What's noticeably different about Sleep Quarters is how Caswell has changed his approach to house music. It seems that since he now has dedicated beatless tracks, the dance floor stuff has been cleared of most atmospheric incidentals. That clarity works well on "Sleep Quarters" and "Paper USB," two rhythmically dense rollers that balance sizeable drums with gummy synths and a delicate touch. If Caswell hadn't given each mix that added room the percussive intricacies of "Sleep Quarters" wouldn't sound so sharp, and "Paper USB"'s busy key sequence would've lost its snappy brilliance.
The A-side is so strong on its own that the flip feels more like a couple of bonus tracks. "For Runner" is the winner here, with its blown-out pad loop and shrouded countermelodies evoking The Field's best moments, though "Shiny Dog" has a loose, Gas-like wispiness that would be easy to soak in for hours. No one would've batted an eyelash if Caswell had released each side of Sleep Quarters under different aliases, but when brought together, they sound like two sides of one well-articulated personality.