Nearly nine minutes long, "All Dreams Are Nightmares" is threaded by a single midrange bass pattern that knocks like the tapping in Poe's The Tell-Tale Heart might have, had Poe taken to cocaine instead of opium. All the action is in the lines that wind around the filtered throb: flashing hi-hats, glassy pings, and a melody like a hive of bees. Bubbling and roiling, it's not entirely unlike the so-called "headfuck" techno of Giorgio Gigli, Donato Dozzy et al., but the messy, manic intensity here sets Fairmont's interpretation apart.
"Puppet with Glass Eyes" plays with a similar set of sounds, but it makes something completely different out of them. With a gently swinging beat that eases off the 16th notes, it sinks into a relaxed groove; bell tones and muted pads are further softened by sweetly cycling harmonies that never resolve. Instead, he threads major through minor, stacking countermelodies to build to a beatific, eyes-closed climax. It's a whole different approach to deep: hardly au courant, maybe, but full-fathom just the same.