Last available copies? While Allen Avanessian (Plug Research) had always been a huge fan of Fehlmann's solo records and loved his production on some of the great Detroit techno tunes (e. g. Eddie Flashin Folks or Blake Baxter), Thomas was eager to place his music in a new context - 'a new step for me and an exciting one at that.' Whenever I go to America I also cultivate a different way of listening.' Over the years, frequent visits and similar tastes in music led to a prolific exchange between the two, introducing each other to the finer aspects of hip-hop and jazz, respectively. After extensive forays into more physical, club-related tracks with his series of releases on Kompakt, "Lowflow", recorded on and off over the last years, now heralds a return to his slower, more experimental side and provides a surprisingly concise description of the album's overall feel.Both minimal and expansive, "Lowflow" allows its tracks to float across and into each other, an infinite, gentle mix to which Fehlmann playfully introduces the soft murmur of chimes, pedal steel guitar or his very own trumpet. From opener Goldhaar and the disjointed fascination of the decidedly unslinky Slinky with its hypnotic, focused distortion via the briefest of Alice Coltrane homages (Interstellar) to the almost rocky determination of Alice Springs and the classic, minimalist house of Andrea is Delighted, Lowflow nevertheless retains a distinctly dubby, low-end heavy vibe, that makes for his hands-down finest album to date. Everything on this record was generated by Thomas himself, except the cover supplied by seminal artist Raymond Pettibon who was his only contact when he first came to LA 15 years ago, as well as three short, connecting interludes growing out of a collaboration with Detroit artist Dabrye. Highly recommended.