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

More By Fenster

You May Also Like