From the rapid-fire hi-hat patterns on the aforementioned "Angel Fire" to the more chilled synthesizer washes of the final few tracks, The Host never tries to hide its influences but rather inhabits them totally. "Internet Archeology" in particular revels in the warm tones of familiar-sounding '90s synthesizers flitting around behind a beat drenched in a cheap digital approximation of over-the-top '80s reverb.
The album can be roughly split up into three main areas; the opening tracks establish the IDM lineage, the middle section concentrates on groove and slightly more straightforward, danceable beats before the final few tracks begin to drift off into ambient space noodling. It makes for a wonderfully easy flowing album, one that never allows any element to overstay its welcome. The different areas of homage are embraced, explored and happily abandoned in search of something new every couple of songs. None of the tracks are worlds apart, but there's enough variety to keep the mind moving.
The key element that holds the album together is the sheer musicality present throughout. In less skilled hands, The Host would likely fall into the realm of pure nostalgia but here Lynn's impressive musical imagination is allowed to shine and explore, feeling renewed and inspired rather than imitative. It feels like an album made without the pressures of expectation or concern for the weight of past achievements. Melodies are clearer, sounds are left to wander and the scope—especially towards the end—feels completely unlimited. For all its referential qualities, this is a record that is confident in its own distinct character.