Fennesz debuted with the four-track EP Instrument (Mego, 1995). The album Hotel Paral.Lel (Mego, 1997) represented the first major expression of his vision. It would also remain his harshest work, influenced by industrial music, by Autechre's digital techno and by Merzbow's free-form noise. Fennesz, basically, introduced himself as a composer of electronic music for electric guitar. Fennesz marked his territory between post-electronic musique concrete and post-ambient ambience with #2, a violent mass of sustained noises moving along the spectrum, Nebenraum, a wavering tone that dissolves into a limping proto-melody, Blok M, a morphing beat for a rhythm-less music, Santora, sounding like a dying motorcycle engine, Delhi Plaza, a march of miasmatic robots, Fa, a series of agonizing drones, Traxdata, a flow of violent discontinuities, etc. It often sounds like Throbbing Gristle turned into chamber music.

The single Plays (Mego, 1998), that deconstructs two classics of rock and roll, is another powerful manifestation of this metabolic process.

Plus Forty Seven Degrees 56'37" Minus Sixteen Degrees 51'08" (Touch, 1999) and, lo a lesser extent, Music for an Isolation Tank (Rhyz, 2000) continued the experiment while softening the edges. The music was still dense, at times massive, obscure, menacing, but not impossible.

Magic Sound (Mego, 2000) and Return of Fenn O' Berg (Mego, 2002) document live performances with Peter Rehberg (Pita) and Jim O'Rourke.

If the previous albums were philosophical treatises, Endless Summer (Mego, 2001) is a poetic work, one that rediscovers the power of melody in a world that is largely dissonant. Thus the futuristic muzak of Made in Hong Kong, in which melodic themes recur cyclically albeit transformed into descrete sequences of digital events, the sweet waves of distortions lulled by folkish guitar in Endless Summer, Shisheido (a brief piano-based lullaby), Caecilia (a nostalgic proto-tune emerging from the shapeless breathing of the electronics, perhaps the most poignant track), "songs" that point towards a parallel universe of purely melodic sounds, but visible to us only through the fuzzy prism of quantum spacetime. At the same time, Fennesz has not given up on his most extreme passions: A Year in a Minute (cycling masses of organic drones), Got to Move On (buzzing heaps of decomposing objects), Before I Leave (a wavering organ-like intereference), Happy Audio (ten minutes of crackling noise, signaling the end of the "record") drill further down in the cells of that grid to test the ultimate nature of matter.

Dawn (Grob, 2002) is a collaboration with saxophonist Peter Van Bergen and keyboardist Gert-Jan Prins.

Field Recordings 1995:2002 (Touch, 2002) collects rarities, including Instrument.

Wrapped Islands (Erstwhile, 2002) is a collaboration with Polwechsel.

GRM Experience (Signature, 2004) was a collaboration among Christian Fennesz, Mika Vainio and Christian Zanesi.

Fennesz's treated-guitar glitch-pop reached another apex on Venice (Touch, 2004), perhaps his most tenderly romantic work. Most of the tracks exude the impressionist shoegazing of, say, Seefeel, but three rank among his most touching artifacts: Rivers of Sand, Circassian and Laguna (a duet with Burkhard Stangl).

The 20-minute ambient EP Sala Santa Cecilia (Touch, 2005) is the product of a laptop-based collaboration between Christian Fennesz and Ryuichi Sakamoto. It is self-indulgent and quite trivial.

Cendre (Touch, 2007) is a collaboration with Ryuichi Sakamoto that sounds like piano and guitar new-age sonata.

Live In Japan (Autofact, 2007) documents one of his free-form improvisations. Transit (which features David Sylvian on vocals)

Sfruttando un'idea che fu già di Seefeel e che già ha infettato tanti artisti britannici (Flying Saucer Attack, Experimental Audio Research), il chitarrista viennese Christian Fennesz si è costruito una carriera su un suono fatto di rumori e droni chitarristici.

Il debutto avviene con le quattro tracce dell'EP Instrument (Mego, 1995). L'album Hotel Paral.Lel (Mego, 1997) è la prima espressione matura della sua visione. Rimane anche il suo lavoro più aspro, influenzato dalla musica industriale, dalla techno cut-up di Autechre e dal "free noise" di Merzbow. Fennesz si afferma così come compositore di musica elettronica per chitarra elettrica.

Il singolo Plays (Mego, 1998), che decostruisce due classici del rock and roll, è un'altra potente manifestazione del suo precesso di metabolizzazione.

Plus Forty Seven Degrees 56'37" Minus Sixteen Degrees 51'08" (Touch, 1999) e, in minor misura, Music for an Isolation Tank (Rhyz, 2000) continuano quella sperimentazione, sebbene ne sfumino i contorni. La musica rimane sempre densa, a volte massiccia, oscura, minacciosa, ma non impossibile.

Magic Sound (Mego, 2000) e Return of Fenn O' Berg (Mego, 2002) documentano delle live performances fatte con Peter Rehberg (Pita) e Jim O'Rourke.

Se gli album precedenti erano trattati filosofici, Endless Summer (Mego, 2001) è un'opera poetica, un'opera che riscopre il fascino della melodia in un mondo fortemente dissonante. La muzak futuristica di  Made in Hong Kong, Caecilia, Shisheido, "canzoni" che puntano verso un universo parallelo di suoni puramente melodici, universo che ci è visibile solo attraverso la cresposa griglia delle coordinate spazio-temporali quantiche. Allo stesso tempo, Fennesz non ha sopito i suoi impulsi più estremi: A Year in a Minute, Got to Move On, Before I Leave, Happy Audio vanno ancora più a fondo nelle celle di quella griglia, fino a testare l'essenza ultima della materia sonora.

Dawn (Grob, 2002) è una collaborazione col sassofonista Peter Van Bergen e col tastierista Gert-Jan Prins.

Field Recordings 1995:2002 (Touch, 2002) raccoglie rarità, tra cui Instrument.

Wrapped Islands (Erstwhile, 2002) è una collaborazione con Polwechsel.