Gute Luft - OST From The 24H Berlin Documentary
A new entry into Thomas Fehlmann's lengthy catalogue, Gute Luft collects music from The Orb member's score to the 24-hour documentary film 24h Berlin.
The productions assembled here sound boldly modern and executed with Fehlmann's familiarly expert ear. This being a documentary about Berlin, it's inevitable that the depth charge low-frequencies of dub-techno play an important part in the soundtrack's narrative, but there's so much more to the tracks here: you'll encounter some Pop Ambient style material - as on the heavily compressed string sections of 'Falling Into Your Eyes' - and lots of textured melodic content, something you'll hear spiralling around within virtually every corner of this album.
'Wasser Im Fluss' is a highlight, at once bringing to mind Pole, Biosphere and Basic Channel, yet there's something about the way it's all put together that's specific to Fehlmann. The same could be said of 'Speeding', with its neon-lit deep bass convulsions and gaseous, swirling ambient details, or the heavily layered, spongy shuffle of 'Cityscape'. Gute Luft flows brilliantly as a fully fledged full-length, and despite being conceived as a soundtrack it probably ranks as one of Fehlmann's finest solo albums.
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A new entry into Thomas Fehlmann's lengthy catalogue, Gute Luft collects music from The Orb member's score to the 24-hour documentary film 24h Berlin.
The productions assembled here sound boldly modern and executed with Fehlmann's familiarly expert ear. This being a documentary about Berlin, it's inevitable that the depth charge low-frequencies of dub-techno play an important part in the soundtrack's narrative, but there's so much more to the tracks here: you'll encounter some Pop Ambient style material - as on the heavily compressed string sections of 'Falling Into Your Eyes' - and lots of textured melodic content, something you'll hear spiralling around within virtually every corner of this album.
'Wasser Im Fluss' is a highlight, at once bringing to mind Pole, Biosphere and Basic Channel, yet there's something about the way it's all put together that's specific to Fehlmann. The same could be said of 'Speeding', with its neon-lit deep bass convulsions and gaseous, swirling ambient details, or the heavily layered, spongy shuffle of 'Cityscape'. Gute Luft flows brilliantly as a fully fledged full-length, and despite being conceived as a soundtrack it probably ranks as one of Fehlmann's finest solo albums.
A new entry into Thomas Fehlmann's lengthy catalogue, Gute Luft collects music from The Orb member's score to the 24-hour documentary film 24h Berlin.
The productions assembled here sound boldly modern and executed with Fehlmann's familiarly expert ear. This being a documentary about Berlin, it's inevitable that the depth charge low-frequencies of dub-techno play an important part in the soundtrack's narrative, but there's so much more to the tracks here: you'll encounter some Pop Ambient style material - as on the heavily compressed string sections of 'Falling Into Your Eyes' - and lots of textured melodic content, something you'll hear spiralling around within virtually every corner of this album.
'Wasser Im Fluss' is a highlight, at once bringing to mind Pole, Biosphere and Basic Channel, yet there's something about the way it's all put together that's specific to Fehlmann. The same could be said of 'Speeding', with its neon-lit deep bass convulsions and gaseous, swirling ambient details, or the heavily layered, spongy shuffle of 'Cityscape'. Gute Luft flows brilliantly as a fully fledged full-length, and despite being conceived as a soundtrack it probably ranks as one of Fehlmann's finest solo albums.
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A new entry into Thomas Fehlmann's lengthy catalogue, Gute Luft collects music from The Orb member's score to the 24-hour documentary film 24h Berlin.
The productions assembled here sound boldly modern and executed with Fehlmann's familiarly expert ear. This being a documentary about Berlin, it's inevitable that the depth charge low-frequencies of dub-techno play an important part in the soundtrack's narrative, but there's so much more to the tracks here: you'll encounter some Pop Ambient style material - as on the heavily compressed string sections of 'Falling Into Your Eyes' - and lots of textured melodic content, something you'll hear spiralling around within virtually every corner of this album.
'Wasser Im Fluss' is a highlight, at once bringing to mind Pole, Biosphere and Basic Channel, yet there's something about the way it's all put together that's specific to Fehlmann. The same could be said of 'Speeding', with its neon-lit deep bass convulsions and gaseous, swirling ambient details, or the heavily layered, spongy shuffle of 'Cityscape'. Gute Luft flows brilliantly as a fully fledged full-length, and despite being conceived as a soundtrack it probably ranks as one of Fehlmann's finest solo albums.
Back in stock
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A new entry into Thomas Fehlmann's lengthy catalogue, Gute Luft collects music from The Orb member's score to the 24-hour documentary film 24h Berlin.
The productions assembled here sound boldly modern and executed with Fehlmann's familiarly expert ear. This being a documentary about Berlin, it's inevitable that the depth charge low-frequencies of dub-techno play an important part in the soundtrack's narrative, but there's so much more to the tracks here: you'll encounter some Pop Ambient style material - as on the heavily compressed string sections of 'Falling Into Your Eyes' - and lots of textured melodic content, something you'll hear spiralling around within virtually every corner of this album.
'Wasser Im Fluss' is a highlight, at once bringing to mind Pole, Biosphere and Basic Channel, yet there's something about the way it's all put together that's specific to Fehlmann. The same could be said of 'Speeding', with its neon-lit deep bass convulsions and gaseous, swirling ambient details, or the heavily layered, spongy shuffle of 'Cityscape'. Gute Luft flows brilliantly as a fully fledged full-length, and despite being conceived as a soundtrack it probably ranks as one of Fehlmann's finest solo albums.