"Land of the Highway" doesn't sound quite as formulaic, even if it doesn't do anything particularly new either. Liquid pads rise and fall, percussion gradually increases in complexity and then slips back into simplicity, synths shimmer and then slide into clear view. Its reference to the highway seems ill-suited, though: It more resembles the steady bob of the ocean.
Holding up the rear, "Stop Hold" is perhaps the hardest track of the trio. The wispy emotionalism is still there, but it has to muscle its way over a booming kick and rhythmic synth patterns that rule the track for its first three minutes. That he can find a way to balance this strength with delicacy is just one of the many reasons he's one of the most accomplished producers of this sound right now.