{"id":163611,"date":"2026-08-21T10:19:01","date_gmt":"2026-08-21T14:19:01","guid":{"rendered":"https:\/\/panm360.com\/?post_type=interviews&p=163611"},"modified":"2026-08-22T15:34:37","modified_gmt":"2026-08-22T19:34:37","slug":"mutek-2026-fenneszs-music-is-about-finding-the-flow","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/mutek-2026-fenneszs-music-is-about-finding-the-flow\/","title":{"rendered":"MUTEK 2026 | Finding the Flow With Fennesz"},"content":{"rendered":"\n

A master and visionary of experimental ambient music, Christian Fennesz will perform his famous album Endless Summer<\/em>, which earned him international recognition in 2001. With its almost cinematic quality, this soundscape will naturally evolve into an immersive multimedia event, live at the Maison symphonique as part of the X\/Visions series on Saturday, August 29.<\/strong><\/p>\n\n\n\n

Fennesz will be joined by his friend and colleague Lillevan, an internationally renowned multimedia artist. For 25 years, Fennesz\u2019s \u201csummer\u201d has truly been endless; its magic and sensuality continue in Montreal through new forms, without straying from the very essence of this seminal recording.<\/strong><\/p>\n\n\n\n

Since the early 1990s, the Austrian musician has devoted himself to the guitar, drawing on a deep understanding of harmony and melody, combined with a wide range of effects pedals. Indeed, Fennesz has created a unique fusion between his guitar playing and electronic sound processing, whether analog or digital. He has explored far beyond ambient music as we typically imagine it; his soundscape has also been enriched with noise and drones, making it utterly unique.<\/strong><\/p>\n\n\n\n

Fennesz has reimagined the electric guitar through electronic processing, yet guitar-based melody and harmony have remained the foundation of his soundscape, surrounded by distortion, noise, and drones.<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

PAN M 360: So you\u2019re going to present this reinterpretation of Endless Summer<\/em> with Lillevan, who is a renowned director and videographer. And I\u2019m sure you won\u2019t be performing it the same way you did 25 years ago. Am I right?<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Yes, that\u2019s correct. I did try to preserve the heart of the work, the very essence of the album. But the problem is that many elements of this work were no longer available\u2014they had been lost, and some sessions had disappeared. So I had to recreate them in one way or another. Not everything, but certain parts. And as I was making the changes, I tried to preserve the original sound while adding something that sounds a bit more \u201c2026,\u201d without altering it, without changing the atmosphere or the overall style. And it simply sounded better on my new systems when I used modern tools, new plugins, and that sort of thing.<\/p>\n\n\n\n

PAN M 360: Yes, it\u2019s interesting to revisit an album that was such a huge success. Endless Summer<\/em> brought you international recognition back then, and since then, you\u2019ve been evolving across many musical scenes, all while building on the same foundation.<\/strong><\/p>\n\n\n\n

Christian Fennesz: <\/strong>Yes. Of course, things have changed. Back then, I started exploring computer-assisted music with my guitar, combining digital tools with my guitar and the effects pedals I use. Since then, hardware and equipment have evolved tremendously, and electronic music has evolved tremendously. There are so many possibilities today that it can even become a problem at times! So I have hundreds of plugins, but\u2026 sometimes I only use the same four or five, because there\u2019s too much choice. It\u2019s therefore very important to find a few tools that you feel completely comfortable with, and that can really help you develop your music. Otherwise, you end up getting lost. And I think that\u2019s the main problem today. And of course, it was the same for me. I mean, I could have gone in so many different directions.<\/p>\n\n\n\n

PAN M 360: More specifically, what has changed since Endless Summer<\/em>?<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Ultimately, it\u2019s stayed more or less the same\u2014it\u2019s just become more refined over time. There\u2019s more bass, for example. And yes, for this reinterpretation, the new tools have been very useful to me. But deep down, it hasn\u2019t really changed that much. Basically, we are who we are, and we try to improve.<\/p>\n\n\n\n

PAN M 360: No artist can change the foundations of their artistic personality, that\u2019s true. It comes from the unconscious; everyone has their own way of expressing that unique personality. That said, can you pinpoint certain elements of your evolution as an artist?<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> I can also cite other examples. I\u2019ve been using synthesizers a lot more lately, because I find them to be very interesting tools. Of course, there\u2019s the modular synthesizer scene, but there\u2019s also a lot going on in the world of digital synthesizers.<\/p>\n\n\n\n

PAN M 360: So you\u2019re not a purist\u2014you explore both worlds of electronics, digital and analog, right?<\/strong><\/p>\n\n\n\n

Christian Fennesz: <\/strong>Yes, I use both. But I try to keep it simple\u2014almost minimalist, in a way. You see, I always want to be able to travel with a studio, or at least some kind of studio, so I can produce music while on tour. That\u2019s very important to me. I\u2019ve scaled back my gear a lot over the years; I used to have so much stuff\u2014I had a huge recording studio, a traditional one. Today, all I have left is a console with a few essential components, and I feel much more comfortable that way. Yes, for now, I\u2019m mainly looking to pare down my equipment rather than expand it.<\/p>\n\n\n\n

PAN M 360: It\u2019s also a sign of maturity. As an artist gains age and experience, the next step is to try to give their work an air of simplicity.<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Yes, it seems simple, that\u2019s true. I think I\u2019ve developed a kind of musical language that\u2019s unique to me. And what I do is make it more\u2026 I don\u2019t know\u2026 in any case, for me, to make it more perfect, more\u2026 striking, more interesting to my eyes. And what I do is get rid of everything that isn\u2019t necessary. I\u2019ve been using synthesizers a lot more lately, because they\u2019re very interesting tools. Of course, there\u2019s the modular synthesizer scene, but there\u2019s also a lot going on with digital synthesizers right now.<\/p>\n\n\n\n

PAN M 360: So, what\u2019s going to happen in Montreal? We know, of course, that it will be an immersive audiovisual experience at MUTEK. Tell us about the history of your collaboration with Lillevan and how it\u2019s transforming Endless Summer<\/em>.<\/strong><\/p>\n\n\n\n

Christian Fennesz: <\/strong>I\u2019ve been working with Lillevan, on and off, for many years. But I received an offer from Bozar in Brussels to perform the entire Endless Summer<\/em> score last June. We performed it there for the first time; this will be the second time in Montreal. Lillevan, who is based in Berlin, has a huge screen to work with. He\u2019s prepared certain sections, but he\u2019s also an excellent improviser. So the show won\u2019t be exactly the same as the previous one. You have to imagine that Lillevan works like a musician with his visual material. And I think he offers us an excellent combination. He\u2019s very flexible; he can react very quickly.<\/p>\n\n\n\n

PAN M 360: Can you tell us a little about the visual aspects of this immersive concert? How do they fit into your work?<\/strong><\/p>\n\n\n\n

Christian Fennesz: <\/strong>Well, it often comes down to colors. He likes the same kinds of colors as I do for this music: there\u2019s a lot of orange, a lot of green, for example. And what\u2019s wonderful about Lillevan is that he can be incredibly rich in imagery and, at the same time, very minimalist. I love the shifts he\u2019s able to create in a matter of seconds, which can radically transform the atmosphere. Just as music can do that, so can the visuals.<\/p>\n\n\n\n

So it\u2019s a kind of continuous collaborative interplay. It\u2019s like playing with a musician.<\/p>\n\n\n\n

PAN M 360: From the late Ryuichi Sakamoto to David Sylvian and Lillevan, to name just a few\u2014from soothing ambient music to intense sounds\u2014you\u2019ve always engaged with a wide range of interpretations and approaches.<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Yes, it still interests me, because I find a kind of melancholy and beauty amid all that chaos and noise. And I always hear a melody or a sequence of melodies; I always hear the chords in one way or another within a piece of noise. And once I\u2019ve grasped that, I can create a composition.<\/p>\n\n\n\n

PAN M 360: Why does the guitar remain so important? Today, you could produce sounds comparable to yours without a guitar, without a pedalboard, but solely with synthesizers or other digital software. So why do you stick with the guitar?<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Because it\u2019s my first instrument. And it\u2019s the instrument I always feel most comfortable with\u2014the one that gives me a sense of grounding, so to speak. It\u2019s something in my hands that connects me to the earth! At least, that\u2019s how I feel about it. But of course, I could do everything just as well with digital tools or synthesizers. But I sincerely believe that, in terms of sound, there\u2019s always a slight difference with the guitar, because it isn\u2019t as precise as electronics. At least, when I play the guitar, it\u2019s never as precise as when you record a synthesizer. There\u2019s always a slight gap between the notes. It\u2019s not played in a very rigid way, nor is it super precise. It\u2019s that little touch\u2014I don\u2019t know\u2014almost punk-rock or blues; call it what you will.<\/p>\n\n\n\n

PAN M 360: Of course, when you started playing guitar, you were interested in blues, rock, and jazz, weren\u2019t you?<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Yes. And I\u2019m still a guitarist. That\u2019s the simplest answer to your question.<\/p>\n\n\n\n

PAN M 360: What you\u2019re saying is absolutely true: it\u2019s still guitar playing. Even if you\u2019re somewhere else, it\u2019s still guitar.<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Yes, that\u2019s true. At the same time, I\u2019m very, very interested in electronic music. I continue to do what I\u2019ve always done: try to bring these two worlds together\u2014electronic music and the guitar.<\/p>\n\n\n\n

PAN M 360: Are you still collaborating with Peter Rehberg and Jim O\u2019Rourke on that amazing Van O\u2019Berg project, which has resulted in the release of four albums?<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Well, recently, I hit the road again with Jim O\u2019Rourke. Yes, we played in Belgium, then did a short tour in Italy, which was really nice\u2014just the two of us. We also played two shows with his partner, Eiko Ishibashi. I don\u2019t have any other collaborations planned at the moment.<\/p>\n\n\n\n

PAN M 360: Would it be fair to say that you\u2019re primarily a solo artist?<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Yes, but I do like to collaborate from time to time because I simply feel too lonely as a solo artist. I need to meet people and other musicians, and exchange ideas with them.<\/p>\n\n\n\n

PAN M 360: A close friend saw you in concert in Venice last spring. You played through your album Venice<\/em> (2014) again, as expected\u2026<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Exactly. It was another invitation to play another album in its entirety. It was great.<\/p>\n\n\n\n

PAN M 360: You\u2019ve been one of the pioneers of this melodic approach blending ambient, drone, and noise, alongside artists like Richard Pinhas and Julien Desprez, for example.<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Probably\u2026 I don\u2019t really think about it\u2026 I actually just saw Oren Ambarchi again after a long time; we played together. We shared the same bill in Italy. The whole ambient, noise, and drone music community crosses paths at various venues on the international circuit. More recently, I\u2019ve been really impressed by Caterina Barbieri\u2019s music; I run into her sometimes. I won\u2019t list all the names of my esteemed colleagues\u2014I\u2019d surely forget some. Anyway\u2026 I\u2019m always listening to my colleagues\u2019 music when I\u2019m on tour, and I try to meet up with them as much as possible.<\/p>\n\n\n\n

PAN M 360: Do you listen to a lot of music in the same genre as yours?<\/strong><\/p>\n\n\n\n

Christian Fennesz: <\/strong>Not really, to be honest. I\u2019d rather listen to a Miles Davis album or attend a Johann Sebastian Bach concert.<\/p>\n\n\n\n

PAN M 360: That makes perfect sense, given that you live in Vienna, the true capital of classical music.<\/strong><\/p>\n\n\n\n

Christian Fennez:<\/strong> Exactly. You know, listening intensively to music in my own field makes me a little nervous, haha! So I try to avoid it as much as possible, unless I\u2019m playing at a festival and someone I know is also performing; it\u2019s always fascinating to see them on stage, you know. Because sometimes I think to myself, \u201cOh my God, this person has a much better grasp of this software than I do!\u201d<\/p>\n\n\n\n

PAN M 360: What\u2019s also interesting about your music is that you always return to melodies and tonal\/modal chords, and you incorporate them into atonal music, noise, or drone. So there\u2019s a connection between your past and your present.<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Yes, because I love both of those worlds. Again, the answer is very simple!<\/p>\n\n\n\n

PAN M 360: Your latest album, Mosaic<\/em>, was released in 2024. So are you working on a new album?<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> Yes. That\u2019s why I\u2019m not doing any collaborations right now\u2014I really want to focus on my new music after this.<\/p>\n\n\n\n

PAN M 360: When you compose, do you seek to reinvent yourself, or do you simply let things come to you, hoping that something will happen?<\/strong><\/p>\n\n\n\n

Christian Fennesz:<\/strong> I let things come naturally. I\u2019m very happy when something happens. I haven\u2019t thought about a concept beforehand, so I\u2019m happy when a concept emerges. Then I can start building something. It\u2019s more a matter of finding the rhythm, the \u201cflow.\u201d That\u2019s what matters most.<\/p>\n\n\n\n

<\/p>\n\n\n

Publicit\u00e9 panam<\/span>
<\/div><\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

A master and visionary of experimental ambient music, Christian Fennesz will perform his famous album Endless Summer, which earned him international recognition in 2001. With its almost cinematic quality, this soundscape will naturally evolve into an immersive multimedia event, live at the Maison symphonique as part of the X\/Visions series on Saturday, August 29. Fennesz […]<\/p>\n","protected":false},"author":36,"featured_media":163609,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false},"categories":[4628],"tags":[],"genre":[3075,3143,3155,3159,3101,4207],"class_list":["post-163611","interviews","type-interviews","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-en","genre-ambient-2-electronic","genre-drone-2","genre-electronic","genre-experimental-2","genre-noise","genre-post-rock-en"],"acf":[],"yoast_head":"\nMUTEK 2026 | Finding the Flow With Fennesz - PAN M 360<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/interviews-panm360\/mutek-2026-fenneszs-music-is-about-finding-the-flow\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"MUTEK 2026 | Finding the Flow With Fennesz - PAN M 360\" \/>\n<meta property=\"og:description\" content=\"A master and visionary of experimental ambient music, Christian Fennesz will perform his famous album Endless Summer, which earned him international recognition in 2001. 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