Where tracks like "Undine," or the considerably more maximal "Close Your Eyes" featured melody front and centre, melodies—or indeed any identifying characteristic—are instead buried deep in these tunes, submerged under a heady layer of convulsing low-end. "Danny Boy" is a prime example, with the elastic and primal bass taking prominence over thinned chords and percussion. The only real bits of melody come from samples that are stretched to sluggish extremes, where their long-winded elaboration becomes a substitution for progression.
This obscure aesthetic is furthered by the murky "Duh Dub," which doesn't even have those vocal samples going for it—just deeper and deeper bass. In comparison "Holographic" is positively technicolour, as an organ vies for centre stage with increasingly aggressive percussion, but the textures are still relegated to the extreme low and high, with a brittle and barely-there midrange. It's surprising to hear a producer move closer to minimal territory as it becomes less and less fashionable, but then again Joel Mull has never really swum with the current anyway.