RhoDeo 1319 Beats

Hello, as Syria continues to provide us with inspirational insights into the human condition, the Anglo-American propaganda war fails to convince the public to side with the White House-Downing Street terrorists. It looks like some big false flag action is needed to legitimize dropping bombs on Damascus, seriously the fact that the 'rebels' are too fractured and some of them are outright mental cases which they are all too keen to share with the world via their smartphones. This war could go on for years as Assad's hands are tied by the threats of the Anglo-American axis, maybe then this is the cynical plot that has been concocted.

Meanwhile we're here for some beats, we've been getting serious and clinical and it should hardly be a surprise we turned to Germans for that, we remain in Berlin following our next German in the spotlight, his musicality and experimentalist drive converge with exceptional grace and system bumpin' appeal.      ..N'joy

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Thomas Fehlmann left Switzerland for Hamburg in 76 to study at the art academy, in 79 he met Robert Fripp and decided to start making music-bought first synth (korg MS20). Together with Holger Hiller he founded Palais Schaumburg in 1980, it fused dance rhythms to the experimentalist flair of '70s German rock after 3 albums they disband in ' 84 and Fehlmann moves to Berlin.

After Palais Schaumburg split in '85, he dedicated himself to his home studio and the sampler, releasing records as Ready Made. In 1988 he founded the Teutonic Beats label, whose compilations featured early contributions from artists like Jörg Burger, Wolfgang Voigt, Moritz von Oswald, Sun Electric and Westbam. Through the label, Fehlmann became friends with Dr. Alex Paterson of The Orb. Fehlmann later contributed to many Orb releases, becoming a part-time member of the group.

A Detroit-Berlin cultural exchange through the Tresor label originally brought Underground Resistance to Germany, and Fehlmann did his part by recording separately with Blake Baxter, Eddie Flashin' Fowlkes, and Juan Atkins (as 3MB). A longtime association with another electronica institution, the Orb, gave him a chance to record and produce the group in Berlin. While managing the band Fisherman's Friend, he convinced two of the members to form Sun Electric and produced their Kitchen album. Around the same time, he and the Orb also collaborated with one of his primary inspirations, guitarist Robert Fripp, as FFWD.

In the 90s he was a resident at the legendary Tresor Berlin. Together with Moritz von Oswald and Juan Atkins he formed 3MB, helping to cement the Berlin-Detroit connection. Since 1995 as part of Gudrun Gut's Ocean Club, he built up his reputation as a DJ and assisted in the Berlin troupe's diverse radio show.

Though Fehlmann continued recording throughout the late '90s, his profile raised significantly when he joined Cologne's Kompakt roster, at once becoming the label's elder statesman and one of its most consistent artists. Two albums, 2002's Visions of Blah and 2007's Honigpumpe, compiled material from Kompakt 12" releases while adding new tracks. He helped revive the Orb, who also joined up with Kompakt, co-producing a number of singles and the full-lengths Bicycles & Tricycles (2004) and Okie Dokie It's the Orb on Kompakt (2005). In 2009, Fehlmann was commissioned to provide music for the documentary 24h Berlin. He issued the material, which subtly incorporated assorted elements from his discography, as Gute Luft (quite possibly titled after a Palais Schaumburg song), released in 2010 on Kompakt.

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Shortly after the masterpiece, Good Fridge, Fehlmann came up with a special setup that works charmingly despite the many dangers in terms of coherence and aesthetics that come along with it: One To Three collects three different kinds of music that can be linked to Fehlmann, hence the album title that reads like "1, 2, 3". Firstly, there are six unique compositions by Fehlmann that didn't make it on Good Fridge and which would sound out of place in this perfectly polished and coherent album. These compositions are done by himself or are collaborative efforts. Secondly, there are two remixes by Fehlmann for other artists and even one he did on his own track. And thirdly, the album features remixes of Fehlmann tracks done by other artists. This collection could be risky, for Fehlmann's style is potentially destroyed by other bands and artists who sound entirely different. Surprisingly, this is not the case! One To Three is a synth-laden album full of Ambient and Downbeat songs with pumping or dubby beats. It is also keen on presenting static noise particles and bits of Glitch, but the melodious sections outweigh the more experimental side.
One To Three could've gone terribly wrong, however it's a terrific collection of dots and links that are connected to and by Thomas Fehlmann.

Thomas Fehlmann - One To Three. Overflow, Ninenine ( flac 333mb)

01 I Wanna Be A Fishy 2:43
02 Charles Wilp - Charlie's Angels (Rmx Thomas Fehlmann) 5:25
03 Monza 3:41
04 Threefour King's Club 5:44
05 Infiniti - Never Tempt Me (Rmx Thomas Fehlmann) 4:41
06 Trashaestheticversion 5:00
07 Rmx 01 (Rmx To Rococo Rot) 4:23
08 Part Diversion 5:31
09 Superflowing 5:34
10 Crispy Duck 4:09
11 Tuning (feat Daniel Miller) 5:13
12 Friedrichstraße (feat Robert Fripp) 8:57

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Visions of Blah comes as a dazzling surprise, compiling Fehlmann's pair of 2002 12" releases for Kompakt and adding an additional five productions, the album flitters to and fro with slight stylistic shifts, dividing time between ambient and dancefloor material. The hypnotic effects of the opening three tracks -- "Streets of Blah," "Superbock," and "Rotenfaden" -- are all but overwhelming with swinging, quasi-skanking rhythm patterns and basslines that seem simultaneously viscous and transient, like dubbed-up recastings of the Modernist's prickly fissures. "Du Fehlst Mir" follows the opening trio with a drastic transfer into blissful ambient techno -- those glistening flourishes! -- and ranks with the best of Kompakt's Pop Ambient series. The gradual descent back into the beat-heavy begins with "Rainbow Over Stadtautobahn," a track that remains atmospheric but resembles a spacy take on frictional shuffle-tech with rocking effects (as in the movement of a chair, not a scorching guitar riff) and percussion that ricochets from left to right and right to left. The truly astonishing point is that the album's best treats don't arrive until after that. "Making It Whistle" utilizes a similar dub-techno template as the opening three, but adds further dimensions with livelier tweaks and reverberations. Then there's the clanking chug of "Seerosengiessen," the metallic eroticism of "Gratis" (this could pass as a skanking remix of Maurizio's "M4"), and the beatless, vaporous blasts of "Decke." This doesn't merely qualify as one of Kompakt's best single-artist albums; it is the label's best single-artist album. Not bad for a producer who has nothing to prove.

Thomas Fehlmann - Visions of Blah ( flac 338mb)

01 Streets Of Blah 5:10
02 Superbock 6:11
03 Rotenfaden 5:46
04 Du Fehlst Mir 5:28
05 Rainbow Over Stadtautobahn 5:01
06 Making It Whistle (Album Mix) 5:57
07 Seerosengiessen 4:27
08 Gratis 6:18
09 Decke 5:34
10 Luftikus 6:06
11 Boheme Rouge 4:21

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During the period that bridged 2002's Visions of Blah to 2004's Lowflow, Thomas Fehlmann left no dates open for stargazing. He toured on a handful of continents, remained active with Gudrun Gut's Oceanclub collective (while having a hand in a pair of Oceanclub releases), contributed too little to an otherwise hapless Orb album, scattered productions on an array of various-artist discs, and graced the Kompakt label with another solid, varied 12". The difference between this album for Plug Research and Visions of Blah could've only been forecasted by those paying strict attention to Fehlmann's career. Between 1999 and 2003, the producer dropped at least five hints. Three tracks on Scape compilations, one on a Plug Research release, and another as part of the Kreisel 99 series pointed toward deeper flirtations with hip-hop and dub. Those five tracks, incorporated into eight new ones to form Lowflow, show that he's no mere dabbler. Away from the four-four, the grinding shuffle, and mind-warping ambient that he has worked with throughout the past several years, Fehlmann seems more freed than handcuffed, supplying a surplus of meticulously crafted beats -- at one moment pavement cracking and then as aqueous as he's ever been -- and textures -- at one moment looming and menacing and then speckled with glints of light -- that fit just about any nonaggressive mood. One of the more remarkable facets of the album is that, even with its range from spaced-out, alternately prickly and thumping dub to vaguely Eastern-sounding breakbeat abstractions, it keeps a keenly stitched-together sequence. Three wildcard interludes co-produced with Dabrye are equally important cogs. Wherever you choose to slot this album (instrumental hip-hop, ambient breakbeat, experimental techno), it'll fall somewhere near the top of the class for its year of release.

Thomas Fehlmann - Lowflow ( flac 316mb)

01 Goldhaar 3:25
02 Prefab 5:12
03 Interstellar 1:31
04 Lindt 4:34
05 Slinky 4:26
06 Intertwine 0:39
07 Hana 5:11
08 Alice Springs 5:21
09 Springer 5:12
10 Andrea Is Delighted 6:51
11 Intersect 1:11
12 Feat 5:33 a
13 Fellmaus 6:02

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earlier (01/23/07)  re-rip

Thomas Fehlmann - Good Fridge. Flowing, ninezer onineight  (ogg 161mb)

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