Tag Archives: Thomas Fehlmann

Switched On – Various Artists: Future Sounds Of Kraut Vol. 2 – Compiled by Fred und Luna (Compost)

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by Ben Hogwood

What’s the story?

A shadow hangs over the release of this compilation, the second in Compost’s exploration of Kraut. It was compiled by Fred und Luna, the muses of musician, author and photo/film maker Rainer Buchmüller – who calls his music either Elektrokraut or Krautelektro.

Very sadly Buchmüller passed away on February 8th 2024, and Compost issued this tribute: “We are deeply saddened that we lost a very close friend, a true creative musician, artist, poet, soulmate and beloved human being with a great sense of humour. Rainer Buchmüller aka Fred und Luna died after a long carcinosis. Our thoughts and prayers in these days of mourning are with his wife and family. Rainer Buchmüller aka Fred und Luna has made several albums, first one on Frank Wiedemann’s Bigamo label, then three albums plus several Maxi – Singles and 7 inches on Compost Records and Elaste Records. Rainer had several alter egos, too. Under his Fred und Luna moniker he recently compiled the highly acclaimed “Future Sounds Of Kraut” compilation series for Compost. Rainer also wrote circa 120 poems in the vein of Ernst Jandl, Dada, Kurt Schwitters. Rainer, we love you! R.I.P.”

What’s the music like?

Buchmüller has left us an extremely enjoyable compilation, framed by his own Intro and Outro, and featuring the Kraftwerk-influenced electronica of Monotonikum from 2016 in the middle. The tone is friendly, the intro asking, “Future sounds of Kraut…what’s it all about?” before moving into Sankt Otten’s warm-hearted Angekommen In Der Letzten Reihe.

There are some notable contributions from Roman Flügel, whose Rules is a typically intricate mix of riffs and creative drum work, and Thomas Fehlmann, the spacey Permanent Touch. Other highlights include the glittery electro of Ghost Power’s Vertical Section, the colourful swirls of Gilgamesh Mata Hari Duo’s Johan, and the bossa beat that backs a brooding soundscape in I:Cube’s Basso. Lucas Croon’s Krautwickel has a really strong forward drive and shuffling drum track, a classic piece of Krautrock, while Sordid Sound System’s It’s About Time bounces around the stereo picture, a low-slung groove.

Does it all work?

Almost all – the only possible exception being Minami Deutsch’s Your Pulse, whose breathing can be off-putting and will likely divide opinion.

Is it recommended?

It is, enthusiastically. Future Sounds of Kraut Vol.2 is packed with good music, and its release is the best possible way to honour Buchmüller in the sad news of his passing.

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Published post no.2,109 – Wednesday 6 March 2024

Switched On: Thomas Fehlmann – Umdrehen (Edition DUR)

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by Ben Hogwood

What’s the story?

Umdrehen is a word that denotes a twist, a turning around, a reverse – and the name of Thomas Fehlmann’s new album.

It is effectively a title that gives Fehlmann free musical rein on a 40-minute set of musical experimentation. He refers to his approach as ‘generative music’, with the element of chance playing a role in his choices.

What’s the music like?

Not as playful as the above description might suggest. In fact some of this album operates under a dark cloud, wrapped in an ambience that can be cloying.

That said, there is a good deal of invention here that makes its best impression on headphones. Having established the dark, brooding textures, Fehlmann adds a shuffling beat and semi-industrial field recordings to Gelbe Kurve. There are some unnerving moments, such as Steinwurf, while Doppelherz opens out to a much wider expanse, offering a halo of light around the music. By contrast Feuchter uses mottled chimes, which prove to be comforting yet weirdly eerie. The delicate exchanges of Gehupft suggest the chance elements more, with a cold intimacy, while the soft hues of Prenzlau an sich are complemented with foreground chatter.

Does it all work?

Largely – though the feeling does persist that Fehlmann is in search mode, never quite pinning down a style of music to settle on. Because of that Umdrehen has a fleeting, fitful ambience.

Is it recommended?

It is – and Umdrehen is certainly an interesting addition to Fehlmann’s impressive discography, if not perhaps the most successful.

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Switched On – Thomas Fehlmann – Böser Herbst (Kompakt)

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reviewed by Ben Hogwood

What’s the story?

In which Thomas Fehlmann goes back in time once more, drawing on late 1920s Berlin for inspiration – specifically a documentary made by Matthias Luthardt, Herbst 1929, Schatten Über Babylon. This work, as Fehlmann’s press release describes, offers historical insight to the third season of the television series Babylon Berlin.

What it also does is give Fehlmann ample opportunity to prove his versatility as an electronic music artist, and he flexes his creative muscles by using archive sounds from the late 1920s. These fit snugly with his own loops, moods and structures.

What’s the music like?

Intensely calming. On headphones the full perspective of Fehlmann’s working is revealed, while even on a primitive sound system his exquisite harmonic shading goes a long way. Often the ideas are very simple, using the briefest of melodic loops or becoming preoccupied with a single chord or micro-progression.

These are spun into a substantial whole, so that on tracks such as Vulkan, Karnickel or Umarmt the listener is immersed in a warm bath of ambience. This is both soothing and stimulating, for while Böser Herbst could be used as a relaxation aid it is also a source of positive energy, the elements swirling into a meaningful whole.

Occasionally Fehlmann flexes his muscles a little more, hinting at the psychedelia of The Orb when the workings become mechanised. This happens on Abgestellt and Auf Die Spitze, but serves to heighten the ambient cloak elsewhere.

Does it all work?

Yes, providing you have the right listening environment. A quiet room or a headphone session at either end of the day will set the mood perfectly so that Fehlmann’s workings can be fully appreciated.

Time will often appear to stand still, especially when the likes of Mit Ausblick or .
Überschneidungen are casting spells with their consonant harmonies and thick, woolly ambience, but this has always been part of Fehlmann’s charm, and is precisely why he remains a master of ambient electronic music.

Is it recommended?

It is, for all the reasons outlined above – and because in these stressful times, Böser Herbst offers an all-too rare opportunity for escapism. Put simply, it’s good for the head!

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