Between his third and fourth Kompakt albums, 2010's Gute Luft and 2018's Los Lagos, Thomas Fehlmann was typically immersed in one project after another. Among them were numerous Orb adventures, a smattering of short-form solo releases, and the Terrence Dixon collaboration We Take It from Here -- the latter released fittingly on Tresor, home to the Berlin-Detroit connections Fehlmann instigated in the early '90s as part of 3MB. Always open to creating in tandem, Fehlmann reunites with old comrade Max Loderbauer on Los Lagos, but it's for only one track, a slightly nutty blipping contortion suitable for a third Schaffelfieber compilation. Los Lagos was otherwise made in solitude. Although its title refers to an informal friendly greeting, its literal translation, "the lakes," is reflected in the natural continuous motion the tracks evoke, not unlike the majority of Fehlmann's output since the mid-'90s, marked as they are with titular references to water and motion. For listeners accustomed to Fehlmann's work -- his diverting, gently shimmering dub techno grooves in particular -- nothing on Los Lagos will seem novel. However, some of these tracks skim and sweep with a heightened level of ease, as if Fehlmann devised a generative music system and subtly reshaped some of the results on the fly. Fluidity notwithstanding, pronounced elements streaked across the tracks prevent Los Lagos from merely washing over, distinguished with elements that jut, spangle, and gently ring in configurations that vary from Fehlmann's prior output. The slyest twist -- what sounds like a wisp of a recording from a certain late jazz guitarist -- is applied on "Neverevernever." ~ Andy Kellman, Rovi

1		Löwenzahnzimmer
2		Window
3		Morrislouis
4		Tempelhof
5		Freiluft
6		Triggerism
7		Neverevernever
8		Geworden

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