The track fits into an electro-acoustic jazz continuum that runs from ECM Records through to private press experimentalists like Roland P. Young. Starting with incidental wind chimes, before introducing a meandering clarinet solo, "Blue Dot" sounds like music that could have been created by various visionary types at any point in the last half-century. The fact that the song heads up Seaton's EP, as opposed to being relegated to a B-side, is indicative of how The Trilogy Tapes emboldens the artists who record for it.
But for all his divergent tastes, Seaton is still the guy releasing streamlined weapons on Houndstooth and DJing every weekend. "The Fludd" retains the elegiac feel of "Blue Dots," but combines it with a tom-heavy backbeat that could have been sourced from the intro of Iggy Pop's "Lust For Life." (No, really.) This precedes a bassbin-rattling breakdown, which joins the mix to form one of the year's most unique tunes.
At seven minutes, "Veto Plank" is Blue Dot's epic closing salvo, outlining the Ondo Fudd mission statement with clarity. The A-side's panning new age synths are usurped by a plucky arpeggio—this catchy line, as with various Ondo Fudd tracks, keeps things locked in while Seaton indulges his dubby, experimental yen. A breakdown positions twinkling DX7 notes against what sounds like the whir of helicopter blades. But hold on and that trusty arpeggio returns, like a life preserver thrown into the psychedelic waves.