Thomas Fehlmann (DE)

[CANADIAN PREMIERE]

As one of the most notable and most consistently reliable names to have formed the foundations for what is the current German electronic music, Thomas Fehlmann boasts a résumé that can only be rivaled by a select few. As an art student in late-70s Hamburg, Fehlmann started his musical career by working with King Crimson guitarist Robert Fripp and avant-garde minimalist composer Conrad Schnitzler, in the early 80s he founded the new-wave band Palais Schaumburg with F.M. Einheit (who would later go on to infamy with proto-industrialists Einstürzende Neubauten) and, later, Moritz Von Oswald, founder of the seminal Basic Channel/Chain Reaction imprints.

In the mid-80s the group dissolved and Fehlmann moved on to his first dance-oriented work for early UK house labels. By 1988, he had founded the label Teutonic Beats, whose tracks he would license in the UK to Alex Paterson of The Orb. In a twist of fate, 1989 saw Fehlmann hitting #1 on the British dance charts, an ascent that led to his becoming one of the first German artists to make a concrete connection with the Detroit techno producers whose work was just beginning to cross the Atlantic.

In 1995, he joined The Orb for the seminal chill-out touchstone, Orbus Terrarum. He would remain a constant collaborator of The Orb for years to come, all while maintaining a busy carousel of solo and collaborative works on the side.

And yet for all these accomplishments, Fehlmann has never performed in Canada before, an oversight that MUTEK is taking quick steps to correct this May, when we finally welcome this bona fide legend to our stages.

MUTEK//Piknic 1: Strawberry Fields Forever

Jean-Drapeau Park 30/05/2009

[CANADIAN PREMIERE]

As one of the most notable and most consistently reliable names to have formed the foundations for what is the current German electronic music, Thomas Fehlmann boasts a résumé that can only be rivaled by a select few. As an art student in late-70s Hamburg, Fehlmann started his musical career by working with King Crimson guitarist Robert Fripp and avant-garde minimalist composer Conrad Schnitzler, in the early 80s he founded the new-wave band Palais Schaumburg with F.M. Einheit (who would later go on to infamy with proto-industrialists Einstürzende Neubauten) and, later, Moritz Von Oswald, founder of the seminal Basic Channel/Chain Reaction imprints.

In the mid-80s the group dissolved and Fehlmann moved on to his first dance-oriented work for early UK house labels. By 1988, he had founded the label Teutonic Beats, whose tracks he would license in the UK to Alex Paterson of The Orb. In a twist of fate, 1989 saw Fehlmann hitting #1 on the British dance charts, an ascent that led to his becoming one of the first German artists to make a concrete connection with the Detroit techno producers whose work was just beginning to cross the Atlantic.

In 1995, he joined The Orb for the seminal chill-out touchstone, Orbus Terrarum. He would remain a constant collaborator of The Orb for years to come, all while maintaining a busy carousel of solo and collaborative works on the side.

And yet for all these accomplishments, Fehlmann has never performed in Canada before, an oversight that MUTEK is taking quick steps to correct this May, when we finally welcome this bona fide legend to our stages.

Panel 4: THROUGH THE LOOKING GLASS

Society for Arts and Technology [SAT] 29/05/2009

A free-ranging and casual exchange with pioneers from the German techno community, featuring UWE SCHMIDT (aka AtomTM, Señor Coconut etc), THOMAS FEHLMANN (The Orb) and TOBIAS FREUND (Pink Elln, nsi, Sieg Uber Die Sonne).

Led by journalist Philip Sherburne (The Wire), this panel will look back over the careers of three producers who each bring at least two decades of experience to the table -- and continue to map new territory. In the context of the music industry's all-pervasive sense of ennui (aka, the never-ending "crisis"), the artists will explore the creation of artistic illusions, the ethics of the marketplace, the necessary evil of "scenes," What's Wrong With Electronic Music Today, and other light-hearted and amusing

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