"All Those Weird Things" lives up to that description perfectly, led by a vivid, Dayglo synth riff so absurdly springy it's like a Slinky going berserk. But it doesn't recall any older era the way Lone's (and others') synths often have lately. His neo-hardcore took pains to present its instrumentation as purely electronic, but here he's gone organic. That lead synth sounds both woody and cyborg, and so does the percussion: woodblocks and skintight snares building steadily and rolling in tandem over a basic house pulse with itchy accents and subway-sweeper bass. Details keep coming to light over several plays; like all of his work, it keeps opening up with time.
The biggest shock comes at precisely the third minute. It's a sample of a little girl saying, "I get it; I just go back past all those weird things again until I'm home—that's it," followed by some crunchy percussion. The percussion's source takes a second to peg: it's from "Ultramarine," off of Emerald Fantasy Tracks. That album was released all of six months before "All Those Weird Things." Time flies when you're reinventing the past. Not to mention reinventing yourself.