He ranges from subtle to slick to shred to howling scream and is equally good at all of it. He transforms this music from the interesting groovy funk at its base to something much more exciting and powerful. He was hard to find fault with to start. The biggest improvement is in Wiggins' use of synths. Not on this album it doesn't.
Several tracks have well-arranged horn sections, and a few have solos that are just shockingly good.
It doesn't sound just like a sax, no - it's a really kickass, rich, bright sax voice phrased very much like a sax would be, but the tone has sharp edges that makes it clear it wasn't meant to mimic a sax precisely. He's the first person I've ever heard use this technique to good effect, and in my eyes he redeems the technology from all the cheesy flailing that's been perpetrated on it previously. In my opinion. They're not offensive or anything, they're just boring, but coming after the ten tracks that should have been all of Serotonality their lack of energy is glaring. I think it is, as they say, fucking brilliant.