I often raid the dollar bin, though. I generally don't drop a bunch of money for sample material.

I think the pressure comes from trying to be original. You know everything's been done, and nothing is original anymore. But in your head, you're like, 'We’ve got to try'.

It means we can react spontaneously to turn it into more than just the musical side. We have lots of finished stuff that we just need to find the visual for or the right channel to release it. We're doing it for the art and because we believe in it and love it.

I wanted to make something that connected to what I experienced in the seven months I was living there, something that was deeply connected to my experience. And so, bringing Khadim and Tons and fusing that with my stuff as well, really grounds it.

The reason why I'm stepping out now as a quote-unquote solo artist is because this is something that I've always wanted to do. And possibly I wasn't brave enough before.

They're all special to me. But I think the joy exemplified in ‘Tezeta’ is something I haven't heard in any other piece of music I know - not by a country mile. It's such a unique mix of the repetitive nature of the music, and the quality of the recording.

Individually we have worked as performing musicians with a wide variety of artists and ensembles so our individual styles of writing and playing have evolved differently. Hopefully this is what gives Minihi a unique musical voice.

‘This mix is kind of an emotional release for me, growing from an overly complicated and somewhat confusing time. I seem to fall in love with more body-oriented music since I moved to Berlin in 2019. Unquestionable raw tunes with a particular drive and energy draw my attention’.

I think for me 'Dirt in the Ground' is a special one. It takes me right back to my teens in a really vivid way. And the message is resonant, and for me, it's a hopeful one.

At the moment, I'm mainly getting inspired by nature and expansive, visually stunning landscapes. I'm writing the music as a direct connection to this and then thinking about how I can translate it back into a visual format.

‘Contrast is a powerful tool in music and I wanted to include music from across the spectrum of my own influences. These tracks represent my musical DNA from classical string music to the Kraut Rock legends of CAN’.

‘Collaborating is a crucial part of my musical endeavour. I see a significant meaning in finding soulmates to create music with. I have seen many amazing solo concerts, but the most beautiful magic happens when at least two souls understand each other and let their energies flow together on stage’.

Details come into focus, while others fade, ambience and atmosphere shift, the feeling comes trickling in. Kamaru’s's latest album 'Peel' taps into this sensation. An audio work of textural depth that weaves field and acoustic recordings together with subtle electronics to create an emotionally engaging tapestry. Sit still and listen carefully.

‘It's about us fleeing into his studio, locking the door and getting into a particular flow. There's not too much consideration. It's ideas, and then we execute them. And then we put the next idea on top and then the next one’.

'We knew we liked recording to tape. We knew we liked improvising, and we knew we liked to move fast. We'd already tried working with other producers and other engineers and other people, and we didn't like it because they always tried to make us go more commercial sounding, and that made us feel sick. We knew we had to do our own thing'.

‘Since I was a teenager, I have always been a fan of! K7, in particular on records like Swayzak or Funkstorung, for me it has always been a label like Warp and Ninja Tune for the research and the innovations that they introduced on the market. I think the push came from there and from the fact that observing the world they saw a new movement that had, like techno in the 90s, the nerve centre in Berlin’.

‘In a Venn diagram you can have multiple discrete elements whose identities are preserved even when combined – I think that reflects the four strong musical personalities in the band’.

‘I know that voice has a power of connecting with the listener like nothing else but also I am fascinated by the power of instrumental music, which can paint most abstract passages and move our imagination to unknown places. That's why I like to keep it balanced - a couple of songs, a couple of piano solo pieces and a couple of 'orchestrated' compositions. This is my 'Home’.

It's easy to draw parallels between this lively culture and Sam Gendel's new album, Satin Doll. A collection of iconic predominantly late '50s jazz tunes, reimagined, reconstructed and repurposed.

‘As well as the high probability of hundreds of thousands of deaths over the next 3-18 months all couched in a socio-political framework run by out-of-touch-legacy-millionaires who remain in power at the whims and wishes of even richer out-of-touch-legacy-millionaires’.