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Stroganoff" starts modestly: setting the stage are a warm bass and glistening synth line that sound as though they're pulsing from a nightclub you're still waiting in line to enter. Slowly, both rise up in the mix and explode into a shimmery wall of glitter, strobes, puffs of smoke. Eventually, a vocal that feels firmly planted in the late 80s or early 90s―think Inner City―enters and we shift into high gear. The cut effortlessly fades away with a simple kick―and then it's back with the dub instrumental, a rejigging of the O.G. that cuts the vox for jacked-up keys and an energy that somehow adds even more drive, more force.

The B starts with the "Kalops," a moodier and more contemplative song that gently ambles forward in a swirl of tight percussion, smooth keys, and a smattering of xylophones for good measure. Seven minutes later we find ourselves returning to "Stragnoff" for a final go, this time with Mr. Klint's rendering. Laos' Gothenburg neighbor (and studiomate!) puts his focus on the drums, which he adds some rigidity to, a bouncy synth hook he penned, and a grab-bag of funky bells and whistles.

Summer doesn't have to end just because October's begun.