At this point "Untitled" is pretty much the epitome of current-era Pearson Sound: vintage drum machine sounds, stuttering percolator rhythms and sub-bass that sneaks in and out without notice. Half the time "Untitled" teeters over a bottomless valley but never feels lacking, and when that sole organ motif finally comes in, it's a blinding streak of colour on pitch black scenery. It's a thin organ, but when Kennedy matches its descending progression with heaving bass notes, the effect is unusually powerful: couple that with a typically gibberish vocal cutup ("wait for breakfast?") and you've got yourself a weirdo-banger by one of UK music's most distinctive producers.
The B-side is less impressive. The twitchy marching band sputter sounds suspiciously like his "Working With" refix on Night Slugs last year, and nothing ever really happens with the track, climbing and climbing and climbing with no climax in sight (think "Stifle" without the massive bass drops). It's a Pearson Sound tool, and maybe that's the purpose of this record in the first place. That said, it's a Pearson Sound tool, so it's still miles ahead of the competition.