Things begin lightly with "Believe," whose delicate pads and funky melody are enough to get you going even without the dreamy strings that fly in from the heavens. It's elegantly constructed house music that sounds perfect for a Sunday morning sunrise. "Black Light," meanwhile, is the track that gets you to that point, building an intense head of steam that explodes after the halfway mark into panning and crisscrossing synths that closes it out nicely. The synths are unexpected, but they more than earn their keep, leavening what has been a relatively intense—and lengthy—introduction. "Build It" does what it says on the tin with a visceral kick, filthy acid line and what sounds like a choir ooing up and down, and "Far Away" closes things out with tinkling keys and dreamy atmospherics.
The meat here is in the A2 and B1, two tracks that instantly vault Fred into a master class of deep house technicians. (If he wasn't already there before.) Like compatriot Levon Vincent, the elements that he uses aren't exactly new, but he puts them together in such a way that it's hard to point to many originators of what he's doing right now. A few months ago, I suggested that we're coming up to the point where we have to call the subtle tweaks to a well-worn formula that Vincent is doing a genre on its own. If this keeps up, we may have to do the same for Fred as well.