Thomas Fehlmann

A major catalyst in the advancement of Berlin techno and the scene’s lasting Detroit connection, Thomas Fehlmann has coursed through decades of underground activity dating back to his early-’80s adventures with post-punk band . Fehlmann’s fascination with electronic music developed further with the solo project and the operation of Teutonic Beats, a rarely recognized early platform for several major players in underground electronic music. After bonding with the likes of and a period of affiliation with Alex Paterson, Fehlmann became a full-time member of , as heard on Orbus Terrarum (1995), an album enhanced with the producer’s aqueous varieties of ambient and dub techno. Throughout a series of solo albums for , from Visions of Blah (2002) to Böser Herbst (2021), the entirety of which was issued during a concurrent burst of activity with the resurgent , Fehlmann has continually honed his distinctive style, consequently perpetuating his dual status as the label’s elder statesman and one of its most consistent artists. Originally from Zurich, Switzerland, Thomas Fehlmann left his home country to attend University of Fine Arts Hamburg, where he was inspired by guest professors and Joseph Beuys, as well as visitor , who convinced him to purchase his first analog synthesizer. While in Hamburg, Fehlmann and formed , who made their recorded debut in 1980 and became one of the leading forces in German new wave, or NDW (“Neue Deutsche Welle”). The band recorded three albums through 1984, a period during which Fehlmann contributed collaborative tracks to the -produced compilation Das Ist Schönheit, reinterpreted ‘s Wir Bauen Eine Stadt with , and cut a single with Peter Gordon, among other activities. For the decade’s latter half, Fehlmann floated from project to project. In 1986, he released a humorously offbeat, sample-oriented 12″ as , assisted by a cast including ‘s J.J. Jeczalik. An A&R stint with Phonogram was highlighted by working with ‘s and speeding the ascent of , whose first two albums reached the Top Five in Germany. In 1988, Fehlmann and fellow NDW figure provided the soundtrack for Der Kuss des Tigres. His establishment of Phonogram’s Teutonic Beats subsidiary the same year proved to be pivotal. Home to additional material and the first productions of bandmate (Marathon), Maximilian Lenz (), and and (Best Boy, Third Electric), the club-focused label also placed Fehlmann in the path of Alex Paterson, who soon involved him with . Keeping track of Fehlmann throughout the ’90s was even trickier. Fehlmann and worked closely with on the final releases and the madcap singer’s first solo material. Around this time, the duo traveled to instigate the Berlin-Detroit techno alliance with Motor City innovators such as , Eddie “Flashin'” Fowlkes, , and . Interchangeably joined by either or Fowlkes, Fehlmann and issued a handful of 1992-1993 recordings as , most notably “Jazz Is the Teacher,” for the label offshoot of Berlin’s central nightclub (where Fehlmann also held a DJ residency). Fehlmann synchronously co-produced tracks by the group . and strengthened his creative bond with and of , previously two-thirds of Teutonic Beats act Fischerman’s Friend. At some point in 1994, Fehlmann also found time to submit an EP of his own, Flow, for . All the while, his peripheral role with gradually became ancillary. He took part in with and , and became a full-time member in the process of making Orbus Terrarum, released in 1995 with a co-writing credit on all but one of its tracks. The Fehlmann/ axis struck again on that year with an eponymous ambient 12″ as . Through outgrowth , Fehlmann lengthened his solo discography with the Good Fridge and One to Three albums, and Blow-Up Chimp 12″, all issued during the latter two years of the ’90s. Fehlmann and operator Daniel Miller produced two tracks for ‘s 7″ series during the same period. , co-owned by — one of the many artists for whom Fehlmann provided crucial early support — subsequently became the main outlet for Fehlmann’s solo work across the next two decades. Through Visions of Blah (2002), Honigpumpe (2007), Gute Luft (2010), and Los Lagos (2018), as well as the documentary soundtracks 1929: Das Jahr Babylon (2018) and Böser Herbst (2021), plus numerous singles and EPs, the producer continually refined his liquid form of ambient and dub techno. The style unmistakably colored ‘s abundant output, some of which also sported the imprint. Amid all this productivity, Fehlmann also partnered with other labels. He put together Lowflow (, 2004), a set that played up his love for hip-hop, underscored with the input of on three tracks. Continuing his fondness for working in duos, a performance in Italy with native musician yielded Manual (21st, 2007), and he linked up with yet another major Detroit techno artist, , for We Take It from Here (, 2018). By the early 2020s, Fehlmann’s secondary discography as a remixer had accumulated scores of entries, including tracks by , Can, , and , as well as fellow NDW veteran , with whom he has hosted the Ocean Club radio program, broadcast from Berlin. ~ Andy Kellman, Rovi