"Flowers In May" is the only track here with a classic Kassem Mosse flavor—or more specifically, one of his signature 110 BPM chugs, which nicely offsets White's melty chords and daydreamy vocals (this one, you may remember, appeared early on in Lowtec's excellent RA podcast from last year). Nearly everything seems to be drawn from the original, whose room-sounds and angular rhythm perfectly suit Wendel's style.
The other two reworks have a lighter touch. "In The Water Where The City Ends" is a sparse and mysterious ballad to begin with—Wendel just stretches it out, loses the guitar and leans more heavily on the scattered percussion. On "Long Moon," he actually changes quite a bit—dropping the vocals, adding a halting backbeat and a thick bass guitar—but the sounds are so in line with White's palette that the track feels more like an alternate take than a remix. All three show a subtler side of Wendel than we've ever heard before.