Trend - Trend EP

SPX Digital: Cat: # SPX006 

Released November 2009 

Track List: 

1. Abscent Dream (8:01) 

2. Abscent Dream (Shane Blane Remix) (7:32) 

3. Always But Never (7:47) 

4. Patience (8:55) 

IN BRIEF: Fine debut. 

The boys over at SPX Digital (U4IC DJ’s and Corderoy, specifically) seem to have done well for themselves in the year of 2009. When last mentioned on [TranceCritic], they had just released their second single, 3 Spirit - now, as we draw to a close in the year, SPX is on single number six, which is a decent rate of output for any up-and-coming label. 

This time, we have a duo by the name of Trend, which, according to the promo material, is comprised of Dean Anthony and Deep Cycle. Aside from appearing as remixers on previous SPX singles, virtually nothing can be found of them online (well, there’s a Deep Cycle on MySpace that appears to produce deep-tech house, but I kind of doubt it’s the same guy -correct me if I’m wrong though). 

This self-titled EP features three original tracks, plus a remix. The originals are all with their charms, two of which are quite worth your while. They’re mostly on the tech side of trance, featuring a different spin on the formula that can suit a specific period of a typical set. Abscent Dream is the subtlest of the bunch, utilizing a simple-yet-effective hook that simmers throughout the track - yes, even during the breakdown - that gets brightly tweaked at key points but is never oversold; all-and-all a pleasant deep trancer. Always But Never, on the other hand, shoots for the epic jugular. Trend do a solid job of working you up during the breakdown/build portion, but unfortunately the payoff on the other side isn’t nearly strong enough; the second half isn’t without merit, just a letdown given the lead-up. Finally, Patience is your no-nonsense tough-tech cut. They do milk their build a little much but rather than trying to blast you with a massive drop, Trend instead ease the beats back in, which is remarkably effective.  

The thing that struck me the most regarding these tracks is just how nicely produced they are. The sounds are clean and well spaced, featuring none of the annoying brick-walled over-compression that’s come to plague many a trance track in recent years. If you need an example of just how much better Trend’s tunes sound, take a listen to the Shane Blane remix of Abscent Dream, which is punchy to a fault and sometimes drowns with reverb washes. Compared to Trend’s cuts, Shane’s production is even a little painful on the ears, which is a shame since he does a decent job of taking the track in prog-trance territory. 

Overall though, Trend’s E.P. is a solid debut. If you fancy yourself some finely produced trance, this duo’s three offerings will serve you well.

Score: 7/10 

Written by Sykonee, 2009. © All rights reserved.

Tiësto - UR/A Tear In The Open (Remixes) (Original TC Review)

Nebula: Cat. # NEBT082 

Released September 26, 2005 

Track List: 

A. UR (Junkie XL Air Guitar Mix) (12:34) 

B. A Tear In The Open (Leama & Moor Remix) (9:57) 

(2010 Update: Boy, am I ever glad I waited to have my say of Tiësto. Had I tried to do it here, it probably would have come off like my other 'rants' of the time: poorly emulated of other online ranters. Remember, kids, it's a good idea to first find your own voice before you start taking a megaphone to it. Oh, and I found out 'UR' means, um, 'you are'. Was a cute acronym really necessary?) 

IN BRIEF: Tiësto in Progland 

This being my first review of a Tiësto release here at TranceCritic, I'm sure you're hoping for some spicy commentary on the man himself: dissecting his over-inflated superstardom, or examine an amazing PR machine marketing the Tiësto brand, or analyzing the merits of his musicianship, or even giving the Dutch DJ props where they are deserved. I'm afraid you're going to have to wait a little while longer. 

Yes, I have plenty to say regarding Tijs Verwest, probably enough to fill an essay. However, such material would be out of place on a little single such as this. Rather, you'll have to wait until I review a major release, past or future, before I cut into the Tiësto phenomena (don't worry, it's'a comin'). 

The main attraction on this single is Junkie XL's remix of UR from the Just Be album. I've never heard the original, nor am I in much of a hurry to hear it. I'll probably eventually have to but I'd rather wait until I see the album in a used shop or bargain bin (don't laugh - the latter was where I picked up Nyana). Let's just focus on this for now. 

Despite generally lukewarm reactions to In Search Of Sunrise 4 from listeners abroad, many mentioned this remix was a highlight of the compilation. Questions were asked if or when it would be available as a single. Now that it is, I can see what the fuss was about and still be able to hold out on ISOS4 until it too makes its way to the bargain bins (hahaha!). 

I have to admit I still have some difficulties in wrapping my head around the idea of Tom Holkenborg doing prog tunes. I first came into contact with his music by way of his more block rockin' breakbeat tracks and remixes for metal bands like Fear Factory. As such, seeing Junkie XL productions on typical Global Underground-esque compilations over the years looked quite odd to me, but it just goes to show the incredible talent Holkenborg possesses in crossing genres without so much as a misstep. This remix of UR (does anyone know what that title means, by the way?) clocks in at a whopping twelve and a half minutes. You'd think with that kind of length, you'd get a bunch of throwaway lead-ins, outros, and self-indulgent tangents clogging up the works, but amazingly not a single second of this remix goes to waste - there's always something interesting bubbling about. Even the rhythmic intro, which lasts over two minutes, could have enough going on in it to make for an independent track. 

The song goes about its business in typical prog fashion, letting the original lyrics from Matt Hales (a.k.a.: Aqualung) do their thing while Holkenborg adds little sonic flourishes here and there before letting the more musical elements take over. Long periods of rhythmic or melodic stretches come and go, maintaining a steady climb although never quite going for the gusto. This is a song aiming for laid-back moments rather than dancefloor domination, although it'd probably get the job done in that department too in an equally low-key prog set. As for the air guitar from which this remix is titled over, it kind of meanders about in a plucky, acoustic manner with plenty of reverb to give it tonal depth. As with the rest of the elements on hand, it's really just another piece in this Junkie puzzle rather than a feature begging for attention. 

Leama & Moor provide a remix of A Tear In The Open (the original also from Just Be) for the B-Side of this single. The pair seems to have been making some noise lately, especially Andy Moor. And, while I've heard many complaints of twinkly, echoing melodies and simple, thick basslines in music from him these days, these attributes work nicely enough with the original song's ethereal Celtic chants and flutes. Even more laid-back than the remix of UR, it is also far more sparse. Minor pads and reverb effects do fill in some of the sonic gaps, but not nearly to the level that Holkenborg's work on the A-Side did, so this comes off sounding a bit simpler. Still, it's a pleasant little prog number. I'm sure my mum would enjoy it. 

With all the hype centered around the Junkie XL remix, the Leama & Moor remix was kind of unanticipated to go along with it, but it finely serves as another lead-off single to the remix album of Just Be that was recently released. Is this a worthy single to own? Well, prog fans will probably enjoy it. Heck, even the detractors of the Moor sound should enjoy his remix with Leama on the B-Side - I certainly don't find anything wrong with it. 

The only trouble I have with this release is, despite the fine production on hand, I can't help but feel things are on cruise control with these remixes. I'm not saying they should have been earth-shattering, revolutionary remixes - for what they are, they are quite nice. However, quite nice doesn't always cut it when so much music is being released in the world. Unless you've never heard this kind of stuff before (and I'm assuming most of our readers have had at least a few years under their belt), very little will leap out and grab you while either one of these remixes play in the background. As with most prog music, you need to be completely engrossed in the songs playing to get the full benefit of them, otherwise even the twelve and a half minutes of UR will pass you by without much notice. 

Score: 7/10 Written By Sykonee. 

Originally published 2005 for TranceCritic.com.© All rights reserved.

Deejay Goldfinger - Runaway (Original TC Review)

Mastermind Music: Cat. # MMM2005001 

Released November 2005 

Track List: 

A. Runaway (Goldfinger's NRG Factor) (6:52) 

B1. Runaway (Dancefloor Saints Remix) (6:36) 

B2. Runaway (Dancerockaz Remix) (6:32) 

(2010 Update: Fortunately, we didn't get subjected to a surge of crummy hair-metal dance covers. Unfortunately, something even worse did emerge: ironic-hipster dance-rock -complete with ironic mullets. Ugh, I think I'd take a dozen tunes like this one than any more of that.) 

IN BRIEF: Time to grow a mullet. 

In a previous episode of Sykonee Reminisces Euro's Glory Years, I gave props to Deejay Goldfinger for being daring enough to give a whole verse to a rapper. Having personally given up on the genre since the rapper's unceremonious exit, the nostalgia factor in Can’t Stop Me earned the single a rather generous rating despite my complaints of the song very nearly ripping off Somebody's Watchin Me. 

Recently, I was personally contacted by Goldfinger to see if I'd be interested in reviewing his latest single, Runaway. After my initial surprise had passed (after all, we here at TranceCritic have been rejected by others for reviews that were less sarcastic than my Goldfinger one), I accepted the offer. Even if I wasn't particularly fond of Can't Stop Me, I was generously curious if Goldfinger would expand the rapper's role further than a single verse. After all, someone has to lead the charge to spur the eventual retro return of raps in euro dance music. 

However, Runaway doesn't feature any raps at all. This is a good thing, though, since this is a cover of the Bon Jovi hit Runaway. I doubt an MC would suit the theme of that song at- 

Back up a moment there. Did I just type Bon Jovi? As in, hair metal Bon Jovi? You bet. Since modern dance music continues to look to the 80s for inspiration, it was only a matter of time before the most mocked of all musical styles from that decade was tapped as well. The big question is how competently it would be done. 

I was never a big fan of hair metal but you cannot deny its, um, charm. Over-the-top? Certainly, but a great deal of music is. When you turn your brain off and let your hair down, it can be a most fun form of stupid music in decent doses. And no other kind of rock seems to inspire more folks to pull out their best air guitar moves without a care in the world. As such, the form of hard euro dance music Goldfinger is known for is a perfect template to work with, as it is just as equally stupid, fun music in decent doses. 

Sure enough, the rhythm in Runaway is punchy with suitably throbbing bass driving the whole enterprise. What really knocks me over, though, is just how good Felicitas Zoë's singing is. Having grown so accustomed to gals doing poor interpretations of older songs in a dance format (heck, sometimes the lyrics don't even make sense from a girl's mouth, as many times they’re cover songs written by guys), anytime someone not only does a competent job but even raises the song's effectiveness is a welcome, if all too rare, surprise. 

She absolutely nails the essence of Runaway's original lyrics (about a girl who runs away from home, if you hadn't guessed), lending a tragic touch to the feel of it since it comes from a female's mouth. You also get some kooky hair metal guitar licks lurking in the background, which in turn adds to the more playful nature of this slice of euro. I really could have done without the simple synth riffage midway through the song, though, as the sounds used in it just don't quite mesh with the rest of the elements on play. Ah well, that's what the remixes are for, right? 

The Dancefloor Saints provide a remix, and, just in case you didn't know it's by them, they repeat that fact throughout the song. The Saints aren't the first to use such a hokey technique but blatant advertising like this is annoying just the same. As for the remix itself, it's a little more groove-centric, Goldfinger's synth is gone, and you get some additional trancey effects during the chorus, but it remains almost identical to the A-side. The strength remains in Ms. Zoë's lyrics and the background guitars. 

Ah, now this second remix (done by the guys who help produce Goldfinger) is much better. You get hair metal guitars galore, adding to the cheese factor without going too far over the top. With the rhythm a little less throbbing, it complements all that riffage wonderfully. Throw in Ms. Zoë's vocals getting some extra mileage with effects in between the verses and choruses, and you have a nice little bit of clubbing fodder that'll get dancers whipping out air guitar moves in earnest. 

While I've never been a huge fan of dance covers of rock songs, this one outdoes most since it recognizes the strength of its source material and indulges in it gleefully. Unfortunately, because Runaway does tap the original source so heavily, this may also be its biggest drawback. It plays the nostalgia card perhaps a little too hard. The song would definitely get a reaction in a typical Top40 club but I can't see it having much longevity at home. Once you get past those hair metal retro vibes, the song is very standard euro club music. 

Also, I hope this doesn't become a trend. Runaway works better than it really should because Ms. Zoë's vocals are more inspired than most euro cover fare. However, I can see dance covers of hair metal tunes going horribly awry in the wrong hands all too often. 

Score: 6/10 

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

Cosmic Gate - The Drums (Back2Back Mixes) (Original TC Review)

E-Cutz: Cat. # EC2005/05 

Released September 2005 

Track List: 

A. The Drums (Back2Back Mix) (8:45) 

B. The Drums (Back2Back Dub) (8:45) 

(2010 Update: Straight-forward enough. Typical 'average' release. Cosmic Gate's change of sound was still unanticipated though, so it dates this review somewhat.)

IN BRIEF: Not quite the hard trance version of Little Drummer Boy. 

Cosmic Gate's a funny group for me. Despite their tracks containing elements my personal bias often detests - specifically overlong breakdowns and builds - I've generally enjoyed what I've heard from the duo. Granted, it hasn't been much, but you can't keep tabs on trance without running into your usual suspects like Exploration Of Space or Tomorrow on occasion. Whether it's their interesting sound patches or their crafty use of rhythms, their songs manage to work for me. 

Yeah, that's it. Dem riddims! No matter how gratuitous the breakdowns get, the peaks in Cosmic Gate's work rarely feels anti-climatic because the following rhythmic payoffs are serious movers. Far too many hard trance producers seem to forget this, figuring four-to-the-floor hits with off-beat bass throbs are the way to go. Cosmic Gate knows better, hence their tracks are more memorable than their peers (some nifty hooks at times hasn't hurt either). So, you can imagine I was quite interested in this single from the duo with a title consisting of the most rhythmic of all instruments. 

Apparently, The Drums was the first single made and released when Stefan Bossems and Claus Terhoeven paired up to make some tunes. This recently released Back2Back version is taken from the second volume of a series of DJ mix compilations they produce called, shockingly, Back2Back. 

And things start out quite nicely on this single. With plenty of lead-in rhythm, The Drums has more than enough time to work its grooves. A mild breakdown three minutes later introduces a buzzing sawwave, filling out the aural background without being obtrusive. The energy building in this track is promising. Unfortunately, things slide down after a longer breakdown starts just after the four minute mark; this sucker is a whopping two minutes long! Despite a continuous throbbing beat in the far background, it isn't quite enough to keep the momentum going for such a long downtime. 

Making matters worse is the main hook, which is introduced as the build begins. It's far too simple and lacking enough punch to get you excited for when the peak finally hits. Striking a single note every second beat just isn't going to cut it. The Drums seems to finally get going again a little around a minute after everything comes back together but we're only a few bars away from your obligatory minute-long rhythmic lead-out. 

There's a dub on the B-side of this, which is the exact same song, sans some spoken dialogue in the breakdown. In its absence, you get a long stretch of just the throb of the distant bass. This actually helps in creating better tension than having some gal going on about taking you on a cosmic journey. The anticipation for a hook, or a hi-hat, or anything, absolutely aches for release. It's just a shame the hook is so drab; it can't hope to ever release all that pent up tension. 

I guess the big question on everyone's mind is how does this version compare to the original. I honestly couldn't say, as I've never heard a decent version of the original. After plenty of scouring the net for a sound sample, the best I found was a thirty second snippet of opening rhythm you commonly find at Amazon (and I have my reasons for not using a p2p to find it). From what I could gather, though, the Back2Back version certainly is more energetic, more finely produced, and makes better use of current sounds. In short, everything you'd expect of an '05 remake - a modern shine on a tried and tested track. Cosmic Gate fans will undoubtedly be excited to have a piece of old Gate goodness re-released for the modern times, especially since the original single of The Drums is getting harder and harder to find as time passes on. 

For the rest of us, however, this single may be a bit of a letdown if you were expecting something more along the lines of the duo's more famous work. It isn't all together bad but since this is a remake of Bossems and Terhoeven's earliest efforts, the lack of any kind of innovative or memorable hook shows the pair had yet to nail down a sound that would remain timeless as they would in the coming years.

Score: 6/10 

Written by Sykonee. Originally published 2005 for TranceCritic.com.© 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.

Coldcut - More Beats + Pieces (Original TC Review)

Ninja Tune: Cat.# ZEN CDS58 

Released 1997 

Track List: 

1. More Beats & Pieces (Daddy Rips It Up Mix) (4:03) 

2. More Beats & Pieces (John McEntire Tortoise Mix) (6:05) 

3. More Beats & Pieces (Obsessive Behavior) (4:20) 

4. More Beats & Pieces (I Miss You Blobula) (3:13) 

5. More Beats & Pieces (Meet The Weasels) (6:05) 

6. More Beats & Pieces (Beans & Pizzas Strictly Kid Teeba Jam) (7:06) 

(2010 Update: Er, yeah. I'm definitely grinding an ax here. Probably not the best idea to shoehorn an overlong rant into a review of a Coldcut single, but TranceCritic didn't really have a separate outlet for such bloggy editorials, so I went with this. Definitely is dated though -man, remember when the DJMag poll actually seemed relevant?) 

IN BRIEF: DJing: proper. 

Well, another DJ Mag poll has gone by, with Paul van Dyk fans rejoicing, Tiësto fans lamenting, and Armin fans still outraged with the results. Everyone else in the EDM spectrum couldn't give a rat's ass, especially many DJs. The fans of the Mega Trance Brigade seem to feel the fact their idols are ranked the highest in a DJ poll is a vindication that they do enjoy the best DJs in the world, and that those who say the DJ Mag poll is nothing more than a popularity poll aimed for the club kids are just jealous that their favorites didn't rank higher (or even make the list). 

However, these naysayers are, in fact, right. When it comes to, say, movies, which award ceremony has the most prestige? The Academy Awards, of course. Why? Because these are selected by a panel of judges whom have poured over countless movies in their lives: studied film techniques, acting techniques, production techniques, and the whole shebang. We trust their opinions because they are experts in their field. On the other hand, the MTV Movie Awards are voted by the fans: the popular choice. You would think this would garner just as much respect amongst their peers, but you will very rarely, if ever, see a movie claiming MTV's Best Movie Award in its promo spiel (unless its targeting MTV's crowd, of course) or an actress putting “MTV's Best Supporting Actress: 2003” on a list of amazing achievements in their craft. Oh, it may look nice to the producer to see that such an actress is obviously bankable, but it's always the Oscar folks in that profession are proudest of, not the MTV Popcorn. 

 To throw this analogy into the EDM world, the DJ Mag poll is the equivalent of the MTV Movie Awards: awards voted by the fans. As such, while a number of folks in the DJ communities may say it's nice to see a respected individual make the cut, very rarely will they give much respect to the poll itself for one main reason. It may sound elitist, but fact of the matter is many who vote in these polls are not experts. They have not spent countless hours immersing themselves into the whole spectrum, meticulously studying subtle techniques and tricks of the trade, digesting all there is to possibly know. Most will pick a genre they like (usually trance) and follow the more popular names thanks to the massive amounts of promotion such names get, ignoring everything else the DJing world has to offer. How can one make an expert opinion on DJing with that kind of dedication? 

Of course, this isn't completely DJ Mag's fault, as it's merely filling in a niche that seems to be lacking in the EDM community at large. Aside from the DMC Championships (which tends to promote turntablism techniques for the most part), there really isn't any kind of syndicate of EDM followers who are universally considered 'the experts' on DJing (and, no, I'm not saying TranceCritic is that either... yet *evil chuckle*). Granted, many publications have tried (indeed, some still do), but because DJ Mag managed to get its winners and runner-uppers to promote their list as the authentic one, it's the one that seems to get the most publicity - in trance circles, anyways. I doubt the jungle heads, techno heads, hip-hop heads, breaks heads, and ambient heads care one way or the other, as they have their own DJ polls to run. Yeah, the reason why there is no all-encompassing EDM poll is pretty apparent, isn't it. 

So, what does this have to do with Coldcut's More Beats & Pieces? Come on, you can't be that thick, can you? Coldcut (comprised of Jonathan More and Matt Black) is one of the most respected duos in the world of DJing. Like all masters of the craft, they can take damned near any snippet of a song and manipulate it with others to create fresh new tracks. They make a weary, overplayed track sound brand spankin’ new within the context of a set. They're diggers of rare and obsolete gems, scouring the landscapes for that one last, undiscovered northern soul 7" that everyone else somehow missed. They epitomize everything a true DJ strives to be when he first picks up those two Technics. And they are never voted into the DJ Mag Top 100. 

Really, that's fine and dandy by them and their peers. While I'm sure they wouldn't be upset at being picked the #1 in such a list (after all, who doesn't like to be the most popular?), it doesn't matter to them one way or the other, as they get into this music for the love of it, completely and utterly. Fame and fortune is not the drive; the essence of musicianship is. 

More Beats & Pieces takes the art of DJing as far as Coldcut can take it. Using a bunch of pre-pressed drum loops and samples, the daddies of sonic stupidity throw them down and get wild, keeping everything moving and grooving with funky fusion. I could not even begin to list how many drum breaks, guitar cuts, and sonic samples are used. There's probably more songs mixed in the four minutes this runs than Tiësto plays in an In Concert set. I can ID a few of them, and some sample credits are provided, but More Beats & Pieces really isn't for the trainspotters (however much fun they may have with it). 

Of course, this would all sound like crap if Coldcut weren't the sonic geniuses they are. It's one thing to mash random drums and samples together, but to create an irresistible piece of unique, catchy music in the process is a skill it seems very few DJs either use or possess. This is turntable trickery, DJ remixing, and expert track selecting taken to the extreme, and a far, far cry from the perfunctory beatmatching witnessed by your usual Dutch suspects. 

Not to be outdone, the Coldcut crew gave the custom vinyls to a few of their peers to do their own live turntable remixes. Kid Koala's Obsessive Behavior version makes more use of the original drum breaks rather than the synthesized ones, speeding and slowing them down throughout as vocal cuts get tortured through meat grinders. At one point during Koala's more indulgent bits, a worrisome cut goes, "I don't think I can dance to this." Yeah, I tend to agree since there's a lot of stop-and-go scratching going on. 

Q-Bert's own I Miss You Blobula mix is even more indulgent with the scratching. For sure, it sounds wicked cool (where'd that dialogue come from, a cheesy Fantastic Four reading?), and there's some definite funk to be had, but you aren't going to find any immediate hooks in this. Of course, that's not really the point to these two turntable jams, but considering how irresistible Coldcut's opening version was, Kid Koala's and Q-Bert's own versions seem a little lackluster overall. 

Beans + Pizzas is a live turntable jam session done with six turntable and various Ninja Tune jocks, including DJ Food, Kid Koala, and The Herbaliser. A little less manic than the original Coldcut version, there's definitely more flow in here as drum loops, vocal snippets, and melody samples get more playing time while the DJs fiddle with all their various tricks overtop. It may not be as thumping as Daddy Rips It Up, but Beans + Pizzas is still energetic nonetheless. So, I guess you’re wondering why I've gone out of order with these tracks. Well, I figured I'd get the turntable mix versions out of the way first, as they segue nicely together for the sake of this review. Hey, review writers can be DJs too! *snicker* 

Of course, DJing is about the remix just as much as it is the turntable, and Coldcut gave the 12" to a pair of producers to give their own re-rubs on them. The John McEntire Tortoise Mix is a slowed down groover of dubby bass and electro trip hop arrangements. There are a few bits and pieces (hohoho) of More Beats & Pieces scattered about but they bare little similarity to the original source. In contrast, T Power's Meet The Weasels mix makes use of some of the more atmospheric elements of the original to create a dark, moody bit of drum 'n' bass. Both remixes are quite good, and unique enough without distracting from the source material to make them worthwhile additions to this EP. 

And, as with many Coldcut releases on CD, there are some additional CD-Rom goodies, including a video and detailed descriptions of the process that went into making these tracks. 

I guess you'd think after the general slagging of mainstream DJs I gave and overall respect gushed upon these turntable technicians that I absolutely despise the beatmatchers over the scratchers. Eh, not so, to be honest. To think pure DJing is just about fancy tricks and quick cut-ups is just as bad as thinking DJing is just about laying down anthem after anthem. DJing encompasses a great deal, and, to be fair, for the first many years of DJ culture, all they could do was quick fade transitions; it was the track selections of many that would make or break a DJ. 

The thing that irritates me about these DJ polls is only one aspect of what makes a DJ is usually considered when people vote. As Coldcut proves on this single, when you have amazing skills and great track selection, your presentation is taken to a level seldom seen in those who stick to only one aspect. They bring the whole package together whereas your usual popular suspects only cater to a specific niche. And, until these DJing polls quit catering to such niches and start considering names based on every attribute a DJ is capable of, they most likely won't garner much respect from the DJ communities at large. 

To draw upon the acting analogy from earlier, it's like comparing Adam Sandler to John Malkovich. One may be far more popular, and even quite adept in his chosen field of expertise, but when bringing all the abilities that make up the profession head to head, Malkovich would bury Sandler in a heartbeat.

Score: 7/10 

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

DuMonde vs Lange - Memory (Original TC Review)

Superstar Recordings: Cat. # 015 602-2 

Released 2002 

Track List: 

1. Memory (Radio Cut) (3:19) 

2. Memory (Original Mix) (7:46) 

3. Memory (Lange Mix) (7:56) 

4. Memory (Megara vs DJ Lee Remix) (7:05) 

5. Memory (JamX & De Leon Mix) (6:34) 

6. Memory (Original Dub) (7:07) 

(2010 Update: Alright, so I just wanted to namedrop a little DS9. Can you blame a Niner? Came up with a fairly decent review in the process though.) 

 IN BRIEF: Vile. Insidious. Just like the Federation 

Before I dive into this review, allow me to get my geek on here. Oh, don't look so surprised. Every guy in Western society has an inner geek. Some just use it pursuing things more normally accepted by the populace (like cars, weight lifting, politics… er, music). 

Anyhow, back in the 90s there was a little show called Star Trek: Deep Space Nine, a spin-off from the ultra-popular Star Trek: The Next Generation (yeah, I know. Hard to believe anything called Star Trek was considered hip). A bit unconventional for a Trek show, it often showed points of view from non-Federation (re: alien) perspectives, and not always in the most human-flattering ways either. 

Take the following discussion from two alien characters, Quark and Garak, a pair that often had self-serving interests for good or ill: 

Quark: I want you to try something for me. 

Garak: What is it? 

Quark: A human drink. It's called root beer. 

Garak: I don't know. 

Quark: Come on. Aren't you just a little bit curious? 

Garak: *Hesitantly takes a sip, then recoils in disgust* It's vile! 

Quark: I know. It's so bubbly and cloying and happy. 

Garak: *Smiling* Just like the Federation.

Quark: But you know what's really frightening? If you drink enough of it, you begin to like it.

Garak: It's insidious. 

Quark: Just like the Federation. 

Really, I can't think of a better comparison to Memory by the collaborative efforts of DuMonde and Lange (with Alexis Strum singing). Everything that I've come to despise in Dutch trance is in full effect here: the gargantuan supersaw synths, useless vocals, momentum killing breakdowns, and production techniques that use tons of effects to cover a lack of good song-writing; all style over substance. Yet I just can't hate this song. 

 How? How could such a seemingly vile song bring a silly smile to my face without a trace of irony or cynicism? Well, I'll give a large amount of credit to the rhythm. Sure, it's fairly uncomplicated stuff but there's so much resonance in it that it fills in those little sonic gaps with energy. The bass rolls along instead of just bobbing offbeat, making this an incredibly invigorating track. 

It's more than that, though. While I've often said I have a dislike of supersaw synths, it isn't so much the synth themselves but the way they are used. Since this type of synth fills out such a wide range of sound, you can often have a serious lack of musical talent and still get away with making a monstrous track. Far too many songs have been produced with nothing more than random notes struck that sound cool, the odd time with an auto-arpeggiator thrown in for variety. 

Fortunately, DuMonde and Lange had been at the game long enough to had learned how to write a decent melody when they made Memory, and between the three of them, they managed to create something a little more special than your standard Dutch fare. It's epic without being pompous; it's cheerful without being saccharine; it reminds me of many a euro dance melody. 

In fact, Memory further supports my theory that vocal trance is just the new euro dance. Instead of choruses, though, we get the main hook on its own. And where raps used to be, we get a breakdown/build. For that this nu-euro (Whoa! New genre alert!) isn't nearly as good as its decade old predecessor, as I'd rather sing along to a rap than just stand around waiting for something danceable to start up again. It's still fun in a pinch, though, when I'm feeling in the mood for something lighthearted. 

But perhaps you don't want that and desire a more straightforward trancer. Lange's mix of Memory should help you out with that, as the bass is more standard, off-beat fare with synth pads slowly building in intensity as Ms. Strum sings. It's a shame he decides to absolutely kill that momentum with a halting breakdown some three minutes in. The ensuing payoff nearly a minute later is okay given the strength of the melody itself (this time a little more subdued), and some of the lost energy is regained once the vocals return in a distorted fashion, but I have to ask whether it was necessary to take us to absolute zero in the first place? The song was doing fine before that dead stop a third of the way through. I mean, could you imagine how intense this song would have been if the rhythm was steadily building throughout as the first bit seemed to indicate it could? It boggles the mind! 

But perhaps you'd just rather have something with more bounce. Then Megara and DJ Lee's remix will be the answer for you. Rather than synthy pads, we are treated to punchy Corsten-chords thrusting forth brazenly, making this mix far more exuberant. Oddly enough, without as much emphasis on big melodies, the lyrics stand out better, even to the point they actually begin to make a bit of sense. It seems this song's about a gal who can tap into the hidden secrets of the cosmos via the memories stored in her very DNA! Then again, it could just as easily be about past love as well. 

Perhaps the breakdowns in these mixes haven't been long enough for you, though. Then DuMonde's own mix (as their JamX and De Leon selves) should be right up your alley, as you get to wait a whole ninety seconds for the payoff. Alright, the payoff is bordering on garishly theatrical, but it is insidiously catchy, taking the bounciness of the Megara/DJ Lee remix and cranking the effects to overdrive. Good stupid fun to be had with this mix, if you can just ignore the useless intro rhythm leading to the breakdown. Really, this would have been a better track if they got rid of it and made the breakdown a, *gasp* intro. Hey, it's a radical idea, but it could work. It's not like you'd be caught stealing techniques from old school trance since hardly anyone who'd enjoy this probably wouldn't give the stuff ten plus years old a glance. 

Oh, and there's a radio cut at the beginning and an instrumental at the end of this release, but since they're basically the same song as the original, you can figure out how they go for yourself (hint: one's short, the other's got no vocals). 

In the end, Memory is a fine enough bit of non-consequential fluff. I'd have liked to have seen a little more variation on the remixes, as they all basically follow the exact same structure while injecting the featured remixer's trademark sounds, but they are all serviceable without detracting from what makes Memory better than standard euro fare: energetic rhythms, and a vile, bubbly, cloying, happy, insidious melody that you can't help liking no matter how much you detest everything it stands for. 

Score: 7/10 

Written by Sykonee. Originally published 2005 for TranceCritic.com.

Electrovoya - Days Like These/ICO (Original TC Review)

Fundamental: Cat. # FUN 521 

Released July 4, 2005 

Track List: 

A: Days Like These (7:38) 

B: ICO (7:45) 

(2010 Update: Holy anecdote, Batman, but hey, it's a breezy read, right? While the group seemed to disappear shortly after this, we definitely would be hearing more about that 'minimal click house' stuff I quipped about in the review.) 

IN BRIEF: Days often forgotten. 

So, I'm just relaxing in my palatial Marpole apartment (can't beat the sound of heavy traffic right out your patio!) on a fine Vancouver summer afternoon when something occurs to me. This fine Vancouver summer afternoon really isn't all that fine at all. You see, us here in the North American northwest have been spoiled rotten these last couple years by unusually great weather. Sure, we've had to deal with forest fires in some areas and drought warnings, almost unheard-of events in a rainforest climate such as ours, but we took it in stride in favor of the sun. 

It couldn't last, though, as it seems our typical weather has returned at the most inappropriate time. We've had spurts of sunshine and heat but for the most part, us poor Vancouverites have had to deal with drizzly rain, overcast skies, and muggy temperatures - or, as we've come to call it, "a typical Vancouver day." Those of us who've lived on the Canadian west coast for long periods of time are quite aware of having sunny days, and we can even recall enjoying having those intense rays of sunlight beating down on us while we lounge around on a beachfront or outdoor park. Yet, once that good weather retreats and we are back into our typical climate, and the exact notion of it fades from our memory.

It's a strange feeling, to say the least, but not unlike listening to Days Like These. Electrovoya seem to be quite new on the block, combining the talents of Greg Murray and Andy Hagerty. I've never heard any of their works prior to this one but they definitely know how to make a good trance record. Days Like These is a pleasant little ditty of bliss, as it really isn't too concerned about slamming you about with over-the-top theatrics. Instead, a simple melody loops throughout, subtly manipulated with effects to gently raise the atmosphere without ever peaking into absurdity. Synth washes complement the track to give it that added feeling of ecstasy washing over you (no, not the drug... well, maybe). 

Damned if I can remember how it sounds seconds after the song ends, though. Days Like These is one of those odd-ball tunes that you enjoy listening to, you remember you enjoyed listening to it, and you know if you ever hear it again, you'll enjoy it just as much, but how did that melody go again? Part of this problem probably has to do with Electrovoya's subtle production. Despite being played throughout without much interruption for breakdowns, builds, bridges, and other bric-a-brac (aside from your standard DJ-friendly intro and outro), the main melody doesn't really leap out at you in any significant way. Of course, this isn't really a bad thing, as it serves as a nice little interlude from whatever ails you during the day. However, unless Days Like These is placed in a minimal click house set (or something similarly unmelodic), chances are the song isn't going to light trance sets on fire anytime soon. 

ICO on the flip has some of the same problems but has an easier time sticking in my mind for one big reason: it surprised me. More old school in sound, this b-side makes good use of acid squelches, galloping string synths, and tough rhythms. The use of a more modern sounding synth for the main hook should appeal to the newer fans of trance, and it fits nicely with all the older sounds, but it doesn't really stick in the mind all that well either. 

Also, there's a halting breakdown used to introduce it but to be honest, this breakdown isn't all that bad. It sounds quite characteristic of most builds at first with layering synths and percussion, but Electrovoya pull a nifty little trick with the big kick build. While it may start as you'd expect, just when you figure it'll peak out, the kick begins to fade instead along with the rest of the building layers, lulling you into a false sense of security before everything, all at once, blasts forth with renewed intensity. I've listened to this a number of times and it still catches me off guard, probably because it so effectively plays against the conventional trance build template I've grown accustomed to. 

So in the end, I enjoyed both these cuts, probably ICO a little more since it appeals to those classic trance sounds I fell in love with early on, but there isn't anything amazingly remarkable about them either. Functional is the best way to describe them, which is what it seems Electrovoya set out to do anyways. Best enjoyed on a typical Vancouver summer day. 

Score: 7/10 

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

Deejay Goldfinger - Can't Stop Me (Original TC Review)

Atticus Musikvertrieb: Cat. # AT65024 

Released March 25, 2005 

Track List: 

1. Can't Stop Me (C.I.A. Mix)

2. Can't Stop Me (Club Mix)
3. Can't Stop Me (Deepforces Remix)
4. Can't Stop Me (DJ Goldfinger N-R-G Factor)
5. Can't Stop Me (Doug Laurent Mix)
6. Can't Stop Me (Pop Radio Edit)
7. Can't Stop Me (Dance Radio Edit)


(2010 Update: I was grumpy and depressed when I wrote this, the initial enthusiasm over writing for TranceCritic having waned -reviewing a lot of mediocre euro dance can do that to a guy. In fact, it was the last review I'd write for at least a month and a half. Oddly enough, Deejay Goldfinger liked this write-up enough to send me a promo for his follow-up single. Heh, maybe I should have wrote like a miser more often.)


IN BRIEF: Is there an original idea left in euro?

It's been a while since I could get excited over anything in the euro camp. Most of the attributes of the genre -catchy riffs, fun raps, and innovative sound patches- seem to be all but a distant memory. Most of it went by the wayside towards the end of the 90s, almost disappearing altogether as the anthem trance machine dominated the club scene. Anthem trance had its moment in the spotlight though, and euro's been on a small rise again by making use of trance's successful attributes and applying it to making fun dance music.

And while there have been a few interesting tracks here and there, I've yet to hear anything of the magnitude that made songs from old heavyweights like 2 Unlimited, Snap!, Maxx, and Corona such classics. It's no small wonder labels keep returning to those tracks for updated remixes when most modern acts are lacking in anything creative.

So, I dive into Deejay Goldfinger's Can't Stop Me without high expectations. This opening mix certainly has some decent sounds but once the main vocals starts -more or less repeating the same thing throughout- its similarities to the Michael Jackson-sung chorus of Rockwell’s Somebody’s Watchin’ Me are more than just a little evident.

However, I am absolutely shocked to hear a rap by a male rapper! And by rap, I mean an actual full verse along with typical "can't stop; won't stop" MCing. Aside from Brooklyn Bounce, I haven't heard euro dance music make use of a male rapper in years, which is a shame because the raps were often one of the most fun aspects of that music. Why it was ever taken out, I haven't a clue but I suspect it was partially due to euro's increasing borrowing of ideas from trance that led to it. Trance and rap have never really been all that comfy in each other's presence (although it'd be interesting to see someone attempt it).

Anyhow, despite the surprise raps, this C.I.A. Remix doesn't really have much to offer. Sure, the chorus is catchy but that's more thanks to the original Rockwell hit than anything Goldfinger created.

The Club Mix slows things down a little to lay the rhythm on thicker, with added vocal effects and crowd noises during a few pad bridges; the vibe in the track is more conducive to club atmosphere. Still, the only real strength is the chorus thanks to its catchiness, but do we credit Goldfinger for using it, or Rockwell for creating it? Okay, okay, so it isn't one hundred percent identical to Somebody's Watchin' Me, but only by a note or two. I guess someone's been reading The KLF's The Manual.

The Deepforces Remix gives Can't Stop Me the hardstyle treatment, so expect plenty of throbbing percussion, screaming synths, and false builds that'll milk a moment for as much as they can. Really, it's not that bad of a mix but very functional as far as hardstyle is concerned. The only thing that will let it stand out from the pack is, you guessed it, the Rockwell inspired chorus (usually sung during the breakdowns).

Compared to the other mixes, Goldfinger's own NRG remix is kind of redundant. Sure, he plays with a number of fine effects throughout but nothing interesting is done with the big payoff riffs. It's just standard march-along screeching synths that we've heard plenty of times before; nothing new to see here.

Infusing a little funk into the song is Doug Laurent, thanks to a dirty bassline and breakbeats. It seems he's quite aware of Can't Stop Me's major influence and makes good use of drawing upon it for this mix. But, er, what's with the sound of kids in the background? Is Laurent making a subtle joke here?

The two radio mixes are quite similar, with the dance version making use of the club mix's sound patches, and the pop version attempting to instead sound organic with guitar strums. Both are serviceable but I prefer the dance version, as there's a great deal of variety of sounds happening there to keep things interesting. The pop version relies mostly on weak sounding synthesized acoustic guitars to carry the melody.

However, I wouldn't be surprised to see this song become a minor hit. Somebody's Watchin' Me is a track ingrained in most of the population thanks to the massive radio play it still gets to this day, and hearing a euro song inspired by it will instantly have folks humming along. But because Can't Stop Me doesn't do enough to distinguish itself from Rockwell's original chorus, I can't see this being more than a nostalgic novelty to those who hear it at first, and forgotten less than a year later.

Ah, well. At least the rapper might be making a return to euro. That's worth an extra star alone.

Score: 6/10

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

CJ Stone - Satisfy My Love (Original TC Review)

Bump!: Cat: # BUM03 (12" single)
Released June 9, 2004

Track List: 1. Satisfy My Love (Vocal Edit) (3:32)
2. Satisfy My Love (Radio Mix) (7:08)
3. Satisfy My Love (Original Mix) (3:18)
4. Satisfy My Love (Massimo Nocito Remix) (7:44)
5. Satisfy My Love (DJ Shog Remix) (7:47)
6. Satisfy My Love (Club Mix) (7:20)
7. Satisfy My Love (CJ Stone vs. Shy Bros. Club Mix) (6:26)

(2010 Update:
Definitely the first case of me grinding an ax over a producer, though somewhat tame compared to later reviews. I think it's because my distaste for euro trance hadn't quite reached its breaking point yet, though that definitely wasn't going to last.)

IN BRIEF: Stick to Euro house and leave trance alone, Stone. You just aren't good at it.

I've mentioned before how sometimes I'll hear a track from a producer for the first time and may become an instant fan of that person's work due to the strength of such a track. However, this is a two-way street and there have also been a number of producers I came to thoroughly despise after hearing an offering of their work for the first time.

One such man was CJ Stone. For the reason, let me take you back a couple years.

It was the turn of the millennium and anthem trance was beginning to fade from popular taste. Unfortunately, many producers hadn't seemed to catch on to the trend so the breakdowns, builds, and supersaws kept getting bigger and, of course, more redundant (unless you were new to the scene, of course). This wouldn't have been so bad in my eyes since I could easily ignore it while enjoying the 80s revival but a bit of trouble started when the major labels began to notice sagging sales.

Oh, what to do? I'm sure they cried. Why, the same thing all major labels do when struck dumb with new ideas: rehash old ones.

No matter what anyone says, aside from big beat and hip-hop, the most commercially successful form of EDM was euro house circa 1990-95. The combination of catchy pop melodies, sing-a-long choruses, and infectious energy still resonates to this day, and probably will for many more years to come. Obviously, this was the source to tap into to help rebound sagging sales in the dance arena.

While some acts saw commercial success (Lasgo, Alice Deejay, etc.), it wasn't enough to stop the bleeding. Instead, to commemorate the ten year anniversary of some of their biggest singles of the euro house era (and all time, really), the major labels re-released them with updated remixes.

I was intrigued, to say the least. Euro house was the first EDM genre I dove into completely and utterly. Ask me who some of the acts were and I could list off a dozen without a second's thought. While I moved onto other things eventually, the music still holds a special little place with me.

So, when I heard that the power group Snap! was going to have an update on their smash single Rhythm Is A Dancer (a wonderful little semi-trancer itself), I eagerly checked out who would get the duty for it. Many excellent trance producers had done Snap! remixes in the past (Oliver Lieb, Resistance D, Dance 2 Trance, Rollo & Sister Bliss) so surely they'd get someone just as excellent, right? Right!?

Alright, maybe I shouldn't have expected much from a then unknown to me CJ Stone but I did expect at least a little creativity. Instead, we got a paint-by-numbers supersaw trance anthem with the original's vocals just dumped on top. Maybe it would have been creative when that template was still fresh (like 125 years ago) but it was an utterly lackluster affair and a horrible update on a classic track. I swore off anything to do with CJ Stone from there on out.

Until today.

While as a reviewer I have a large selection to choose from what I'd like to cover, it would be highly unprofessional to only review what I like. It would turn TranceCritic.com into nothing more than a gusher's site, a very boring proposition. So, even if it may not be up my alley, I will give material from producers I'm not particularly fond of a shot. Just as unprofessional of me would be to let personal bias pre-judge what is on this single. While I'm not expecting much (I mean, c'mon; it's euro trance -if anything, it's gotten even more cliché ridden), I'll give anything a fair shake.

Most of the time the first mix on a single is a radio cut (called the Vocal Edit here), often cramming all of the major elements into a serviceable three-to-four minute sound bite. No exception here as we dive right into the meat of Satisfy My Love. There are quite a number of elements to work with here: driving rhythms; melodramatic synth washes; vocodered vocals lodged quite firmly between the realms of Dirty Vegas and Eiffel 65 in their effectiveness; little guitar strums; a rather interesting high-pitched synth lead; and superfluous sputtering supersaws. Oh, and yes there is a breakdown and build but, in a mix this short, it's almost inconsequential. In fact, this whole mix is, really. There's just way too much going on for such short periods of time that nothing gets a chance to settle. Undoubtedly most of these elements will be given more attention in the longer mixes so this one is pretty much ignorable.

The Radio Mix is mainly an instrumental and makes good use of that rather eerie synth lead, introducing it after some standard lead-in and a mild breakdown. Following it up with synth washes and harmonizing, driving rhythms is an effective momentum builder but it is sadly squandered by going back into an even longer breakdown, re-introducing the synth lead again for some reason at an incredibly tedious pace. While the song bumbles along for a bit, that other overused trance cliché -the Corsten synth- bubbles up a bit as a new element and, while it tries to get more intense a little later on, there's just no energy left to this song, almost all of it having dissipated after a rather promising start. Ah, well, it could have been worse; those annoying supersaws could have made an appearance instead (note: this is foreshadow).

Now this Original Mix is much better. Relying on house rhythms, the vocals flow with the song much better. Bouncy synth chords punch through the chorus and the eerie lead is relegated to a supporting role where it actually sounds much more effective. The vocals, really insubstantial fluff in the trancier versions, actually carry a little more weight here. Sure, the content is still kind of silly, but in the more light-hearted rhythms of this mix, their sing-a-long vibe fits quite nicely. The Massimo Nocito Remix mainly retains the same vibe as the original and expands upon it with a few longer stretches focusing on the synth chords, pianos, and mild breakdowns (blissfully none of which completely halt the song dead in its tracks).

DJ Shog gives us a remix that bares hardly any resemblance to either version of Satisfy My Love. In fact, this sounds like a completely different song altogether. A stormer of a hard trancer, the only thing retained is the synth lead, and that just sparingly in a rather useless breakdown midway through the song. Why is it useless? Well, nothing in it really relates back to the rest of the track. As soon as the breakdown finishes a minute and a half later, we're right back into the thick of chunky, guttural acid lines like we'd never left. What's the point in introducing a new melody in a breakdown if you aren't going to make use of it later on? Might as well just skip the breakdown all together and keep the momentum going strong throughout. In all, I get the impression DJ Shog just had this track lying around unreleased and used it for the remix, tagging the synth lead in the breakdown just to tie it into the original somehow. Hey, it's not an uncommon thing to happen in the industry, friends.

The next two mixes -returning to the elements heard in the opening mix- are essentially the same as well, the first retaining the vocals and the second taking them out and adding a little more bump to it. However, they are both ruined by, you guessed it, superfluous supersaws at the peak of builds. Of course, you have to get through two breakdowns and builds to even reach them but, by that point, who'd even be interested in hearing these clichés? For one, the Club Mix's use of them completely overshadows the need for the vocals as you can tell the whole purpose of the track is for that big moment when the supersaws break out at the peak of a second climax. Second, even when you don't have to concern yourself with vocals in the CJ Stone vs. Shy Bros. Club Mix, they come on with such force, pompousness, and arrogance, everyone who's heard such techniques run into the ground in the past (essentially anyone who's been listening to this brand of trance for more than two CDs) will laugh their asses off at how ridiculous their delivery is. Mind, they could be going for over-the-top theatrics but, given how serious the rest of these two mixes present themselves, I highly doubt it. I do like the breakdown three and a half minutes into the second of these two mixes, though -some nice, old trance sounds used there.

In the end, Satisfy My Love works when it's not trying so hard to be a serious trance track and instead opts for pleasant euro pop fluff. Almost all vocal trance tracks should take that hint in the future.

As for CJ Stone, well, I'll give him some due with the housey Original Mix and a somewhat unique synth lead but those supersaws are just trash. I doubted my opinion of him would change much with this release and, considering the same clichés are still here, it's going to remain the same for now. Better luck next time, fella’.

Score: 4/10

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

2 Unlimited - Jump For Joy (Original TC Review)

Popular Records: Cat. # PR2S 3050
Released 1996

Track List:
1. Jump For Joy (Edit) (3:42)
2. Jump For Joy (Digidance Happy Hardcore Edit) (3:19)
3. Jump For Joy (Armand's Dutch Touch Mix) (7:51)
4. Jump For Joy (Itty-Bitty-Boozy-Woozy's Dub 4 Joy) (5:25)
5. MTV Partyzone Megamix (4:55)

(2010 Update:
How can you tell I'm still in "be objective" mode here? The Klubbheads are mentioned, and there's nary a snarky snipe to be had. Seems to be a very rare single now, as the only copy available on Amazon goes for $40. Hah!)

IN BRIEF: One of the biggest euro dance acts attempts to tap into the underground. They nearly succeed, too.

The euro craze of the early 90s was at an end and one of the biggest names of that scene, 2 Unlimited, was splitting up. Before that quite happened, however, they released a greatest hits collection which included a couple new tracks that they had been working on before parting ways. One such track was this little oddity.

After the group had managed to prove they could remain afloat amongst the many imitators with their previous album, it would seem producers Phil Wilde and Jean-Paul de Coster looked back to their roots, where they would tap into the dominate underground rave sounds to use for their mainstream music. The first single to emerge was Do What's Good For Me, a simple, dirtied-up house track that may have drawn a bit of influence from the burgeoning French sound.

Another genre that was set to explode upon the mainstream was trance. Wilde undoubtedly saw potential in the sound and the result was this single: Jump For Joy.

Bear in mind though, that this is by no means anything like the form of trance that actually did go on to achieve mainstream recognition. Rather, this borrows more from the faster eurobeat style of music for its rhythms, a perky form of EDM that seems to be lost somewhere between the lands of euro and happy hardcore. Where the trance influences come into play is with its main lead. Using a sound that was quite dominant in the quicker forms of trance at the time, the synths are filtered, filled with reverb, stuttering, and oscillating with great gusto here.

Still, this is an intended mainstream dance song so you won't get any deep, thought provoking lyrics. Really, with this track's spastic speed, it'd be hard to take seriously anyways. As such, when at one point Ray raps, "Butterflies are moving fast" you can't help but laugh at the absurdity of it all. Was this meant to be tongue-in-cheek? Perhaps. Maybe it's best to just do as Anita says and, "Jump for joy!"

The Klubbheads (going by Digidance here) were tapped for remix duties this time (What!? No X-Out?), giving us an even sillier happy hardcore version for their troubles. As can be expected, everything gets pitched up with infantile organ leads and super fast pianos playing little melodies. I have to admit it does work on a harebrained level, but then that's all happy hardcore ever set out to achieve, wasn't it? It only lasts a little over three minutes anyways so it's not like you have to endure it for long.

In case there is still a lot of leftover sugar in your mouth however, Armand van Helden is here to the rescue to provide us with a bottle of Jack Daniels straight from the ghetto to wash it out with.

Armand's Dutch Touch Mix pretty much gets rid of all the elements of Jump For Joy in favor of booty shaking house rhythms and slight melodies. Only a sample of Anita's voice either saying "Jump" or "Free" in time to the rhythms (amongst some other unintelligible things) keeps this mix tied into the original. Time to grab a fine lady and get wild.

The *deep breath* Itty-Bitty-Boozy-Woozy's Dub 4 Joy mix *exhale* (also done by the Klubbheads) is a fairly minimal affair, at least compared to what's already been offered on this single. Take some stock techno rhythms (the real stuff), add some negligible, looping sounds, and utilize even less of the vocals than Armand did, and you have this mix. It might work as a transitional track in a set but there really isn't much more worth noting.

There's also a megamix included on this single, done by the MTV Partyzone. I'm not really familiar with that program but then I'm Canadian -we had our MuchMusic X-Tendamix and Electric Circus shows to keep us up to date on dance music instead. This megamix tosses in pretty much every single 2 Unlimited hit ever released and crams it all into something of a mess that runs just under five minutes. Some pieces only get brief vocal snippets while others get portions of their main riffs played out in rather disjointed merging of others. It might have worked had they used more time to arrange the tracks better but as far as 2 Unlimited megamixes go, this one doesn't nearly stack up as well to the rest.

As one of the final singles to come from the original lineup, it's a shame this track doesn’t have nearly the catchiness to carry it as many of their earlier hits. Jump For Joy just carries far too much un-mainstream baggage from its eurobeat and trance samplings for it to have made much of an impact.

Except in Japan, perhaps.

Score: 6/10
Written by Sykonee. Originally published 2005 for TranceCritic.com.© All rights reserved.

2 Unlimited - Do What's Good For Me (Original TC Review)

Popular Records: Cat. # PR2 3008
Released 1996

Track List:
1. Do What's Good For Me (Edit) (3:49)
2. Do What's Good For Me (Extended) (6:03)
3. Do What's Good For Me (Alex Party Remix) (5:06)
4. Do What's Good For Me (X-Out Remix) (5:22)
5. Do What's Good For Me (Aural Pleasure Mix)(8:58)
6. Club Megamix (9:34)


(2010 Update:)
I didn't realize it at the time, but Dobre & Jamez would go on to see some success as Trancesetters. So now you know.)


IN BRIEF: 2 Unlimited go old school.

1996 was a year of transition for many following EDM. Most of the sounds that had defined the early rave era had begun to fade away as newer, improved gear and software replaced it. Genres that had proved immensely popular before were growing stagnant as ideas continuously were recycled with great redundancy, causing many fans of certain niches to search out different styles of music.

Probably the style most heavily affected was euro house. Just a scant two years before, the music was on top of the EDM world, and even making an impact on general music as well in typically anti-electronic regions. However, as with all things that catch onto the mainstream, many imitators began to flood the market as well. Every week there were new acts featuring some bird on choruses, some bloke on rap verses, and producers hiding in their studios providing the musical backdrop. Where innovative takes on the sound once kept it afloat, ideas seemed to dry up towards the end of 1995, and completely burn right out in '96.

Possibly affected the most by this trend was euro powerhouse 2 Unlimited. Not only was this group one of the original acts to bring the euro sound to giant heights of popularity, they also managed to keep themselves relevant in the following years, knocking down almost all of their competition with their always catchy riffs and excellent rhythms -those that did manage to have bigger hit singles than the group never managed to have as many hits as 2 Unlimited did. The Dutch euro act was, without a doubt, one of the best.

Unfortunately, even they could not stop the coming change in popular tastes. Trance music was on her way to overtaking euro as the dominant EDM genre of choice (although the media would attempt the electronica take-over before that) and there would be no place for quirky raps, catchy melodies, and belting divas (at least initially -it seems everything but the raps were eventually integrated into trance anyways, but that’s another topic). What was 2 Unlimited to do?

Go back to their roots, it would seem.

Do What's Good For Me sees Phil Wilde and Jean-Paul de Coster taking away the once glossy polish of their previous albums work and relying on the house sounds that had remained nestled in the underground clubs while euro held the limelight. Sure enough, you have a bouncier rhythm and that high octave string note during the minor builds and fills. Of interesting note, however, is the main riff. Like many of their earlier sounds, this one has an unproduced tone to it. Sure, the actual sound used is quite typical of many early 90's house songs but, even with the most piddling of stereos, you can hear a distinctive distortion to it, especially when it pitches up to higher tones. I'm glad to hear that edge Wilde and de Coster held over their contemporaries with unique sounds for their hooks is still evident even at this late stage of euro's game.

Ray and Anita provide some lyrics that seem to indicate they were also aware of the changing climate of dance music. It's no secret that around this time they were expressing interest in leaving the group to pursue their own careers. I guess this was their subtle way of letting their fans know that they were going to “do what's good for [them]”, and perhaps for the 2 Unlimited legacy as well by going out on top of their game like so many of the best pop acts in history (The Beatles, The Police, etc.) before they fade off into irrelevance and obscurity.

Or maybe I'm reading too deeply into it and Do What's Good For Me really is just a good old fashioned 'take matters into my own hands' 90s rallying call. We may never know.

Visnadi returns on this single to give the track another one of his sexy Alex Party mixes. The structure remains the same but the rhythm makes use of snaps instead of snares to give it a little more punch. And by replacing the main riff with a more subdued take using a deep organ, this mix grooves along nicely.

As usual, Andy 'X-Out' Janssens provides a more dancefloor friendly take as well, doing away with most of the main ingredients to use one of his typically peppier riffs this time with big organ chords.

The Aural Pleasure Mix (done by Dobre & Jamez) is something of a surprise. The way a bubbly bass line slowly emerges as Anita's "If it's good enough" continuously loops with slight echoes is unlike any 2 Unlimited remix or song I've ever heard. Minimal looping layers of percussion and pitch bending acid gradually appear as well and what do you know! We actually have ourselves a trance track here (classic trance that is). Once all the building elements peak midway through, all but the rhythm recedes to allow a deep synth reverb to slide about for a while until all the elements are progressively built back up again. The song peaks once more and fades off with voice echoes and the barest of rhythm. While not anything groundbreaking, the Aural Pleasure Mix certainly strays from the 2 Unlimited norm and would definitely turn heads of trainspotters.

Included on this particular single is a club megamix of 2 Unlimited hits. While there have been countless of these done (heck, it was a 2 Unlimited megamix that initially got me more interested in the group beyond just a few hits), this one easily stands out from the pack.

Why? Simply put, the versions of the songs used here are mostly remixes instead of the better known ones. Get Ready For This gets treated to a more refined house sound by capitalizing on the dreamy chorus; Twilight Zone replaces the familiar Wooo! with a gentler aaah.; Tribal Dance remains the same but the sexier Alex Party Mix of Here I Go gets used instead; The Real Thing's energetic take on the famous Bach organs is retained, mixing quite nicely into the wonderful Automatic Breakbeat of No Limit, capping the megamix off with apocalyptic choirs. All in all, it's a fun collection.

As for the rest of this single, it's a decent enough effort. Had the group not split shortly after this, it would have been interesting to see where their music would have taken them if they followed this more non-mainstream route.

Sadly, the 2 Unlimited legacy was nearing its end after a hugely successful four year run. Their time had passed and, if anything, Do What's Good For Me's back-to-basics mentality is as fitting a way to come full circle.


Score: 8/10


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

2 Unlimited - Here I Go (Original TC Review)

Quality Music & Video: Cat. # QCDS 7122
Released 1995

Track List: 1. Here I Go (Radio Edit) (3:16)
2. Here I Go (X-Out Edit) (3:30)
3. Here I Go (Dub Down Below) (7:36)
4. Here I Go (X-Out In Club) (5:29)
5. Here I Go (Alex Party Remix) (4:40)

(2010 Update:
Kind of a silly review, this. I swear I don't sound that far removed from an over-enthusiastic fanboy, spitting out "ya, will my favorite group accomplished this and this!" -ism throughout. Actually, I think I was just eager to plow through all these 2 Unlimited singles, and didn't give much thought to it. Oh well. At least it's good for a laugh these days.)

IN BRIEF: More dance fun from the Dutch phenomenon.

Pop quiz time:

What do Abba, The Beatles, The Kinks, The Rolling Stones, Madonna, and The Bee Gees all have in common?

Answer: They are in a very small club of musicians that have had at least twelve consecutive top ten singles, a feat that is quite remarkable given the music industry's tendency to see chart topping acts fade soon after their first couple big singles.

With Here I Go, 2 Unlimited became a member of this club. Not too shabby for a four year old act.

How could a mere 'techno' group achieve something hundreds of musicians and producers haven't managed no matter how hard they try? Well, there are several answers to this but the simplest one is this: Phil Wilde, Jean-Paul de Coster, Ray Slijngaard, and Anita Dels stumbled upon (okay, took from The KLF) a formula that would equal chart topping success and managed to keep that formula relevant in the following years -no easy task considering pop music's constantly shifting tastes.

Here I Go is 2 Unlimited during their full euro sound. The raw, ravey riffs are gone, replaced with finely produced synths that are just as unique and catchy but don't leap out as much as before. Instead, we have lyrics that contain more substance than straight-ahead crowd hyping. As usual, the excellent drum programming and embellishing effects that have always given Wilde and de Coster an edge over their many, many competitors of the time are in full effect, adding depth to the tracks already driving energy.

This is definitely one of their most polished songs, and leaps and bounds above the hundreds of imitators. Hmm... I guess they were trying to retain their thunder after many more euro acts began to steal their limelight. The fact Here I Go kept their chart topping streak intact proves they succeeded in this regard. Good work, boys (and girl).

Longtime 2 Unlimited remixer Andy 'X-Out' Janssens gives us a pair of re-rubs on this single. The club mix mellows the song out a little more by using pianos at points and stripping the rhythms down to simpler patterns. The main riff is gone as well, replaced by a stuttering synth harmonizing with string pads playing the same melody. Aside from that, it's essentially the same song. His Dub Down Below mix, however, is remarkably different.

This mix starts out with thick, deep bass rhythms, grumbling along as little effects burble in unison. Layers of percussion are gradually added as vocal snippets from Ray and Anita fill out the edges. High octave string notes and funky, juicy hooks enter the fray nearly two minutes in, continuously building upon loops until a breakdown another two minutes later. Synth washes and pianos mellow things out, allowing Anita to gently sing part of the chorus (really, just the "here I go" part). Once this respite plays out for half a minute, we're right back into the grumbling rhythms earlier established to carry us out.

It's quite interesting to listen to but I'm not so sure it's the most dancefloor friendly remix on here. For that, you have to go with the Alex Party Remix.

If you thought the Dub Down Below mix was deep, then this remix takes you down to pressure crushing depths. By stripping the rhythm to the bare essentials and letting Ray intone, "Now let it flow; Deep down below" throughout as throbbing bass pulses along, you can't help but move your body to this infectious combination. During the main leads, a thick synth played at a very low octave adds to the driving rhythm while a simple little riff harmonizes along. Granted, you aren't going to have any euphoric rushes with this mix but that really isn't the point here. I'd be more inclined to grab a nice lady and do a little bump and grind than raise my arms in adulation if I heard this at a club. Heh, who says euro didn't ever get nasty?

As fine as a pop song Here I Go is, the down and dirty remixes on this single are the real treats to be had. Highly recommended.

Score: 9/10

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