer, Venice is pretty and accessible. "The Other Face" has vocal samples, never a staple in Fennesz's music, flitting in and and out of a drone-buzz like disembodied spirits in search of release. Venice also breaks new ground. "Rivers of Sand", the album's opening track tacks cavernous bass notes to sheets of feedback. Also, "Transit" features David Sylvian on vocals, and locates its still, focussed beauty on a lone organ. The texture, the texture!
Dagsavisen (Norway):
På toppen av elektronika-haugen 2004 ligger denne plata fra østerrikeren Christian Fennesz. Som et av ny elektronisk musikks mest anerkjente navn er det underlig at hans nye album ikke har fått skandinavisk distribusjon før nå. Særlig ikke siden hans forrige album «Endless Summer» (2001) ble genierklært over store deler av den vestlige verden.
Christian Fennesz startet som gitarist i et eksperimentelt rockband, men som soloartist har han utforsket kombinasjonen gitar og laptop, og utviklet et helt eget og innflytelsesrikt sound. Han legger lag på lag med lyder og klanger i rike, men samtidig direkte og emosjonelt ladede komposisjoner. Og han tar seg god tid, «Venice» er hans fjerde soloalbum siden 1995. Innimellom har han samarbeidet med vidt forskjellige artister som Jim O Rourke og norske Geir «Biosphere» Jenssen, og i 2003 var han med på det modige comebackalbumet til David Sylvian, som er gjestevokalist her. Plata er hovedsakelig spilt inn i Venezia, og på sin abstrakte måte maler Fennesz et nattfarget lydbilde av døsige bølger som slår over restene av forgangen europeisk kultur.
Sylvians distinkte stemme preger den eneste vokallåten på «Venice»; «Transit», som ligger midt på plata som et punkt hele albumet dreier seg rundt («say your goodbyes to Europe/swallow the lie of Europe/our shared history dies with Europe»). Mange holder «Endless Summer» som Fennesz' beste, med sine muterte Beach Boys-inspirerte gitarsløyfer; «Venice» er på mange måter vel så interessant, den er dypere og mørkere og mer utfordrende. Fotografiene og designet på cd-omslaget kommuniserer med musikken på en slik måte at opplevelsen ville blitt fattigere som ren lyd. Slik sett er «Venice» også en seier for det truede cd-formatet.
disquiet.com (USA):
Christian Fennesz can build small cities from things as slight as glitches, hum and over-amplified guitar, and this album collects a dozen examples of his soundcraft: the orchestral depth of "The Point of It All"; the vibrant chaos of "The Stone of Impermanence," with a melody buried deep in its core; the buzzing liveliness of "Circassian." One highlight is "Transit," a vocal track featuring singer David Sylvian (following up Fennesz's work on Sylvian's Blemish from last year); it's like a Wim Wenders film condensed to under five minutes.
Village Voice (USA):
With all the excitement of watching an office temp download a Paris Hilton clip at his cubicle, that upside-down glow of the Apple logo illuminates most Powerbook performers as tedious enough to make Kraftwerk look like the Scorpions. That chin-scratching audiences could discern a G3-tar plucking ditties inside the dizzying katydid clicks of Austrian rock guitarist-turned-laptopper Christian Fennesz's 2001 breakthrough album, Endless Summer, popped him out of the noise crowd, rendering him commercially viable as computer music's first guitar god.
Rather than follow it up, Fennesz globe-trots with Jim O'Rourke and Pita, the Polwechsel quartet, Sparklehorse, or ex-Japan crooner David Sylvian, or else remixes the jiggy-sissy Junior Boys and the im-Material Girl herself. He also trots out those most rote of rock maneuvers, an odds-and-sods comp (Field Recordings 1997–2002) and a live album—from Japan, no less!—echoing the dinosaurs that once rocked the earth: Cheap Trick's Live at Budokan, Deep Purple's Made in Japan, even the Scorps' own Tokyo Tapes.
Shunning pyrotechnics and fiery leads, Fennesz instead cops the licks of other '70s guitar heroes: Fripptronic components bob in a watery tub of dub as Florian Fricke's acoustic balances precariously above. The cherry wood warps as erratic jolts of electricity course through his shriveled fingertips, drowning out half-formed melodies in washes of white noise. Pastoral musings distend as they get sucked down the drain, and though it doesn't really rock like a hurricane, it churns like one. Hyped as the greatest laptop concert ever (though his Live in Detroit boot is more visceral), Live in Japan simply updates arena-rock formula: download and deliver hits, saving catchiest number code ("Shisheido") for encore.
After album-length postcards of places such as Barcelonan pensiones, Australian tourist traps, and his backyard coordinates, Fennesz recorded the entirety of Venice in . . . you guessed it. Rested and ready, it's his most complacent disc yet, less concerned with pushing envelopes than having something to say beyond "Wish you were here." That voice in "Transit" is Sylvian in correspondence, tilting the album toward Scott Walker country. "Circasian" has all the majesty of San Marco Basilica drones with none of the swarming pigeons. Multiple dimensions of melody get compressed to oily surface tension. Notes are motorless, impermanent; they merely float and reflect the glimmer of the sinking city's capillary action. [Andy Beta]
Neural (Italy):
Distillati fremiti, eleganti dissonanze, accordi struggenti: le atmosfere della Venezia di Fennesz ricordano in qualche modo le suggestioni sontuose e decadenti, splendidamente descritte da Thomas Mann e poi rese in immagini, altrettanto sofisticate, nel celeberrimo film di Luchino Visconti. Tutto in questa raffinata produzione, nonostante la contemporaneità dei suoni, riporta ad un senso di nostalgia, di perdita, allo stesso modo le astrazioni, nelle strutture estremamente sperimentali, sbandano verso pulsioni descrittive. Un doppio binario, melodia ed elettronica, ricerca colta e facile gioco emozionale, facendo vibrare la voce sensuale di David Sylvian, ad esempio, in 'Transit', unica traccia non strumentale, quasi un appendice di 'Blemish', ultimo atto dell'ex pop-star poi convertita verso sponde concettuali comunque molto fruibili. Una sorta di romanticismo più, pervade questi solchi, romanticismo più ambient, più post-rock, più glitch, più laptop music, più tecnica strumentale e digitale. Innovazione, stile personalissimo e un senso immanente delle cose sembrano far parte di un unico progetto e molto a questo proposito ci racconta anche il curatissimo artwork della confezione, ad opera di Jon Wozencroft: due barche ma la foto sembra quasi irreale, palazzi riflessi nell'acqua che potrebbero essere deformati da un effetto digitale, un'immagine informale, sottacendo però fluidi riverberi di natura. Fatto ad arte, verrebbe da dire, con molta arte e conoscenza (e vorrei, se possibile, che questa affermazione non sia considerata un'allusione sulla qualità del prodotto, inequivocabilmente altissima). Toni evocativi, paesaggi visionari, tensioni mantenute sospese, un aria malinconica a fare da sfondo, un disco osannato da molti, splendidamente in bilico nella pretesa di traghettare il nuovo che avanza verso stati di sensibilità maggiormente condivisibili anche da un pubblico meno avvezzo alle avanguardie. [Aurelio Cianciotta]
misak (Turkey):
e|i (USA):
A very great deal has already been written about this record, and little remains for the present reviewer except to either add another voice to the chorus of praise and wonder or to dissent. Despite the attractions of contrariness, the only possible choice is the former. There is no other glitch album, and precious few albums of any kind, that can lay claim to the kind of subtlety, charm, warmth, and splendor of Austrian sound designer and guitarist Christian Fennesz’ album of last year, his tribute to the city of Venice. Indeed, one of the very few to come close is Fennesz’s previous album, the Beach Boys tribute Endless Summer. As on that album, Venice’s smeary surfaces are largely products of manipulating the electric guitar, sometimes gently, elongating and reverberating riffs into tinnily clanging echo-chambers, and at other times so completely that the source sound is unrecognizable. An analog from the visual arts to Fennesz’s work on eleven of these twelve woozily shimmering tracks (David Sylvian’s prominent vocal contribution to “Transit” renders it a different kind of beast altogether) would be the most abstract paintings of impressionist Claude Monet, with the key difference that whatever programmatic content, whatever “subject,” there may be to these tracks is hidden, except in the song titles, which are opaque (e.g., “The Point of it All,” “Rivers of Sand”). That the one vocal track on the album, the aforementioned “Transit,” is a kind of love-song and farewell to a vanished Europe, can’t help but cast the rest of the album in that light however, and Venice is, after all, a sinking city. There is an elegiac, haunting, always-already disappearing quality to Venice, which adds heft to its dreaminess, and poignance to its beauty. [Matthew Marten]
Magnet (USA):
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