Lynch has gradually tightened up his songwriting since he started out in 2010, and the tracks on Backwards Light are among his most economical. His sounds are clean and bright, from the sonorous ring of opener "Bells" through the sinogrime flourishes of "Saigon" and the graceful title track. "Backwards Light" is effortlessly beautiful, with plaintive strings that sound like they're being plucked by hand.
The more aggressive tracks also have a stateliness to them, like the orchestral march of "Sleeper Carriage," or the grandiose "Monument"—which was apparently inspired by R&S's history—where snappy percussion thunders beneath wide synth strokes and sampled chants. It's a push-and-pull that epitomizes Slackk's music. This also comes out in "Posrednik," the EP's standout, where gurgling acid lines slosh up against an erratic lead, as if an IDM virus infected Lynch's laptop. It's both familiar and alien, the mark of a producer whose music is moving beyond its origins in grime towards something undiscovered.