50 Songs, 5 Hours 57 Minutes

EDITORS’ NOTES

Spectral Sound, Vol. 3 is an epic compilation of minimal techno and micro-house tracks dating from 2008 to 2010. Its 50 cuts provide hours of beat-driven grooves and intriguing textures. Matthew Dear, who co-founded Ghostly International, contributes numerous pieces to the collection under his own name and monikers such as Audion and Jabberjaw. Dear really does have a special touch; he consistently comes up with inventive twists and tweaks for his heady dance-floor material. For starters, check out the uneasy groove on “Hammers” or his deft use of spoken word on “Killjoy,” or Audion’s almost psychedelic “I Am the Car.” The Ryan Elliott edit of Kate Simko’s “She Said” creates a riveting, barebones simmer; the cut is spare even by this restrained genre’s standards. Childproof Man turns in a couple of gems, “Who’s Been Meaning to?” and “Fat Head.” The first track features strange singing that sounds like it’s swallowing itself, and the latter comes complete with horns, a surprising touch in this context. Osborne’s “Wait a Minute,” with its funky rhythm guitar and handclaps, also stands out.

EDITORS’ NOTES

Spectral Sound, Vol. 3 is an epic compilation of minimal techno and micro-house tracks dating from 2008 to 2010. Its 50 cuts provide hours of beat-driven grooves and intriguing textures. Matthew Dear, who co-founded Ghostly International, contributes numerous pieces to the collection under his own name and monikers such as Audion and Jabberjaw. Dear really does have a special touch; he consistently comes up with inventive twists and tweaks for his heady dance-floor material. For starters, check out the uneasy groove on “Hammers” or his deft use of spoken word on “Killjoy,” or Audion’s almost psychedelic “I Am the Car.” The Ryan Elliott edit of Kate Simko’s “She Said” creates a riveting, barebones simmer; the cut is spare even by this restrained genre’s standards. Childproof Man turns in a couple of gems, “Who’s Been Meaning to?” and “Fat Head.” The first track features strange singing that sounds like it’s swallowing itself, and the latter comes complete with horns, a surprising touch in this context. Osborne’s “Wait a Minute,” with its funky rhythm guitar and handclaps, also stands out.

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