Push - From Beyond

Beat Buzz Records: 2000

Mike Dierickx (formerly Dirk, more often referred to as M.I.K.E. these days) has produced a ridiculous amount of electronic music under an almost equally ridiculous number of aliases. It was under his Push guise, however, that he finally broke through to the ears of damn near every follower of trance upon signing with Bonzai. What had once been a simple acid project quickly turned into one synonymous with energetic anthem trance, even if most folks were only familiar with a single Push tune.

Still, Universal Nation is a deserved track of its classic status. Initially released on The Real Anthem EP, it’s, um, a real anthem, a tune that helped bridge the new generation of trance from the old guard. Listening to it these days, it’s incredibly simple in execution, almost absurd that it blew up the way it did - that simple galloping hook and bare-bones beat should have come off dated by the year 1998, an artifact of trance arrangements from the early ‘90s. Yet, the hook’s also remarkably catchy, and given enough sound variation throughout that you never grow tired of it. Of course, the supersaw drop at the peak of a build-up is more of a late ‘90s trope, but even then it’s understated, far from the overblown schlock that would come to dominate anthems in the following years.

M.I.K.E. followed Universal Nation up with a few more singles for Bonzai, of which were eventually gathered up with a smattering of other new material for a proper LP. Unfortunately, the result comes off mediocre, suffering from that all-too familiar complaint in how so many dance albums – especially from the '90s – are put together: little more than a collection of singles. Maybe it wasn't M.I.K.E.'s fault, in that he had no say in how his label was going to release it; or maybe he simply didn't have enough experience in the album field to make use of the medium (I think this was his first one, unless he did another prior under some alias I'm not aware of). Comparing From Beyond to some of the best trance albums up to the year 2000, however, it sadly lacks.

It’s not like the tunes are bad or anything. Like most of M.I.K.E.’s work over the years (well, until recently, so I’ve heard), it’s competently produced trance, mostly sticking to the minor-key anthem formula that was popular in the late ‘90s. Thing is, Mr. Dierickx has long struck me as just that: competent, a sort of ‘Oliver Lieb lite’, which undoubtedly sounds more like a diss than intended. Both have a knack for solid trance hooks, smart beats, and obsession with aliases - Lieb just does it better.

I suppose From Beyond is a handy CD to have if you can’t be bothered with tracking down M.I.K.E.’s Push material in the single format. The music’s definitely quality if you figure turn-of-the-century trance was that genre’s peak. It’s just a shame more wasn’t done with the album format.

John '00' Fleming - For Your Ears Only

React: 2000

This John Fleming guy, he's done well for himself. Never mind he kicked a bout of lung cancer in the crotch, but he rekindled his music career afterward, taking it to heights he hadn't seen prior. He also snagged a long-term deal with the Euphoria series, staking a claim in the overcrowded trance DJ mix market by being one of the few who'd mix in psy along with the regular stuff. Before then though, Mr. '00' released a couple relatively unknown mixes for various labels, this For Your Ears Only on React perhaps the most prominent of the bunch.

The double-CD looks very much a product of its time, with a cover aping the Designer's Republic aesthetic that was quite popular with EDM releases in the year 2000. And the first disc? Progressive trance for the most part, though very few classics, at least that I'm familiar with. In fact, most of the names on CD1 are new to my eyes, with only the last clutch of producers - Airwave, Paul van Dyk, and BT - being obvious names for a mix such as this. Heck, even their tracks aren't terribly obvious. I can't recall hearing Alone In The Dark or Namistai at any point in the last number of years, much less when they were new. What I'm sayin' here is CD1 is a solid enough mix, but nothing remarkable either. Functional progressive trance, which is perfectly fine for a Year 2000 set.

Check that: it's a remarkably bangin' progressive trance set, the sort of tempo typically reserved for CD2 of releases such as these. How can Mr. '00' build upon it for the next bit? By going total cheddar, it seems. Seriously, that first track, Free, is about as generic vocal trance could get back in the day. Total fluff piece, and such a weak way of opening the second disc. Who even made this- oh. Um...

Well, ol' John was getting his career back in order at this point, so I guess some compromises were required. And like it or not (I fucking hated it), epic-corn trance was popular at the turn of the century. It'd be a number of years before he'd team up with the likes of the Digital Blonde anyway, taking his sound closer to the psy vibe many of his current followers enjoy. In the meanwhile, we have to endure more anthem-schlock, culminating in one of those annoying-cloying Dutch tunes but five tracks in. God, that's stupid. Who even made this Electra- oh. Um...

Okay, I'm just goofing. And J00F does come correct with a little goa shortly afterward, almost as though he used the fluffy stuff early to lure the kids in before unleashing some Astral Projection on their asses (in two tracks, no less!). If you're a recent fan of Mr. '00', For Your Ears Only may not be your cup of chamomile, but it won't hurt your collection if you're gathering all he's released either.

Carol C - First Impressions

Topaz: 2000

Atmospheric jungle seemed like a flash-in-the-pan movement, a genre that had all the potential to sweep that scene by storm, but was overshadowed by its commercial-friendly sister-genre jazzstep. By the turn of the century, neither generated much attention from the press anymore, most interested in the emergent darkstep sound instead. Eventually jazzstep's soulful aesthetic was adopted by the liquid funk guys, while atmospheric went relatively dormant for a long while. There were a few one offs here and there, and Bukem's Good Looking Records never went away, but folks by and large considered the genre an artifact of mid-'90s partying.

A DJ mix such as this was considered dated even by the year 2000. Mind, it didn't help that Carol C opted to use many tracks from atmospheric jungle's high point, but it does beg the question why someone would bother to release such a CD at that point. In fact, why would Topaz, a label that was making its mark as a progressive trance outlet, take a dip in this genre at all? Were they so inspired by Paul Oakenfold's Global Underground: Oslo set that they had to get themselves in on some of that 'dolphin d'n'b'? Was Carol C such a big fan of that sound that, for a debut mix CD, it was atmospheric or nothing at all? Was it just the trendy thing for all start-up labels to offer at least one drum'n'bass release, even if their potential audience could care less for it?

Perhaps some of these questions can be answered in figuring out who Carol C is. First Impressions is her only DJ mix CD credited, and it appears she’s had a career of producing and singing funk and nu-soul in the group Si*Sé since then. That makes a fondness for the jazzy side of jungle a good match, but still doesn’t answer much about her skill on the decks, much less why Topaz would have tapped her of all DJs for a mix such as this. Buddies with Scott Stubbs, mayhaps?

Okay, enough questions. How’s the music then. Nothing revolutionary, but if you find yourself jonesing for just a little more jungle on an LTJ tip, you’ll be in fine hands with First Impressions. Most of the major names for atmospheric, jazzy d’n’b show up, including Omni Trio, Zed Bias, Shogun, Jonny L, plus lighter moments from Technical Itch and The Advocate. And that’s all the names on this CD. Yep, of the ten tracks used, four acts get two tracks each. No wonder the tone is consistently maintained in this mix, there’s barely any crate diggin’ to be had!

I can’t hate on First Impressions for that though, as the music’s pretty class as most mid-‘90s atmospheric jungle’s wont to be. If I’ll give this mix any credit, it’s that Carol C selected tunes outside the Good Looking Records library. On the other hand, maybe Topaz couldn’t clear the rights to those.

Underworld - Everything, Everything

Junior Boy's Own: 2000

As far as some folk are concerned, Underworld’s career ended here. That’s just stupid, as the group carried on fine following Darren Emerson’s departure. True, they never generated the same kind of buzz as their ‘90s heyday, but it’s not their fault if tastes, fashions, and populist opinion change with time. Still, I can’t help but wonder if they’re enjoying the retreat from the limelight, having the freedom to explore whatever music they so choose (though it’s funny hearing some synth-pop creeping into their recent work again, considering that was where Underworld started at).

At the turn of the century though, the group was still riding their peak, and this live album is about as perfect a captured snap-shot of their star-status as one can get. Released concurrently with a DVD, the music was cobbled from various performances of a worldwide tour. The movie's awesome as well, splicing in footage of several concerts along with videos that were produced by the firm Tomato. The full show's currently up on YouTube, if you're so inclined to watch.

A number of live CDs featuring electronic acts had existed by 2000, but Underworld upped the ante on theirs, setting the bar on audio quality higher than it'd ever been before. It recreates an exquisite blend of punchy, in-your-face music, open-air resonance, and crowd ambiance, such that it's easy to feel you've got a front row spot near the stage. The beats pound with authority, Karl Hyde’s vocals are never drowned out, and the mixdown wisely raises the hollers and cheers in and out whenever an epic moment erupts from the music, yet never removes them altogether. About the only quibble one could have is that this is not a one-hundred percent live experience, with an obvious break between tracks mid-set probably done for time constraints - might it have been stage banter that we missed out there? Plus, the final track on the DVD, Moaner, is missing, but considering the title of this release, Cowgirl seems the more appropriate way to end on.

Right, the songs. This coming out shortly after Beaucoup Fish, there's obvious favoritism towards that album: King Of Snake, Jumbo, Push Upstairs, and Cups all get repped. The serpent song aside, I'm not a huge fan of these cuts, but they get a good showing here, especially the latter two coming early in the set as strong, energetic follow-ups to the soaring Kiteless. Speaking of Second Toughest In The Infants, crazycrazycrazycrazy Pearls Girl and, of course, the anthem Born Slippy NUXX also make their way into the show.

And that’s all. Yep, just a mere nine tracks on Everything, Everything. It may seem like a gyp, but most of them get a lengthy run-through, satisfying even the most jaded Underworld follower (well, maybe not so much those upset by the lack of dubthatboomonmybedboy material). In the end, this CD is as best an encapsulation of the Emerson years as you'll ever find.

Various - An Evening Of Trance: Mixed By DJ Grover

Topaz: 2000

You'd be forgiven in thinking this CD's hopelessly corny and not worth your while were you to judge it by its cover. Hell, you'd even be forgiven thinking along those lines after listening to the first track. You'd be doing yourself a disservice in thinking such thoughts though, for if you are thinking them, then you don't know anything about the label from which these tracks were gathered from. Go on, admit it, how many of you have heard of Eve Records? Maybe some of you Cult Of Schulz folks out there, but not many others I wager.

To be fair, I barely know anything about Eve Records either, and I own this CD. God bless Discogs, so here’s what I’ve gleaned from its profile there. Launched in the mid-'90s, it primarily was an outlet for Pablo Gargano's material. By the turn of the century, they'd gained enough momentum to bring in other talent, including such names as Atmos, Steve Gibbs, and yes, Markus Schulz. Eve Records even managed a few spin-off labels and has held strong to this day, though general consensus tends to favour their pre-2000 output.

Hopefully they’re not talking of the first track, Atlantis Shores by Sourmash. It sucks. Bad. Think your most inane, cliché epic trance of the late ‘90s coupled with poor production quality, and there’s your tune. Skip it, and never speak of it again.

After that, it’s pretty much the Pablo Gargano Show, as all but one other track is by him. Considering the poor opening, I wasn’t expecting much, but ol’ Pabs, he knows his trance. If you were following the genre during the late ‘90s, you were bound to have bumped into a couple of his cuts on compilations and mixes. Probably his biggest exposure came at the end of two Global Underground sets (Oakenfold’s Oslo and Digweed’s Sydney, specifically), but by and large he appeared on relatively underground releases. And I can hear why, as his sound is tough, energetic, and properly trance; essentially the kind of music that makes better sense at a warehouse rave than in a superclub.

He’s diverse too! There’s dark, brooding beasts like My Noise, acid leanings with Trance In Saigon and Niquest Limit, straight-up space-out moments like Illogical Trance and Peace & Love, and classy anthems like The Secret Spice. Shame this DJ Grover chap doesn’t appear up to the task of giving all his tunes a solid mix to stand on - may have been better to make this a regular, unmixed compilation instead.

I suppose one could complain An Evening Of Trance sells Eve Records short by making this almost all about Pablo Gargano (David Craig gets an acid trance cut in too), but the Italian native was Eve Records in those early years. There are likely more comprehensive releases of the label out there, but if you find this on the cheap, it’s a sound purchase if you have an ear for this sound.

Bill Laswell - Dub Chamber 3

ROIR: 2000

Wow, another Bill Laswell release. Over-exposure, much? Now you know what it’s like following dub music, period. The bassist is quite literally everywhere, cropping up at times even when you least expect it. You’ll be listening to some world dub vibes when suddenly, that bass tone makes itself known. Rushing to the credit notes, you realize, yep, there he is again. Quite the mercenary, Mr. Laswell be.

Dub Chamber 3 is one of his solo efforts though; or rather, him and whoever he invites over for a jam. Don’t bother looking for a Dub Chamber 1 or 2, as they don’t exist. This was, however, his third album released on Reachout International Records, the two prior being his Sacred System material. To confound discographers further, his fourth ROIR album was once again as Sacred System, but also titled Dub Chamber 4 (subtitled Book Of Exit, a nice call-back to the first album). And, that’s not even the end of his ROIR output, where he released a compilation of Sacred Dub System Chamber material, plus a collaboration project with Roots Tonic, not to mention- help! I’m being swallowed by Laswell’s discography! It’s so massive, it has a gravitational pull of its own!

Back on this release, we have only four tracks to deal with. Yep, they’re long ones, and oh are they ever jazzy. Aside from second tune Cybotron, I can never remember how any of these go. Well, that’s not entirely accurate, as they’re currently occupying a slightly hazy corner of my brain, but that’s only because I just listened to them. Mark my words, within a day or two, they’ll be forgotten again until I happen to hear a clip (“Oh yeah, that one has that bit with the spacey trumpet. Now I remember, that one has the nice guitar tones. Oh, I didn’t know it slowed down there. Didn’t I hear this before?”).

Cybotron though, that one sticks out for me for a couple reasons. Obviously first, the name, but more than that, it’s one of Laswell’s spaced-out dub-reggae jams, and as a point of personal preference, I enjoy his material the more outworldly it sounds. Plus, the bass tones used are a deep rumble, some of my favorite under the Laswell name, and probably due to this being a collaboration with Jah Wobble, another bassist of significant note (are they dueling basslines? Awesome if so!). I recall Muzik Magazine often ripping into Laswell, calling him the “poor man’s Jah Wobble”, but as I’ve only heard sporadic material from the guy (much of which also paired up with Laswell) there’s no way I can back that claim up.

As for Dub Chamber 3, it’s not a terrible release, as all the musicians present are highly skilled at their craft. Unfortunately, if you don’t fancy the jazz side of downtempo dub jams, this album has little that might win you over. In the end, it’s just another drop in the endless sea of Laswellian downtempo dub-jazz jams.

Various - DJmixed.com / Keoki

Moonshine Music: 2000

Oh, Keoki, what a wild and wonderful career. The first self-proclaimed superstar DJ, at a time when the very notion of superstar DJs was ludicrous (though there were a number of very famous ones), and all the while giving Moonshine Records a proper face in releasing his DJ mixes, singles, and albums. Whatever faults you can lay on him (and believe me, he had plenty of detractors from the old school), he undoubtedly had a profound effect on the tastes of several young American ravers throughout the 90s. Then Moonshine folded and Keoki was left homeless. He tried to reinvent himself in the electroclash vein with Hypnotic, but that didn't work and hasn't released anything of note since.

This particular mix was probably a sign of things to come, for many reasons. If you're not familiar with DJmixed.com, don't worry, as it didn't last long, coming out during the transitional period between Web 1.0 and Web 2.0. You have to give them credit for an attempt at translating the EDM magazine experience for the internet, but the technology simply couldn't accommodate all the things they wanted. I'm not sure if Keoki was to have a major hand in it, but he, along side Micro and Charles Feelgood were tasked in promoting the site through this series of CDs. Seeing as how nothing of note came of it, DJmixed.com is barely a footnote in Moonshine's history, much less the whole of electronic music.

Not that the music contained on these mixes was bad, just terribly redundant at the turn of the century when DJ mix CDs were multiplying like raver rabbits. Moonshine was one of the stronger American labels promoting such releases, but even they started showing fatigue.

As for Keoki’s mix, it mostly features breaks, much of which is on a progressive tip. Y’know, like The Light’s Expand The Room. Looking back, I’m surprised there wasn’t more Florida breaks on this (Tony Faline’s Mind Over Matter the lone offering), as that was an immensely popular sub-genre at the time, before Adam Freeland and nu-school breaks took over.

There’s also some trance, including Ravelab’s cover of Send Me An Angel, that used to cause whiplash among my partying compatriots. I’d tell the joke, but it involves a lot of knowledge of the party scene of British Columbia’s northwest - yes, there really was a party scene way out there. Short form, it’s got a breakdown that’s so stupidly over the top, it’ll roll your eyes to the back of your neck; yet, it follows with an incredibly catch hook that you can’t resist. Interestingly, Keoki mixes the track at the start of that breakdown. He could create clever mixes on occasion, though this set’s a bit sloppy.

I can’t give this CD much of a recommendation, but if the idea of a DJ mix ending with an epic trance remix of the Skywalker theme doesn’t curdle your blood, give it a try.

Deltron 3030 - Deltron 3030

75 Ark: 2000

After years of speculation, anticipation, teases, and delays, the sequel to the underground classic Deltron 3030 was to hit the streets this month. And now Deltron Event II has been postponed again, until next spring. Ergh, argh! I cannae take this anticipation any longer. Maybe I shouldn't have stumbled upon this album after all.

Oh, who am I kidding? It was an eventuality that I’d hear the project of Del Tha Funkee Homosapien, Dan The Automator, and Kid Koala. When I did discover Deltron though, it was quite a fluke, coming at a time when personal purchasing power was pathetic, made more so by the lack of options in a backwards interior BC town I briefly lived at. How this CD came to be at that lone music store, I have no idea, but lo’ it was a true blessing I saw it at a time I had rare spending cash. I was already familiar with Del’s work with his posse Hieroglyphics, and you couldn’t escape the Gorillaz hit Clint Eastwood that year either, so seeing his name on the wrap sticker of an intriguing cover, I took the gamble and bought it blind.

I'll admit to some jadedness regarding first impressions, rarely blown away within the first couple songs of a CD. Not so here. The opening mournful tones of 3030, Del's fiery future lyricism, and Koala's subtle scratching instantly won me over, but when that chorus hit in grand operatic fashion, I knew I'd be in for a proper ride. 3030, though brilliant, was just a tease, as the album kept getting better and better with every track! (except Upgrade, but few album's are that perfect).

The appeal lies in the concept. This is definitely a future-shock album, but all is not so bleak as most artists go (hi, FSOL!). Corporations run rampant and unchecked, the underclass struggles, and it's up to Deltron Zero to bring the fight in this era. Fortunately, he also finds time to partake in intergalactic rap battles and chill out after a hard day's endeavors. It doesn't hurt most of the skits keep the outlook humorous and tongue-in-cheek; yes, there are problems, but we can laugh at the absurdity too. By the end of it all, Deltron's world seems more akin to Futurama than the dystopia suggested at the start.

Deltron 3030's gone down as a classic of the niche 'nerdcore' micro-genre, where lyrics and themes focus on geek culture, scientific jargon, and sci-fi settings. It's also a rare feat of musical craft, maintaining a consistent motif throughout while appealing to any casual fan of undergroun hip-hop, clever production, or unique music in general. Del was on a creative tear in those years while Dan The Automator cemented his place as a producer to be reckoned with. Meanwhile, some guy named Damon Albarn, who guest-warbled on Time Keeps On Slipping, took notice of this duo's brilliance, and got them to make a couple tracks to launch his Gorillaz project. That turned out pretty good too, apparently.

Roc Raida - Crossfaderz: A Turntablist's Throwdown!!

Moonshine Music: 2000

Now this is an odd one. Moonshine Music flirted with many genres during its run, but never hip-hop. The closest might have been trip-hop or acid jazz, but nothing like this. It’s understandable though, as the label primarily focused on releasing compilations and DJ mixes, signing very few artists for album output. The world of rap music tended to go the other way, with a plethora of albums but few compilations and even less DJ mixes. I suppose it’s due to the fact hip-hop DJs are of a totally different stock than house or techno DJs. Their craftsmanship lay in turntablism and scratching, cutting up tracks to create whole new compositions on the fly as an MC spit rhymes overtop. Certainly an incredible skill to pull off, but not a commercially successful one as MCs became the stars of the show, stealing all the DJs’ thunder.

I suspect the hip-hop scene came to realize this oversight at the turn the century. Turntablists started getting their dues again and more media exposure came to DMC champions. All well and good for the scratchers, but what about those other DJs of the rap world, the pirate radio players? The mixtapers? That… took a while longer to catch on.

Moonshine, however, appeared willing to gamble on getting a head start, offering up this here CD featuring the late DMC World Champion Roc Raida (that’s Grandmaster, foo’). For sure, there’s plenty of scratchin’, rewinds, and assorted turntable trickery on display, but this is also a mixtape. Or rather, a radio set.

The concept behind Crossfaderz is Mr. Raida as a guest DJ on an underground station called WHAT! 187FM (they don’t give a fuck, what!). I have no idea if this was an actual radio station in New York, but given how many hilarious interludes and skits are scattered throughout the disc, I suspect not. Oh, and I’m serious in that these skits are funny - they’re all piss-takes on various hip-hop sub-cultures. My favorite’s the commercial for Slash Ya Face Records, featuring “smash reggae hits” like Sleepy Eepy’s Bitch Take Me Home Or Die When Ya Get Home (it’s a foc seen).

As for the music itself, there’s definitely some fine hip-hop on display (god, I sound white…), mostly all underground stuff, though a few big names crop up. Pre-coffee shop Common’s here with his Ice Cube diss track Bitch In Yoo; The Heist is an excellent crime story from Big L; Missin’ Linx’s Missing In Action will get your attention, as it did Dr. Dre’s when he used a very similar backing track for The Next Episode. Don’t expect mixing like most EDM sets though. Everything’s a sharp scratch cut into the next record.

One thing I’ve always wondered about Crossfaderz is whether it was intended to be a running series for Moonshine. Despite a quality collection of underground hip-hop, it was so far outside the label’s traditional audience, I could see it doing poorly. Too bad for those who slept on it.

Various - Cream CD2: Mixed By Max Graham

Yul Records: 2000

Fellow Canadian Max Graham's been DJing for over two decades now, building a tidy career out of it. Yet, all anyone remembers him for is his productions, specifically two of them. The first, his breakout single Airtight, came out when progressive trance was enjoying a creative and commercial high, and getting the tune playlisted by Oakenfold's popular Another World and Tiësto's even more popular In Search Of Sunrise 2 guaranteed its classic status among year-2000 trance lovers. His other was a dance remix of Yes' classic Owner Of A Lonely Heart, where he took the brilliant idea of adding a house beat to the rock staple and... um, that's all. Why was that so popular again?

Anyhow, he’s released several DJ mixes over the years, including a running series called Cycles on Armada that I only learned about just now because, well, Armada. This particular CD was his first commercial mix, released just in time to capitalize on the good will he was garnering thanks to Airtight. It didn’t catch on, so he tried again with the fourth installment of the Transport series, which undoubtedly has caused you to ask, “They did four of those things?” Seven, actually, but yeah, it didn’t catch on either, at least in any significant way.

Wait, that probably wasn’t the reason this mix didn’t catch on. I mean, just look at the label here, Yul Records. Has anyone outside of Montreal heard of them? No, not the Rational Youth label. That was a different Yul Records. This one apparently co-opted the name since the original Yul had been derelict since the mid-80s. They released a few other DJ mixes and singles in the early 2000s, but didn’t last long, and doubtlessly never made an impact outside Canada.

So yeah, not the greatest start for Max Graham to make his mark, but we all start somewhere, and Yul Records seemed to have its heart in the right place, starting up a DJ mix series that paid tribute to the Cream festival. That was the intent, right?

The mix itself? Pretty darn good, I’d say. It’s progressive trance from the year 2000 after all, and there were some dynamite cuts to be found. Of course Airtight’s here, but you got contributions from Bedrock, BT, James Holden, Breeder, Way Out West, DJ Remy, and a few others rounding things out. The only real problem here is these are well-known anthems now, so Cream CD2 falls into that “same tracks you already got in a different order” category of DJ mixes. For as solid a track list this is, ol’ Max doesn’t do much to stand out from the pack, save a couple nu-breaks cuts to start (and I never liked that Timo Maas remix of Doom’s Night anyway).

Not much else to say here. Hearing these tunes again was nice, and worth the price I paid at the used-shop, but, like so many trance mixes from that time, hardly essential listening.

Sven Väth - Contact

Ultra Records: 2000

Sven Väth is Sven Väth, a very important person in the world of techno, though that wasn't always the case. For the early part of his career, he was a very important person in the world of trance, running the influential Harthouse label. Right around the time trance was blowing up, he abandoned it, pursuing a fashionable German infatuation with techno instead. Also changing was his fashion sense itself, foregoing a harlequin-rave style and diving headfirst into doofy eurotrash, literally. He dunked his bleached hair into industrial-strength superwet-gel, and became synonymous with the look until a geeky Canadian named Richie co-opted it for himself, forcing Sven to adopt yet another persona, the grizzled Papa Sven we know today.

That’s jumping ahead. For Contact, he have to focus on the doofy eurotrash era. This was when Sven established his Cocoon parties in Ibiza, along with his new label Cocoon Recordings. It took a bit for it to properly take off, as the brand of techno Väth was pushing was seen as too hard and underground for mainstream acceptance. You’d think, in an effort to promote this particular brand of German techno, he’d release an album filled with such bangers. Oh, silly you.

Väth had shown eclecticism before, but there was a sense he had a specific vision in mind on his previous albums. Mind, he did have Ralf Hildenbeutel as co-producer on them, which quite likely helped guide a wayward muse. Contact instead brings in different co-producers, who were well known, true, but leads to a disjointed album.

Most prominent is Alter Ego, helping out on nearly half the tracks. On the other half is Anthony Rother, who was something of a rising star in the electro-proper revival going on at the time. Two more or handled by Johannes Heil, and two Sven went solo on (the goofy electro Apricot, and the beatless ambient-techno throwback Privado). Quite a collection of talent, and each tune they work on has its own unique charm. Unfortunately, there’s no cohesion among them. The Rother tracks mostly maintain an electro vibe (Pathfinder and Once More especially so), but are totally out of place when paired up with the minimal techno Alter Ego offers. Smuggler, which only Roman Flügel contributed to, is a fine techno workout, then clashes bizarrely with the Heil-hemmed hard breaks of Contact.

If this is sounding more like a compilation than an album, it’s because that’s what it’s like listening to this CD - a sampler of various techno sub-genres. To be fair, techno itself was going through something of an upheaval in 2000, fresher European sounds finding their way into playlists. Perhaps Sven was hedging his bets, experimenting to find what worked best for him. Or maybe he didn’t care, and rushed this out to meet label quota demands (he was signed to Virgin) while diverting most of his attention to DJing. Whatever the case, Contact is an odd listen with good moments, but not one enjoyed in a single sitting.

Asian Dub Foundation - Community Music

London Records 90 Ltd.: 2000

Within two songs, I realized I'd made a mistake. Maybe I should have listened to it first but there weren't any warning signs. With a name like Asian Dub Foundation, I had already conceived sonic images of thick reggae beats, Far East harmonies, and maybe the odd sitar or tabla. Eastern Dub Tactik hadn't led me astray (in fact exceeded my expectations), and Banco de Gaia himself tapped the group to remix one of his tunes. Yes, with such blinding faith as my guide, I purchased this out of a used shop. What could go wrong?

Let's focus on the basics first: the music itself. While I was correct there'd be reggae beats, I did not expect ragga jungle beats. And you know what? I'd be fine with that. I loves me some ragga; however, it's a rhythmic style that doesn't blend well with others. There's a reason why DJs who spin it seldom venture out of that genre unless into other forms of drum 'n' bass. This being a group that does draw influence from Asia, we get ample sitars and chants, but metal and big beat are thrown in as well (yes, a couple of years after 'electronica' was all but dead). There's a remarkable amount of melting going on in this pot; unfortunately, every component ends up in disparate clumps rather than a tasty mix. It amounts to glimpses of what makes all these unique forms of music work elsewhere but nothing specific to enjoy here.

Then there's the lyrical content. Hoo boy...

Anyone remember that guy with the dreadlocks and Che shirt? Who went to the community college and became over-educated in global issues? He may have had the best weed hook-ups but man, sometimes it wasn't worth it when he'd start rambling about New World Orders and the like. That's who this album's gonna appeal to the most. Nearly all the ragga raps deal in such topics, and how we gotta band together to fight the system and blah blah blah Rage Against The Machine did it better etc.

Look, I have no problem when music has messages and raises conscious awareness. What I do have a problem with is when the artist is lecturing me about it, practically guilt-tripping me into becoming active in protests or whatever. I don't appreciate accusing fingers pointing at me, especially when the whole reason I'm listening to music in the first place is for a bit of escapism out of the day. This does not mean I turn a blind eye to the world's problems, but music isn't my preferred avenue to learn about it. Sitting back with headphones does not solve them. Dancing does not solve them. Getting out on the streets and becoming active in fundraisers and politics ...well, it's a start, and far more productive than listening to Asian Dub Foundation ranting about it.

That all said, I bet Asian Dub Foundation kick ass live!

Bone Thugs-N-Harmony - The Collection (Volume 2)

Ruthless Records: 2000

Why release one collection of previous work when you can release two and charge twice the price! Alright, this isn’t that cynical of a comp’, but it is bizarre to see a second volume of Bone Thugs but two years after the last one. How could there even be enough material for this? Well, there’s more to the Bone Thugs story than their main singles and albums. Solo projects! Extended posse albums! Unreleased songs! All quality! Well, maybe not Ghetto Cowboy. That one’s just too silly.

Still, you get some tracks that simply didn’t make the cut on the previous collection (Thug Luv), collaborations where they appeared on other’s albums (Don’t Hate On Me was on a Jermaine Dupre album, and Hook It Up featured on a No Limit movie soundtrack -yes, Master P made movies, and yes, you’re allowed to laugh at that), cuts from the Mo Thugs Family, and remixes of tunes from the BTNHResurrection album that came out the same year.

Meanwhile, unless Discogs is lying to me, nearly a third of Volume Two features unreleased material, though whether old or new, the inlay don’t say. Probably the best of this lot is Sleepwalkers, which features an Eazy-E verse that’s fire, and makes for a suitable bookend to the whole Collection saga considering it was the Eazy-E featured Foe Tha Love Of $ that opened Volume 1.

Of course, you’re likely thinking this has the hallmarks of a ‘Thugs Fan Only’ release, and you’d be right. Though the quality of music’s still high, unlike the previous collection, this one doesn’t flow nearly as well, likely due to the disparate origins of these tracks. If you’re looking to get acquainted with Bone Thugs-N-Harmony, Collection: Volume One or the 2004-released double-disc Greatest Hits are better starting points.

As for the group itself, their legacy’s diminished since the high times of the 90s. Internal conflicts and spotty output has rendered their last decade of material almost inconsequential, while keeping up with solo projects became a chore for all but the most ardent fan. Maybe there’ll be another series of Collections to round up the better cuts, but considering how scattered across several record labels their later music is, that would prove legally difficult.

Hm, this review’s come up a bit short… I know, let’s play a game! The members of Bone Thugs all had ‘bone’ as a part of their aliases: for instance, Krayzie Bone, Wish Bone, Bizzie Bone, etc. For your reading distraction, here’s a list of potential members that could have been considered. Bone Dogg. Ice Bone. Bonestarr. Scooby Bone. Bone Digweed (this makes total sense, given the group’s fondness for the herb!). Bonecrusher. What, there’s already a rapper called that? Dammit, I lose then.

Various - Planet Rave Vol. 1 (Original TC Review)

Triloka Records: Cat. # TR-8062-2
Released 2000

Track List:
1. Tulku - Meena Devi (Goddess Mix) (5:06)
2. Tulku - Journey Of The Warrior (The Funky Shaman’s Mix) (4:03)
3. Emer Kenny - Golden Brown (Tribal Edit Mix) (3:48)
4. Dissidenten - A Love Supreme (Club Mix) (5:03)
5. Tulku - Meena Devi (Funky Trigger Mix) (4:52)
6. Jai Uttal And The Pagan Love Orchestra - Malkouns (A Night On The Ganges) (Remix by Talvin Singh) (6:29)
7. Material - Ineffect (7:27)
8. Tulku - Meena Devi (Ambient Mix) (3:32)
9. Tulku - Live Force (Tripambient Mix) (7:27)
10. Jai Uttal And The Pagan Love Orchestra - Guru Bramha (Remix by Sunkist) (5:14)
11. Badar Ali Khan - Kalander (Trance Remix) (4:44)


(2010 Update:
Aside from the track-by-track stuff, this review also suffers from a rant that rambles too much at the end. In a nutshell, I was irritated by the herky-jerky way these songs were arranged. Meh, I was also kind of half-assing this one, since it was a Random Review I wasn't all that keen on doing, being the second sub-par one in a row.)


IN BRIEF: Cool concept; crummy presentation.

Anytime you see a pink elephant, chances are good you are incredibly drunk. However, when said pink elephant is on the cover of a compilation, chances are even better you have a collection of music that will have some Indian influences. The big question tends to be exactly how these influences will be used.

One of two possibilities exists in the EDM world. First, and most common, is the compilation is filled with psychedelic goa trance; knob twirlers and acid munchers re-creating their hallucinogenic journeys with Hindu gurus guiding you through a sonic assault; music that challenges your perceptions of thought while dancing on a West India beach under tropical starlights. It's good times to be had by all and the south Asia influences often make for very interesting cover art. However, that is not what this compilation is about.

Ah, so this is the other possibility, then. Western producers who sample ethnic songs and sounds to give them a contemporary feel. Acts like Enigma, Deep Forest, Banco de Gaia, Loop Guru, and so on. Surely this is what Planet Rave is about, specifically focused on the Indian influences, hence the four armed pink elephant. Nope, wrong again.

Well, if it's not those two, which could it be?

I may be preaching to the TranceCritic choir here, but I'm often stunned by how many in most EDM circles are quite ignorant of the third type of electronic music where a pink pachyderm wouldn't be out of place on a compilation cover. You see, standard dance music isn't just a Western thing. Cultures all over the world have managed to get their hands on drum machines, acid boxes, and sound sequencers. As a result, disparate cultures have managed to inject house, techno, hip-hop, and other assorted styles with their influences straight from the source rather than sampled from abroad.

Really, this isn't anything new, and anyone who's paid close attention to EDM trends was bound to notice bhangra beats slowly but surely creeping into Western musical acceptance, especially at the turn of the century. Sadly, its momentum was somewhat stymied due the 9/11 incident, causing American shores to be wary of any outside influence. At least the recovery seems to be on, though.

So, what we have here on Planet Rave is a collection of so-called bhangra beats from tiny label Triloka, all given a clubby shine to simultaneously showcase ethnic music and Western party vibes. Sounds cool enough; let's get it on.

And Tulku aims to get it on in a hurry. Often referred to as a 'world music supergroup' in the liner notes, comprised of Jim Wilson and Triloka head honcho Mitchell Markus (ah, self promotion is grand, ain'it?), Tulku's track Meena Devi barges right in from the gate with deep, acidy basslines and subtle stuttering synths. The fact there is no real lead-in here makes for a bit of a disconcerting opener, especially with the ominous tones on hand. Still, this opening bit is relatively mild compared to the chaos that quickly erupts in the Goddess Mix from Steve Snow, as scatter-shot breakbeats mix with steady, bouncy beats. There's plenty going on throughout, too: female chants, Indian woodwinds, and choking sitars all work together to create a sinister, is somewhat disjointed, bit of tribal music.

Ian Rich provides a minimal breaks-and-house funk remix on Tulku's Journey Of The Warrior, bringing the flow down a little with a quick crossfade transition that is quite jarring. Sure, this isn't a DJ mix, but if you're going to link the tracks together like this, you probably don't want to make the switch so abrupt. As for this song, it's a decent enough little transitional piece of funk. Nothing major happens, but you can groove to it easily enough.

With a tiger yelp and another incredibly abrupt crossover, we are slammed into Junior Vasquez' remix of Emer Kenny's Golden Brown. A cover of the The Stranglers' song, Ms. Kenny's traditional Celtic style (the, er, whitest of world music, I guess) is given a rather pumping, trancey overhaul by the former Madonna remixer. Her vocals are quite ethereal and Vasquez keeps the tempo building nicely from a pleasant ambient start by adding ever-increasing layers of rhythms. This energetic build seems to be escalating to a rousing climax but this is an edit of the track so it abruptly ends just as it begins. Fair enough if there's something to carry that wonderful momentum over, but there isn't. In fact, there's nothing at all. Ouch, a false build this overt is something that could turn off any casual listener. It's like listening to an incomplete MP3.

Okay, it doesn't exactly crossover into complete silence, but the pulsing bit of intro in Dissidenten's A Love Supreme certainly is quiet enough to pass off as silence. Enough moaning about odd, questionable transitions, though, otherwise I'll be doing it on every single track. Let's get back to the music for now.

A Love Supreme finally gives us a taste of those groovy Indian vibes, which is ironic considering Dissidenten is actually a German group. You certainly wouldn't know it from just this song, though, as the use of Indian lyrics is superbly flawless. To the rhythms of old freestyle, the hooks in A Love Supreme are pretty much carried by the singers, almost all of which has no Western influence (a few repetitions of the title through a slight vocoder notwithstanding). It's some seriously groovy stuff, to be certain.

Steve Snow gives us a different take on Meena Devi on the follow-up, throwing in hip hop breaks and turntablist trickery for a decidedly funky outing. Only some of the Indian instruments and chants are kept in to create the same moody atmosphere, most of which get stuttered up throughout as to not detract from the funk. The track also segues nicely into Talvin Singh's tabla heavy mix of Jai Uttal's Malkouns, which naturally suites Jai's vocal prowess perfectly. You can almost picture a row of Indian drummers jamming away while the ethnic singer croons along. I know typical bloopity-bloop-bloop-bloopity rhythms are often playfully mocked in the West, but Singh's funky breakbeats are incredibly infectious. Sitars and dubby electronics fill in the bridges for good measure.

Briefly moving us back in to club grooves is Ineffect by Material, a collective of rotating musicians that's held mostly together by bassist Bill Laswell. Of prominence in this track is international singer Fahiem Dandan, crooning along to bottom heavy rhythms (and, boy, does that bass kick some serious gluteus) while a myriad of ethnic string instruments bridge Dandan's performance together. The release notes seem to also make a big deal over some spoken dialogue done by William S. Burroughs, but there isn't really much he has to say until near the end. No, this is Dandan's song to carry and he does an admirable job of it, even if Ineffect does go on for perhaps a minute longer than it needed to (but then, that tends to be a Laswell trademark anyways).

And, with yet another abrupt crossover fade mix, we are thrust into yet another mix of Meena Devi from Steve Snow. Man, way to whore your own material Mr. Markus. This Ambient Mix is relatively uneventful, stripping the Goddess Mix down to just a bubbly acid workout, ominous pads, and the vocal chant. Fans of tweaking acid will most likely love it, everyone else mostly likely not.

After that acidy interlude, we are treated to one more Tulku track called Life Force, given a groove heavy ambient dub overhaul by DJ Cheb I Sabbah. Conjuring up images of Middle Eastern vistas as sampled conversations from those lands mingle with lonely woodwinds and chants, this is a wonderfully visceral piece of music. Thick bass rolls along to filtered, molasses-soaked beats, giving Life Force a wide-open sparseness fitting for exotic sojourns.

Jai Uttal returns with another vocal outing in Guru Bramha, but this mellow groover is kind of forgettable coming off the heels of Life Force and followed up by the wonderful Kalander by Badar Ali Khan. Steeped in the ancient style of song called Qawwali, this Trance Remix (though there isn't anything here 99.97% of folks would consider trance) provides a bobbling beat and pleasant string backdrops to complement Badar's vibrant chants. There is an intoxicating vitality to this song that inspires you to stand up and join in the chant, making it a perfect capper on any musical session, no matter the style that's been played.

So, given the generally nice things I've had to say about most of these tracks, I'm sure you’re wondering why the low-ish score? Well, let me get my rant on here:

The underlying problem with this compilation is the track arrangement. I can see Triloka wishing to expose as much diversity as possible, as there is a wide berth of world music that is criminally overlooked. Unfortunately, they seem to be trying to cram far too much in too short a space (this disc only runs an hour, kind of low for a compilation). And, aside from a few instances, the songs are so different from one another in the way they are arranged, it creates a very disjointed listening experience even without the bad crossover fades.

Ah, yes, the crossover fades. I tried to keep that gripe of mine until the very end but my displeasure of it managed to squeak in throughout anyways. Let me say this as bluntly as I can, since I can't think of any amount of tact to sugar-coat it: when you have very different styles of music in a compilation, a quick crossover fade mix just. Doesn't. Work. I can understand the studio doing this so there is no dead air time but when you have a house beat followed up with a very different hip hop beat, you almost need that two second pause between the tracks so it doesn't sound so jarring, abruptly taking you out of that nice little conscious zone music often takes you. Having this throughout a compilation doesn't let these songs shine they way they could.

The songs themselves aren't to be blamed here (although three different versions of Meena Devi is pushing it a little) but when there are better-arranged compilations of this sort of music, you'd be better off seeking those out instead. I'd only recommend Planet Rave Vol. 1 if you can't find these particular tracks anywhere else.


Score: 4/10

ACE TRACKS:
Tulku - Life Force (Tripambient Mix)
Badar Ali Khan - Kalander (Trance Remix)


Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

Chris Fortier - Trance America (Original TC Review)

Engine Recordings: Cat.# WIL33673
Released 2000

Track List:
1. Kolo - Pattern Of Sound (7:35)
2. Devol - Rude Spaces (7:05)
3. Hyper-X - Out There (Steve Porter Spacedrum Mix) (5:01)
4. Steve Porter - Innerpulse (5:37)
5. Sugarglider - Let Me In (Cass & Slide Or I'll Blow Your House Down Dub) (5:37)
6. 3 Monkeys - Crazy People (8:33)
7. Mara - Fall From Grace (Alderaanic Dub) (7:49)
8. Tranceiver - RPV (7:05)
9. Max Graham - Yaletown (6:19)
10. Memnon - Desire (2:26)
11. Memnon - Orchis (8:17)


(2010 Update:
I'll be honest. After I wrote this review, I absolutely dreaded ever purposely doing another 10/10 release that I also enthusiastically enjoyed. Although it isn't that bad for an early amateur effort, I felt I overdid the hyperbole here, and feared I wouldn't be able to reign myself in again until I was a better review writer. Though I did write a few more 10/10s over the years, it wasn't until this past year that I actually attempted something like this again. And yes, it was a huge improvement.)


IN BRIEF: For me, this was trance's redemption.

Back in the year 2000, anthem trance was undoubtedly at its peak. Unfortunately, as with anything extremely popular, it was grossly overplayed to the point of redundancy. Trance compilations and DJ mixes began to sound all too similar, with breakdowns and builds continuously overdone to the point of ruining any sense of momentum throughout. Catchy hooks and appealing riffs had replaced the otherworldly soundscapes that had defined the genre in its infancy. I was beginning to wonder if the original sounds of trance that had lured me into the wide world of EDM way back in the early 90s would be nothing more than a distant memory.

Then one day, a rather unassuming mix by a then unknown to me DJ named Chris Fortier appeared in the store. The cover art looked intriguing so I figured I'd give it a shot.

Right from the beginning of Kolo's Pattern Of Sound, I had a feeling I'd stumbled upon something special.

Building up proggy rhythm for a good two minutes, little sci-fi effects and noises flutter about, creating a sonic texture that conjures up futuristic urban settlements. Pulsing bass and simple percussion keep things grooving along quite nicely, looping throughout as dark synth pad washes suck you into a trance. About five minutes into Pattern Of Sound, the song breaks down to allow the pads to weave as the bass continues to pulse. A sample during this breakdown utters, "Drifting through the galaxy"; my thoughts exactly.

The rhythm comes back a minute later, more or less continuing with the loopy grooves earlier established as the song plays out into a mix into Rude Spaces by Devol. The spacey pads of this song suck you in even deeper as percussion keeps the momentum steady. Mechanical grumbles and electronic clicks tickle at the psyche as things play out for some two minutes worth of hypnotic prog. Soon enough, ominous, echoing synth stabs penetrate a murky ambience, embellishing along the way as they lead into a mild breakdown. As more menacing sounds and effects ooze with a guttural growl, little hollowed out chords plink about, letting the percussion rebuild itself in layers. By five minutes in, everything has come back together, leading us through a maze of futuristic soundscapes. As it reaches its peak, things fade back as we are taken into Steve Porter's mix of Hyper-X's Out There. The beats are laid on a bit thicker here, with more eerie pads permeating the background. After a brief, pad breakdown a minute into Out There, solid bass kicks start thumping, offset by mechanical effects throbbing in junction. Percussion is continuously layered as bass lines and subtle stuttering leads build the momentum up. This song is quite loopy, relying on slight changes in cybernetic textures to carry you forward as the groovy tempo keeps your feet moving (or head nodding, if you're sitting back as you listen to this). Out There is quite wonderful in a devious way; this is trance at its most primal, drawing you inward to the most meditative recesses of your consciousness.

And if you still haven't been entranced by these hypnotic textures, then Steve Porter's own Innerpulse will seize you and never let go again. The moment it starts after a brief mix with chugging rhythm and an ominous pad that touches the furthest reaches of your psyche, you are a goner. This is, without a doubt, one of the most hypnotic tracks I have ever heard. I could listen to a loop of the opening minute of this track for days as I explored the darkest corners of my mind.
However, the song gets even better as the pad leaves for a bit to allow stuttering synths stabs to layer up in a build, peaking wonderfully to lead right back to where we began with the pad, this time with a funky bit of bass added to the mix. Playing out for another two minutes of this as the synth stabs slowly build again in the background, finally cresting a minute later. Excellent stuff. With a mere four tracks, Fortier had taken my consciousness on a tranced out tour the likes of which I had not experienced in ages.

As Innerpulse finishes up with a percussive lead-out, Fortier takes us away from the ominous hypnotic tracks into something a little more benign with Let Me In by Sugarglider (with a playfully titled dub done by Cass & Slide). While menacing sounds and effects pulsate throughout, the rhythm keeps steady but gets a bit busier, upping the momentum a bit more. A chopped up female vocal sample begins to interlace itself to the rhythm some two minutes in; a minute later, it is given prominence as mechanical effects flutter about and warm pads accentuate it in a minute long breakdown.

However, more menacing effects, building back into some fierce rhythms and eventually overtaking the vocal itself, interrupt the peaceful interlude. This is merely a build towards a quick mix into Crazy People by 3 Monkeys. Picking up its cue, Crazy People gets right to work with some great lead-in percussion progressively layered as it builds in intensity with futuristic effects accentuating along. By three minutes in, we're introduced to a spoken sample from which this track gains its title from (12 Monkeys being the source, if I may trainspot for a moment) and a little beeping lead joins the fray as well. Four minutes into Crazy People now and things are bumping along with vicious intensity.

Eventually, things fade back for a bit as the sample gets slowed and stretched into a brief breakdown. Once it retreats, a bassy sound emerges, pulsing for a bit as electronic synth note stabs and percussion build. A minute later, we're right back into the thick of things, grooving right along as the song plays out to a stirring climax of dark prog textures.

As a percussion lead-out plays, a murky, throbbing bassline of Fall From Grace by Mara emerges and burbles along, taking us back into a meditative trance. Once Crazy People finishes up, effects weave about as the song slowly begins to build in intensity, layers of synths and hypnotic voices growing. Three minutes later, things retreat for a moment, allowing a stuttering mechanical effect to take the reigns as soundscapes create a futuristic ambience. More sounds and effects are added as the song progresses; string leads, pulsing acid, dubby pads, growing again to another brief breakdown two minutes later. Building upon its momentum, Fall From Grace creates another trancey stuttering effect as it takes us out with echoing vocals weaving in and out.

Building upon the momentum created by the stuttering sounds of the previous track, Fortier's choice of RPV by Tranceiver to follow up Fall From Grace couldn't be more spot on. After taking us down into a bit of a minimal rhythm, a bubbling bit of bass murmurs in the background as some deep synth chords stutter about, getting their pitch subtly bent throughout. Yet another deep trancer, things never really build into anything bigger than initially established, instead allowing us to become lost in rhythmic sounds. By the time Max Graham's Yaletown starts nearly seven minutes later, you'll hardly notice any time has gone by; such is good trance.

Picking up the intensity with heavy rhythm, Yaletown continues the stuttering nature of the last couple tracks, eventually leading into some synth chord stabs with delay effects tickling at the mind. These get some great prominence in a breakdown over three minutes in, never loosing momentum in the process as they get played and tweaked about throughout the breakdown's minute long duration. They fade down briefly, then come roaring back with heavy percussion, a nice little string pad in the background accentuating the moment in a wonderful climax.

Yaletown finishes up with a percussive lead-out, and we're brought into a minimal bit of prog with Desire by Memnon. With mostly mechanical percussion and effects supported by a pulsing bassline, this track really only serves as a prelude to the next track, Orchis (also by Memnon). As Desire plays out, the ethereal vocals of Seroya begin to gradually emerge, weaving with haunting grace as this track throbs along, percussion and acid effects slowly and surely added to increasingly draw us into trance. A brief breakdown three and a half minutes in gives us a breather, then we're right back into it, easily cruising along to simple, pulsing rhythm and spacey voice effects. The bassline embellishes a little towards the end but Orchis isn't about big moments; this track is specifically placed at the end to ease us out of the trance-induced journey Fortier started right from the very beginning with Pattern Of Sound. And, my friends, what a journey it has been.

This mix was like a breath of fresh air from the suffocating sounds of anthem trance when I'd heard it four years ago (as of this writing) and it holds up remarkably well. There is a timeless quality here as most of these tracks create a futuristic atmosphere for your consciousness to explore.

I'll grant that these are not particularly fast tracks and they don't go for large climaxes; those weaned on such types of trance will probably wonder what the big deal is. However, that is kind of the point here. Trance isn't just about moments of euphoria; it should be able to draw you deep within, allowing your awareness to drift from its surroundings and be carried away with your imagination. Fortier has crafted a CD that achieves this in ways rarely matched by typical trance releases.

I highly recommend getting this. You may never look at trance the same way again.


Score: 10/10

ACE MIXES/TRACKS:
Pattern Of Sound through Innerpulse
3 Monkeys - Crazy People
Max Graham - Yaletown

Written by Sykonee. Originally published 2004 for TranceCritic.com.© All rights reserved.