"The Improvised Minotaur" is a sexy, suspenseful builder, opening with a deft, thunderous tom riff that gives the track much of its hypnotic swerve. The main bass-clef piano stride gathers enough momentum that you don't notice the absence of a kick pulse until it suddenly punches things into high gear. The tune's overall arc has a vehicular feel: the first piano figure slinks up behind the opening beats like it's passing them on the autobahn; the same goes for the piano melody that slides into the tune's upper space halfway through. Suddenly the piano line springs out of the groove in full, with a jerky, syncopated pirouette that would make Monk proud.
The flip, "Girl in Pink," drags a bit, lacking the full allure of its counterpart. But there's a number of aural delights here as well, foremost being the floating, verb-ed out flutter of treble keys sprinkled over a standard-issue vocal blip whose clipped, percussive pop is the tune's backbone. When the beat kicks back in following a mid-track breakdown, the bass stays locked in the dominant tone instead of resolving back to the tonic, keeping the entire track in a heightened state of anticipation, in sync with the tease that the samba-jazz sample, diced throughout the track into slivers, carries out when it pops out suddenly through the mix. A woman singer is heard—but only for an instant—before vanishing back behind the electronic curtain.