On "Asa" they're positively free range. The track's kick drum foundation is solid, but the erratic conga hits, sour Rhodes chords and vintage funk lead seem to be following their own respective agendas. The results recall Miles Davis's fusion era at its knottiest. "Laranja" uses live instrumentation less effectively. In this case it's a flute, pirouetting coyly around whooshes of filtered synth. The drum machine holding it all together is swung to the point of stumbling, and the overall effect is aimless rather than oblique.
The rest of the EP is loopier but keeps the anarchic feel. "IV" focusses on the interplay of synth parts—tart chords, a squelchy bassline, wandering midrange melodies—that are slowly blurred together until the whole mix is a pungent smear. In the distance, a voice mumbles and shouts through a hailstorm of delay. "Amarelo" is a garden shed reboot of big-room techno. The bashing 4/4 is there, along with rising klaxon tones and snares that whip up cresting waves of white noise, but the guitar loops on top are janky as hell.