The EP opens with “Intermission,” a beatless track that’s all synthesised strings and submerged vocal sample. “Who’s the Licho in charge ovaa here” is the EP’s highlight, beginning with a bruising kick drum to which Beato adds a new sound every couple of bars. It remains spacious and vibrant, even as it expands to incorporate a sticky bassline, dreamy pads, open hi-hats and rubbery synth lines. The snares and claps on “Dreamin'” are mucky, but they’re offset by battering-ram kicks and, belatedly, a velvety bassline and jubilant chords. The brilliantly titled “Worship These Balls” is similarly sparse, opening with echoing drum hits and a chirpy synth that makes way for abrasive pads and a sputtering groove. Beato reprises the submerged vocal sample of “Intermission” for “Satan’s Daughter Is Back,” a beatless coda whose centrepiece is an urgent, sawing synth.