The debut full length from Ryan Hunn is a narrative affair, and the ghosts of the album title aren't hard to imagine populating the 13 dust caked songs released by Ninja Tune. Fans of the label can expect heady ethereal ragga, minimalist (a)r(t)&b, and quiet glitchy i/edm. What sets GoTaN apart from its contemporaries is the scope of the album, the aforementioned narrative quality. While these songs are not strangers to the serpentine compositional ebbs and flows of electronic music, in general, their internal shifts are much starker, engaging a compositonal ambition less suited to a DJ set and more suited for headphone listening or cinematic soundtrack work. This isn't to say that most of these tracks couldn't be elegantly included in a spooky downtempo set, they definitely could, but rather that the intention of the record seems to have feet in two worlds. First is the world Hunn occupies as a mind behind the already legendary Hoya:Hoya parties in Manchester, a world where his DJ sets reflect the actualities of his record collection and pay no mind to genre or audience, crafting epic globe-and-genre-spanning evenings as a true DJ's DJ. The second world is the one where all of those headspinningly diverse elements come together under an occasionally bleak and spiderwebbed EDM aesthetic, one he's exercised on Radiohead remixes and 12"s for Young Turks. Turning a diverse DJ set or record collection into a cohesive album isn't easy, and while contemporary electronic records are often lauded for their incorporation of diverse histories, critical back-patting does not always a listenable album make. Illum Sphere's new one manages to be an exception, cramming Hunn's influences into a ghostly jittery package, its interior diversity part of its quietly grand pseudo-cinematic narrative, replete with foggy excursions to dance floor only to be lost to softly crumbling walls on decaying tropical resorts. Interesting stuff.