Discordance is normally revealing of gaps in a producer's understanding of theory, but although the synth play at the end of "Old" does feel lazily haphazard (there's a difference between playing freely along a scale and hitting the wrong notes), for the most part Fidan exacts a congenial melancholy from a slightly recalibrated chord here or a nudged cue there. Similarly, the sensitive velocity of the acoustic guitar line evinces a Logic preset played with heavy thumbs, but instead of sounding inauthentic, it gives a haunted tune its ghost.
"Dotdat" and "Synthscaper" are both cinematic in scope and lush in sound. Fidan summons his inner Vangelis, colliding laser-beam sequences into shapeshifting chords for an ambience of sepia-tinted science-fiction. This beat-free environment works for him, but it's within the tech-house frame of "Berg" that the most thrilling results emerge. A mercurial piece of vocal work propelled by an electric fiddle and a beat that feels played, it signals a level of creativity in a form that's apparently much more than rhythm and bass.