Ferry Corsten / System F - Trance Nation 2001 (A 'Token Prog' Review)

Ministry Of Sound: 2001

[Sykonee Says: Shame the excellent Trance Nation America from Taylor and Jimmy Van M falls just outside the parameters of this series. Now there's a pair of CDs that deserves some recognition! Come to think of it, why haven't I plucked myself a proper copy of that by now? Time to get on it, methinks. Also, you can read Jack's thoughts on it direct on the Discogs page, if you're curious. Anyhow, onto the 'Token Prog']

Plot twist – it’s CD2! Yes, you didn’t expect the Trance Nation series to give up its first disc to any kind of halfway credible music, did ye? As a side-note, it’s kinda fascinating to go back to these CDs and contrast how the big trance jocks chose to market themselves. Oakenfold and Tiesto hammered the mix CD market hard, treating compilations the way bands treated albums. Meanwhile PVD avoided the format almost altogether, but released more actual albums than Plantpot and Ape Man combined, whereas Ferry was mostly happy to hitch a ride aboard one of the Ministry Of Sound’s most shamelessly commercial trance compilation series.

Accordingly, the Trance Nation outings were never really regarded as any kind of Serious Artistic Statement by Corsten – hell, I don’t think he ever primarily saw himself as a DJ anyway - so when he did come anywhere near a Token Prog Disc, it was more about The Ministry goading him with cattle prods into playing what was seen as commercially viable at the time.

(Also, y’know how I’ve been hyping up the graphic design of CDs from this period? Yeah… we need to talk about that. Trance Nation 2001 has one of the worst covers ever, pitched midway between health and safety signage, E-number-heavy fruit chew wrapper, and the carapace of some aggressively venomous insect. Even nostalgia can’t save this one.)

Because this is Trance Nation, the Token Prog Disc has to open with the most commercially successful prog tune ever, Touch Me, and because this is Trance Nation, it has to be pitched at +4%. The next track is the disc’s solitary concession to “tribal tech” seriousness, and then things get, well… really fun actually. As early as track three, Ferry’s dropping in some nasty warehouse-friendly acid lines courtesy of Lee Coombs, and shortly after he accelerates a pair of Bedrock productions and slams them together with the expert disdain of a Hollywood stunt driver.

Don’t get me wrong, there’s the odd bit of shite on here. Ferry’s own remix of Tony Walker is a load of cobblers, and I don’t care if Human Movement happens to be prog legend Marc Mitchell in disguise: Love Comes Again is still a horrendous slab of rotten cheddar and always has been. But of all the Token Prog Discs we’ve covered, this is by far the most boisterous and exciting, with cuts like the Trisco remix of Freet and Ferry’s own Needlejuice being the kind of jaw wobbling, face stroking, can-I-have-a-sip-of-your-water-mate bangers that rarely make it onto more high-minded Serious Artistic Statement prog mixes. The mixing also sounds just rough enough to be an actual turntable mix, which kinda adds to the whole “I just want to get out of here and cash my cheque” energy Ferry’s bringing. Two thumbs up.

Cursory First Disc Verdict: Completely terrible, but you already knew that. Cosmic Gate’s Firewire sitting side by side with novelty hard dance shit-hit How U Like Bass is one of humanity’s low points.

Ferry Corsten - Twice In A Blue Moon (Original TC Review)

Flashover Recordings: 2008

(2016 Update:
Welp, so much for cautious optimism from the Ferry Fan Camps. Not only did he fully completely jump on the arena house bandwagon, but he did so in such a wacky way with Markus Schulz, you wonder if he was having a mid-life crisis regarding his DJ career. I get the reason for that whole New World Punx thing - what better way to capitalize on the ballooning festival market than as a 'supergroup' a la Swedish House Mafia - but man, did the PR for the 'project' ever look ridiculous for a couple of the scene's elder statesmen. Yeah, totally we can hang with the kids at these mega-events - they like cartoon ninjas, right?

That Corsten would abandon trance isn't a surprise though, as everyone with scene clout had to if they wanted to keep their profile high in a changing market. Nor am I surprised that ol' Ferry is inching his way back to trance now that the gravy train has started showing signs of deflating, most notably testing the waters last year with a new Gouryella single. Or maybe this was his plan all along, lure the kids in with modern cheese, then unleash his vintage cheese upon them, the cheese that you do so well. Who knows, though it leaves this album in a weird no-man's land between Corsten's different eras of music making. Does anyone even remember anything off Twice In A Blue Moon?)


IN BRIEF: Back on form, but…

When Ferry Corsten’s newest album - Twice In A Blue Moon - opened with a dull deadmau5 thunk-clap-thunk-clap beat, I instantly feared the worst. Although the famed Dutch producer had been accused of running dry on fresh ideas in recent years (even by our own resident Ferry apologist J’, no less!), you still believed he would never jump on a bandwagon. Yet, here he was, offering up a just-better-than-average mau5 tune with Shelter Me. The plodding rhythm, the bare-bones melodic execution, the bland effects: Zimmerman staples, all. Could it be that Corsten had succumbed to the pressure of following trends, that his days as innovator truly were long gone?

It’s funny. Despite opinions on Corsten’s music being contentiously split between fan and foe, folks seldom disagree on the merit of his ingenuity – after all, he made his name by being a leader in his chosen field. So when he appears to have become a follower, one can’t help but feel saddened by such a notion. You continuously root for the innovators to keep innovating, as they are the ones that push the arts into interesting new directions – even if you don’t personally enjoy it, such artistic evolution still creates a positive reaction in that it spurs discussion. In short, many may not have liked what Corsten did to trance, but damned if they didn’t like talking about it. If he’s become a mere trend-jumper though, then what’s the point in discussion?

All of these musings played out in my head for about the length of time Shelter Me played out in my player; which, despite a half-decent melody somewhere in there, should tell you how interesting the track is. The over-prominent thunk-claps continue into Black Velvet; fortunately, unlike typical deadmau5, Corsten writes a pleasant song featuring a rather inspired vocal outing from Australian singer Julia Messenger (given his years in the profession, you can count on Corsten being a stronger song-writer than the guy wearing a mouse mask). From there, I realized that my initial worries were for naught, as Corsten gets ‘contemporary’ only one other time, with the double-effort in Life - Doorn production (re: boring beats with non-climaxes; very anti-Corsten, really) coupled with whiney male singer.

The rest of this album finds Ferry going more to his popular roots. Aside from one last 80s gasp with the italo-inspired We Belong (which uses elements from the old hit Happy Town by Fun Fun), Twice In A Blue Moon features a good deal of simple euro-trance with energetic beats, the kind of sound many fell in love with when they were discovering the Dutchman at the turn of the century. Whether it’s because he’s grown nostalgic for his glory years or simply decided to provide what his fanbase prefers from him is open to debate. Bottom line is if you’ve been pining for the Corsten of old, you’re going to get a good amount of enjoyment out of this album.

For those who haven’t, however, you may end up approaching Twice In a Blue Moon more cautiously. In going back to the late 90s, there isn’t much here that is groundbreaking either. Corsten’s style has long been of simple punctuality, and the tracks on this CD don’t break rank from that; the melodies are mostly straight-forward and cheery, though hardly standout. Tracks like lead single Radio Crash and Brain Box feature prominent big hooks which will easily lodge in your head, although Brain Box will undoubtedly draw Zombie Nation comparisons (and what’s with that silly big horn blast? I swear I thought it was a semi-truck outside when I first heard it blare out). Meanwhile, he follows a more traditional melodically epic path with Gabriella’s Sky, Shanti, and the titular track, with each of these featuring a different twist on the formula: serviceable break-beats on the first, far-East vocal sampling for the second, and melancholy baroque with the last. These three tracks are easily the best on the album. Oh, and the final ‘outro’ track sounds like one of those piano interludes you might hear on an Enya album – again, whether that’s good or bad will depend on your preference for such musical doodling.

Unfortunately, much like his previous efforts, Corsten’s vocal offerings remain typically generic. Aside from the aforementioned Black Velvet, none of the singers provide anything memorable. Well, Maria Nayler kind of does, in that it has that cool vocoder effect on her voice, but her lyrics are rendered moot by it – she might as well be singing, “I’m blue, da ba dee!” Betsie Larkin, an obscure singer-songwriter from New York City, makes her major debut here with the other lead single, Made Of Love, yet another by-the-book vocal euro-trance cut. For those who can’t get enough of playing sing-a-long while jumping in one spot with their hand in the air, I’m sure this track is heaven – me, I take it as my cue to fuck off to the bar (especially so with the oh-so cliché supersaw breakdown, though thankfully kept brief here).

There isn’t much to fault with Twice In A Blue Moon, but neither is there much to highly recommend either. Aside from a few instances, it comes off like a rose-hued nostalgic trip to Corsten’s memorable years - which, of course, isn’t such a bad thing. However, Ferry’s music has always been generally limited in scope (big, epic, anthems! …umm…), and such limitations remain as apparent as ever.

Written by Sykonee for TranceCritic.com, 2009. © All rights reserved.

Ferry Corsten - Passport: United States Of America (Original TC Review)

Ultra Records: 2007

(2014 Update:
Was I ever prophetic with my quip of "blink and you'll miss it", Passport folding after this one, only the second in the series. Not sure why Corsten canned it so quickly. Maybe it didn't do the business he'd hoped, or it was simply a short-term flirtation with a concept. Whatever the case, he established his Once Upon A Night series a few years after this, which is now up to its fourth volume and remains his regular DJ Mix CD franchise. As far as I can tell though, it receives even less notice than Passport did, but then most of his fans follow his Corsten Countdown radio shows anyway.

As for this CD, I think I was a bit too hard on the euro-trance offerings in the second half of the CD. While I maintain they weren't doing much new for the time, compared to where the genre's gone, these are perfectly enjoyable pieces of melodic fluff. Guess I was still in my 'anti epic-trance' grumble-mode when I wrote this, though at least more diplomatic and detailed in explaining such sentiments compared to my 2006 writings. That said, I doubt I'll be throwing this one on again for a very long time. Why should I, when I have all those In Trance We Trust CDs from the same period? Hah-hah... ha!)


IN BRIEF: Workmanlike in every regard.

For a guy who almost single-handily propelled trance music into public consciousness, Ferry Corsten remained relatively humble. His Trance Nation series helped established the genre as the soundtrack for a generation of clubbers, yet he never overreached his ability, quite content remaining in a comfortable, competent niche. This may in part have to do with the fact he’s largely considered himself a producer first and a DJ second, so the desire to earn the accolades of the DJing elite never became a focus of his career.

With that in mind, most of his mix compilations in recent years haven’t been met with the same amount of fanfare as his musical peers. This new series, Passport, is as indicative of this as anything. Already out for a month, America has a feeling of ‘blink, and you’ll miss it’ about. There are a number of contributing factors for this, but let’s deal with the most important one here: the music.

Straight up, this is a remarkably monotonous collection of music considering Corsten’s name is attached to it. Whether it’s trance or nu-electro, the guy can always be counted on for party rockers, and such moments are few on this release. Divided into two, the first half leaves the impression he’s mellowed out, proggin’ up his sound like many of the older trance jocks did when they shifted genres. Not that he’s ever played this style before, but it certainly isn’t what he’s known for, and to dedicate a large portion of this DJ mix to it is surprising.

Let me be clear, though: this isn’t prog like Bedrock or Global Underground - more like the lightweight stuff Gabriel & Dresden popularized a few years back, and really has no official designation [it does now! –2014 Syk]. It’s too sluggish to be trance, too unfunky to be house, and too pap to be prog proper. So it remains in prog limbo, derided as McProg and jumped on by epic trance jocks when they want to play something ‘deep’.

But deep it is not. Unremarkable rhythms, trite poppy vocals, and scant melodies are to be found instead. Solarstone’s Late Summer Fields is nice enough and Mind One’s Hurt Of Intention has a rather catchy chorus, but most of these tracks plod along, with Nic Chagall’s remix of Wippenberg’s Promisedland being the worst offender. I swear the Cosmic Gate member is on a one-man mission to turn prog into a lifeless parody of itself.

If the mix didn’t grab your attention for most of the opening chunk, then Megashira definitely will. It contains a hook that is so hideous, it’s stoopid-good; like an amped-up hoover synth. I can see why Corsten would want to use this, as it sounds like the kind of thing he might have made himself lately.

From there, Corsten segues into trancier tunes. The good news is the atmosphere of Passport does turn more pleasant; the bad news is the set barely picks up at all. This isn’t so much a case of laid-back vibes keeping things mellow - which would be fine - but rather Corsten’s track selection and arrangement is middling: predictable melodies, perfunctory mixing, oodles of reverb and breakdowns. The same ol’ story with most trance these days, really. If you’re new to it all or still cling to 2001 nostalgia, you’ll love it; for everyone else, it’ll sound all too familiar.

Actually, very familiar in two cases. The new Flashover remix of Insolation is the obvious example but Casey Keyworth’s The Sunlight (as Breakfast) is the startling one. During the two-minute breakdown/build - amongst a wash of reverb effects - a backing synth pad plays a nice melody that strikes an uncanny resemblance to Robert Nickson’s Spiral of three years ago. Supposedly they were both written around the same time and the similarity is entirely coincidental, but fact of the matter is Spiral has had bigger exposure in that time, whereas The Sunlight only now has seen an official release on Ferry’s label. That’s how the ball bounces in the music business though.

As for the rest of Passport, there are a few fine moments: Corsten’s contributions shine compared to the rest, proving he’s still better at this sound than everyone that has copied him since; and Joni Ljungqvist (aka: JPL) continues to show promise at making trance that is actually trance-inducing. Beyond that, there’s very little else of note.

Now, don’t take my indifferent tone to mean this is a bad release. Ferry maintains an amiable tone to the proceedings, making Passport at least an agreeable listen. However, if you’re looking for something that will knock your socks off with energy or sweep you away in euphoria (much less be mesmerized by actual DJ technique), you’ve come to the wrong CD. This is a mix that doesn’t reach far, quite content to let the tracks on Ferry’s label be the centerpieces (of which about a third makes up the tracklist), complemented with a few well-known tunes to pad it out with the filler. Sadly, judging by the offerings on America, the current crop of Flashover Recordings probably won’t be much remembered a couple years down the road, lost in the annual pile of melodic trance glut.

Written by Sykonee for TranceCritic.com, 2007. © All rights reserved

Ferry Corsten - Fire (Original TC Review)

Flashover Recordings: Cat. # FLASHCD002 

Released October 28, 2005 

Track List: 

1. Fire (Radio Edit) (3:44) 

2. Fire (Extended) (7:21) 

3. Fire (Flashover Remix) (7:21) 

(2010 Update: Man, confrontational or what? I guess I was itching to let out some of my gripes of Corsten's brand of trance for a while, and went for it here. Not a good review by any stretch -even the snarky attitude here isn't as clever as it hopes to be.) 

IN BRIEF: Give me 80's or give me death (by fire). 

Well, gee, what more can there be said about Ferry Corsten that hasn't been psychoanalyzed to death by scene scrutinizers and would-be historians? As a guy who almost single-handedly popularized an entire musical movement, supplanting nearly every other form of EDM as the premiere genre in the process, his place in history is pretty much guaranteed. I suppose the only debate that still rages regarding Corsten is whether that place will be remembered with reverence or infamy. But screw all that. I'm going to tell where Mr. Corsten stands with me. 

To be blunt, I grew to despise the Corsten style very quickly (so apologies in advance for any snide comments to come, as some habits are hard to break). Not so much the songs themselves (although they'd get a bit loony on occasion) but the way they were used by DJs. I'm sure you all know the drill: pumping rhythm gets you psyched for a minute or two, it recedes to introduce a happy-go-lucky melody for a minute or two, song builds back up for a minute or two, finally accumulating to an energetic climax played out for a minute or two. Vintage Corsten, right? This formula was so successful, nearly every new trance producer (and even a few older ones) shamelessly copied it, right down to the exact same synth patches Corsten used. 

To this day, the formula continues to be milked despite it having overstayed its welcome by a good three years (or six, for some). Worse yet, a great number of DJs ended up hammering these types of tracks endlessly through a night. While such songs make for good peaks in a set, when they are played over and over it creates an annoying stop-go-stop-go-stop-go flatline of momentum. Anytime you feel you get somewhere, you end up taking a few steps back due to killed rhythm. 

Is it fair of me to blame Corsten for this? Probably not, but it was his tracks and remixes that set the atmosphere for many a flatlined party for me, and those boring nights have become fixated with his sound in my psyche. As a result, nearly every time I hear a standard Corsten type of track, such memories come back, and I'm bored of what I hear. It cannot be helped, as that's just the way music and our brains work. Until some good memories are replaced with the bad ones, those Corsten tunes that were overplayed with such redundancy by bad DJs will continue to draw my ire unless something amazing is done with it (looking at the state of trance these days, I do not hold out hope). 

Of course, this has nothing to do with Fire. It's no secret Corsten's changed direction in recent years, moving on from the sounds that made him famous. While many seem to be calling his new style 'electro trance', I personally call it 'using a different preset because the sawwave button is busted'. 

Okay, jokes aside, the newer sound used in Fire is kind of refreshing if you've followed his career. I'd hardly call it trance, as it almost sounds like the kind of stuff you might have heard in the early hi-nrg clubs. The songwriting is stupidly simple, with the main hook repeating throughout as additional twinkly melodies and harsh effects come and go. 

Oh, what's that? You've already heard that hook? Well, sure. Fire is essentially a cover of Duran Duran's Serious, right down to Simon le Bon's opening lyrics being lifted and repeated throughout. I guess I could moan and bitch about how the pillage of the 80's continues unabated, but I like this track just enough to give it a pass. That hook is far too catchy to complain about the big picture right now. 

The Flashover Remix sees Ferry having fixed the sawwave button on his synth, so we get a pretty standard trancey overhaul of Fire. The main hook is subdued in the form of sweeping synths as it gradually builds throughout while all the other elements play out as they did in the original. And, of course, there's a standard breakdown and build, which is inoffensive enough provided it gets used properly in sets (I wouldn't hold my breath) but nothing revolutionary either. Granted, there was a breakdown/build in the original too, but it was much shorter and far less obvious, as there were enough noisy effects going on throughout it that it never felt as though the pacing was thrown off. 

And, to be honest, I think the fact we didn't have to sit through so many of the usual Corsten clichés is what helps this track out more than it really should. Yes, the hook can get a bit annoying if listened to for a while, but it is also perfectly catchy in that you'll find yourself humming it to yourself long after its been played. 

The rest of it sees Corsten sticking to his strengths and foregoing what I always perceived to be his one weakness: the danceable rhythms are still there but the peaks of the song aren't as anticlimactic as a number of his tunes have been in the past (yes, I know I'm in the minority on this one, but who's writing this review -you chowderheads, or me?). 

Although I'm covering the initial CD release of Fire, I thought I'd be generous and also do a quick bonus review of the vinyl-only Ron van den Beuken Remix. Ahem... This remix is sweet! Consisting of hard, driving, German (styled) trance that scrubs away all the goofiness of the original in favor of a sinister atmosphere, there's far more energy to this than the other mixes. Beuken's version is guaranteed to pummel a dancefloor with its aggressive edge. 

If you don't own a turntable (probably many of you) and you want to be honest and legally pay for this remix (probably not as many of you), I highly recommend you pester Mr. Corsten with e-mails to include it in future CD releases of Fire. Until then, I'd say hold off on picking this up, as you'll probably be hearing the original all over the place on radios (underground and popular), clubs, compilations, and passing trendster cars to get your fix in the meanwhile. 

Score: 7/10 

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