"The Ship Sank," meanwhile, is a pensive affair, with a reticent and echo-laden synth line that rarely announces itself before disappearing back into the night. Deep and brooding, the floating melody that finds itself swaying over top is a beacon of light in an otherwise grey track—making this a perfect builder to either emotion for the discerning DJ. On the flip, "Hands in the Air" is perhaps the sole indication of Curtis' sense of humor—it's the slowest and darkest tune on offer, with bells firing away into the ether and metallic clangs of beats bouncing off one another looking for a connection.
For fans of Curtis' striking aforementioned remix, "Solgerhood" might be your best bet. It takes those distinctive rounded synths into a wasteland of droning keyboards and open space. It's a remarkably deep track—almost as though it was constructed in three dimensions, if that makes any sense. It's not the best thing that Curtis has to offer—that honor goes to "The Ship Sank"—but it once again reminds that Curtis' productions are well on their way to becoming something you can buy sight unheard.