In her review of Goodness, Steph Lee noted that Rezzett's music "just didn't feel dark" in spite of its caustic aesthetic. That idea is key to understanding their music, and Rezzett features some of the London duo's prettiest work yet. It opens with gliding techno in "Hala," which is uplifting and elegant in spite of its craggy textures. The otherworldly ambient of "Yunus In Ekstasi," or the ethereal techno of "Longboat," two of the LP's most beautiful tracks, are partially hidden by fuzz. The duo's deft melodies and springy rhythms are buried in this way across the LP, and the results are often rewarding.
Rezzett can be surprisingly versatile. For every percussive workout there's something like "Sexzzy Creep," with its drunken Actress-like stagger, or the vaporwave-esque "Wet Bilge." These outré moments keep the LP from settling into a rut. It's a well-paced album, ebbing and flowing before closing with the flighty, climactic jungle of "Worst Ever Contender," which might be the group's most anthemic track. While Rezzett doesn't drastically improve on their past records, it shows the duo's range and their low-key ingenuity.