Suche:jus just

Welcome to Aqualaxy, a collaborative project where Warning joins forces with art historian C.C. McKee from Philadelphia and international queer activist dia_shi from Berlin. Accompanying McKee’s book on the debut album by late-90s electronic pop band Aqua, Aqualaxy is a compilation of contemporary queer artists from North America and Europe commissioned to create their own takes on songs from Aqua's debut album. The result is an expansive blossoming variety of music, from sizzling trance pop, to eerie darkwave atmospheres, to cheeky dancefloor weapons.

With Aqualaxy, Warning presents a release that playfully deviates from the label's usual tracks, highlights trans musicians, and offers fresh takes on nostalgic favourites to the community. Embrace Aqualaxy’s endless fluidity, a space where everything becomes possible, where some changes aren’t even a second thought. Did you know that when the kobudai reef fish reaches a certain size she changes her sex from female to male? Did you know that when the largest female in a school of Clownfish dies the male swaps sex to take her place? Protogyny, protandry, it all just seems like fun; not to mention the host of genders and ways of fucking we don’t even have words for as humans! In Aqualaxy, everything is possible under the water. Imagination, life is your creation!

Köhncke rides again with another 12“ having 2 sides that couldn‘t be more different: the A-Side, „Timecode“, is a clock-ticking electronic disco tease promising a joyous release by building up tremendous expectations over its course of 8 minutes – and of course not delivering the final dance floor orgasm since the night has to continue in mutual happiness and expectations on the floor. But well, surely lots of „pre-cum“ spreaded...

The „flip“, „The Answer Is Yes“, displays Köhncke‘s love with The Beatles or Prefab Sprout and the likes, in a masterly programmed digital simulation of the „played“ sound of the likes (Köhncke cannot play any „real instruments“ except for a bit of Barré-Punk-Guitar). It‘s a love metaphor about 2 photons in „entanglement“, which is a proven very psychedelic effect in quantum physics. The photons are „entangled“ and „know“ each other‘s „spin“ in immediacy, thus not bent to the speed of light, even if they are 100000 light years from each other - a theory that even Einstein considered absurd when the pioneers of quantum physics came up with this in the 1930s. So Justus put his fascination with quantum physics into a pop love song metaphor – how much more do you want?

Köhncke kommt zurück mit einer 12“ - 2 Seiten, wie sie unterschiedlicher nicht sein könnten: Die A-Seite, „Timecode“, ist eine tickende elektronische Disco-Versuchungs-Zeitbombe, die über ihre Laufzeit von über 8 Minuten extreme Erlösungsversprechen macht, sie aber selbstverständlich nicht in einem endfinalen Floor-Orgasmus auflöst, denn die Nacht soll ja weitergehen in gemeinsamer Glücklichkeit und Erwartung auf der Tanzfläche. Allerdings, eine Menge „pre-cum“ wird schon versprüht in dieser unwiderstehlichen Spannungserzeugung von Track.

Die „flipside“, „The Answer Is Yes“, stellt Köhnckes Liebe zu den Beatles oder Prefab Sprout etc. ins Licht, in einer meisterhaft programmierten digitalen Simulation des „gespielten“ Sounds der Großmeister (Köhncke kann keine „echten Instrumente“ spielen außer ein bißchen Baréegriff-Punk-Rhythmusgitarre, sein Instrument ist der Sequenzer). Es ist eine Liebesmetapher über zwei Photonen im Zustand der „Verschränkung“, was ein heute wissenschaftlich nachgewiesenes extrem psychedelisches Phänomen aus der Welt der Quantenmechanik ist: die Photonen sind „verschränkt“ und „kennen“ ihren aktuellen „Spin“ (Rotationsrichtung des Teilchens) unmittelbar, also nicht gebunden an die Lichtgeschwindigkeit. Auch wenn sie 100000 Lichtjahre voneneinander entfernt sind – eine Theorie, die sogar Einstein absurd fand („Spukhafte Fernwirkung“), als die Pioniere der Quantenphysik sie in den 1930er Jahren postulierten. Köhncke verewigt seine Faszination für Quantenphysik hier also in Form eine Retro-Pop-Lovesong-Methapher – was will man mehr?
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Berlin-based record label, Equilibrisme, has just revealed its third vinyl release.

This EP continues the tradition of its predecessors by offering a skillful blend of deep minimal techno, chords, and dubby groove to energize the dancefloor. The release includes tracks from producer Man-L, a collaboration between Man-L and Berlin-based Uruguayan producer and musician Martin Teysera, and Canadian dub techno legend Altitude aka Matt Thibideau.

Celebrating thirty years of collaboration, Loren Connors and Alan Licht performed for two nights at OTO on May 5 and 6th, 2023. The shows celebrated a new release titled “At The Top of the Stairs”; a document of the pair's reunion in 2018 after a period of 8 years not playing together. It’s a dark, swirling two-sided spectral noir session, put out by the duo’s home label, Family Vineyard, and we expected a similar kind of atonal abyss to appear at the OTO residency. On the second night however, with the stage lit in blue, Connors took up a seat on the piano stool whilst Licht picked up the guitar. What followed was the duo’s first ever set with Connors on piano - one of only a few times Connors has played piano live at all - here captured and issued as The Blue Hour. Its spacious warmth came as a total surprise live, but makes complete sense for a duo whose dedicated expressionism takes inspiration from a vast spectrum of emotion. Both opening with single notes to start, it doesn't take long before a surface rises and begins to shimmer between the pair. A run up the keys, the drop of a feedback layer on a sustained and bent note. When the two begin to exchange notes in tandem, brief touches of melody and chord hover and the hush of the room is palpapale. After a while, Connors picks up the guitar, stands it in his lap and sweeps a wash of colour across Licht’s melody. Sharp, glassy edges begin to form, open strings and barred frets darkening the space. When his two pedals begin to merge, Licht finds a dramatic organ-like feedback and it’s hard not to imagine Rothko’s Chapel, its varying shades of blue black ascending and descending in the room. When Connors goes back to the piano for the second side, the pair quickly lock into a refrain and light pours in. It’s a kind of sound that Licht says reminds him of what he and Connors would do when the duo first started playing together 30 years ago. It’s certainly more melodic than some of their more recent shows, and the atonal shards of At The Top of the Stairs seem to totally dissolve. What is always remarkable about Licht is that his enormous frame of reference doesn't seem to weigh him down, and instead here he is able to delicately place fractures of a Jackson C Frank song (“Just Like Anything”,) amongst the vast sea of Connors’ blues. Perhaps it's the pleasure of playing two nights in a row together, or the nature of Connor’s piano playing combined with Licht’s careful listening, but the improvisation on The Blue Hour feels remarkably calm and unafraid. There’s nothing to prove and no agenda except the joy of sounding colour together. Totally beautiful.

Making her return to the stage after 44 years, with tour dates across the US, Australia and Europe, as well as iconic performances at Glastonbury and We Out Here, Asha Puthli’s lifelong career as an inspirational trailblazer has taken on a magical new chapter. We can’t think of many artists that have had as distinctive and diverse a journey as Asha, nor who have been involved in as many different genres of music as her. A musical pioneer who forged a path through ‘60s psych, free-jazz, pop, rock, disco, and more. To mark this golden hour in her stellar career we have repressed her legendary album, ‘The Devil Is Loose', on gold vinyl. Maybe her most well-known record, the 1976 LP features the psychedelic disco-funk-classic 'Space Talk’, where Asha's soaring vocals take listeners on a journey that mirrors her eclectic career. Championed by a wide range of musical scenes and movements, over space and time it has been commandeered as their own. Casting a unique spell on its listeners, each track on the album showcases Asha’s majestic, celestial style and sumptuous vocal range. Backed by breathtaking orchestral-infused, disco-enhanced instrumentation, it’s cinematic and captivating throughout. From the infectious funk of ‘Flying Fish’, to the cosmic transcendence of ‘The Devil Is Loose’ and the choir-channeling ‘Say Yes’, this album is a true masterpiece. At Mr Bongo we are thrilled to be releasing records by such an iconic, musical maverick as Asha. She has blazed a trail so that others could follow. Whether you are buying this album as a replacement for your worn-out original copy or it's the first time you've heard of Asha Puthli and you're just intrigued and drawn in by the cover, we hope you enjoy this quintessential slice of Asha's world.

Duncan Forbes returns to 49North with a super fresh sounding 4 track EP, all killer no filler !

First up is ‘Moods Shift And Flicker’ which eUortlessly fuses Duncan’s love of Detroit and dub techno with his love of Chicago house music and spoken word all underpinned by an infectious disco bass line. Following on and taking things up a level or two we are treated to the uplifting peak time monster that is ‘Time Is Now !’. Peak time melodic techno that will be just as at home in any large open-air space as it will in a dark basement. Third on the menu is Spectra, a no holes barred sonic battle weapon that will take you to the stars and back as it builds and builds. Desert is served up in the form of ‘I Wanna Know’ a solid 808 electro workout with one foot in the 80’s and the other somewhere in the future which asks the questions ....How Come The Quantum ? How Come The Universe ? ....... I Wanna Know !

Includes unlimited streaming of Atropos via the free Bandcamp app,
plus high-quality download in MP3, FLAC and more. s

Purple Disco Machine's third studio album "Paradise" will be released on September 20th. On the album, Purple Disco Machine has collaborated with artists such as Metronomy, Jake Shears, Duke Dumont, Sophie and the Giants, Nothing But Thieves and many more.

With over 1.8 billion streams worldwide, a Grammy win for Best Remix for Lizzo's "About Damn Time" in 2023 and being named Beatport's #2 artist of all time, Purple Disco Machine continues to dominate the global dance music scene with each new release. His recent successes include collaborations with international superstars Nile Rodgers, Benjamin Ingrosso and Shenseea on 'Honey Boy'.

Purple Disco Machine grew up in Dresden and developed his passion for disco and house music, which has seen him become a worldwide radio and streaming sensation with hits such as "Hypnotized", "Fireworks", "Dopamine", "In The Dark" and "Substitution". Beyond radio, Purple Disco Machine is a respected force among DJs worldwide, while the tracks 'Body Funk', 'Dished (Male Stripper)', 'Playbox' and 'Devil In Me feat. Duane Harden & Joe Killington' continue to dominate dance floors. Purple Disco Machine has remixed tracks for Dua Lipa, Mark Ronson, Calvin Harris, Sir Elton John & Britney Spears, Fatboy Slim, the Rolling Stones, Ryan Gosling's "I'm Just Ken" and many more

The maestro of nu disco is also a dedicated performer. His energizing festival appearances include Coachella, Tomorrowland, Lollapalooza, Ibiza and many more. Purple Disco Machine will embark on his own sold-out PARADISE tour of mainland Europe in the fall.

Purple Disco Machine's influence on the global dance scene is undeniable. His tireless commitment to inclusion and diversity in music ensures that his legacy will endure for generations to come.

The album PARADISE is another homage to the new age of disco and surprises with numerous top-class dance features, as well as of course the big hits of recent months.

It's our great pleasure to welcome Spanish duo NX1 back onto the label following their Earwiggle debut in 2019. Much has changed in the world since then but in the world of NX1, Samot and Surit's commitment to tense sonic combat remains resolute. The "Shaked Ear" EP is some of their most accomplished work to date, and a fresh follow-up to their recent debut album on Nexe Records. Raw acid lines, earth-shaking bleeps, fizzing distortion, murky vocals and a melange of sweeping kick patterns are just some of the key ingredients on display over this crushing 5-tracker. Once again finding a unique place within hard-edged rhythmic techno and industrial, with an atmosphere all of its own, NX1 are back to shake the dancefloor to its core.

Die "French Touch Collection" ist eine Doppel-LP-Serie, die der französischen elektronischen Musikszene gewidmet ist. Beeinflusst von neuen Musikgenres wie House, Hip-Hop, Techno und den Rave-Partys, beteiligten sich Mitte der 90er Jahre mehrere französische Produzenten an der Demokratisierung der elektronischen Musik. Ihre Musik, die der britische Journalist Martin James "French Touch" nannte, wurde 1996 zu einem neuen, international bekannten Musikgenre, das sich durch elektronische Produktionen und Musiksamples aus Hip-Hop, Funk oder Disco auszeichnete. Anfang der 2000er Jahre erfand sich die "French Touch"-Szene mit einer neuen Generation ungehemmter Künstler neu, getragen von einem rohen, rocknahen Sound. Die 2010er Jahre brachten eine neue "French Touch"-Welle mit sich, die von der Popmusik beeinflusst war und sich mehr auf Melodien und Oneiric Universes konzentrierte. Dieses neue Werk ist dem House gewidmet, mit Künstlern und Tracks, die zur Entwicklung des "French Touch" beigetragen haben: "Bon voyage"!

As we get into the groove of the summer time; it comes with great pleasure to introduce the next release instalment that comes as a collaborative pressure of collectivity & quality musicianship to produce the EP that we had decided to title as the 'Forward On Riddim' which best describes the vast amount of works that has been going on with this link up between Ashanti Selah & Hark's riddim factory (many work in yet to be released in the pipeline!)

Featuring on the Forward On Riddim we have the vocal works of Zed Regal with a version called 'Magical Connection' which describes the deep sense of understanding and empathy between what would be seen as a search for the search of that divine soulmate.

Then leading into the next version on the riddim 'Overstand' with a message of upliftment for the good of Humanity to rise up and stand as one for the right cause in the spirit of Equal Rights & Justice for all Mankind - that is what we must overstand!

Last but not least we have the real deal artist Mad Sam with a track that he had voiced with no rehearsal fresh from the vibes of JA called 'Unbreakable' preaching words of wisdom to the youths of today to keep it firm and always show love & respect to receive it!

Hope you feel the vibe and message in the music as we bring you these heartikal sounds with an immense line up of top-class international musicians in what turned out to be the first collaborative project between Ashanti Selah and Zac Harkavy!
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Sameheads & Mutant Radio are going a teenie weenie bit further and unifying their ongoing collab in plastic. The kind you play, not the stuff you throw away.
Released in Spring, at a party we’re throwing together in Tbilisi, this little beaut is a double sided 7”.
The MUTANTHEADS split 7” features some solid sound rep from both projects….
For Sameheads, Andrea & Alexander release their first material together, acting as a kind of trailer to an upcoming album released later this year on R-I-O. The track “Olias” finally gets its press after once being performed live at the fabled Sameheads festival “City of a Thousand Suns”… those were the days eh…..
On the Mutant Radio side, fresh talent TINA delivers her debut release, and for that matter, the first ever track Mutant have put onto a piece of vinyl….. The track “Vacation” is the squelchy black sheep counter balance to the silky synth vibe of the other side. Just how they like it.
The release will be up for pre-order from next week, and the digital stuff too…. Just the 300 copies available…… So,,, fix up look sharp……

This album takes you back to Colombia of the 50s and 60s. In those days, the tropical music of the Caribbean and Pacific coasts took over the country's mainland music scene by storm. One of the key figures during this period was Edmundo Arias. Together with Lucho Bermúdez and Pacho Galán, Arias is seen as one of the ‘big three’ composers of Colombian tropical music.

He was a rather introverted person who avoided being in the spotlight at all cost, leading to his work being less known than his contemporaries. With this album we hope to highlight the amazing legacy Edmundo Arias has left us. Think of big bands with sharp dressed musicians playing the finest cumbias, porros and other tropical sounds in fancy ballrooms on a hot evening in Medellin or Bogota.

Liner notes:

Edmundo Dante Arias Valencia was born in Tuluá, Valle del Cauca, on the 5th of November 1925. He came from a family of musicians. His father, Joaquín Arias Cardoza was a band leader and composer who taught his children to play music. Arias learned to play many instruments such as the guitar, bass, bandola (pear shaped string instrument related to the mandolin), tiple (12 string guitar), clarinet and saxophone. He proved to be a very talented musician and together with his father and his older brother Ricaurte he formed the ‘Trio Arias’. The family lived in different cities across Colombia depending on where they found work. When his father died unexpectedly in 1948, Edmundo and Ricaurte had to support their family working as musicians. In 1951, Arias decided to move to Medellín, in those days the heart of the Colombian music industry and the city where the most important record companies and the best musicians were based. It didn’t take long before Arias made a name for himself as a musician, composer, arranger and band leader for Colombia’s leading labels at the time; Zeida, Ondina, Silver and Sonolux. For the latter, he would eventually become the artistic director. Over the years, he wrote hundreds of songs, recorded many albums with his own orchestras or with the Orquesta Sonolux and collaborated with a countless number of musicians, often uncredited.

Together with Lucho Bermúdez and Pacho Galán, Edmundo Arias is seen as one of the ‘big three’ composers of the tropical music of Colombia. But despite the fact that Arias was renowned, very little is known about his personal life. He was a humble man who preferred to work in the background and avoided being in the spotlight at all cost. He declined interviews and kept away from public life. On some live performances of the orchestra that carried his name, Arias asked one of his musicians to pretend to be him, so that he wouldn’t have to come on stage. You might think that Arias was shy or anti-social, but this was not the case. Most people he worked with described him as a very jovial, good humoured person and enjoyed working with him.

His invisibility in public life belied how present he was behind the scenes. If he wasn’t working on his own productions, he was regularly collaborating with other musicians. Arias had his hand in the work of many of his colleagues and was a mentor for young artists. Some even say that in those days all the musicians in Medellín had worked with Arias in one way or the other. He had a strict working regime: composing, arranging and recording at night while sleeping during the day. He was also very productive. The story goes that on one occasion, he wrote arrangements for a 16 piece band in just a few minutes while the band was recording another song. His hard work and productiveness resulted in hundreds of compositions and many records that carry his name.

Edmundo Arias’ career ran over 6 decades until his death on the 29th of January 1993. Over the years, he left us a huge legacy. The songs on this record are a selection of his work during the 50s and 60s. Many see this period as the absolute highlight of his career. We picked out the songs we consider to be the most outstanding recordings from this period. The title of this compilation Guepa Je! is Colombian slang often used in cumbia to express joy or to celebrate. A free translation would result into something like ‘yeah’, ’let’s go’ or ‘groovy’. I guess this title says enough. Enjoy the music. Guepa Je!

Headquartered in a broader domain of Mixcult Records, Blackinstock Records focuses on the very first release with "Reel Phase EP" BLIS001, representing the most profound property of Mixcult Records' Black Gold Dub Techno. This great collection includes legendary Dub Techno maestro Federsen, plus the innovative minds of Yagya and Ohm.

Submerge in a sea of minimalism and sonic depth, where every single track is a journey in itself. "Reel Phase EP" is such music, emanating from the very heart of Dub Techno. A lot is vested in these expansive and immersive soundscapes, embracing highly detailed constructions. The spaciousness and depth of this release create an unrivalled listening experience, allowing for a deep dive into the pensive and genre-evolutive nature of this sophisticated kind of music.

Federsen, Yagya, and Ohm blend their different skills in masterly fashion, cooking up something timeless and forward-thinking. Each track is a stamp of class and introspection, hallmarks of the Blackinstock Records label, making this EP a must-have for any Dub Techno enthusiast.

Give a different feel to your collection with this genre-defining release. "Reel Phase EP" BLIS001 is not just music; it's an auditory journey to the very heart of Dub Techno. Make no mistake: this is your chance to get a share of musical evolution – get your copy now and dive into the deeper realm that Blackinstock Records holds in store.

Markantonio's record label, AnalyticTrail, proudly presents "Groove Impact," an dynamic techno EP by young Irish talent CULT, known for his fast-paced rhythms sequenced into jackin' grooves.

CULT, one of Europe's most talked-about young talents, has a raw style defined by intricate synths creating upbeat machine-funk. Influenced by '90s techno, his music perfectly blends captivating atmosphere with driving energy. Known for his warm, punchy basslines and tribal drum patterns, CULT's tracks are already staples at Vault Sessions events and are championed by DJs like Alarico and Future666 among others.

Founded in 2001 and based in Naples, Italy, AnalyticTrail has been pivotal in shaping the Neapolitan techno sound. A cornerstone of the scene, the label has achieved great success with
its groovy, dancefloor-engineered tracks. With "Groove Impact," AnalyticTrail returns to its roots restarting vinyl releases driven by the desire to produce timeless music that endures on physical formats, just like in the good old days. The label has also started signing techno that puts a contemporary spin on the classic hardgroove style that first brought it success in the early '00s.

The EP opens with A1 "Jumpin' Traxx," featuring cowbells and a dramatic hip hop vocal sample layered over a throbbing bassline to create an upbeat groove. On A2, "High Pressure" follows with booming percussion, fizzing ride cymbals, dystopian synths, and invigorating vocal stabs. B1 features "Anotha Beat," combining hypnotic vocal tones, relentless percussion, and intense synth stabs. The release closes with B2 "Brass Tac," offering a jazz-infused groove built around a live percussion loop.

ARR049 Brizman - Tomorrow Is A New Day Craving for that perfect serving of benchmark minimal house with a flavor of psy-chill and euromantic? The Kyiv based vinyl label Artreform Records is ready to treat you to a tasty new EP by the long-established chef Roy Brizman. His new release, Tomorrow Is A New Day, looks well-prepped for repeating the success of Midnight Tales, the previous Artreform offering by Brizman from 2021. Brizman is a star of the Israeli electronic scene. Roy is also known as Gel Abril in Tel Aviv and far beyond. He has been in great creative form lately, releasing many new tracks and remixes his latest twist on Depeche Modes Policy of Truth" is just one example. Roy offers three new tracks in one sitting this time-a triad united by an overarching mood and atmosphere. It's the perfect soundtrack for diving deep into your feelings and thoughts right on the dance floor. The producers signature micro-house groove is so clear and transparent that you can hear the distant echoes of past electronic music-from New Age to Balearic. The release concludes with the lead track remixed by the ro-minimal star Floog. This gifted producer is alternatively known as George G-a member of the Premiesku project, which also includes Livio and Roby.

‘Vulnerable’: a champion of Broken Beat and Garage, offering a distinct and uplifting arp that sits on the warmest of bass lines and the coolest of beats. One for the radio, dancefloor, car or just about anywhere else.

‘Tuesday’: Hammered keys, rusty nails, 808 beats and crafted tech noise help hold together this strange piece of clunk funk which knocks and thuds its way through the unsettling but subtle groove all the way to the end.

Full of bounce and experimentation in equal measure, ‘Triple Transit,’ Braille’s new album for Hotflush is about leaving his Sepalcure project (with Machinedrum) in the rear mirror, moving back to New York and using its energy to fuel new moves, confronting our hyper layered world and overcoming personal difficulties by being creative.

Focused squarely on utilising modular synthesis in sprawling studio sessions, the album covers a wide stylistic range and draws on the artist’s formidable battery of experience to craft a body of work that packs real emotional punch as well as a dancefloor sensibility.

We had a quick chat with him to wet your appetite…

Praveen Sharma aka Braille:
Moving on from Sepalcure
“That period of time when Sepalcure was at its peak was really inspiring. I’m still really in awe and humbled by the fans. It’s always amazing to hear about how music you’ve made has brightened up other people’s lives in some way, but ‘Triple Transit’ is really about transitioning from that period to something new. I’m intentionally not using many vocal samples on this album. That became quite a crutch for Sepalcure and I wanted to try and find ways to evoke those emotions and connect with the audience in other ways.”

The roots of his Bounce
‘Sour Patch Kiss’ and ‘While We’re Free’ are inspired by classic house and some early Detroit stuff. Songs like ‘Big Fun’ (Inner City), ‘I Wanna Be there’ (Model 500) and slowed down ‘Sex on The Beach’ (DJ Assault) have stuck with me since the beginning. I used to listen to this slowed down and doubled version of ‘Sex on The Beach’ on an early Juan Atkins mix cd on REPEAT when I was in high school.

Getting ambient
Triple Transit slows down and transitions through a bit of sadness and eventually acceptance at the end of the album. A lot of the music I’m making these days is trying to recreate that manic feeling so many of us have in 2024. Between social media, ridiculous hustle culture expectations and depressing global and national political events, it’s hard to not feel overwhelmed. I feel like Triple Transit is kind of a parabolic curve from mania to joy to a sober realization that yeah, actually the world is just fucked but somehow we carry on.

2024 Repress

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, where we have proudly released two full length solo albums: Visions Of Blah (Kompakt CD 20/Kompakt 67) and Honigpumpe (Kompakt CD 59 / Kompakt 157), his musical works have been prolific, not to mention four singles and a full serving of tracks found on our Pop Ambient and Total collections. Now, after 3 years, Fehlmann returns with 'Gute Luft'…

'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.

“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. Also with that Berlin is very green, the combination with the unavoidable city dirt makes for a distinctive blend which seems to infuse its vibrant scene unknowingly with a constructive drive. Besides that, 'Gute Luft' was also the title of a song from my old band Palais Schaumburg, of which I have very fond memories. Also (as he says with a wink) “Gut” is one word I have a profound relation to…”

Fans shall rejoice as Thomas Fehlmann doesn't feer 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 Thomas states, “There are also More Subtle Connections That Should Give An Overall Feel To The Score. I Also Brought In Elements From 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 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!

This is a re-release of " Gute Luft " orginally released in 2010 on Kompakt.

Thomas Fehlmann ist nach wie vor einer der liebenswertesten und gleichzeitig angesehensten Künstler bei Kompakt. Im Laufe seiner über 30-jährigen Karriere hat er Generationen von Fans und Musikern inspiriert. Von seinen frühen Tagen als Teil der legendären Band Palais Schaumburg und dem bahnbrechenden Detroit/Berlin Act 3MB (mit Juan Atkins und Moritz von Oswald), bis hin zu seiner langjährigen Mitgliedschaft bei The Orb, kombiniert mit seinen Arbeiten als Solokünstler für Imprints wie R&S, Plug Research und natürlich Kompakt: Sein musikalisches Gesamtwerk ist beeindruckend. Wir sind stolz, bereits zwei seiner Soloalben veröffentlicht zu haben: “Visions Of Blah“ (KOM CD 20/KOM 67) und “Honigpumpe“ (KOM CD 59 / KOM 157). Ganz zu schweigen von vier Singles und jeder Menge Tracks, die sich auf diversen Pop Ambient- und Total-Sammlungen finden lassen. Jetzt, nach drei Jahren, kehrt Fehlmann mit “Gute Luft“ zurück ...

“Gute Luft“ ist das Ergebnis monatelanger Arbeit für den deutschen Fernsehfilm “24h Berlin - Ein Tag im Leben“ - der wohl längste Dokumentarfilm der Geschichte. 80 Kamerateams verfolgen das Leben der Berliner*innen über einen Zeitraum von 24 Stunden. Die größte Herausforderung stellte für Fehlmann dabei nicht die Komposition für einen solchen Film dar; vielmehr waren es die Entscheidungsprozesse im großen Produktionsteam, die ihm die meiste Arbeit abrangen. Da er sich die Aufgabe mit einem anderen Musiker teilte, endete es unweigerlich so, dass einige seiner Tracks nicht in den Final Cut kamen. Bei “Gute Luft“ ging es nun darum, Material aus den unzähligen Stunden an Aufnahmen neu zu bearbeiten und zu editieren. In gewissem Sinne ist “Gute Luft“ Fehlmanns eigentlicher Soundtrack zum 24-Stunden-Dokumentarfilm.

"Während ich den Film vertonte und anschließend zu einem Album geformt habe, habe ich mich gefragt, was hier in Berlin alles zusammenhält. Ich habe mir gedacht, dass 'Luft', die gute alte Berliner Luft, etwas ist, das garantiert jeden und alles in der Stadt berührt. Die Tatsache, dass Berlin sehr grün ist; gleichzeitig die Kombination mit dem unvermeidlichen Dreck einer solchen Stadt – das ergibt eine unverwechselbare Mischung, die ihrer lebendigen Szene unterbewusst einen bestimmten Drive zu verleihen scheint. 'Gute Luft' war übrigens auch der Titel eines Liedes meiner alten Band Palais Schaumburg, an das ich mich sehr gerne erinnere. Außerdem (das sagt er mit einem Augenzwinkern) ist ‚Gut‘ ein Wort, zu dem ich eine enge Beziehung habe ..."

Seine Fans können sich freuen, denn Thomas Fehlmann entfernt sich nicht weit von seinem charakteristischen Sound, mit dem er die feinen Verbindungen von klassischem Detroit House und Techno mit der versunkenen Schönheit des Berliner Dubs aufspürt. Man wird sofort klassische Soundtrack-Techniken erkennen, die Fehlmann auf “Gute Luft“ verwendet - bestimmte Themen und Sounds durchziehen in unterschiedlichen Formen und Versionen die einzelnen Tracks. Thomas sagt dazu: "Es gibt subtile Verbindungen, die der Erzählung ein zusammenhängendes Gefühl geben sollten. Ich habe Melodie-Fragmente aus früheren Alben einbezogen, um der Tatsache Rechnung zu tragen, dass ich oft das Gefühl habe, es gäbe so viele weitere Möglichkeiten, bestimmte Ideen weiterzuverfolgen und mit ihnen zu experimentieren, als nur in einem einzigen Track.” Fehlmann gelingt es hier, das Beste aus den vergangenen 20 Jahren Berliner Elektronik- und Tanzmusik-Geschichte zu bündeln. Ein wohltuendes Album in jeder Hinsicht, von dem er sich selbst erhofft, dass es seinen Hörer*innen "ein Gefühl des Friedens mit sich selbst und ihrer Umgebung vermittelt, sie zu phantasievollen Abendessen inspiriert, zum Babys machen oder sie einfach nur mit offenen Augen Ihren eigenen Weg gehen lässt." Gut gesagt, Thomas!

Dies ist die Wiederveröffentlichung von “Gute Luft“, erstmals erschienen 2010 auf Kompakt.