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The first various-artists-on-CD release from one of the most adventurous and consistent dance labels of the early 2000s, this package comes with an unmixed disc of previously released tracks and exclusives, along with a blinding 33-track mix from label associate Ryan Elliott. The unmixed disc gets top billing, but it's eclipsed by the mix, even though the mix presents only a minute or two from selections that often deserve to be heard in full. Elliott takes it all in, whipping through major highlights from the label's catalog while including dozens of less-recognized productions. Points of interest: Lawrence's quick-step necro-house in Five Leaves, Matthew Dear's depth-charge electronic body music in Anger Management, and Apple, where Hieroglyphic Being sets the sound of a rusted roller coaster swaying in a stiff wind to a cosmic thump. Above all, there's James T. Cotton's gut-punching The Drain, a potential nausea-inducing experience in which the mechanized handclaps seem to be the only element not twisting and warping. Elliott knows these tracks inside out, covers lots of ground, and provides a trip of a trip through the label's back catalog. It's one of the best dance mixes made available in 2005. Not to be completely outstripped, disc one is attractive by itself. Osborne's Bout Ready to Jak combines humor and menace with a deep vocal command and even deeper bass pressure. Hieroglyphic Being's bounding warhead Je Suis Musique is cyborg tribal house, the opposite of the French disco-house implied with its title. Kept until the very end is the radio edit of Matthew Dear's delirious Dog Days, the label's most popular track; two years on, it sounds more like a step forward than a look back. Like elders Kompakt and Playhouse, Spectral Sound has grown and thrived at the same time. Their releases are almost as reliable as the sleek, die-cut sleeves they come in. ~ Andy Kellman, Rovi
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To his credit, Steve Hackett learned from the mistakes made on Please Don't Touch!, and delivered a much-improved mix of songs and instrumentals on 1975's Spectral Mornings. With a workable backing band that includes John Shearer, Nick Magnus, and former Decameron bassist Dik Cadbury, the ex-Genesis guitarist exploits his strengths: progressive instrumentals that skip between heaven and hell, pastoral pop songs, and a healthy dose of English humor. Vocalist Peter Hicks takes the lead on a few tracks, and as the honey-fied The Virgin and the Gypsy makes clear, his voice is much better suited to the material than Richie Havens. Hackett's lone vocal cameo, The Ballad of the Decomposing Man, is a Pythonesque treat. The guitar work is typically top-notch, equally effective in acoustic sections that feature John Hackett's flute and in tempestuous arrangements where Steve's trademark electric guitar pierces through the chaos. The guitarist also extends his range to the Cantonese koto (presumably a variation on the Japanese koto) for the delicate instrumental The Red Flower of Tachai Blooms Everywhere; in typically mischievous fashion, it lulls the listener into a false sense of relaxation for the sonic onslaught of Clocks -- The Angel of Mons. For many, Voyage of the Acolyte is the definitive Hackett record, but Spectral Mornings is more indicative of his range as a solo artist. The music is true to progressive rock in sound if not in scope, a trait that endears Hackett to Genesis fans who found that band's subsequent commercialization distasteful. [The 2005 Astralwerks version of the album is remasterd and includes bonus tracks.] ~ Dave Connolly, Rovi
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Spectral Element Method in Structural Dynamics is a concise and timely introduction to the spectral element method (SEM) as a means of solving problems in structural dynamics, wave propagations, and other related fields. The book consists of three key sections. In the first part, background knowledge is set up for the readers by reviewing previous work in the area and by providing the fundamentals for the spectral analysis of signals. In the second part, the theory of spectral element method is provided, focusing on how to formulate spectral element models and how to conduct spectral element analysis to obtain the dynamic responses in both frequency- and time-domains. In the last part, the applications of SEM to various structural dynamics problems are introduced, including beams, plates, pipelines, axially moving structures, rotor systems, multi-layered structures, smart structures, composite laminated structures, periodic lattice structures, blood flow, structural boundaries, joints, structural damage, and impact forces identifications, as well as the SEM-FEM hybrid method.Presents all aspects of SEM in one volume, both theory and applicationsHelps students and professionals master associated theories, modeling processes, and analysis methodsDemonstrates where and how to apply SEM in practiceIntroduces real-world examples across a variety of structuresShows how models can be used to evaluate the accuracy of other solution methodsCross-checks against solutions obtained by conventional FEM and other solution methodsComes with downloadable code examples for independent practiceSpectral Element Method in Structural Dynamics can be used by graduate students of aeronautical, civil, naval architectures, mechanical, structural and biomechanical engineering. Researchers in universities, technical institutes, and industries will also find the book to be a helpful reference highlighting SEM applications to various engineering problems in areas of structural dynamics, wave propagations, and other related subjects. The book can also be used by students, professors, and researchers who want to learn more efficient and more accurate computational methods useful for their research topics from all areas of engineering, science and mathematics, including the areas of computational mechanics and numerical methods.
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Of the many feats Luke Donovan pulls off on Spectral Park's self-titled debut album, one of the most notable is how he borrows from the past but avoids nostalgia. Donovan's music is rooted in bygone eras in its style (wild-eyed, psychedelic garage-pop) and how he makes it (tweaking samples taken from a box of records that were headed for the trash), but he rarely sounds wistful for days gone by. Instead, Spectral Park explodes the past and refashions it into something vital. Likewise, while there are hints of influences and kindred spirits throughout the album -- Tame Impala's vivid sonics, Ariel Pink's ability to write new songs that feel like decades-old forgotten treasures, and Micachu & the Shapes' fondness for putting as many sounds as they can in one song then adding a few more, spring to mind -- Spectral Park never feels overly reverent. Most of these songs are as energetic as those by Donovan's more straightforwardly garagey peers, but sound even more electrifying thanks to their oddness. Nowhere is this more apparent than on L'Appel Du Vide, the song that put Spectral Park's name on the map when it arrived early in 2012. All yelped vocals, churning rhythms, and gloriously disorienting sound effects, it comes across like the Amboy Dukes' classic psych nugget Journey to the Center of the Mind if it had been produced by Joe Meek (and overshot its destination by several thousand light years). The song kicks off Spectral Park and remains its most incendiary track; while it could have overshadowed the rest of the album, there are moments here that are almost as instantly dazzling. On Still, Donovan's impassioned delivery of seemingly cryptic lyrics (I miss you more when you're here) and the mercurial sounds around him make him sound a bit like an outraged alien, while Get You Gone moves from dive-bombing shoegaze guitar to old-school garage farfisa in a matter of seconds. There are even a few songs that take their time to unfold: in particular, the soaring, harmony-driven Shells shows Donovan makes as much of an impression when working with a few sounds as he does with many. Cut slows down the album's mostly breathless tempo, only to speed up again at the end, giving words like there is nothing left to love a deceptively joyful cast. While there are plenty of songs that flirt with chaos, such as Colours' hallucinatory exotica and the warped elevator music of Filler #54, Spectral Park's most approachable moments let the sonic melee serve the songs, as on Ornaments, where what sounds like mangled bongos and garbled organ resolve into pretty, if somewhat melted-sounding, pop. Donovan's jam-packed songs -- which are more like collisions than collages -- border on overwhelming, but Spectral Park is so striking that it's worth risking sensory overload. ~ Heather Phares, Rovi
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