12 Songs, 43 Minutes

EDITORS’ NOTES

The New York City (by way of Berlin) trio Fenster makes wobbly, echoey outré pop music that hums with theremin (or is it a saw?), pulses with muted toms, and shimmers with occasionally heavenly vocals and chiming triangles. Bones, the group's debut, is a haunting and beautiful affair, the kind of setting where it makes sense to feature inscrutable lyrics about death and the afterlife, a plucked banjo, a slammed door, or a wall of reverb hugging a shy guitar squall. “White to Red” has a fantastic, plucky little guitar line and a faintly Velvets feel in the spoken lyrics and spare, repetitive arrangement. A sound resembling a muted car alarm whooping in the background lends a wonderfully unique rhythm. Bones is rich with surprises and charm: the arresting “Spring Break” hints at the ‘60s pop tones to come on “Killer Surf Walker”; the twilight magic of “Fantasy II” is sparkling fresh and mesmerizing. Other tunes—like “Oh Canyon” and “Fisherman”—are layered with delights like megaphoned vocals atop foot-stomping tambourines and toms big enough to register on the Richter scale. Boy/girl singers and a wild range of atmospherics color Bones in surprisingly rich hues.

EDITORS’ NOTES

The New York City (by way of Berlin) trio Fenster makes wobbly, echoey outré pop music that hums with theremin (or is it a saw?), pulses with muted toms, and shimmers with occasionally heavenly vocals and chiming triangles. Bones, the group's debut, is a haunting and beautiful affair, the kind of setting where it makes sense to feature inscrutable lyrics about death and the afterlife, a plucked banjo, a slammed door, or a wall of reverb hugging a shy guitar squall. “White to Red” has a fantastic, plucky little guitar line and a faintly Velvets feel in the spoken lyrics and spare, repetitive arrangement. A sound resembling a muted car alarm whooping in the background lends a wonderfully unique rhythm. Bones is rich with surprises and charm: the arresting “Spring Break” hints at the ‘60s pop tones to come on “Killer Surf Walker”; the twilight magic of “Fantasy II” is sparkling fresh and mesmerizing. Other tunes—like “Oh Canyon” and “Fisherman”—are layered with delights like megaphoned vocals atop foot-stomping tambourines and toms big enough to register on the Richter scale. Boy/girl singers and a wild range of atmospherics color Bones in surprisingly rich hues.

TITLE TIME
2:26
3:33
3:19
2:55
2:58
3:42
3:23
3:36
4:29
3:25
5:06
4:24

About Fenster

Crafting spare but evocative experimental pop that bears traces of the xx and Mazzy Star, Berlin's Fenster is the project of JJ Weihl and Jonathan Jarzyna, a pair of friends who began recording together in 2010. New York City native Weihl had spent time playing music in Berlin with Jarzyna before moving back to her hometown for love, but ultimately returned to Berlin in mid-2010. When she reconnected with Jarzyna, the pair began working on songs together in his studio. After a stint busking all over town to raise funds, Fenster -- who took their name as a tribute to the way a window frames open spaces -- began recording in earnest with their friend and producer Tadklimp in January 2011. The results piqued the interest of Morr Music, which released a 7" single that October and the full-length Bones in early 2012. To help fill out Fenster's sound for live events, Weihl and Jarzyna added Rémi Letournelle to the fold. In 2013, Fenster headed to a cabin in East Germany to work on their follow-up album. They wired the entire property with microphones and recording equipment and began recording both music and found sounds they encountered throughout the cabin. The resulting album, 2014's Pink Caves, revealed an even more experimental and ambient approach. Their follow-up would end up being the band's most ambitious project to date. Released in late 2015, Emocean is the soundtrack to their sci-fi film of the same name. In addition to starring in the film and composing the soundtrack, the members of Fenster wrote, directed, co-produced, and co-shot Emocean. ~ Heather Phares

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