"X" eschews the project's usual mirage-like time signatures, loping along with a supine halftime across which rippling pads and snippets of bright vocal play like sunlight on water. It even has a bassline, a warm, clean, organ-like tone—surely Hazel's contribution, given Fell's self-proclaimed aversion to such things. Across its nine-and-a-half minutes details accrue with measured grace, swelling and receding along familiar house music contours. The only surprise is the sudden appearance of cheeky rave stabs and a sludgy bassline in the closing minute—a playful nod to Hazel's past triumphs, perhaps.
"Y" follows a similar template but is more lush, its pads dripping like fondue over the undulating form of the bassline. All is not as it seems, though: Fell waits until we're lulled into a meditative state before springing his trap, exploding the rhythmic pattern and wrenching the syrupy pads into a new key to send us freewheeling into synthetic space.