Here's a good review (and not because it's a positive one, but because it's well written and the author gives the impression she knows what she's on about):
http://www.shuffle-mag.com/news/sylvian-mathieu-fennesz-the-kilowatt-hour/
This is my yucky translation:
ROMA, 22 September 2013 -:- AUDITORIUM PARCO DELLA MUSICA
One of the most anticipated events of autumn 2013 sees three distinguished interpreters of musical experimentation, Stephan Mathieu, David Sylvian and Christian Fennesz, take the stage behind sophisticated electronic stations. Three giant screens at their backs show fluctuating and rarefied images. The three artists, on the basis of previous collaborations, have created a really fascinating project in which the sound universe produced by their individual and common experiences is inseparable from the visual art.
This compact ensemble of rarefied and elusive sounds, is made using cleverly selected instrumentation - David Sylvian: piano and laptop; Christian Fennesz: guitar, pedals, laptop; Stephan Mathieu: zither, e-bow, laptop, mixer. The three musicians, enshrouded in total darkness, produce ephemeral yet firm harmonies, apparently ignoring each other but giving proof of a solid interplay, in spite of only few rehearsals before the tour.
The human voice enters this universe of impalpable sounds exclusively through recordings - and you can't help thinking of past projects: from the spoken parts of the first track of the instrumental section of "Gone To Earth" to the works Sylvian produced in collaboration with experimenters and sound designers like Holger Czukay. Leaving aside self-quotations and other sources, the novelty of this project lies in the deep reflection on the earthly experience of the human being, rendered through sounds and beams of light. A story, a narrative of sound whose drama unveils at the end.
In this sonic and visual discourse is a celebration of nature, evoked visually and verbally - corn fields, seagulls, sky - the main character of an immediate enjoyment limited to the present time, that of the unique pleasure experienced in a transitory and transient moment.
The picturesque representation of the natural world is disturbed by artificial piercing sounds (due to Mathieu's brilliant mind), while the rhythm of this mass of sound and images, primarily under Fennesz's responsibility, is alive and kicking, although imperceptible; it's something that relates to the movement of stars and planets, to the phases of the moon, the vital rhythm of the universe.
The improvised piano and guitar parts insert themselves on a ready-made carpet of synthetic sounds, and are the introduction to a new visual elaboration of the sound texture, hypnotic and concrete. It's the encounter of two opposite spheres: one is the expression of the breathing of the soul, a combination of acoustic and sampled sounds, the other is made up of distorted or artificial sounds, noises, and electromagnetic vibrations on which the narrating voice returns as the screens show the perfect symmetry of spherical shapes floating in a dark, magmatic background. The threads of this plot join to raise a powerful and insurmountable wall of sound, while in the final section samples of strings from Schubert compositions lead the narrative to its end: death.
"The Kilowatt Hour" is a performance characterized also by its brevity - which, considering the intensity of the emotions aroused, can be considered a virtue. And still it can be read as the chronicle of the story of a human being: the space of time of an entire life condensed in little more than an hour.
It's the sound of our lives today, in 2013, whether we like it or not.
Susanna Buffa