It all starts with an ambiguous invitation: Welcome Tourist! A kind-hearted Bernhard Fleischmann invites travelers to make themselves at home in his musical world, furnished with musical souvenirs from his own travels. On a subtler note, Fleischmann wants to criticize a state of mind that subordinates human beings to a logic of economic utilization. Welcome Tourist is not just a political statement. It also is a document of growth and refinement. Despite a more instrumental approach (in the cl   [ read more ]

2xCD $15.99

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REPRESSING!!! This genius, most popular morning electronic record is back in stock.

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great excitement in the neck, new work from morr music/charizma artist bernard fleischmann. basically a 69 minute two track version of a performance in vienna's museum quarter early in november 1999. part one is nearly seventeen minutes, begins in a hushed, almost devotional calm. the volume and texture of the sounds grow incrementally, fragments of known and familiar fleischmann surface in the mix, while rhythms muster a darker, more fractured sound than one perhaps expects from bernard. the 52 minutes of    [ read more ]

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Bernhard Fleischmann named his latest album after the roughly 50-year-old Humbucking Coil. As old as modern pop music: the pickup, not the artist. And Bernhard Fleischmann has taken an electronically amplified guitar. This happened for a first, a curious time. The Humbucking Coil has become an open, breathing album. Rather soundbox than hard disk. Being part of a process that has become visible in different moments on his previous album Welcome Tourist already. In between, and last year, there   [ read more ]

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Morr Music releases another record by their old Viennese friend B. Fleischmann. Two genuine and touching farewell songs are the beacons of light on this record, and, even more than The Humbucking Coil, Angst Is Not A Weltanschauung! has made its way from sound to songwriting. Still the sounds come tumbling out of the hard disk and one can hear fingers screwing on regulators. And yet these nine tracks are of a distinct corporeity and spatiality; for instance, when Marilies Jagsch or Sweet Willi   [ read more ]

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Two one-piece concerts of the groovebox maestro. Each about 50 minutes long. "Depending on your perspective, nearly $12 for two 50-minute live tracks is either a steal or a scam. I'll flip a checkmark through the former in this case, since these two sets are better than B. Fleischmann's last couple LPs put together. Think whining strings, bizarre vocal samples, processed electronics, sluggish breaks, phantasmagoric pianos and, yes, an overbearing sense of melancholy. Not even a hint of crowd noise either. R   [ read more ]

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Basically a 69-minute two-track version of a performance in Vienna's museum quarter early in November 1999. Part One is nearly seventeen minutes, begins in a hushed, almost devotional calm. The volume and texture of the sounds grow incrementally, where fragments of known and familiar Fleischmann surface in the mix, while rhythms muster a darker, more fractured sound than one perhaps expects from Bernard. The 52 minutes of Part Two take us still deeper in this singular performance, the trademark approach to    [ read more ]

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With Aphex Twin on sabbatical and ¦-Ziq relatively happy favoring electro over emotion, B. Fleischmann has taken up the slack to make an album of brittle, sweet electronic gurglings. A Choir of Empty Beds is an entirely successful entry in the genre that might be calledintrospection'n'bass. Echoing the substance of his Morr Music peers, these nine songs wouldn't sound out of place on a circa 1968 Stanley Kubrick film. Of course, the film would have to contain a pathos absent in the    [ read more ]

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