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(Techno, Ambient, Abstract) Thomas Fehlmann - Good Fridge. Flowing: Ninezeronine
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Thomas Fehlmann / Good Fridge. Flowing: Ninezeronineight.
 Жанр: Techno, Ambient, Abstract Страна-производитель диска: Belgium Год издания диска: 1998 Тип издания: CD, Album Издатель (лейбл): Apollo Каталожный номер: AMB 8951CD Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Продолжительность: 1:05:44 Источник (релизер): cratedigger (RED) Наличие сканов в содержимом раздачи: Нет Треклист: 01. Thomas Fehlmann - Superfrühstück (4:26) 02. Thomas Fehlmann - Hermosa (5:35) 03. Thomas Fehlmann - Zauberwort (3:32) 04. Thomas Fehlmann - Banda (I.A.O.O.L) (1:42) 05. Thomas Fehlmann - Barati (3:28) 06. Thomas Fehlmann - Unisize (0:50) 07. Thomas Fehlmann With Alex Paterson - 6Ix Days (3:08) 08. Thomas Fehlmann - Kirsche (1:06) 09. Thomas Fehlmann - Wee Wee Mademoiselle (3:12) 10. Thomas Fehlmann - Globus (2:48) 11. Thomas Fehlmann - Sangita Rana (4:44) 12. Thomas Fehlmann - Cuddle (3:53) 13. Thomas Fehlmann With Alex Paterson - Teufel (3:15) 14. Thomas Fehlmann - Face The Day (4:09) 15. Thomas Fehlmann - Kufi & Nashi (1:23) 16. Thomas Fehlmann - Speedo (2:22) 17. Thomas Fehlmann - Lüster (4:05) 18. Thomas Fehlmann With Sun Electric - Snake Salvador (3:11) 19. Thomas Fehlmann - Dingo (4:21) 20. Thomas Fehlmann With Moritz von Oswald - Schizophrenia (4:34) Credits Design – The Designers Republic Mastered By – Stefan Betke Written-By, Mixed By, Producer – Thomas Fehlmann Notes Written/mixed/produced 1990-1998 @ LAB Berlin. 20: Written/mixed/produced @ Love Park Berlin. 3, 12, 13, 17 inspired by Domenico Zindato's tarot interpretations. Mastered @ D + M-Berlin. All tracks previously unreleased except 2, 4, 14, 20. The versions on this album however are all shorter than the originals: 2: taken from Berlin Unwrapped 2XCD. 4: taken from Interference - Live At Love Parade '94 2xCD. 14: taken from Trance Europe Express 2xCD. 20: taken from Excursions In Ambience - The Second Orbit CD. Manufactured / marketed by R + S Records. ℗ 1998 R + S Records. © 1998 R + S Records. 
Exact Audio Copy V1.0 beta 3 from 29. August 2011 REM GENRE Electronic ----------------------- foobar2000 1.2.5 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта: 2017-03-17 21:28:09 -------------------------------------------------------------------------------- Анализ: Thomas Fehlmann With Alex Paterson / Good Fridge. Flowing: Ninezeronineight (1-2) Thomas Fehlmann With Moritz von Oswald / Good Fridge. Flowing: Ninezeronineight (3) Thomas Fehlmann With Sun Electric / Good Fridge. Flowing: Ninezeronineight (4) Thomas Fehlmann / Good Fridge. Flowing: Ninezeronineight (5-20) -------------------------------------------------------------------------------- DR Пики RMS Продолжительность трека -------------------------------------------------------------------------------- DR8 0.00 дБ -10.88 дБ 3:08 07-6Ix Days DR8 0.00 дБ -9.13 дБ 3:15 13-Teufel DR7 -0.41 дБ -10.12 дБ 4:34 20-Schizophrenia DR12 0.00 дБ -13.68 дБ 3:11 18-Snake Salvador DR7 -0.13 дБ -8.75 дБ 4:26 01-Superfrühstück DR7 -0.51 дБ -10.81 дБ 5:35 02-Hermosa DR8 0.00 дБ -9.91 дБ 3:32 03-Zauberwort DR9 0.00 дБ -11.86 дБ 1:42 04-Banda (I.A.O.O.L) DR7 0.00 дБ -8.61 дБ 3:28 05-Barati DR11 0.00 дБ -15.16 дБ 0:50 06-Unisize DR11 -2.92 дБ -16.77 дБ 1:06 08-Kirsche DR8 0.00 дБ -9.56 дБ 3:12 09-Wee Wee Mademoiselle DR8 0.00 дБ -11.33 дБ 2:48 10-Globus DR8 0.00 дБ -12.36 дБ 4:44 11-Sangita Rana DR7 0.00 дБ -8.87 дБ 3:53 12-Cuddle DR5 0.00 дБ -6.72 дБ 4:09 14-Face The Day DR5 0.00 дБ -8.61 дБ 1:23 15-Kufi & Nashi DR12 0.00 дБ -14.78 дБ 2:22 16-Speedo DR10 0.00 дБ -12.04 дБ 4:05 17-Lüster DR9 0.00 дБ -13.43 дБ 4:21 19-Dingo -------------------------------------------------------------------------------- Количество треков: 20 Реальные значения DR: DR8 Частота: 44100 Гц Каналов: 2 Разрядность: 16 Битрейт: 849 кбит/с Кодек: FLAC ================================================================================ Thomas Fehlmann is the Johnny Appleseed of the '90s electronic music scene. Through working with the Orb's Alex Patterson and Basic Channel's Moritz Von Oswald and producing Sun Electric and Eddie Flashin' Fowlkes, Fehlmann's signature can be found in a large amount of music at the end of that decade. Good Fridge is the summing-up of his activities in the decade of techno, crossing and cross-pollinating genres over the course of its 20 tracks. Straight-up dancefloor, dub, schaffel, ambient house; all are to be found here. And all are uniformly excellent, with a track-to-track mix that efficiently blends disparate tracks together into a seamless whole. Highlights include opener "Superfruhstuck," a bouncy dub-house track, the ambient bliss of "Hermosa," and "Schizophrenia," a collaboration with Von Oswald. Overall an excellent listening experience for fans of electronic music, and a decent introduction for new ears.
-- Many people only know of Thomas Fehlmann due to his involvement with the Ambient collective The Orb where he appears as a regular satellite member from 1990 onwards. But his solo work is also more than promising and can be divided into three phases, ranging from his affiliation with early 90's pre-Eurodance projects like Marathon and his own single-time fabrication Readymade as a starting point, over the second phase that is covered by Good Fridge and the half remix, half new material kin One To Three, to the final phase that was refined with his album Visions Of Blah in 2002 and all successive releases. To make myself clear: Good Fridge. Flowing Ninezeronineeight which the complete title of the album is not only the best work by Thomas Fehlmann, but one of my top 10 albums of all time, regardless of the artist, the release date or the genre. A whopping 20 songs (21 on the Japanese version which I'm reviewing) are presented, spanning the years 1990–1998, the vast majority of them unreleased. However, this is no retrospective, for this is in fact the very first Thomas Fehlmann album he has released under his own name! It is not clear which songs were produced in which year, but they have all been reworked and polished, creating a tremendously coherent flow (a term Fehlmann uses time and again to this day) while offering a huge variety of different styles. What is so special about Good Fridge? It is, for one, the balance between collaborations, styles and entertainment. Fehlmann teams up with The Orb's Dr Alex Paterson, the Berlin-based duo Sun Electric and with Moritz von Oswald, also known at the time for his Detroit House moniker Maurizio. The styles oscillate vibrantly between Ambient pieces, downbeat songs and occasional ventures into Jungle territory. Believe it or not, but the music has a certain Japanese flavor that is implied in its hectic vividness and gorgeous, awe-inspiring melodies which lead me to the last important column: entertainment. Good Fridge is jam-packed with vocal samples, voice snippets and theme fragments – surely inspired due to the artist's work with The Orb –, making this a very rich and potentially dangerous album, for this kind of creativity is considered as theft of intellectual property by some geezers. Most of the samples plus the metallic green front artwork curiously involve Spanish or Mexican ephemera, but the music doesn't rely on Latin clichйs or mannerisms. The sad fact is that Fehlmann never picked up the threads of Good Fridge and the related bonus follow-up One To Three. Nowadays, he remains a prolific performer in the world of electronic music, but his music lacks any interwoven sample snippet which enhances Good Fridge so much and makes it a towering work of art. But enough of the nostalgia, here is the actual analysis of most tracks off the Japanese version which adds a long bonus track at the end. As if to underline the clichйs of his Swiss roots, Fehlmann starts the opener Superfrьhstьck (super breakfast) with clinging cowbells, followed by an easy-going beat, bursts of synth pads that are typically found in his songs, as well as complemental pulses that are deeper and fuzzier. A five-note melody carries the song while various bells, bleeps and fragments swirl in the background. It's hard to pinpoint the mood which is definitely not too upbeat, but more akin to the typical morning melancholia many people encounter. It's a good start, but rather bland in comparison to the following string of tracks, all of them being gargantuan. Hermosa, previously released as Hermosa Beach on compilations, is an unbelievable cocktail of catchy melodies, whirling backing strings that are almost better than the jumpy main melody on the synth pads, and punchy breakbeats, with short ventures into silky Jungle fields. Additional gleaming flitterings, bouncy noises and wind chimes round off Hermosa whose synths are very lush and Ambient in style. Together with the hectic tidbits in the foreground, this and various other tunes remind of menu music in Japanese video games, and this is not meant as an insult, but as a seal of quality. After the song ends with high-pitched gibberish and a meandering percussion, Zauberwort (magic word) enters with its tremendously soothing synth washes, a quirky melody played in higher regions and a strong Jungle rhythm that is bolstered by deep bass lines. The mood is perfectly jolly and happy, and the deepness and coziness of the synths is unreached to my mind, allowing the listener to concentrate either on the dreamy or the hectic side of the song. It is the last 25 seconds, however, where the dreaminess is turned up a notch as the synths start to oscillate, pulsate and warp in the most phantasmagoric manner. A terrific song. Banda (i.a.o.o.l.) is an interlude below the two-minute mark with a train-like choo-choo rhythm and mysterious but bright beams that lead directly to the resplendent Baratti, a superb synergy of haunting synths and tense Jungle beats with a six-note melody on an Italo organ. The backing synths are so thick and mellow that the potential thinness of the organ, let alone the clichй it implies, is of no importance, especially when considering the final phase of the song with its powerful glacial cymbals and the ethereal superstructure of the Ambient synths. One of the best tracks ever composed by Fehlmann. After the short interlude Unisize that merges mean laughter with opera divas and distinct hi hats which are re-used on Fehlmann's remix of Juan Atkin's Never Tempt Me on One To Three, one of the various reasons why I incessantly link both albums – Good Fridge and One To Three – to each other. Next is 6ix Days, collaboration with Alex Paterson who provided the sample of the screaming colonel which itself is intertwined with a strange news report in an even stranger dialect or language, possibly Romantsch? The backing synths are terrifically warm and rapturous, the percussion is silky and the Acid-like synth pads very gentle. Launching rockets and various incomprehensible chit chat are the remaining ingredients of a lively yet warming track that leads to Kirsche (cherry), a further interlude with majestic strings, spectral flitterings, floating textures and a wonky Italo piano. While Wee Wee Mademoiselle was released as the one and only single off Good Fridge – a curious choice to my mind – that relies more on multilayered synth pads and swirling melodies than the backing ambience found in every other track so far, Globus (globe) is a jocular breakbeat ditty with synth choir accompaniments and beautifully glitzy scintillas that ends with an arguing Spanish couple. Sangita Rana is all about glacial percussion with fragments of icy synth strings, and the awe-inspiring solemn exhilarance of Cuddle with its catchy pulsating synth backings and the similarly effervescent strings is so bright and positive that no one can resist a smile or two while listening to it. The following Teufel (devil) is another collaboration with Alex Paterson and has been featured on Orbsessions Volume II under the title Angel 4 Matrix. It is the first of three true Ambient tracks off Good Fridge with soothing swirls, ethereal spheres, short splutters, coughing witches or ravens and a rather distateful surprise at the end. While Face The Day is the only song with a straight 4/4 beat, quirky 8-bit swirls and possibly the most glaring riff that consists of cascading six notes backed by vivid bells and whistles, Kufi & Nashi is one of those interludes which Fehlmann will never come back to again, as it is loaded with copyrighted themes fading in and out, among them the Theme From A-Team, Jingle Bells and New Age extravaganza. Snake Salvador is worth mentioning as well, as it is a collaboration with Sun Electric. Warm, soothing melodies are coupled with wonky percussion and incisive, almost glacial loops, while Fehlmann's solo effort called Dingo is a downbeat song that has a particularly eclectic melody which harks back to the rave days, but isn't as punchy or bold because of its inheritance of the reduced scheme found in old Detroit songs. The normal edition closes with a collaboration between Fehlmann and Moritz von Oswald called Schizophrenia which incidentally is also the title of the song. It is based on cherubic strings, quick swirls and additional synth pads that lead to the climax of the song, and even though this is a beatless Ambient piece, the synth pads could be interpreted as fragmented remainders of Trance songs by the numbers and thus carry a liveliness that makes this song more convoluted than it actually is. A great closing track. The aptly titled Optional on the Japanese version is an afterhought of almost seven minutes and is perfectly embedded in the endemic mood. It starts with a field recording of distant waves, people who pass by and a vestigial horn-like melody that is backed by dark synth pads and further intertwined with answering messages. The song is too long and rather minimal, as nothing seems to change. However, another long field recording with chirping birds is provided at the end. Since this is a bonus track to one of the greatest electronic albums of all time, I won't complain. Good Fridge is … everything! It contains all my hopes, stylistic preferences and dreams and throws them back at me in 21 songs. The creativity, runtime and wide variety of it is a good indicator for Fehlmann's skills. Other musicians would have created five albums out of this green-lit wonderland. Fehlmann came up with two if you consider One To Three that combines new material as well as Fehlmann's own remixes and those of other artists. Each and every track pushes the melodies into the limelight, and while they are the most important part, the eclectic percussion and the esoteric samples aren't any less mandatory in terms of the buildup of Good Fridge. From the dewy morning meadows of Superfrьhstьck over the intense coupling of synth washes with quirky rave riffs in Baratti to the pleasantly pulsating anticipation in the bubbling Cuddle with short stops at the various interludes – each and everyone of them terrifically melodious and way too short –, Fehlmann has mighty fine groceries in his fridge, and while a lot of this material was already eight years old when the album was released in 1998, it isn't spoiled in the slightest way. After a limewashing procedure by Fehlmann, the output glitters and gleams. There is no other album that can surpass the sheer fun, adventurous melodies, obscure samples and lavish use of gazillion synth layers while at the same time maintaining a coherent style. Thomas Fehlmann solved this oxymoronic riddle with Good Fridge that is fresh as a daisy – eternally. It has luckily been re-issued by the recently resurrected R&S Records in digital form, so grab this green emerald – and enhance it with the ruby red expansion pack called One To Three. So utterly recommended, you won't believe it! -- Overall impression: very good. Thomas Fehlmann has been a part of the electronic music scene for 20 years now and is probably best known for his collaborative efforts with The Orb and mixing/production of Sun Electric. "Flowing .." collects 20 short but sweet solo tracks recorded between 1990 and 1998. Not surprisingly, the music is what you'd expect: lush, flowing, ambient techno. Fehlmann's work shares the same characteristics as that of the Orb and Sun Electric, as well as the subtle yet deep minimalism of Berlin's Chain Reaction label (indeed ... he's joined by Alex Patterson of the Orb on 2 tracks, Tom Theil and Max Loderbauer of Sun Electric on a track and Moritz von Oswald of Maurizio on a track). "Flowing" is bright and cheerful, more 'techno' than dub ... pulsating bass lines, schizophrenic percussion, melodic ambient pads and atmospheres interweaving in and out, the occasional wacky dialogue sample (an Orb trademark) and ambient, beat-less sections ... the tempos range from slow-mo to a frenzied, thumping dance-floor pace. Despite the brevity of the tracks the flow is well maintained since there are no breaks in between tracks, they are either pushed back to back or linked by short musical interlude tracks. I find it difficult to believe that some of these tracks were recorded as far back as 1990 ... every track is solid and none sound dated to my ears. The artwork by The Designers Republic is sharp ... the front and back covers feature minimal drawings on an engaging pastel green background and the 10 page booklet contains brightly colored abstract drawings. A fine piece of art through and through, sonically and visually. The cd is an import, so it cost me a little more than usual ($17.50) but was most definitely worth it ... Для того, чтобы скачать .torrent Вам необходимо зарегистрироваться |
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