"Core" is the more conventional of the two tracks, melding a clinical techno tact to low-key 2-step struts to form something not far removed from Wookie at his most austere. Without a doubt the most magnetic quality to the Bournemouth-based Kennedy's tunes, whether the primal chatter of "Blimey" or the high-end coils of "Carla," is the percussion. That’s never been more the case than here as lurching synth waves ebb and flow above its anchoring drum kicks that recall the haunting acoustics and dread ridden caverns of Shackleton’s bleak beat.
But lands away in its own intoxicated idyll, "Dayrider" is the remarkable one of the pair. Indebted to both the atmospherics of Photek and modest flutters of krautrock pioneers Cluster and Harmonia, its warm wraps of sullen electronics are effortlessly captivating. As with fellow Hessle honcho Pangaea, Kennedy allows his tracks to breathe, giving the stark echoes some teeth. Though not quite the landmark of "Blimey," this is ambient sunset dubstep that continues to mark Ramadanman out as one of the most accomplished and visceral producers going.