Autolux (Carla Azar: vocalsldrums, Greg Edwards: vocalslguitar, and Eugene Goreshter: vocals1 bass) produced Transit Transit themselves with Edwards serving as engineer. It was recorded in the band's studio, Space 23, located near downtown Los Angeles. The album begins with it's title track, an utterly unique concussion of rhythm, created from a looped sample of an old freezer slamming shut and a simple round of chords from an upright piano. The hypnotic density of the vocals and organic futurism of the instrumentation instantly rearranges any preconceptions about the 'autolux sound'. "Census" and "Supertoys" play like the logical evolution and refinement of Future Perfect, delivering propulsive grooves and atmospheric chord changes, while "Highchair" combines a simple, yet effective drum machine beat with tympani-esque tom overdubs to create an orchestral lo-fi dance track. There is a notable sonic progression throughout Transit Transit: vintage synthesizers and manipulated ambience glue central song components together, several tracks are built around piano, all three members take turns with lead vocals, harmonies are abundant, and there is even a bit of trumpet. Ultimately, Transit Transit is propelled by its individual members' strengths, coalescing into beautiful, complex songs. Goreshter continues to innovate his bass style, effortlessly modernizing the instrument's melodic role, while still providing an on-edge rawness and groove-filled momentum. Edwards' guitars serve to modulate the moods throughout the record, constantly evoking feelings found in the space between emotions. And Azar's sturdy, creative drumming (a phenomenon to behgld QII stage) c~ntinue2o n record with plenty of hook beats - ferocious and delicate, at once.