With STUNTMAN, Froese began to leave the lumbering electro-orchestrations of past achievements behind and instead economize his soundscapes into more digestible, yet still mesmerizing, tone-bytes. Possibly because of TD's then (late '70s/early '80s) entrTe into the world of soundtracking, Froese's compositions became somewhat more tangible and nearly immediately gratifying.

Froese rediscovers the joys of sequencers on STUNTMAN, and he marries their ever-shifting patterns with a seemingly infinite palette of tonal colors, invented sounds, and surreal imagery. "It Would be Like Samoa" is ten minutes of analog envelopes, respirating, coughing synthesizers, and bubbling, organic riffs. The sequencers themselves practically evolve into the track's melodious center. "Detroit Snackbar Dreamer" and "A Dali-esque Sleep Fuse" (Froese has long used Salvador D. as inspiration) are exercises in mellotronic surrealism, pulsing with sounds wrenched from deep within their machines' programmed innards. Still cool after all these years.