The somewhat aptly titled "Love in Outer Space" sees Huisman fusing his minimal and primitive drum sounds around several erratic melodic evolutions. After rolling out a quick drum gallop for his intro, Huisman sprinkles on delayed tom drums and a sawing sine wave bassline before unleashing the disco damager, a quick succession of stabbing synths that playfully arpeggiate and eclipse the drum work. It induces bouts of arm flailing pressure, before the soothing chords seep in to smooth out the hole in your face that the melodics left. While it's definitely a new approach for Huisman to boldly use machine gun splatters of synth colour—after the greyscale explorations of Aerial—it's all spun together with such faultless production and panache that it still sounds unmistakably 2562.
"Third Wave" is a more linear construct. There is definitely some experimentation that appears, poking itself through the washed-out, swelling synthesizers though. The bubbling moments of oceanic siren splashes get hyper delayed to devastating effect, pulling a little of the track's cleanliness aside and allowing it to simmer over into something with a little more ragged charm.