Before Roman Flügel cemented his status as a genre-hopping institution in the electronic music community, Ro70 offered a full-length taste of his idiosyncratic abilities as both a sound sculptor and solo artist. In the early months of 1995, Flügel broke ground on a series of tracks that seemed too downtempo for the ever-growing community of ravers in Germany, yet a touch too abstract for most chill-out room selectors. Known for his work with Acid Jesus and on labels such as Ongaku Musik, Klang Elektronik, and Playhouse, Flügel wasn’t an outsider in the scene by any means, but Ro70 could be seen as a subconscious reaction to rave culture’s slide towards commercialisation. Released on David Moufang and Jonas Grossmann’s Source Records later that year, Ro70 was hailed as a prescient record that continues to net a cultish following, but what’s more notable is its timelessness and genre fluidity. The album opens with ‘Einklang,’ a disconcerting soundscape that acts as a lurching, slow-motion fall down Flügel’s rabbit hole before careening into a hard, concrete techno floor on ‘Gog.’ Ro70 isn’t just a series of disorienting experiments though; ‘Room 385’ is a woozy, albeit straightforward fit for any mellow after-hours set, but Flügel follows it with the jittery ‘Visible Speech,’ which stays anchored only by an expressive, jazz fusion-worthy synth bass line. With its kaleidoscopic vision, it’s likely best to digest Ro70 as a diaristic view into Flügel’s life as the German electronic scene began heating up worldwide. From humbly delivering iterations of the album on tape to the label in his mom’s Volkswagen Polo Fox to watching his music ventures carve out a singular lane in Germany, Flügel smartly chose to represent the period with an album that fluxes between sounds and shows no creative end in sight. Essential material.