The fact that Christian Fennesz is part of the label Mego is so very obvious that it’s easy to forget how long he hasn’t released a record at the traditional Vienna institution: It was in 2001, and the album was his undisputed classic »Endless Summer, after which he started experimenting with other labels. With his new record »Bécs«, he has returned to his old home-address, which is now running under the name of Editions Mego. After having come up with the drone-based sound monster »Black Sea« in 2008, he has got back in line with the abstract pop of his earlier records. What was only noise in 2008 has been modified and has been piled up into individual and complex layers. For example, in the central track »Liminality«, Fennesz’ clear guitar-chords (as reworked as they might be) are providing the basic structure, through which the digital noise underneath gradually finds its way to the front. So far, so known. And if we didn’t know it any better, we’d almost miss how drummer Tony Buck (pacemaker of the exile-Australian trio The Necks) has added his very own extemporization to the track: His impulsive contribution has subtly been mixed behind the track, and it’s impossible to tell which individual drums he might be hitting. There are more guests to be found in the opener »Static Kings«, in which impro-giants such as Martin Brandlmayer and Werner Dafeldecker are adding to the glimmering mix of effects through their heavily alienated handling of bass and drums. You still find Fennesz-Drones as big as balloons, but they’re limited to shorter pieces, like the title-track or »The Liar«. What finishes this statement of maturing is the conciliatory sound of an acoustic guitar (not without the obligatory crackling, of course) – and Fennesz has managed to gently elaborate his familiar approach even further.