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viewing 1 To 19 of 19 items
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CD
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KOMP 167CD
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For Böser Herbst, Thomas Fehlmann returns to the sediment of ages, drawing from a similar lexicon of sounds to that used on 2018's 1929 - Das Jahr Babylon (KOMP 153CD/KOM 401LP). Like that album, Böser Herbst was produced as the soundtrack to a documentary made by Volker Heise, Herbst 1929, Schatten Über Babylon, which offers historical insight to the third season of the television series, Babylon Berlin. It adds yet another string to the bow of this most forward-thinking and creative artist, whose history takes in NDW (Palais Schaumburg), techno (3MB) and psychedelic ambience (The Orb), plus a clutch of gorgeous solo albums that explore wide terrain, from the dancefloor through supine home listening to compelling soundtrack work. Fehlmann's approach here was to "capture" samples of contemporaneous music, "picking up the dirt and dust of original 1920s archive sound and music excerpts and shaping the essence into this selection of tunes," he recalls. After delivering the material to the editing room, Fehlmann "threw all the pieces up in the air, deliberately lost the overview in consequence, researched the atmospheric thread and assembled it for this album." That explains the singular nature of the material here, and its ability to sit together so neatly and discretely, as its own entity. For Böser Herbst is a music box of possibilities, shadowed by its historical provenance, but never crudely beholden to it, rather "keeping the references only as a distant nod, a scent." It's certainly an evocative listen, a cornucopia of textural pleasure and sensual, tactile assemblage. The spiraling, psychedelic cycle of "Karnickel" winds its way between the ears like thread to the needle; "Mit Ausblick" immerses the listener in deep, gaseous tones, only to be lifted into the air by the glassy drones of "Umarmt". "Wunschwechsler" crackles with the unpredictability of weather systems while a guitar-like loop unspools across the horizon. Throughout, you can catch tiny tastes of the source material, but they're pressed into greater service, Fehlmann using these sources for their evocative capacity and then saturating them with grain and rumble, abstracting outwards. It's a music of temporal disjuncture and clairvoyant resonance, "speaking with the past -- alert, distant and quixotic."
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LP
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KOM 432LP
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LP version. For Böser Herbst, Thomas Fehlmann returns to the sediment of ages, drawing from a similar lexicon of sounds to that used on 2018's 1929 - Das Jahr Babylon (KOMP 153CD/KOM 401LP). Like that album, Böser Herbst was produced as the soundtrack to a documentary made by Volker Heise, Herbst 1929, Schatten Über Babylon, which offers historical insight to the third season of the television series, Babylon Berlin. It adds yet another string to the bow of this most forward-thinking and creative artist, whose history takes in NDW (Palais Schaumburg), techno (3MB) and psychedelic ambience (The Orb), plus a clutch of gorgeous solo albums that explore wide terrain, from the dancefloor through supine home listening to compelling soundtrack work. Fehlmann's approach here was to "capture" samples of contemporaneous music, "picking up the dirt and dust of original 1920s archive sound and music excerpts and shaping the essence into this selection of tunes," he recalls. After delivering the material to the editing room, Fehlmann "threw all the pieces up in the air, deliberately lost the overview in consequence, researched the atmospheric thread and assembled it for this album." That explains the singular nature of the material here, and its ability to sit together so neatly and discretely, as its own entity. For Böser Herbst is a music box of possibilities, shadowed by its historical provenance, but never crudely beholden to it, rather "keeping the references only as a distant nod, a scent." It's certainly an evocative listen, a cornucopia of textural pleasure and sensual, tactile assemblage. The spiraling, psychedelic cycle of "Karnickel" winds its way between the ears like thread to the needle; "Mit Ausblick" immerses the listener in deep, gaseous tones, only to be lifted into the air by the glassy drones of "Umarmt". "Wunschwechsler" crackles with the unpredictability of weather systems while a guitar-like loop unspools across the horizon. Throughout, you can catch tiny tastes of the source material, but they're pressed into greater service, Fehlmann using these sources for their evocative capacity and then saturating them with grain and rumble, abstracting outwards. It's a music of temporal disjuncture and clairvoyant resonance, "speaking with the past -- alert, distant and quixotic."
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2LP
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KOM 211LP
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2021 repress. Originally released in 2010 on Kompakt. Thomas Fehlmann remains as one of the most endearing and respected artists on Kompakt. He has inspired generations of fans and musicians over the course of his 30+ year career, from his early days as part of the legendary band Palais Schaumburg, and the pioneering Detroit/Berlin act 3mb (with Juan Atkins and Moritz Von Oswald), to his longstanding membership with The Orb, combined with his contributions as a solo artist to esteemed imprints R&S, Plug Research, and of course Kompakt. Gute Luft is the result of months of work scoring the hit German TV film 24h Berlin -- the longest documentary film in history which featured 80 camera teams following the lives of Berliners over a 24-hour period. Obviously, a huge challenge for Fehlmann, beyond the scope of the project and hours of music involved in a 24-hour film, there was dealing with the decision-making process that went with working with such a large production team. As he shared scoring duties with another musician (separately), inevitably a lot of his music ended up not making the final cut. Gute Luft is about re-tweaking and editing material from the countless hours of recording he had created. In a sense, Gute Luft is Fehlmann's ideal soundtrack to the 24h Berlin documentary. Fans shall rejoice as Thomas Fehlmann doesn't steer far from his signature path of trailblazing the finer links of classic Detroit house and techno with the submerged beauty of Berlin dub. One will immediately recognize the classic scoring techniques Fehlmann brings to Gute Luft -- various themes and sounds resonate in various forms and versions throughout the tracks. Fehlmann succeeds in synergizing the best of the past 20 years of Berlin's expansive history of electronic and dance music with Gute Luft. A recreational album in every way in which he hopes will make you "feel at peace with you and your environment, inspire you to lush, imaginative dinners, make babies, or just walk your own way with open eyes." Well put Thomas!
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KOMP 153CD
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1929 - Das Jahr Babylon marks Thomas Fehlmann's third full-length release of 2018 and presents what appears to be a creative peak in a career that spans beyond his solo work to his early days in Palais Schaumburg, collaborating with Moritz von Oswald as 3MB to his long time work with The Orb. Having left The Orb in late 2017 has set free unforeseen energies in Fehlmann's studio. A departure from his recent dance floor-friendly album Los Lagos (KOMP 148CD/KOM 388LP), 1929 - Das Jahr Babylon is a film soundtrack from the documentary that aired on ARD network on September 30, 2018 and is now available as a podcast series. To complement the internationally-lauded TV series Berlin Babylon, German director Volker Heise has created a documentary about 1929, the fateful year during Germany's Weimarer Republik in which Berlin Babylon is set. Heise's stirring documentary portrays Germany's sizzling capital faced with radical changes by the dark forces about to toss the world into the abyss of World War II. This marks the second time that Fehlmann is partnering with Heise after 2010's marathon documentary 24 Stunden Berlin which was released as Gute Luft (KOMP 081CD, KOM 211LP) in the same year. Fehlmann's composition for 1929 consists of sample material taken from the era and thwarts the exaggerated lust for life with threatening undertones that anticipate the dawn of mankind's darkest chapter so far. Although all the sounds breathe yesterday's atmosphere this soundtrack bursts with modernity. Fehlmann accomplished the daring feat to musically render the unsettling resemblance between the political situation 90 years ago and our current time. KOMPAKT feels that Fehlmann's score has turned out spectacularly enough to give it proper release.
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LP
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KOM 401LP
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LP version; 180 gram vinyl. 1929 - Das Jahr Babylon marks Thomas Fehlmann's third full-length release of 2018 and presents what appears to be a creative peak in a career that spans beyond his solo work to his early days in Palais Schaumburg, collaborating with Moritz von Oswald as 3MB to his long time work with The Orb. Having left The Orb in late 2017 has set free unforeseen energies in Fehlmann's studio. A departure from his recent dance floor-friendly album Los Lagos (KOMP 148CD/KOM 388LP), 1929 - Das Jahr Babylon is a film soundtrack from the documentary that aired on ARD network on September 30, 2018 and is now available as a podcast series. To complement the internationally-lauded TV series Berlin Babylon, German director Volker Heise has created a documentary about 1929, the fateful year during Germany's Weimarer Republik in which Berlin Babylon is set. Heise's stirring documentary portrays Germany's sizzling capital faced with radical changes by the dark forces about to toss the world into the abyss of World War II. This marks the second time that Fehlmann is partnering with Heise after 2010's marathon documentary 24 Stunden Berlin which was released as Gute Luft (KOMP 081CD, KOM 211LP) in the same year. Fehlmann's composition for 1929 consists of sample material taken from the era and thwarts the exaggerated lust for life with threatening undertones that anticipate the dawn of mankind's darkest chapter so far. Although all the sounds breathe yesterday's atmosphere this soundtrack bursts with modernity. Fehlmann accomplished the daring feat to musically render the unsettling resemblance between the political situation 90 years ago and our current time. KOMPAKT feels that Fehlmann's score has turned out spectacularly enough to give it proper release.
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2LP
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KOM 388LP
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Double LP version. Los Lagos is Thomas Fehlmann's seventh solo full-length, and his fourth for Kompakt following his Berlin-inspired 2010 album Gute Luft (KOMP 081CD/211LP). In the musician's own words, it's about "checking the juice". Establishing a picture of his current artistic condition, as suggested by the title -- (Los Lagos literally translates to "the lakes" but takes the meaning of "wassup" in the context of a relaxed discussion between friends), the album refers to Fehlmann's motivations of late. It is, he says, a way to "allow myself to techno, as a means to deconstruction and rebuilding. Set up an area of tension, then lose it in the flow of the grooves, magnifying some details out of proportion, regrouping around those and slowly knitting a texture." This the decision Thomas Fehlmann has made. At 61, he is a longstanding member of The Orb, a multi-talented composer and a boundless experimentalist. In the twilight of his collaboration with Alex Paterson, he was eager to taste the flavors of the unknown again. As goes with that essential love of his for the free-flowing nature of electronic music, this is a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, and experimenting with an unpredictable outcome"; Los Lagos "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk; as he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective. He is not afraid to leap from a deep, dubbed-out hypnotism to the playfulness of '90s-style bleepy schaffel, such as on "Tempelhof", which features a guest spot from Max Loderbauer. There are also out-there, muscle-flexing dancefloor cuts and the calmness of the ambient. In need of keeping his inner balance in check, Fehlmann committed himself to following his intuition, which isn't so much of an easy process as he also wanted to incorporate the disturbances which he has experienced. "It's a complex process of search and destroy to bring out a new beauty to expand my vocabulary". Fehlmann looked at finding "the structure that's surprising, disturbing, and rewarding". The artwork for the record, courtesy of Albert Oehlen echoes the producer's "funky use of shape and space" like a second skin. To wit, Los Lagos is a search for light and harmony that Fehlmann sums up simply as the answer to the question, "Does your inner musical voice respond?"
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KOMP 148CD
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Los Lagos is Thomas Fehlmann's seventh solo full-length, and his fourth for Kompakt following his Berlin-inspired 2010 album Gute Luft (KOMP 081CD/211LP). In the musician's own words, it's about "checking the juice". Establishing a picture of his current artistic condition, as suggested by the title -- (Los Lagos literally translates to "the lakes" but takes the meaning of "wassup" in the context of a relaxed discussion between friends), the album refers to Fehlmann's motivations of late. It is, he says, a way to "allow myself to techno, as a means to deconstruction and rebuilding. Set up an area of tension, then lose it in the flow of the grooves, magnifying some details out of proportion, regrouping around those and slowly knitting a texture." This the decision Thomas Fehlmann has made. At 61, he is a longstanding member of The Orb, a multi-talented composer and a boundless experimentalist. In the twilight of his collaboration with Alex Paterson, he was eager to taste the flavors of the unknown again. As goes with that essential love of his for the free-flowing nature of electronic music, this is a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, and experimenting with an unpredictable outcome"; Los Lagos "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk; as he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective. He is not afraid to leap from a deep, dubbed-out hypnotism to the playfulness of '90s-style bleepy schaffel, such as on "Tempelhof", which features a guest spot from Max Loderbauer. There are also out-there, muscle-flexing dancefloor cuts and the calmness of the ambient. In need of keeping his inner balance in check, Fehlmann committed himself to following his intuition, which isn't so much of an easy process as he also wanted to incorporate the disturbances which he has experienced. "It's a complex process of search and destroy to bring out a new beauty to expand my vocabulary". Fehlmann looked at finding "the structure that's surprising, disturbing, and rewarding". The artwork for the record, courtesy of Albert Oehlen echoes the producer's "funky use of shape and space" like a second skin. To wit, Los Lagos is a search for light and harmony that Fehlmann sums up simply as the answer to the question, "Does your inner musical voice respond?"
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12"
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KOM 282EP
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Eye/Tree sees Kompakt staple Thomas Fehlmann return to the floor. Neo-tribal thriller ride "Eye" kicks things off swiftly, with variform percussion intercepted by swelling pads, seriously stirring up the track's seemingly linear structure in the process. A truly headspinning experience. Fehlmann continues his excursions in high-definition percussion ranting with "Tree," an equally polynomial beast of a track that starts off with a stumbling downbeat feel, but soon finds its rousing groove, employing it to deadly effect in the course of its 9-minutes-plus running time.
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12"
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KOM 224EP
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On October 16, 2010, Thomas Fehlmann performed in Montreal at the historic Molson Coors Brewery building together with members of the Montreal Symphony Orchestra. Together, they sought to recreate a version of Gustav Mahler's classic "Symphony No. 1 (Titan)." This is a new recording inspired by that performance renamed as "Titan One." The B-side features a new recording inspired by the second piece of the performance -- a new version of Fehlmann's "Du Fehlst Mir" from his 2006 album Visions Of Blah (KOMP 020CD/KOM 067LP).
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12"
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KOM 213EP
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Kompakt presents a remix 12" of tracks from Thomas Fehlmann's Gute Luft (KOMP 081CD/KOM 211LP). Soulphiction has come up with a submerged house rendition of "Wasser Im Fluss" that is absolutely levitating. Move D was so inspired, that he came up with two remixes. His take on "Softpark" is deeply gorgeous -- key pads mingle with a solid house groove. He opts for a more melancholic approach with his "Berliner Luftikuss" remix, where a physical bass line flitters with sonic raindrops.
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CD
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KOMP 081CD
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Subtitled: Original Soundtrack From The "24H Berlin" TV Documentary. Thomas Fehlmann remains one of the most endearing and respected artists on Kompakt. He has inspired generations of fans and musicians over the course of his 30+ year career. From his early days as part of the legendary band Palais Schaumburg and pioneering Detroit/Berlin act 3MB (with Juan Atkins and Moritz von Oswald), to his longstanding membership with The Orb, combined with his contributions as a solo artist to esteemed imprints R&S, Plug Research, and of course Kompakt, his musical works have been prolific. Gute Luft is the result of months of work scoring the hit German TV film 24H Berlin, the longest documentary film in history, which features 80 camera teams following the lives of Berliners over a 24-hour period. Obviously a huge challenge, beyond the scope of the project and hours of music involved in a 24 hour film, there was dealing with the decision-making process that went with working with such a large production team. As he shared scoring duties with another musician (separately), inevitably a lot of his music ended up not making the final cut. Gute Luft is about re-tweaking and editing material from the countless hours of recording he had created. Fehlmann describes the process as such: "While scoring the film and subsequently shaping it into a album, I found myself questioning what holds it all together in Berlin. I figured that air, the good old Berliner Luft, is something that is guaranteed to touch everyone and everything in the city." Fans shall rejoice as he doesn't veer far from his signature path of trailblazing the finer links of classic Detroit house and techno with the submerged beauty of Berlin dub. One will immediately recognize the classic scoring techniques Fehlmann brings to Gute Luft -- various themes and sounds resonate in various forms and versions throughout the tracks. As he states, "There are also more subtle connections that should give an overall feel to the score. I also brought in elements of tunes from my previous albums in recognition of the fact that I often feel that there would be so many more ways to explore and experiment with certain ideas than just on a single track." Fehlmann clearly succeeds in synergizing the best of the past 20 years of Berlin's expansive history of electronic and dance music with Gute Luft. A recreational album that will make you feel at peace with your environment and inspire you.
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2LP
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KOM 157LP
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Double LP version. Second full-length release for Kompakt, and the follow-up to his acclaimed 2004 release, Lowflow. Fehlmann is one of Kompakt's most beloved members, and one Fehlmann returns with Honigpumpe: the ultimate expression of the emotional essence of his live sets speaking volumes from beginning to end. "Strahlensatz" starts well below the clouds with a poignant depth charge of emotive splendor. "Schaum" is a dub-inspired crooner, featuring a soothing bass drum that lifts effortlessly upward to the skies. "Little Big Horn" is fueled by a summery soulful injection of Detroit-ish house, while fans of his previous outings will be elated as his always-classy schaffel-techno comes full circle with "T.R.N.T.T.F." and the techno-canticle, "Dusted With Powder." Fehlmann brings us back to earth with a shimmering pop-ambient epic, "With Oil." A perfect conclusion to truly provide (in his own words) "an elastic spacious approach to let the honey flow."
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KOMP 059CD
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Honigpumpe is Thomas Fehlmann's second full-length release for Kompakt, and the follow-up to his acclaimed 2004 release, Lowflow. Fehlmann is one of Kompakt's most beloved members, and one of electronic music's most humble and respected players. Take his early days as a member of the legendary avant-garde band Palais Schaumburg, through the late-'80s producing as Ready Made plus operating the revered imprint Teutonic Beats. Then there's the defining Berlin-Detroit act 3MB (together with Basic Channel's Moritz von Oswald and Juan Atkins) and his ongoing contributions to The Orb. The mid-'90s brought Gudrun Gut and Fehlmann together and they developed the irreplaceable Oceanclub radio show and curated countless parties and festivals mostly focused on upcoming, genre-breaking talent. And that doesn't even touch his extensive solo career; his releases on R&S/Apollo, Plug Research and, of course, Kompakt, where his long-standing history with the label has disclosed four 12" singles and the critically-acclaimed 2002 full-length Visions of Blah. Fehlmann returns with Honigpumpe: the ultimate expression of the emotional essence of his live sets speaking volumes from beginning to end. "Strahlensatz" starts well below the clouds with a poignant depth charge of emotive splendor. "Schaum" is a dub-inspired crooner, featuring a soothing bass drum that lifts effortlessly upward to the skies. "Little Big Horn" is fueled by a summery soulful injection of Detroit-ish house, while fans of his previous outings will be elated as his always-classy schaffel-techno comes full circle with "T.R.N.T.T.F." and the techno-canticle, "Dusted With Powder." Fehlmann brings us back to earth with a shimmering pop-ambient epic, "With Oil." A perfect conclusion to truly provide (in his own words) "an elastic spacious approach to let the honey flow." Let it flow, Thomas... let it flow.
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12"
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KOM 146EP
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This is the first Thomas Fehlmann solo record after the atomic The Orb full length. On Emo Pack, he strikes dancer's hearts with his laser and scalpel in hand. "The Road" is the first schaffel track to be found on Kompakt in a very long time. "Powdered" is a very fat and massively produced stomper in the signature Fehlmann style. The B-side sets off with "Dusted," an almost ska-ish off-beat track which evolves into Fehlmann's familiar dub. The final track "Pristine" goes right into dancefloor overdrive. And try and guess what the artwork is... you never will.
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12"
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KOM 097EP
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"Aristocracy obligates. To combine the power and the subversive aesthetic of the timeless classic techno with jazzy elegance and the glamour of the wide world of pop, is undoubtedly the art of Thomas Fehlmann. Also on 'Little Big Horn" he continues the elegant line of his previous Kompakt releases. These beats unyieldingly drive us in the summer. Live and in colour."
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CD
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KOMP 020CD
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2010 repress, originally released 2002. "To explain who Thomas Fehlmann is and what his contributions to modern music are would take some time. A few catchwords should be enough: Ex-member of German post-Dada band Palais Schaumburg, worked together with The Orb, Eddie 'Flashin' Fowlkes, Blake Baxter, Moritz Von Oswald (Rhythm & Sound) and numerous others. This man obviously knows some things about good music and other people know that he knows. There are not many musicians out there who still have an impact on the current club scene after so many years in the business. Thomas Fehlmann has, as his new album Visions Of Blah impressively proves. After several succesful and highly acclaimed 12'es and compilation contributions (not only on Kompakt), Thomas Fehlman explores the possibilities of the minimalistic yet pop-fueled Cologne Techno/House sound at full length. The styles on Visions Of Blah range from groovy Ambient tracks to clubby Techno smashers, all spreading soul and a deepness that many club records just don't have. To put it simply and short: Visions Of Blah is a fantastic dance album you should't miss, your life would be poorer without it."
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LP
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KOM 067LP
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12"
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KOM 064EP
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"Pretaster to Thomas Fehlmann's upcoming new album Visions Of Blah. After being a member of German Post-Dada combo Palais Schaumburg in the early 80ies, Thomas Fehlmann dug deep into the German Techno and Electro scene and created new and exciting music ever since. With his new 12" Fehlmann shows that he still stays ahead and melts elements from House, Pop, Dub and Electronica into something that is purely Fehlmann music."
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12"
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KOM 051EP
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"A single sheet of paper would hardly be enough to describe who is this Thomas Fehlmann and how wonderful his new record. Though you could also expect that everyone knows that this guy from Switzerland is one of the most dazzling figures in German pop culture and Pioneer electronic pop music. As a member of Palais Schaumburg, he side-parted punk and catapulted German pop music out of its impossibility. At times when the toilets at Tresor were new, Thomas Fehlmann and Moritz von Oswald, both used to shake hands with Detroit Techno. He was co-producer of outstanding albums e.g. by Blake Baxter and Eddie Flashin Folwkes, and later, with the Orb, he became chill-out-history. To cut a long story short, in the last two and a half decades Thomas Fehlmann has taken part in the decisive revolutions of music and sound and now, with 'Whistle', he comes back and on to the dance-floor in a most impressive way. Fehlmann 2002 breathes in the hippest sounds of the jetzt-zeit and breathes out a perfect EP which proves that he is still In touch with today's club culture. The A-side 'Making It Whistle' combines textures of clicks and cuts with pressure and soulful techhouse. 'Gratis' takes up the shuffle fever theme and flirts with happy ska tendencies and 'Luftikuss' forms the glamorous ambient end."
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