The title track is one of Zadig's boldest, its basslines sounding like burned-out Reeses taken from a '90s techstep jam. Just when you think the tune has locked into a groove, Peltier drops a bleeping synth that twinkles like a sky full of stars, opening up a whole new side of "The Stellar Hunter." It's packed with percussion, with every element going full-bore almost all the time, and yet it's full of dynamic touches—wait for the end, when he drops jackhammer kicks.
The flipside is more composed and has Peltier playing the long game with repetitive pieces. "Beyond The Portal Of Madness" is a utilitarian slow-burner with Ostgut Ton-style chord modulation, while "The Man From Outer Space" highlights Peltier's ability to wring melody from the sparest of sounds (in this case, some high-pitched resonance that hangs above the track like a fog). What these latter two lack in personality they make up for in functionality, the kind of modern, no-nonsense techno we'd expect from a Tresor 12-inch.