Theres nothing but the best to expect from Anthony Georges Patrice, anyone who heard of him and who's been following his active release schedule knows it. Rather than sitting comfortably on a sound that was already innovative and personal, he kept developing it, from the smallest details to the building structures, all in order to bring his music further and not sleep on what had been done already. In the most elegant and subtle way, which somehow recalls his early tracks like "Springs Of A Being" out on Lossless, Anthony unfolds that brilliant track Mnmrh. It was the first demo we heard from him, so we decided to build the ep around it and harvest that very particular part of his music through it, the more "subliminal" and imperceptibly effective dimension of his work. So what, is this effect attributable only to a less obvisouly progressive structure and a relentless lead pad onto flexible drums? "How Are You?" takes a convoluted way. Nevertheless, it sounds quite simple and self evident. As it's name suggests, it feels like a question, a conversation between the listener and the track. It's not by accident that this vocal is here. It's what the track is meant to be, not only vocalwise but overall. Someone talks and asks "How are you?" once, twice, three times and counting but the response during this musical consulting shall remain as silent as possible. Ohlala is the second track in the order, right in between these two brilliant and sub-genre defining tracks. It has that bit of tech-house feeling (in the good sense of the term) because of that vocal loop at the first plan yet it has that finesse and charm that flows through the 2 other tracks. It wasn't an easy job for EinKa to remix that track How are you? First, it stands for itself. Second, the very few elements are working together perfectly the way they are set, but hardly severable, just like a machinery transmits rotation to a factory. That's maybe why he's turned his remix into a whole new composition where the key elements of the original discretely prescribed the track's general atmosphere rather than limiting and compelling it's direction.