After two full plays of RE/SOLVE, I gave up trying to sort 2ŁØT into a clean genre category. The album moves through techno, house, jazz, funk, hip-hop, R&B and alternative rock with the energy of a band raiding its entire record collection during one long studio session. Plenty of crossover albums place their influences side by side, leaving a tidy border around each one. Here, those borders collapse inside the songs. Live drums cut through programmed beats, bass lines drag club production toward funk, and electronic noise presses against voices carrying real soul and personality.
Sixteen tracks give the group a huge area to work with, and they fill nearly all of it. RE/SOLVE is louder, sharper and far more adventurous than Entropy. The difference comes through in the band’s attitude as much as the production. 2ŁØT sound eager to wreck their own arrangements whenever a groove becomes too comfortable.
The album’s best quality comes from that constant argument between control and chaos. A hard electronic pulse establishes order, then a drummer starts pushing around it, a strange keyboard detail appears, or a guest performer bends the song toward another musical language. Die Empty captures this perfectly. Its brutal dance beat and cyberpunk atmosphere make it one of the easiest tracks to recommend, yet its real power comes from the sense that the machinery could tear itself apart at any moment. Tread, featuring Frank Moka, sends similar energy through techno-jazz and carnival percussion, turning the rhythm into a hectic physical performance. Both tracks reveal how 2ŁØT approach electronic music: the beat provides a foundation, while everything around it fights for freedom. Across the album, that fight produces moments of genuine surprise. A synth line suddenly becomes abrasive, a drum pattern breaks away from the expected accent, or a warm instrumental phrase enters a cold digital space. The band’s “Electronic Jam Music” description actually fits, since these recordings preserve the reactions, interruptions and accidents that give live music its pulse. Some passages become intensely crowded, with percussion, vocals and electronic details all reaching for attention at once. During those sections, the groove briefly loses its center. A few seconds later, somebody usually pulls it back into place.
Having so many guests could have turned RE/SOLVE into a compilation held together by the 2ŁØT name. Instead, the collaborators behave as active members of the album’s strange little universe. They bring different instincts into the room and give the band fresh material to push against. I Hurt Myself Again, featuring Elise Trouw and Cameron McCloud, carries the melodic confidence of an R&B and pop track while techno, jazz and alternative elements keep shifting underneath it. The song already has the familiarity of a catalog classic, and its direct emotional pull gives the surrounding experimentation a clear purpose. Across the record, vulnerability usually arrives inside music built for movement. Pain, confusion and recovery live beside bass, sweat and flashing club energy. That combination saves the album from becoming an intellectual genre exercise. These tracks care about bodies, rooms and people sharing space. Even during the most technically busy performances, a human reaction remains at the center.
My favorite example is Come Together, where deep house, hip-hop, R&B and experimental alternative music occupy the same groove with remarkable ease. I kept returning to it because the production has detail while the song itself remains immediate. The bass carries the body of the track, the vocal delivery gives it character, and the stranger elements arrive around the edges without dragging attention away from the hook. Stay Open reaches the dance floor through a cleaner house approach and gives the album a welcome burst of directness. Together, these songs show two sides of the group’s club instinct: one thrives on collision, while the other trusts a strong pulse and lets it run.
“I Want It All” with Mariel Jacoda builds to maximum and the record finishes at its peak instead of winding down. Most albums exhale at the end with something quiet and reflective, and this one throws you out mid-flight. For a story about a second journey I think that’s exactly right, because that story shouldn’t close neatly. The path keeps going, and the album refuses to pretend otherwise.
Compared to Entropy, RE/SOLVE is a clear step up. Entropy was good, no argument there, but the new one has more confidence, a wider palette, and somehow tighter cohesion despite that wider palette. That’s the hard part of making an album like this, and it seems like they stopped being afraid of their own range. The collaborations with Aloe Blacc, Steve Aoki and Paul Oakenfold over the past year probably helped, because you can tell they’re comfortable moving between scenes now instead of tiptoeing across the borders.
It isn’t perfect. Sixteen tracks is a lot to take in one sitting, and if you dislike genre shifts every few minutes it will wear on you. There were stretches where I wanted the band to settle into one mood a bit longer and let a groove breathe. It’s also not background music. If you want something to half-listen to while working, this will keep grabbing your attention whether you like it or not. But I’ll take too bold over too careful any day, and that’s really the trade-off here.
Overall, RE/SOLVE is for people who like electronic music with real live playing in it, jam music that isn’t afraid of a kick drum, or genre-mixing done with intent instead of for show. If that’s you, start with “Die Empty,” jump to “Come Together,” and let the rest sneak up on you. If you’re a purist about one genre, maybe this isn’t for you, but I’d still give the first few tracks a shot. These guys are wrecking 2026 with this one.
Big-name guests, techno, house, jazz, R&B and hip hop all in one story, and it actually works. Better than Entropy. One of the strongest releases of the year so far.
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