MOTO SOLO returns today with a haunting new single, “There’s Another Way (Gui Boratto Rework),” out now via DOC Records. The track marks a standout collaboration between MOTO SOLO’s Bobby Tamkin and Brazilian electronic pioneer Gui Boratto—two artists known for their deeply atmospheric styles and cinematic sensibilities.
Originally released as part of MOTO SOLO’s upcoming LP, the reworked version takes the introspective core of the original and transforms it into a late-night club odyssey. Boratto’s remix pulses with thick analog textures and hypnotic basslines, evolving slowly into an immersive, emotionally-charged experience that walks the line between nostalgia and innovation.
Tamkin, known for his past work with Hovercraft, The Warlocks, and Xu Xu Fang, has long admired Boratto. “If over the past fifteen years you asked me who I’d like to remix my music, it’s been Gui Boratto every time,” he says. “There’s an ominous, foreboding tension to his music that I love. He has an incredible sense of rhythm and melody wrapped in both mystery and energy. Many years ago, he played a show at Avalon in Hollywood, and I actually climbed onstage and handed him a note asking him to produce an album I was working on. I never heard from him, but here we are now—and I couldn’t be happier with his rework.”
“We’ve all been missing that glorious 80’s dark vibe,” shares Gui Boratto.
That long-held dream manifests in a track that doesn’t just remix but reinvents. “There’s Another Way (Gui Boratto Rework)” is rooted in MOTO SOLO’s moody synth-rock foundation, but under Boratto’s touch, it becomes something else entirely—darker, deeper, and perfectly engineered for the dancefloor. MOTO SOLO’s brooding baritone vocals thread through layers of rolling percussion and glistening synth pads, gradually building toward a euphoric, tension-filled climax.
The production is both tight and expansive, maintaining the emotional core of the song while allowing it to unfold into a cinematic journey. Boratto also delivers a dub version that strips the track down to its textural and rhythmic essentials—a minimalist counterpoint ideal for DJs digging for a late-night set weapon.
“There’s Another Way (Gui Boratto Rework)” lands at a time when the appetite for emotionally resonant electronic music is stronger than ever. The single taps into that elusive intersection of feeling and function—where a song makes you move, but also makes you think. With its lush synthscapes, driving groove, and emotional weight, the track feels timeless and forward-thinking all at once.
MOTO SOLO’s full-length album is due out later this year, promising even more deep dives into synth-driven storytelling. But for now, “There’s Another Way (Gui Boratto Rework)” stands on its own as a striking statement—a dream collaboration brought to life, pulsing with the electricity of two sonic worlds colliding.
Watch the official video for the rework, along with the original version, now.
Stream the single everywhere via DOC Records.
We caught up with Bobby from MOTO SOLO, below.
MOTO SOLO feels like such a personal and intentional evolution—what finally pushed you to step out from behind the curtain and take the lead vocally and creatively?
I’ve experienced so much in music, from touring with the Foo Fighters to composing music for brands like Sephora, that it seemed like the only thing left was to try singing. That was the one that I had not done yet. As I was putting the MOTO SOLO album together, I wanted to at least attempt singing, and Michael Shuman who co-produced much of the record gave me a nice boost of confidence when he liked my voice.
“There’s Another Way” has such a warm yet urgent vibe—can you talk about the sonic ingredients that went into crafting that atmosphere?
I wanted to combine lots of what I like about music into one song. Programmed drums, live drums, synths, guitars, dark atmosphere and vocals. It was also important to draw the listener into a journey in which they could both dance and/or contemplate.
You’ve said the track is a kind of soundtrack to perseverance—how did that theme come to life visually in the music video?
The two characters in the video, Rhythm and Melody, are on their way somewhere but we’re not quite sure where or why. They are both going through the same motions on their way to something.
From Hovercraft to Xu Xu Fang to now, your career’s had so many twists—what did you carry with you from those earlier chapters into MOTO SOLO?
I played drums in Hovercraft and most of what we did when I was in the band was improvise. MOTO SOLO is the complete opposite of Hovercraft. Rather than make amorphous, experimental music, I wanted to write songs with intention and vocals. Xu Xu Fang was the first band I was in where I ran the ship 100%. So I was constantly holding everything together. With MOTO SOLO I can pretty much go at my own pace without any influence or expectation.
You’ve worked with some legendary collaborators over the years—how did teaming up with Michael Shuman shape the sound and vision of this debut?
Most of the songs I brought to Shuman were relatively complete. He was very good with editing and tightening up the music. For example, if I wanted to make something more aggressive, he’d suggest going in the opposite direction. He was also great at pointing out all of the sort of corny vocal and lyric things I was doing. I never sang on anything before MOTO SOLO, so I needed some guidance in the vocals. And, of course, the bass, guitar and keyboard parts he contributed elevated the songs big time. He’s a great musician.
You mention influences ranging from Justice to Van Halen—how do you reconcile those seemingly different styles in the same song or project?
It’s about attitude and bombast more than anything. Both Justice and David Lee Roth-era Van Halen have a bigger than life aura in their music.
With your background in film and TV licensing, do you think about the visual potential of your songs while you’re writing them?
Yes. Absolutely. In some cases, visualization can be the inspiration while creating a song.
What do you hope people take away from listening to MOTO SOLO—what kind of journey are you inviting them on?
That’s entirely up to the listener. I know what I take away from it, but if it in some way moves the listener physically or emotionally then I’ve done my job. The songs should hopefully inspire someone to look inward and apply whatever they are feeling to what they are hearing.
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