Pop wailer Andre Obin takes the reigns for the two other remixes—a "Vocal Reprise" and "Radio Version." In the former he takes a surprising route, adding brand new vocals. To match, a more digestible chorus and verse format is also adopted. In the breaks, the original's ephemeral synths have been lengthened, swelling up in a constant pulse and matched by scattered piano strikes. At six minutes long, the "Radio Version" is hardly what it advertises, offering another new take rather than a shortened version. It would also seem the least attractive option for the mainstream, with bland phrases of Obin's vocals looped and repeated infinitely. More importantly, it's devoid of the original's warm tones, coming off rather dispassionate.
The second of Guseyn's three pieces—"Sequenced"—is a pleasing slice of linearity. First to take the stage is a shimmery synth, flitting confidently forward to build a platform for other sounds. It never leaves either, buttressing soaring, atmospheric pads and whistling notes later on. Adi Dumitra and Toygun's remix clones these elements and adds something seldom found in Guseyn's gentle work—a forceful kick and rigid percussive skeleton. That's not to say it's a tough addition to the release though. On the contrary, a cartoonish twang in place of traditional claps keeps the mood genial, as does the original's shimmery synth. Likewise, Jef K & Gwen Maze's cut bounces on a funky (and sometimes overpowering) bassline, but stays fun. Guseyn's final original—"Freelah"—is probably the most conventional of the lot, a deep houser which nonetheless seems unaffected—something the young Russian excels at.