Even so, it's hard to conceive dancing to the material here. For one thing, the pieces are quite short, with nothing over five minutes in duration. "625" and "521," which both sit at just under a minute, are beatless, bell-infused and sound like slightly askew children's lullabies. Most of the rest of the record has a sprite-like, densely packed energy, as many of the beats skip along in hyperactive double-time amid rave organ stabs. Moreover, one gets the distinct impression that Matsunaga is just banging these tracks out as they come to him, and the record expertly mixes this sketchy quality with well-wrought sound design. There's a lot going on, but it doesn't detract from the overall immediacy.
Because the constantly mutating beats verge on IDM, it seems logical that Matsunaga would augment them with glitchy, chopped-up sounds, but his decision to forgo this obvious route leads to some exciting results. On "614," he smothers a sluggish, shuffling rhythm with a jarringly filtered, piercing carnival atmosphere, while the imposing, glitzy chords on "638" wouldn't sound out of place on a Shed record. Matsunaga fits everything from rolling hip-hop ("530") to miniaturized, jacking, sub-laden electro ("55") into Dance Classics Vol.I. It doesn't exactly scream "dance party," but it's suffused with a sharply executed bounce nonetheless.