Johannes Auvinen is one of those producers who always sounds exactly like himself. Whether he’s sculpting rhythms, singing along or collaborating with Gunnar Haslam as Romans, the melancholy strains of his trusty Roland 303 are never far away.

We’ve talked before about producers exploring the moodier possibilities of the acid sound, and if any one artist were responsible for the popularity of the style, it’d be Auvinen, who generally releases solo as Tin Man. On one of his first releases, 2006’s Love Sex Acid EP, he produced what might still be the best example of the sub-genre.

Falling Acid grows slowly as moss, a resonant chime improvising a cloudy sky that hangs heavy over the swift snare-clap combo. The centrepiece is of course the 303 line which emerges gradually, shapeshifting gently, doubling up, bizarrely catchy considering its total otherness. Some of its greatness is indeed owed to its inspiration, Mr Fingers’ iconic Amnesia, from which Falling Acid borrows its second bassline. It remains one of Tin Man’s greatest productions to date, a crystallisation of an idea many have attempted, an affecting elegy in an alien language.