Albums of the year: #7


In my review at the time I remarked how it took a number of plays before Cendre revealed itself. It is a fairly homogenous album in that each track can be summed up as Christian Fennesz building a chassis of guitar drone and noise on to which Ryuichi Sakamoto adds the coachwork of unassuming, melancholy piano. The two halves complement each other perfectly, and the record sucks you into its own soundworld. It’s not an album that seeks attention, but does repay it.


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