Various - Influence 2.2: A Hardtrance Experience (Original TC Review)

Hypnotic Records: Cat. # 95452
Released 1995

Track List:
1. Phasis - Welcome (5:52)
2. Phoenixx - The Mongolian Rider (7:48)
3. Analog Communications - Atmospheric Forces
4. Unknown Control - Heaven (6:22)
5. Bionic Crew - Final Entrance (4:35)
6. Retroflex - Family Nightmare (6:26)
7. Monks - Monks Too (6:44)
8. Omnicron - The Bushmen (6:10)
9. Argon X - Little Gamma's Adventure (6:45)
10. Influid - We're Always Behind You (5:40)
11. Influence Megamix V2.0 (8:45)

(2010 Update: Ugly review. I wouldn't be surprised if I turned away a few folks with this one. To save you the trouble of reading it ever again (even if it's for the first time), check out tracks 2,5,6,9, and 10. They're the good ones.)

IN BRIEF: Hard trance cleans up its act a bit.

Influence Recordings started out quite raw and dark in their releases, which actually helped them gain an edge over the blossoming hard trance and techno sound of the early 90s. By drawing upon industrial themes, many of the Influence artists created some true gems that time still hasn't managed to dilute, if anything because many hard trance acts these days don't delve into the sinister side of music as often anymore (unless they think using the Menacing Voice makes their tracks sinister enough -as if), preferring to let the realm of hardcore handle those themes.

While Influence had a raw beginning, even the artists on the label made use of more refined production equipment as the years went by. This second compilation of Influence tracks brought to us by Hypnotic (bless their hearts for bringing it over to us poor North Americans at a domestic price) gives us an inclining of the changing tides. The first Influence compilation from Cleopatra (Hypnotic had yet to be established as the EDM sub-label of Cleopatra when it was released) was quite gritty and menacing. This one has a little more polish on the production side but that distinctive, menacing Influence sound is still lingering.

Opening track Welcome is brought to us by Norman Feller under his Phasis guise. I've enjoyed many of Feller's works but I have to admit this one doesn't quite measure up to his other releases. The foundation is strong, of course, as the use of energetic rhythms and crisp, quick synth melodies does create a good source of punch. And the use of spacey pads midway through to complement the main leads is a welcome addition. So what's the problem here? Hearing the Menacing Voice intoning "Welcome!" way more than is necessary, especially towards the end when you hear it every eight bars, gets pretty redundant soon. Also, to be honest, the leads used aren't really the best I've heard from Feller. Sure, I can't expect the guy to come up with gold every time but it just sounds like he's going through the motions here. Still, Welcome is a serviceable track to begin the compilation with despite the fact it probably won't turn many heads either.

Fortunately, The Mongolian Rider by Phoenixx brings things up to speed. Starting out rather mellow with pads, bubbly effects and a brief vocal chant that will serve as the basis for most of the melody to follow, the song shifts into high gear a minute later with brisk, driving rhythms and a simple, punchy, fuzzy synth. Layers of percussion are gradually added, eventually bringing the opening themes into the fray. One more added melodic bit to harmonize with the pads and vocal is introduced some three minutes later and this track is well under way. Patches get shuffled around, allowing them to alternate between rhythmic and melodic sections as the pace tends to dictate. Really, the arrangement is quite simple, but that was one of the defining trademarks of these early trance tunes coming out of Germany at the time: infectious melodies using a variety of sound sources looping repeatedly to suck you into your mind. It may be simple but it's still highly effective.

The moody, acidy Atmospheric Forces by Analog Communications is a nice follow-up for about three minutes. After that, you start to realize most of the good ideas were used up in the opening of this track. This turn into mediocrity is mainly chalked up to the weak rhythms. Granted, the kick is effective but the rest of the percussion is quite bland. A shame, considering the moody promise hinted at by the start of the track.

Still, at least some of the elements worked. With Unknown Control's Heaven, almost all of the sounds used really don't mix well. The arrangement of them is fine but limp rhythms, weak leads (that sound very under-produced, I might add) and a silly vocal sample fail to grab your attention and hold it. I suppose this could just be a case of a lack of better equipment, as you can hear some decent ideas lurking in the patterns. It's a shame these guys weren't producing in the Cracked Studio Software era, eh?

If Heaven was an example of good arrangements with weak sounds, then Bionic Crew's Final Entrance is just the opposite. With warbly acid lines, spacey pads, and a simple, effective lead, this track starts out quite promising. Unfortunately, not much is really done with it. This isn't so much a problem of meandering too much (like Atmospheric Forces did) but ending a bit short. Okay, perhaps I've been spoiled by a number of trance tracks of various styles averaging the seven minutes mark and am being a bit selfish. After hearing a pair of weaker tracks, though, I wouldn't mind something that hooks me in instantly to go on for a little longer than just four and a half minutes. Ah, well moving on.

We're halfway through this disc now and that trademark sinister Influence sound has only cropped up sparingly. Family Nightmare by Retroflex aims to fix that with a rude awakening of throbbing gabber beats. I know a number of folk out there can't stand these, so you might as well skip past these next two paragraphs.

Okay, the brave (or foolish, depending on whom you ask) still with me? Good. Now, I'm sure you're wondering what a gabber track is doing on a compilation that clearly claims this is a "hardtrance [sic] experience" on the cover. Fact of the matter is when this was released, folks weren't as nitpicky about genres. Especially since trance was still a relatively new kid on the block, the criteria for what was and wasn't trance was considered quite broad. In general, so long as there was an element of entrancing sounds, you could get away with some very diverse compilations.

Family Nightmare makes use of those spacey voice notes that was quite dominate in a lot of early German trance. With a brisk, ominous melody striking in time to the fast, throbbing beats, this track is quite fun actually. A sped-up vocal sample gets thrown in at various points; although I can't quite figure out what it says (animation chips?) it certainly fits the tone of this track. Other fun items of note: a harpsichord-like sound replaces the spacey voice notes at one point, giving the track a tongue-in-cheek epic feeling; as was a common gabber cliché, the song pitches down right to a crawl towards the end before pitching back up to even faster speeds to climax out; the additional "Let's go!" vocal samples are nice little bursts of nitro at the end of rhythmic pauses. Really, the only glaring problem with this track is the use of some sort of low Atari bleeping sound that doesn't always sync up with the rhythm; it can really throw one's attention off and wasn't really needed in my opinion. And, I suppose, this being gabber it isn't going to become a classic track anytime soon, plus I highly doubt this particular track will change the mind of gabber's detractors. Still, it's a rollicking good time so their loss.

If you’re just joining us now after skipping past the last track (sorry if you missed the fun) this track by Monks may put you off yet again. Monks Too is hardly trancey at all. In fact, this is pretty much a fast techno track, and a rather boring one at that. Aside from a fun bit of bass and a tiny bit of experimental sounds that don't get nearly intuitive enough, there's nothing of real interest here. The feeble attempt at any kind of melody with laughable bell tones is just pathetic. Sorry if I just sound harsh here but this track is barely worthy of a being filler. I suppose it is a respite from the intensity of Family Nightmare but surely there was something better in the Influence back catalog that Hypnotic could have used.

I've already covered what goes on with Omnicron's The Bushmen in a previous review so I'll just mention it still fails to raise above the role of filler even after following a track that doesn't even accomplish that. Moving on.

I suppose you're wondering if there is anything worth keeping on this disc by this point now. Aside from a couple decent tracks, there hasn't been much that has really catapulted this compilation to the rating I gave, has there? Well, it seems Hypnotic saved the best for the last.

Little Gamma's Adventure by Argon X is one of those old trance tracks that I absolutely adore. Using a little whispering, echoing effect to start out, it begins dropping in pitch every few bars, bringing out some actual melody. As rhythms are progressively added, you start to realize this is actual the main lead and, once it settles into a much lower pitch, the guttural sounds are quite menacing. It's an ingenious method of introducing a hook but things get better.

As soon as the track seems well under way, a brief breakdown gives way to some paranoid bells and benign synth pads, completely changing the dynamic of this song. Once the main lead is brought back in, it creates a perfect contrast of yin and yang. The aggressive lead taps into your primal senses while the gentle pads tingle those warm emotions nestled inside. If I may be so bold to say it, Little Gamma's Adventure tells an effective little good vs. evil story, with the malignant beginning, leading to the benign second stanza before the two clash midway through. And, while the aggressive lead gets more intense following this confrontation, it is eventually pushed aside by the melodic elements to finish the song off as a pleasant little piano melody plays to finish off, hinting that good does triumph over evil. Not to be outdone, however, a brief return of that menacing riff pokes its head at the very end, leaving an air of uncertainty as the song finishes.

If Little Gamma's Adventure was a clashing of good and evil, Influid's We're Always Behind You dispenses with any notion of hope right off the bat. Produced by one of the early trance powerhouse teams of Ralph Fritsch and Detlef Hastik (best known for their work as Komakino), it sounds like they rip the ominous voices that was in the soundtrack to the Demi Moore movie The Seventh Sign and utilized them to great effect. This creates an incredibly gothic atmosphere as you can picture the thick beats bouncing off the cold granite of giant, cavernous cathedral halls. A creepy vocal sample whispers, "He's here; A finger-touch away. He's always behind you." as brief, intense drum rolls (one thousand bpm, methinks) grind in the background. Not really too interested in being too danceable, We're Always Behind You is quite content to take many pauses to envelope you within its sinister environment. You can literally feel yourself being consumed in murkiness with a good sound system. Adding to the menace is a creepy little melody introduced midway through, something that can have one nervously looking over their shoulder should they let their imagination drift to this foreboding track. It's certain to be a hit with every graver (gothic raver) who comes across it. The last track here is a megamix of assorted Influence hits. Of course, a megamix tends to only be as good as the tracks you are familiar with, relying more on trainspotting moments than anything else. Fortunately, I'm familiar with a large number of these so I quite enjoy it. To give this megamix an extra edge, however, producer Vernon Baur (whom was a partner with Talla 2XLC for a while, actually) throws in a huge assortment of battle tool samples and frenetic beats to keep this sucker in high gear. At some points the kicks are flying everywhere with mayhem as the backing song grooves along. It can get quite hectic but it's fun nonetheless. As for what's included on this megamix, let's see if I can put my trainspotter abilities to their test: Marble Cybos' I'd Rather Get Fucked By A Vibrator, Influid's We're Always Behind You (a bit funny hearing it again so soon, but it's such a good track I don't mind), Vene's Pain, The Postman's Elysium, two I'm not sure of, Phasis' Moonwalk, Reel X's Feels Good, and The Abeyance's Unit 99. Hmm seven out of nine isn't bad.

All in all, this release as a whole seems to be quite typical of most Hypnotic compilations: some great tracks, some decent tracks, and a few forgettable fillers. Of course, the ones worth having do make up for some of the drudge you have to sift through in this case so, if you are interested in some older trance, give it a go. I just wish Hypnotic could have trimmed the fat a little better when compiling this. I'm sure there had to be more in the Influence catalogue that could have made this an excellent compilation.

Score: 7/10

ACE TRACKS:
Argon X - Little Gamma's Adventure
Influid - We're Always Behind You

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

Various - Trance To Planet X: Influence 3.3 (Original TC Review)

Hypnotic: Cat# CLP 9674-2 

Year Of Release: 1996 

Track List: 

1. Phasis - Visitations (6:33) 

2. Wave Shaping Age - World In Trouble (6:45) 

3. Omnicron - The Bushmen (6:12) 

4. The Dermatologist - Jupiter (Omm To The Stars) (8:56) 

5. Analog Communications - Wave Generator (7:40) 

6. Morten - Hypnotizing (7:20) 

7. Judge S. - Brainstorm (Scatanic Gap) (7:00) 

8. Audio Science - Sunstroke (11:39) 

9. Cyberjam - Alphaflight (6:46) 

10. Artificial Flavor - Deep Noizer (4:56) 

 (2010 Update: Endlessly detailed and a drag to read. Why would I go to such excruciating lengths to microscopically recount how each track sounds? Well, this was actually the first sample review I wrote for TranceCritic, mainly as one to show other writers exactly what kind of format we were shooting for -specifically of an average 6/10 release. Plus, we were actually wanting to go this heavily detailed method, which was just stupid in hindsight; live and learn. Kudos to you if you can make it through all 2500 words of this -Lord knows I can't anymore.) 

IN BRIEF: Hypnotic Records on the decline. 

This third volume of music from Music Research's sub-label, Influence, brought to us by Hypnotic (a sub-label of Cleopatra), is something of a mixed bag. Influence's early releases were quite distinct in tone and atmosphere, drawing themes from industrial music quite liberally at times, all the while maintaining trance and hard acid elements. And while the latter is present in this compilation (at times in spades), the former is not. I suppose some of trance's early association with industrial had been all but wiped out by the time these tracks were released but it's a shame to see that distinctiveness in Influence's sound go by the wayside. 

But enough about the past. Does this compilation do the label justice? Well, yes and no. There is some quality stuff here but at times on this album it seems like Hypnotic was scraping the bottom of the barrel of Influence's library. 

Like the two previous Influence compilations Hypnotic gave us, this one starts out with a track by Norman Feller's alias, Phasis. Visitations is a solid sounding affair, once it finally gets going that is. As a low acid warble starts this track off, subtly playing with some pitch effects. Bits of percussion progressively are added, making for a decent, if somewhat long, lead in. In fact, it isn't until two and a half minutes into this track that Visitations gains any real momentum. Finally, at around three minutes into this track, a minor breakdown gives the main riff, a filtered little stuttering trancey sound, some prominence. It plays around with a few reverb tricks, adding ominous filtered pads into the background before everything comes together again for a sinister sounding little number. Around five minutes in, the song goes into another breakdown, and the initial low acid line gets to play around again before building up into a great moment where the pads are given prominence, accentuated with simple, driving bass punches. The riff joins the fray again as the song plays out to its end, which is quite abrupt, especially considering how much lead in this song had to start with. 

Fortunately, World In Trouble by Wave Shaping Age picks up the pace right where Visitations left off. After a hollow, metallic banging sound plays for a bit, a quite creative and unassuming sample from The Terminator (I'll leave it to you to guess where in the movie it's from) leaps out at you, rousing you from whatever inert state you might have been in. As the sample loops, a chunky bit of low acid joins at an urgent pace. The sample fades back and a simple, beeping riff becomes the focus, a rather paranoid sounding little thing. Driving bass kicks and other percussion are progressively added as things settle into quite the hypnotic number here. The riff fades back for a bit around two minutes in as some stuttering sounds and acid effects play out for a minute and a half, never loosing momentum. A brief breakdown comes about eventually, giving the riff full prominence. The song builds back up to its original driving momentum, where the riff is then treated to some echo effects, adding even more urgency to its already paranoid sound. As the Terminator sample loops out at the end, the riff is given full prominence once again to take us out. Great trancey stuff. 

Unfortunately, it's with the next track things start to become a bit suspect with this compilation: a return of the rather mediocre The Bushmen by Omnicron. Why put this track on the third of this series when its already been featured on the previous one? And if you absolutely had to put a previous track on, why not something better? "The Bushmen trance or curing dance..." Get ready to hear this sample a lot in this song, more than I'd really care to hear. I'm not entirely adverse to the idea of repeating samples throughout a song but very rarely does it ever come across as creative; more like tedious, especially if it doesn't add much to the track in general. 

The song itself is quite driving thanks to some brisk percussion, an energetic bass line, and stuttering voice pads. The main riff, however, is kind of lacking in this same intensity, sounding rather muddy. A few bridges with acid bleeps and a trancey ping that echoes across the stereo spectrum add a bit of diversity around three minutes in but, for the most part, it doesn't deviate from its main riff, which just doesn't have enough meat in it to carry this song. Even the stuttering voice pads, always a guilty pleasure of mine, can't help in making this track more interesting than a decent transitional track. 

If The Bushmen is an example of how to use a repeating sample wrong, the next track, Jupiter (Omm To The Stars) by The Dermatologist, is an example of how to use a repeating sample right. Of course, it helps that this spoken sample is the word omm, which has an almost Zen-like quality to it when heard or said. Strange, that. There's quite a bit of subtle stuff going on with this track. The opening, crisp acid line is quite low in pitch to start but it will be given a great workout throughout this song's duration, peaking and subsiding in frequency with great embellishment. Sinister and spacey effects come and go, playing off of percussion elements that never overtake the main acid line in prominence... and here is where a problem lies. The bass kick is rather flat. Were it punchier, this could have been a great track that could pummel dance floors. As such, it merely functions to serve the pace, which is a shame. At around six and a half minutes, the song stops and an ominous voice utters "Jupiter." Interesting, but nothing is done with it afterwards besides just pick up right where the song left off. It kind of takes you out of the trance this song puts you into while listening to it quite abruptly. What's the point of this? If something new were added afterwards, I could see some logic behind it. As it stands, Jupiter is a fine enough excursion into acid but leaves the listener wanting. 

Sadly, Analog Communications doesn't seem to be up to the task of upping the ante, further dragging this compilation into mediocrity after its solid start. The opening of Wave Generator is something of a mess. A chunky bit of stuttering acid starts out, which is fine, but a flat sounding bass, hi-hats, and cymbals that are progressively added just don't mesh well, making this sounding quite cluttered. It isn't until two minutes in that things kind of settle down into something resembling a song, thanks largely in part to a kick drum and snappy, shuffling claps that gets things organized. The acid line carries on throughout this track, given a bit of a pitch workout after the five-minute mark. Trouble here is this line is so abrasive and prominent that it drowns out so much of the rest of the track; you need a very good set of speakers or headphones to make out any of the other details. Even an eerie little warbling riff that joins the fray three minutes in can't get its head over the acid. Might make for an alright transitional track if an acid techno DJ played the middle four minutes worth but other than that, this song is just too cluttered sounding to be any good. After three straight tracks now that haven't been too hot, it wouldn't be at all uncommon for a casual listener to dismiss the rest of this compilation. 

Fortunately, Morten's Hypnotizing manages to rescue it from sinking altogether. After about a minute's worth of fairly standard lead-in percussion (although there is a bit of playfulness in the use of stereo effects), a wobbly bit of acid bass joins in. Half a minute later, some trancey beeps begin to float about before the main riff, a rather simple, stuttering synth stab, rises up in a minor breakdown. Things play out for a while as extra effects adding a sense of urgency to the riff build tension. At about the four-minute mark, the song breaks down into a lovely little bit where string pads float along with the trancey beeps, all the while a female sample says, appropriately enough, "Hypnotizing away." As the song builds up again, a chunky bit of acid grows from the background, given full prominence once the rhythm sets in again. As the trancey beeps and strings pads are added, it gives a sense of soothing calm over the song's initial anxiety. Even when the main riff returns, the two polar elements play quite nicely off of each other. On its own, Hypnotizing is fairly standard sounding trance from this era. Coming off of two straight hard acid tracks though, this one is like a breath of fresh air after sitting in a suffocating room. 

Now that our attention is brought back, it's time for Judge S. to increase the intensity with Brainstorm (Scatanic Gab). A menacing sound effect weaves about as percussion slowly fades in from the background. In less than a minute, a booming gabber bass kick rears its intimidating head, fortunately at a brisk enough pace as to not loose this track's integrity. The sound effect switches up a bit, turning into actual notes instead of background noise. All this is very subtle, mind; like the calm before the storm. By the three-minute mark, an incredibly catchy riff plays out; very epic sounding despite the low-key sounds used. A minute later, a quick percussive bridge ups the ante as effects and extra hi-hats accentuate this riff. As the song builds down its layers of elements, an acidy synth gets fed through a pitch bend, repeating towards a minimal outro. Killer stuff, and not an easy act to follow up. 

Fortunately, the always intriguing Audio Science is up to the challenge. Sunstroke starts out very low key due to a pulsing synth sound fed through a low pitch; things don't really pick up until over a minute in where a subdued synth pad weaves about as a very unique sounding bass kick pattern (going something like 'thump thump-thump-thump-thump-thump thump thump-thump-thump thump') is introduced. Extra hi-hats and claps in separate stereo channels are progressively added, setting up a very quick pace. As the synth pad leave, the original wobbling synth sound picks up in intensity, getting doubled up and peaking briefly every so often at higher pitches but remaining low for the most part. By the five-minute mark, the percussion briefly leaves, giving some eerie stuttering voice pads a bit of prominence before rejoining the fray. This carries on for a couple of minutes but never sounds repetitive thanks to the ever-so-subtle pitch tweaks to the pulsing synth line. Once we're in about seven and a half minutes, the song gives a new element, a good ol' bit of tweaking acid, a bit of prominence. Finally, every element comes together for a frenetic climax where the original pulsing synth gets fed into quite a bit of echo effects. This is quite a long song compared to the rest, clocking in over eleven and a half minutes, but it never gets tedious to listen to. There are so many elements subtly lurking about that an acute listener can have quite a bit of fun with it. The only real trouble with it is there is no real defining riff, just a series of trancey movements. As such, this is trance music in its most raw form: subtle, minimal, and hypnotic. Me likes. 

Attempting to outdo Audio Science at their game is not something recommended for a follow-up track, and this compilation wisely follows this advice by delving into something a little bit different than anything heard yet here. A moody pad intro starts Cyberjam's Alphaflight out. Before long a couple different twerping acid lines emerge, building in intensity. Soon enough this intensity is released as percussion charges in with a bit of low, reverbing acid throbbing in the background. Acid lines and effects weave about, creating what is actually something rather funky sounding, a bit of a surprise given how this song started out (at least, as funky as acid trance can get). Three minutes into the song, the opening pads return in a breakdown, this time more intense as low-key acid and sound effects play off of them for a minute. Once the rhythm returns, its more driving than before and various acid effects play all about, sometimes retaining a bit of the opening's theme, but for the most part doing their own thing in a rather fun way. The song kind of pitters out at the end from a lack of focus, though, seemingly having run out of ideas. This wouldn't be so bad if the next track picked up nicely after this steady run of quality tracks. 

Ouch! What is this? Did someone record this track too loudly onto this album? Or is it the song itself? Deep Noizer by Artificial Flavor does have a danceable rhythm to it, I guess, but the sounds used here to make up its main riff (which plays through the songs entirety) and various effects are so overbearing and abrasive, I can't imagine anyone making heads or tails of it. Everything is just so distorted. Granted, it's not a very long track, but I can't see anyone using this for anything more than a joke. It certainly isn't an enjoyable listen at home. What a lousy way to end an album. Since it's the last track, this is pretty much a throwaway song. I've never been fond of the idea; wouldn't you want to go out firing on all cylinders instead of leaving a bad taste in the mouth? 

Still, there is some great stuff to be had here; tracks like World In Trouble, Brainstorm (Scatanic Gap), and Sunstroke are worthy additions to any trance collection. But when a compilation contains such weak contenders like Wave Generator and Deep Noizer, it's hard to recommend an album in good conscious. However, the former group of tracks are worth having, and given the rarity of Influence material on CD (or MP3 for that matter), for the most part the rest on here would be welcome accompaniments for a trance library. It's just a shame the lesser tracks drag the overall impression here.

Score: 6/10 

ACE TRACKS: 

Wave Shaping Age - World In Trouble 

Judge S. - Brainstorm (Scatanic Gap) 

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