Bounce is probably the best word to use to describe it. Goldmann's got an infectious thing going on "Wolverine," sticking little bits of melody to its sides as it makes its way through the first minute. Then everything stops, it gathers its druthers and continues as it means to go on with a clatter of clapping, a synth that sputters staccato until the end of its phrase when it relaxes and unleashes a long belch of melody and Goldmann's trademark sonic Easter eggs that appear once or twice throughout the track, never to be heard from again.
B-side "Five Boroughs" is slated to begin The Empty Foxhole and you can immediately hear why when you put needle to wax: It may not be using the same sound palette as his material from Voices of the Dead, but it's certainly much closer to it in vibe than anything from the clubbier disc on The Transitory State. Eventually a walking bassline drops to provide some structure to the proceedings, but this is the sound of Goldmann unsuccessfully bridging the gap between his two guises, an awkward track best left to home listening only.