L1 is pitched somewhere between Thom Yorke's maudlin solo experiments, the glistening electro pop of Morgan Geist and Travis Stewart's emotive bass voyages. It's led by the low-slung alt-techno of "Fault Lines," filled with arps that trickle like a mountain stream and synths that are hammered with a zealous intensity. The title track sees Mullarney's Yorke-style vocals come to the fore; there's the same world-weary tone, which soars into a lovely falsetto on the gossamer-light chorus.
The scuttling drum & bass-lite of "Minor Sequence" is L1's weakest track, but redemption is instant: the glacial "Better Love" is enveloped by a lovely cloud of bubbly analogue synths. And yet it's outshone by "Only Lines," an elegant slice of brooding deep house, haunted by pads that elicit an almost church-like ambience. It closes an intimate, refined EP.