On the A-side, an Oberheim, the titular synth of "OB-8," takes the lead with a 4/4 kick. It's an excursion rich with quiet euphoria, never delivering an exciting build or cathartic drop. Nor should it. Lambkin assembles his lush motif with loon calls, filter sweeps, shimmery pads, light rhythmic accents and a subtly fluctuating bass tone that delivers no more than three notes, always on the upbeat. The nuances of "OB-8" are thrilling on their own.
"Torpedo" does bigger, bolder damage. Bulbous low-end and a carnal energy take charge here, and the music thrives on these base pleasures. As far as deep, big-room house goes, there's nothing out of the ordinary about its arrangement, so it's how Lambkin plays with the tropes that matters. He takes those overused, and often underdeveloped, ideas, inflates them to a gargantuan stature and gives it all a shot of adrenaline spiked with God knows what.