The b-side to Boot's debut 12-inch on Cocoon works within this framework, building a steady groove that adds and subtracts with aplomb, taking in plenty of elements throughout before the kick drum arrives, the bassline slides in and everything glides along effortlessly. Like his last few 12-inches, it's nothing special to the home listener's ears, but presumably the jocks will find use for it when they've run out of options of how to get from A to C.
This being Cocoon and all, though, the A side is the track worth attending to. Listening to "Ronson" for the first time, I was struck immediately by how typical it was. The thought process went a little something like this: "Ah yes, the kick." "Right, the bassline." "Oh." "Hm." "Well, then." Those last three moments started occurring right around the midway point of the tune, where Heinrich somehow slowly introduced siren and then started to increase the pace from there. "Ronson" is no bridge, unless it's a bridge that climbs directly into the sky and never bothers to come back down. It's self-consciously big and his best since "Charlotte."