"John Boy" builds up from a boxy drum tick and nerve-twitching synth line to slowly reveal the machinations behind it. As it builds to the full rippling melody, the source is revealed: "The End," a slice of soundtrack music used on the end credits from one of director John Carpenter's earliest efforts, Assault on Precinct 13. It makes for yet another example of the remarkable influence Carpenter has had this year, with traces of the man's crystalline iciness popping in everything from Portishead's 3 to Lindstrøm's Where You Go, I Go Too, not to mention second-tier folk like Alex Moulton and Midnight Juggernauts. As is, it's an anthemic bit of synth-driven work, so Harkin needn't do too much with it, just trim and hedge it into something dancefloor-friendly.
"Innit" is even faster, more-pistoning, with echoing handclaps and jittery piano. Built from a second generation Chicago house track, the incessant hi-hat and echoing snare motors things along, but Harkin changes it up often, sometimes stripping it to the synth, other times reducing things to a metronomic dribble. Good for whatever genre you want to leap out of or into next.