Credit for that must go down, simply, to the quality of the tunes. Both "Achaemenid" and "Lotus Eaters," despite their constant bubbles and burps have a beat that pushes resolutely forward through the crowded stereoscape and a melody worth remembering. "Achaemenid"'s Matthew Dear-esque vocals shout in time, working in tandem with liquid chords that chime underneath languidly. Despite its chaotic feel, though, it's the beat that's the key—something you get to hear in its full glory for about two minutes in the track's middle portion while the voice presumably rests up for the big finale.
"Lotus Eaters" has a similar vibe, although a little bit more swing to its name. Voices appear here, although they seem to be wordless this time around. A grinding melody works its magic, while broken-stringed guitars and warbling brass instruments drunkenly enter the fray every so often. It's a masterpiece of programming, but once again wouldn't be anything without its relentless tech house groove. On Achaemenid, Beaupré shows us that to create something indelible, one must have a handle on both the micro and the macro.