Arpraxis is over, and this farewell feels less like a final curtain and more like a slow fade: the remaining tracks don’t feel like signposts, but rather like snapshots of a project that retains its strengths without dictating a direction. ‘The House That Sleeps at Night’ exudes house emotions; over 6:38 minutes, a loose, fluffy groove unfolds, taking us back to the 90s and reinforcing the feeling of farewell with each listen, without falling into sentimentality. The track relies on casual lightness and small details, creating a melancholic serenity that lingers. You can sense that the aim here is no longer to make a grand statement, but rather to capture a moment.

‘Grittle (1989)’ picks up on this groove and refines it: the bassline is elegant, precisely drawn and carries the track like a calm pulse, while the synths play with fine textures and breathe a slight melancholy into the piece. Danceability and thoughtfulness go hand in hand; the production avoids gimmicks in favour of space and clarity, allowing each element to breathe. ‘Grittle (1989)’ feels like a quiet dialogue because it doesn’t shout its emotions, but sets them precisely.

The opening track of UNHINGED, ‘Moments,’ is a return to the raw, experimental aesthetics of the underground pioneers of the 90s, contrasting authentic, momentary production with the polished interchangeability of modern streaming ware. John interprets the old virtues in the present — raw 909s, distorted basslines, unpolished edges — as a method of letting machines speak, but with soul, i.e. as a conscious decision in favour of energy and uniqueness instead of perfection. This is not a nostalgic reflex, but a programmatic call: to radicalise production aesthetics, to allow mistakes and risk again, and thus to create space for distinctive, biting music.

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