Joris Voorn and Edwin Oosterwal did, though, and the results somehow make sense for both parties. Dos Santos and Bäumel's knack for the hook is obvious with both tracks employing a revolving melody that is reminiscent of something you've heard a few hundred times before. But like Voorn and Oosterwal's own work as Rejected, 360 take the obvious and embellish it effortlessly, secure in the knowledge that sometimes less is indeed more.
"Neon One" is the looser of the two, almost arrogant in how comfortable it sounds, while "Two" tightens the screws and gets funkier. The deeper bass hit signals that things are different from the off, but it's the clattering percussion that arrives in the second-half that seals it. Still effortless, it throws just enough of a wrench into the proceedings to remind the listener that it's possible sometimes to embrace both Tape and Sasha vs. Ray LaMontagne.