Various - Tunnel Trance Force Vol. 30 (Original TC Review)

Sony Music Media: Cat. # SMT 517977 2
Released August 30, 2004

TRACK LIST:
Disc 1
1. DJ Tiësto - Adagio For Strings
2. Paul van Dyk - Crush (PvD Remix)
3. Nature One Inc. - The Golden 10 (Festival Mix TTForce 30 Edit)
4. Cosmic Gate - Tomorrow
5. DuMonde - Kalt (Original Mix)
6. Kindervater - FTP://013.07.974
7. 4 Clubbers - Sonar (Club Mix)
8. Age Of Love - The Age Of Love (Marc Et Claude Remix)
9. Niels van Gogh - One Way Out (Oliver 'Reloop' Klitzing Remix)
10. Danny C vs. John Moon - No Way Out (Danny C Mix)
11. Abel Ramos - Aquarius (Randy Katana Remix)
12. Mike Dragon - Orange Song (Alex Megane Remix)
13. Sensorica - Few Days Away (Nostrum Remix)
14. Marty van Nilson - The Fear
15. CreamTeam - Samurai
16. Derler & Klitzing - Dedicated
17. Accuface - The Change (Reworked 04)
18. High Power - Hypnosis (DJ K-Van Remix)
19. Krid Kid - Another Dimension
20. Hunter And Lauks - Everything I Want

Disc 2
1. Special D - Dust To Dust
2. DJ Ornator - Next Life (DJ Ornator Remix)
3. Rocco - One, Two, Three
4. Crash 'N' Burn - Sunrise
5. Axel Coon - Lamenting City (Lacoon Remix)
6. Dynamic Ds - Rock Da Floor (Arena Mix)
7. Mission Control - Standby 2004 (89-er's Remix)
8. Mario Lopez - Sound Of The City (Nature 2.4) (Mario's Club Mix)
9. Calderone Inc. - Maximum Power (Mike Nero Remix)
10. Angel Beats meets DJ Merlin - Power To The People
11. Busted - Bitches (Paranoid Remix)
12. Modern Art - Let There Be Light (DJ CID Remix)
13. DJ Greenhead - In The Name Of Love (Dave Joy Remix)
14. Sa.Vee.Oh - Nohacker.exe (Original Mix)
15. Lagoon - Beam Of Love
16. M.U.M.M.S. - Up To Find My Mind (Late Night Mix)
17. DJ Enjoy vs. Punisher - No Rules (Club Mix)
18. DJ Shane vs. Waveliner - Connected
19. JFS - The Raider
20. Voodoo & Serano - This Is Entertainment (Club Mix)

(2010 Update:
As mediocre as this release was, it was actually quite significant as far as my early writing goes: it marked the first time I realized the ridiculousness and futility of detailing every single track. I just couldn't bring myself to do it, as it seemed pointless when all the tracks did the same damned thing. Of course, it'd be a while before I actually abandoned track-by-track writing altogether but at least I'd gotten the hint.

Can you believe this CD goes for nearly $60 on Amazon today?)

IN BRIEF: Energetic, but my neck gets sore after half an hour.

Believe it or not, despite having followed trance music since, well, damned near the beginning, this is my first foray into the Tunnel Trance Force series. Apparently Tunnel Records has been doing these compilations for as long as I've been listening to this branch of EDM so it feels kind of weird that I should take a gander at one of their many, many, many compilations so late in the game.

However, if this volume is any indication, it doesn't seem like I've been missing much. I wouldn't go so far as to say this is a bad release but it certainly leaves a lot to be desired.

The trouble here is the fact there are twenty tracks to get through on each disc and only eighty minutes to work with at the most. That leaves an average of four minutes per track, which wouldn't be so bad if but for one problem: the incessant need for so much trance these days to use breakdowns and builds that can last from a minute to nearly three minutes. It doesn't leave much room for any kind of momentum to get going when there is more 'stop and go' than a traffic jam in L.A.

The opening twenty minutes of the first disc is a prime example of what I'm talking about here.

Things start fine enough with Tiësto's own interpretation of Samuel Barber's Adagio For Strings. While I feel Adagio has been played out and covered enough by other acts, Tiësto does manage to do a few interesting things with those familiar opening string chords by playing them with several different sounds, including chunky distorted acid, symphonic strings, ethereal pads, voice pads, synth pads, space pads, rocket pads, parachute pads, pillow pads, yo' momma pads, and so on. Coupled with heavy rhythm that cranks and pummels the bass to ten on the dial, and we're off to a good start here. The breakdowns that occur along the way are fine, as opening tracks can often use them to set melodic tones for the rest of a mixed CD.

The mix into Paul van Dyk's Crush is brief and functional (as will be the rest of the mixes on these discs, really, so there's no need to bring up DJ Dean's mixing from here on out). However, it mixes right into a breakdown of the song and, while the synth stabs keep some semblance of momentum going from before, it does go on for a while. By the time the song builds back up into fast driving rhythms again, the song is already mixing into Nature One Inc.'s offering of The Golden 10. Not even a minute later, we're right back into another breakdown, this one even more halting than the previous as the rhythm disappears altogether to allow some synth pads to play while one of those Menacing Voice vocals goes on for some time. It's nearly two minutes before any kind of rhythm returns and, while the thundering kicks cranked to eleven are energetic, we only get a minute of it before we're quickly mixed into Cosmic Gate's Tomorrow.

I'd carry on but I'll just end up repeating myself. This cycle continues for half the disc's playing time: quick mix into the next song, maybe a minute at the most of opening rhythm (with the kicks still pummeling at twelve on the dial), followed by a breakdown that slows things right down for a time directly proportional to the amount of time there was rhythm previous to it. Stop, go, stop, go; it never feels like we're going anywhere.

The second half of the first disc isn't quite as bad with the overuse of breakdowns and builds but it wrecks havoc with another aspect here that makes it such a chore to listen through: the overuse of the same bloody screaming synths. Aside from a few exceptions (Mike Dragon's Orange Song, which opts for a plinking sound for half its duration, and Accuface's, The Change, which uses some synth washes at points instead), you'd swear you were going in circles; barely any song changes much. And, although Hunter & Lauks's Everything I Want makes some improvement with an entirely different crunchy synth coupled with the screaming synths, it's too little and too late since it's the last track of this disc.

Now, I'm not faulting the individual tracks themselves. There are some truly exceptional tracks to be had here like DuMonde's Kalt, Marc Et Claude's remix of The Age Of Love, and the aforementioned Everything I Want. Additionally, the rest would hold their own in a mix or compilation with more variety but that's the problem here. Since all of these hard trance tracks bare so much similarity to each other, and they don't have time to really do much beyond give you their main screaming synth melody before being shoved aside by the next track, nothing stands out from the rest.

The second disc fares somewhat better, though. Hardstyle's the name of the game here, which means whereas the first disc had its beats cranked to thirteen, they get turned all the way up to fourteen here. Also, for a good chunk of this disc, the momentum is kept going at a very steady pace.

Okay, so it opens up with Special D's Dust To Dust, a track that's almost malicious in its use of false builds (click here for more details on my thoughts of it) but it works, mainly because it's at the very beginning of the disc. With no momentum yet built, you aren't really killing it either.

When the quick mix into DJ Ornator's Next Life occurs, it is into another breakdown as well but this stands out and remains interesting for the simple reason that the plinky little melody and benign pads are different from the sounds used in the previous track; it isn't treading the same ground already covered, unlike the first disc which was guilty of doing so. With this unique element, the screeching synths that come back at the peak of a build don't become superfluous, instead harmonizing quite nicely (well, as best as hardstyle can harmonize, I guess).

The trend continues into One, Two, Three by Rocco and Sunrise by Crash 'N' Burn, always keeping things interesting with distinctive synth melodies accompanying the screaming synths and intense rhythms cranked to fifteen. Axel Coon's Lamenting City really stands out from the rest thanks to some female operatic samples providing a wonderful contrast.

Things take a slight dip with Dynamic D's Rock Da Floor, though, partially because the Menacing Voice makes a return here to try to pump the crowd up (he's never really had much appeal to me) but mainly because compared to the previous five tracks, this one's just kind of monotonous. It can't be that difficult to keep the diversity going, can it?

Standby 2004 by Mission Control (with a remix done by The 89-ers) helps rebound a bit thanks to a melody that's admittedly catchy but then Mario Lopez's Sound Of The City drags us down again due to a breakdown that just had to use that other annoying voice, the Mother Gaia. She goes on about how man and nature have to come together or some other damned thing but do we really want to hear this now? This is hardstyle, man. We want to get off our tits with beats cranked to sixteen pummeling us! Go away, y'tart!

Calderone Inc. returns us to form quite nicely with a screeching synth melody that is infectious in how it sticks to the mind, setting us up for the next track which is, put simply, incredibly energetic. I may have ragged on DJ Merlin's collaboration with NXP as being trite but working with DJ Dean (using the Angel Beats alias here) seems to have helped both of them in making a stomper of a track.

Using a very familiar vocal sample, Power To The People makes use of supersaw synths to great effect. Normally, I'm a bit of a detractor of the supersaw synth but that's normally due to their overabundance in many trance sets. Being the only use of such in this two disc'r, their big punchy notes stand out wonderfully from the usual barrage of screeching synths. A breakbeat breakdown with the title's vocal sample getting time stretched gives us a breather while still keeping things pumping. A brief build-up later, and the synths are blasting with gusto to the thick kicks. This is energetic EDM on overdrive -outstanding work here.

Where can you go from this peak? Only down, it seems.

Busted's track here brings things to quite the crawl, actually. Sure, the beats are still cranked to seventeen but there just isn't any intensity carried over from Power To The People. Rather, we seem to be starting over again, which makes some sense, as we're already halfway through the second disc.

Unfortunately, this disc suffers from the same thing the first one did with its second half: too much of the same thing over and over, namely overuse of overlong breakdowns and builds that lead to screaming synths. There's only so much of the same thing one can take before it gets redundant. Where did the diversity from the first half go?

The breakdowns here are really long, with the wait for those thundering kicks that are cranked to eighteen lasting up to three minutes sometimes, and the intensity hardstyle is known for is severely lacking because of it. Without the energy to keep us pumped, the tracks at the end here just come across as tired; the leftover scraps of a DJ's vinyl bag that is only played to those who are still jacked up on amphetamines. What a shame.

Wait a moment! What's this? Bitchy vocals? Low-fi analogue synths? Could it be?

Oh, YES! Disco punk! ...or at least the hard trance equivalent of it. Where did this come from? Ah, who cares. Voodoo & Serano's This Is Entertainment certainly is coming out of leftfield considering what's come before it but it's a breath of fresh air after the rather mundane run of tracks that filled up the latter half of this disc. It's a shame it has to come at the end of the disc. It would have been an interesting tangent for DJ Dean to follow had it been used after Power To The People.

All in all, if you are looking for a primer of sorts to the hard trance scene, Tunnel Trance Force 30 would probably do; you certainly get a lot of songs for your dollar here.

Unfortunately, dedicated fans of this style of music will probably be left wanting. Despite some fleeting moments, this release doesn't have much going for it to raise it above the majority of trance compilations out there. Most of the standout tracks are available on other discs, and either in their full incarnation or in mixes that complement them better. Best to seek those out instead if your funds are limited.

Note: To hardcore/gabber fans whom felt I was giving hard trance too much benefit with the intensity of their pummeling kicks, your beats are cranked to mother-fing five hundred!

Score: 5/10

ACE TRACKS/MIXES:
Angel Beats Meets DJ Merlin - Power To The People
Voodoo & Serano - This Is Entertainment (Club Mix)

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

Eat Static - Abduction (Original TC Review)

Mammoth Records: Cat. # MR 118-2
Released 1995 (1993 in the UK)

Track List:
1. Prana (7:24)
2. Gulf Breeze (6:33)
3. Kalika (6:50)
4. Splitting World (8:44)
5. Kinetic Flow (6:44)
6. Forgotten Rites (8:13)
7. Abduction (8:00)
8. Intruder (6:11)
9. Xenomorph (6:32)
10. Inner Peace (6:08)

(2010 Update:
Another thing I wanted to do for TranceCritic to differentiate the website from all the other trance sites of the time was ample coverage of older releases, specifically from the genre's infancy. Browsing through several forums of the time, I was quite dismayed by the utter lack of knowledge regarding the genre's history. It seems things have managed to turn around in recent years, as there's more looking back going on now than there ever was in 2004. Not that I'm saying TC was responsible for the shift, but hey, at least I can claim to be ahead of the curve, right? Er, maybe if I'd written a better review for this.)

IN BRIEF: It's Eat Static... before the aliens abducted them.

Longtime mainstays in the psy trance scene, Eat Static (Joie Hinton and Merv Pepler of Ozric Tentacles) may have become associated with all things alien but their music wasn't always so. In fact, some of their earliest work was more in vein with what much of the initial goa tunes thematically tried to capture, namely the vibe of outdoor dance parties and tribal gatherings. It wasn't long before the extra-terrestrial soundscapes of trance music had an influence, though, and Abduction seems like as fitting a title for this debut as it gets.

How so? Let's dive into this release and I'll show you.

Granted, the opener on this release, Prana, has its fair share of sci-fi bleeps, samples, and effects. However, for most of its duration the emphasis is placed more on the rhythm as acid and subtle electronic sounds meander throughout. Don't go looking for any clear-cut leads in this song; you won't find them. Instead, just let the rhythm take hold and bob your head or feet along.

Gulf Breeze may have gained fame more due to Sasha's remix of the track but the original here is worth a look as well. Starting quite deep with thick, grumbling bass and pulsing electronic effects, various melodies come and go throughout. Some, like arpeggiating sounds and mechanical pads, come off quite interesting. Others, like chanting samples, come across as a bit redundant. Still, the good outweigh the bad here.

Keeping things still on Earth is Kalika, a track which easily exemplifies goa trance. Plenty of Indian sounds, both percussive and melodic, are used throughout and easily conjure up images of beach parties held in Goa under the stars. Compared to the last two tracks, this one is quite mellow. Sure, there is still some speed to it but the rhythm doesn't dominate quite as much, allowing the sounds of India to let the mind wander.

With Splitting World, we get to hear Eat Static's real strength at work. Always more of a live act, Joie and Merv have a tendency to embellish with numerous patches throughout their songs. The former tracks already presented on this release used this to some degree but with fewer patches so you'd hear familiar sounds coming and going. Splitting World has all sorts running through it, keeping things shifting and unpredictable.

For instance, after four minutes of leisurely rhythms and stuttering native chants, the song changes gears into a breakbeat with mechanical sounds and synths. Former and latter patches switch up and intermesh for the rest of the track as even more elements come and go. Much like jazz or prog rock, this embellishing is amazingly coherent. Great stuff.

However, throughout this whole album, the alien influences that Eat Static is known for still have yet to surface. Kinetic Flow gets a little more spacey with bright electronic sounds and effects fluttering about in a rather light-hearted track but it remains somewhat insubstantial. What follows, however, is dripping with imagery.

Oh, not aliens. Forgotten Rites instead takes us back to the beginning -that is, the beginning of humanity's association with dance. This is overflowing with primal energy. Starting with eerie effects as organic percussion is progressively added, the tension is gradually built for three minutes before the main kick hits. For the next two minutes we are treated to some fierce tribal rhythms as dark sounds weave about, conjuring up shaman bonfires at twilight.

But all this is just building us to the heart and glory of this track: a bright, sputtering synth that tickles at your consciousness as your feet keep moving to the heavy rhythms. You want to know how trance got its name? This track is a perfect example. Once everything comes together for a rousing finish, you are absolutely enraptured by the sounds on display here.

Forgotten Rites is probably the most human sounding track on this release, so it makes a great deal of sense to follow it up with the aptly titled Abduction. It is here that the aliens of Eat Static finally make their presence felt. After a lengthy intro of creepy starship sounds, we are treated to a bit of a mellow excursion of bizarre noises and peculiar effects. There are some melodic moments thrown in for good measure as well but this is mostly a chance for Joie and Merv to musically indulge with quirky sounds.

Having let the aliens snatch them from Earth, Eat Static take us into the cosmos with Intruder. Spacey synth pads soar in a minute long intro, eventually fading back as arpeggiating electronic effects and acidy, tribal rhythms take over. During a brief pause in the momentum of this track, we are treated to some mechanical sounds and spoken samples -one repeatedly utters, "Consciousness expanding." When the synth pads return to the fray, I'm inclined to agree.

Xenomorph is quite a bizarre sounding track, much in line with Eat Static's later works as they experimented with futuristic noises to make stomping dance music. Letting their alien influences completely dominate here, there is nothing human to this track at all. It can come off very disconcerting after so many tracks of ground based rhythms and melodies. That's not to say this is a bad track; in fact, it's quite a remarkable piece of work to behold considering all the unusual patches in effect here. Just be prepared for something very different than what you've heard thus far on Abduction.

To finish off the album, Inner Peace brings us back to the more familiar tribal gatherings that we bore witness to in the first half of this album. For the most part, this is a very straightforward track, with ethnic samples alternating between benign electronic sounds and string pads. While decent enough, compared to much of what's come on this album already, Inner Peace comes off as very simplistic; perhaps not the best way to end an album on as it kind of leaves you wanting for a bit more.

But for that, you'll have to seek out Eat Static's subsequent releases, as we've come to the end of Abduction. Overall, it is an enjoyable listen provided you don't come looking for aliens aplenty. While making brief appearances here and there, they tend to be lurking in the shadows of this album, lightly influencing the sounds while we mere humans have fun dancing under the stars to our own tribal sounds.

What a chilling thought.

Score: 8/10

ACE TRACKS:
Splitting World
Forgotten Rites
Intruder

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

Terra Ferma - Turtle Crossing (Original TC Review)

Platipus: Cat. # plat 30CD
Released 1997

TRACK LIST:
1. Lunar Sunrise (10:14)
2. Fire (7:44)
3. The Scream (8:13)
4. Visions (7:57)
5. The Poet (6:32)
6. Floating (9:46)
7. The Snakecharmer (10:53)
8. Planet Ogo (7:56)
9. Crazy People (7:10)

(2010 Update:
Ugh. Another meticulously detailed review. I find these read better if you just ignore the whole middle sections, as the first couple and last couple paragraphs basically sum up my thoughts. Still, if you don't mind long, dry descriptions of music, I suppose this is alright.)

IN BRIEF: Music and themes best not forgotten.

Claudio Giussani created some classic acid trance numbers with Simon Berry such as Red Herring and Two Full Moons And A Trout when they produced together as Union Jack. Their collaboration seemed to be short lived though, as Berry went on to do big things as Art Of Trance and Giussani went onto, um, not-as-big things as Terra Ferma.

Which is a shame really, because if this album is any indication, Giussani is an exceptional producer. His ability to utilize natural percussion so they co-exist with your typical trance patches - rather than stand out as gimmicky - is uncanny. Coupled with creating stirring, somber melodies being melded with fast-paced acidy rhythms, and you have some truly captivating tracks on offer here. The added bonus is Giussani manages to keep things thematic, namely drawing upon Tibetan milieus, a bit of a unique setting as far as trance tends to be concerned.

As the opener for this album, Lunar Surprise makes abundant use of such elements. After a woodwind intro, things begin to speed along quite nicely with suitable patches of dark electronic squelches and effects offset by melodic string pads and piano arpeggios while the percussion is a nice blend of the synthetic and organic. Layers are continuously added, building up to a breakdown some five minutes into the track. Here, we're introduced to some tribal chants as strings and pianos play in the background and things build back up to right where we left off with this interlude. Things play out quite typically from here: previous elements coming and going for the remainder four minutes, with extra layers of organic percussion being gradually added to a rousing climax. All and all, Lunar Surprise is a strong start to this album.

Aiming straight for the dancefloor, Fire starts out with quick kicks and acidy basslines. Layers of synth pads, acid squelches, and organic percussion are continuously added, building momentum for over three minutes into a minor breakdown. A high-pitched acid melody is introduced here and, in a surprising contrast to the darker overtones of the start of this track, it has quite the melancholic tone about it. Once Fire gets going again, the melody doesn't stick around for long, instead letting the rhythms dominate here with subtle stuttering strings taking over for the duration.

Moving away a bit from the somber melodies is The Scream, despite the use of voice pads in the beginning. That isn't to say this track is devoid of emotion, rather it's just not as important here. Darker and harder than the previous two, many pitch effects are employed on its acid and synth patches. Structurally, this song isn't all that far removed from the previous two as it follows the more traditional lead-in, mild breakdown, brief build, rush to the finish template of many trance tracks. Even with some string pad moments, the acid lines are the dominant element throughout, keeping the energy going. After all, if a sample going, "WHOOooooooo-rrrAH!" doesn't spark an adrenaline surge, I don't know what will.

Visions starts things off a little slower compared to what's come before but it too is a fairly energetic track. A deep bass line is introduced, something that, while not completely lacking, hasn't had enough attention given to thus far on this album. The main riff uses some stuttering synth stabs but it doesn't really come across as anything that hasn't been heard on the album to a varying degree yet. In fact, Visions has quite a bit that is structurally similar to everything else that has come before on this album. There are some tribal-like male chants in a breakdown but, unlike Lunar Surprise, they don't really add much to the overall texture of the song. Probably one of the most unique aspects I noticed are the hand claps in the percussion. At some point midway through (I'll let you discover where; why should I ruin all the fun?), they go from straightforward strikes every second beat to a far more energetic pattern. It's quite subtle but the energy it adds is remarkable.

On its own, Visions is quite good. However, since all the previous tracks have made use of the same structure, it doesn't seem to stand out as well as it should. There's an unfortunate feeling of 'been there, done that,' and I hope this trend doesn't continue for the rest of the albums.

With more prominent organic percussion, The Poet has more of a bouncy start to it after some acid lead-in. Don't be fooled, though, as, like those that came before, there is a somber atmosphere to this track as well. Shorter than the rest, the use of the breakdown method mid-way through isn't as prominent, serving more as a brief pause in the momentum rather than a full-out break as no new melodies are introduced. A few additional elements like pianos and extra acid come and go but, for the most part, The Poet is a subtle song compared to the rest, making it a nice respite from all the simialarily structured tracks that's come before.

Floating comes across as a collection of elements that have already been used thus far, stripped down to their very basic components. Really, this makes some sense as Floating was the first single Giussani produced as Terra Ferma. Things build quite nicely in this song as percussion meshing synthetic with organic instruments accompany melodic string pads, synth stabs, and piano solos. As with the tracks that came before, a breakdown slows things down again midway through before building back up again, peaking with stuttering voice pads. Yet another strong song but perhaps a change of scenery would benefit this album's overall effect.

As if heading the call, The Snakecharmer opens up outdoors, with a campfire and crickets chirping while a large drum beats in the distance. A woodwind and string pad intro goes on for nearly three minutes but it's quite nice to listen to after six straight songs of straightforward trance numbers. Once things get going, The Snakecharmer opts for minimal use of trance elements, foregoing organic percussion, breakdowns, and evident melodies. Granted, there are some somber moments to be had thanks to pad work and subtly stuttering acid effects but, for the most part, this is a simple, hypnotic song, entrancing you with rhythms and sight leads.

Like the light at the end of a somber tunnel, Planet Ogo has a more optimistic tone about it. With mellow strings and voice pads, this song very simply goes about its business with the usual assortment of organic percussion and acid lines that we've come to expect thus far on this album. Neither trying to outdo anything already given, this track seems to be quite aware it's nearing the end of Turtle Crossing. And to finish off, Crazy People takes us through an ambient excursion of Gregorian chants, dark synth pads, progressively layered organic percussion, piano melodies, and a long sample of 12 Monkeys. All in all, it's a nice diversion from what's come before, and a fine way to finish off the album.

Any song on Turtle Crossing could make for a strong single but there is a problem to be had with cramming your album as such. The flow of it can come off a little repetitive without something to mix it up in between. Perhaps some of the differently themed songs toward the end could have made the transitions between the songs more intuitive had they been placed in a different track order.

This niggling nitpick isn't enough to not recommend this release though. In fact, there is more than enough on here that fans of trance old or new can equally enjoy. You have acid and quick rhythms for those who prefer the more hypnotic era of the style, and nice melodies for those whom discovered trance at a later date. It's quite remarkable that Giussani managed to craft an album that crossed these two time periods of trance's short history without loosing any credibility.

Score: 8/10

ACE TRACKS:
Fire
Floating
The Snakecharmer

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

Erik Vee - Sacred/Iron Eden (Original TC Review)

Dropout: Cat. # DROP 0456-6
Released Nov. 1, 2004

Track List:
A. Sacred (Club Mix) (6:16)
B. Iron Eden (Club Mix) (7:35)

(2010 Update:
So much for really being an 'instant fan'. Granted, Erik didn't release much after this but it's not like I bothered to follow his career either. 'Tis funny how enthusiasm can be so fickle in dance music.)

IN BRIEF: Erik Vee's standing remains firm.

The trouble with becoming an instant fan of an artist's work after hearing just one of their songs is the expectation level on subsequent releases tends to be higher. I'll grant that such expectations are ridiculous but, truthfully, if the artist was good enough to draw you in with just one song, you kind of expect them to be able to produce something of at least equal quality.

This does not mean they have to copy the same formula. In fact, I'd be a bit disappointed if they did. I'd rather hear their musical talent put to use exploring other ideas instead of rehashing the same ones.

So it is with welcome relief to see that Erik Vee continues to keep things interesting on this EP. While no I Am Free, the two tracks on offer here still manage to deliver to some degree.

Sacred is a gimmick-free hard trancer, aiming straight for the floor with punchy percussion. Nothing fancy here -just four-to-the-floor rhythms and crunchy synth riffs for the opening two minutes. A brief breakdown gives us a thirty-seconds breather before the established elements are built back up. Once everything's moving along again, the synth gets a little more melodic as background pads harmonize with it.

It's a solid enough affair but perhaps more could have been done with it. I get this feeling Sacred is lacking that extra touch of ingenuity that would raise it above the level of other hard trance tracks. As such, it remains firmly in the middle of the pack.

Iron Eden is apparently a cover of a song by The Gate done in 1998. I'm not really familiar with the original but the melody does ring a distant bell, perhaps due to a striking similarity to much of the trance melodies that were coming out at the time. It's quite possible I heard it at a party back then. But enough dwelling on the past. How is Erik Vee's rendition, you ask?

Like Sacred, this is fairly straightforward in presentation but the similarities end there. Even though the track does contain some thumping rhythms, they're at a slightly lower BPM and less punchy. Really, it's merely there to service the main meat of Iron Eden, a somewhat distorted synth played on every kick. For the most part, this synth is played throughout the track, casually mixing things up between terse and harmonizing melodic notes as the pacing dictates. It's rather catchy and, thankfully, Vee allows it to carry the song without relying on any big builds or overlong breakdowns (there's a brief one some four and a half minutes in but it's more of a brief pause in momentum than anything obtrusive). By stripping this song to the basics of trance music, we can easily be drawn into the hypnotic nature of it.

Plus, Vee uses that wonderfully nostalgic ting, ting, ting hi-hat that Jam & Spoon quite often used way back in the genre's infancy -kudos for that.

Now, I'd be lying if I said I didn't enjoy these two tracks; like I Am Free, they really are good in their simplicity. Unfortunately, I get the impression these are just tide- overs until Vee produces more material for perhaps a full-length album or, at the very least, another big single. The production talent is still there but here's hoping for a little boundary pushing on the next release, Erik.

Score: 7/10

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

Erik Vee - I Am Free (Original TC Review)

Dropout: Cat. # DROP 0346-6
Released 2003

Track List:
A. I Am Free (Club Mix) (6:44)
B. I Am Free (Original Mix) (6:24)

(2010 Update:
Sometimes one will write a positive review that they may look back on and wonder, "how could I have ever liked that?" This is not one of them! Yeah, it's a cheesy tune, but everyone has a few guilty pleasures in their music collections. Still no shame.)

IN BRIEF: Italo lives!

Say what you will about Regeanomics, arena rock, and fashions that could make your hair stand on end even more than the hairspray that abounded in the decade; the 80s had a lot going for them. One such thing was the music known as italo disco, a wholly European phenomenon that time has been quite generous to.

I'm not sure if Erik Vee intentionally set out to make an italo-esque track with I Am Free (especially considering his first single, Wildside, was as straightforward a hard trancer as it gets) but that's the feeling I'm getting from this single here.

Why? Simply put, everything that made italo so much fun is abundant. The breathy vocals with a touch of reverb; the simple yet effective floating pads; the catchy, primitive synth hooks; and a bouncy rhythm that will get parts of your body moving even if you are lying inert.

And even though I Am Free does follow the typical trance format of lead, breakdown, build, etc., they don't come across as tired here, probably thanks to the lack of so many of the clichés plentiful in other tracks (mega snare rolls, gargantuan synths, overtly pretentious presentations). Everything here has a stripped down, back-to-basics feel to it.

Okay, so some might label this vocal trance but, really, vocal trance tends to come across as the offspring of euro dance, which in turn was the offspring of italo. It all ties together, guy!

If you came looking at this release for something a little more akin to Wildside, the Club Mix provided on the A side will probably be more up your alley.

This is a simple yet effective piece of trance here. The track starts out with punchier rhythm as heavy bass bobbles in the background and grating effects are thrown in about for the two and a half minutes worth of lead in. The breakdown fades things down and, wisely, this mix gives us a bit of yin to the lead-in's yang. Instead of the synth pads that were used in the original, however, we are treated to voice pads instead, lending the ambience of I Am Free to a more benign nature. Adding to that ambience is the main hook being played with a rich piano fed through a little reverb rather than primitive synths as well.

Things start moving along again at a fair pace soon enough and extra effects are utilized to play off the piano melody wonderfully. Things play out typically as the song finishes off, with the rhythm dominating the last minute's worth for all your DJing needs.

I highly recommend this release to either fans of italo or melodic trance. Both versions of I Am Free are very effective in their simplicity, and, even if you aren't exactly a fan of one of those styles of EDM, you just might become one after listening to this single.

And as for Erik Vee, count me as a new fan of his material if he continues to produce songs of this caliber. Here's looking to the future with the past firmly in tow.

Score: 9/10

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

L.S.G. - Rendezvous In Outer Space (Original TC Review)

Superstition: Cat# 2038CD
Released 1995

Track List:
1. Wrong Time - Wrong Place (9:50)
2. Lonely Casseopaya (3:56)
3. My Time Is Yours (5:53)
4. Can You See The Yellow Turtles (5:40)
5. Miss Understanding (2:42)
6. Sweet Gravity (4:43)
7. Sweet G #2 (2:43)
8. The Hidden Sun Of Venus (5:05)
9. Lunar Orbit (2:27)
10. Everything Is (2:18)
11. Enter Paradise (7:02)
12. Fontana (8:17)
13. Reprise (1:43)

(2010 Update:
When I first started writing for TranceCritic, I had a few writing projects in mind, one of which was to review every single L.S.G. album in a monthly series. Er, it's still a work in progress, though I only have a couple left to do. Patience, my friends, patience.)

IN BRIEF: The L.S.G. debut album. Ten years later, it still hasn't lost its shine.

Everyone knows Oliver Lieb, even if they don't realize it. His tracks have appeared on countless trance albums, compilations, and DJ mixes (from the superstars to the not-so-superstars). His contributions to trance as a whole have been felt from the earliest days of the genre's existence, rightfully earning him the title of the Godfather of Trance. Yet, because he has more aliases than a centipede has legs, Lieb has maintained a remarkably low profile, consistently releasing excellent material without much fanfare aside from those in the know. One of his aliases did manage to gain notice though, thanks in large part to prominent DJs playing out Lieb's music: L.S.G.

After a string of singles, Lieb released the first L.S.G. full length album in 1995 with Rendezvous In Outer Space, a rather suitable title considering what's to follow on this album. Yes, my friends, Rendezvous In Outer Space is trance... as in original trance (classic trance, real trance, old timer's trance, 'techno'), the kind of stuff that uses plenty of spacey, hypnotic, electronic sounds to draw the listener into other-worldly soundscapes.

But wait, progressive-anthem-epic trance lovers, don't flee just yet. One of the reasons the L.S.G. releases became so popular was for Lieb's talent of infusing soaring synth melodies into his tracks. Indeed, much of what is heard at even this early stage of L.S.G. productions still sounds amazingly up to date, as though they could have been produced just this past year and fit snuggly into any trance DJ's set at peak time.

Still, Lieb often crafted his albums with certain themes in mind, so not everything on Rendezvous is pure trance.

In fact, the first track, Wrong Time - Wrong Place, really is nothing more than an opener; a teaser of things to come. Sure, it is a nine minute long track with plenty of momentum but half of it is fairly standard lead in, with layers of synths, effects, and percussion progressively being added. By the time the main lead starts up, we're already four minutes into it.

This isn't a bad thing by any means, of course. All too often an album will put all its eggs into the basket with the opener, leaving the listener with not much to look forward to. By letting Wrong Time - Wrong Place just subtly hint at what to expect, the anticipation can only grow.

As the song finishes up, the melancholic, stuttering synth chords of Lonely Casseopaya emerge from the background, eventually given time to just play on their own -and why not? They really are quite lovely to listen to. A bit of simple rhythm is eventually added but it doesn't take away from the main melody, allowing it to carry this song throughout.

My Time Is Yours materializes as Lonely Casseopaya ends, treating us to an ominous contrast to the previous track with a looming sample uttering the track's title. The pace picks up as eerie, raspy synth pads weave about with sputtering electronic lines. In a mild breakdown halfway through, an innocent sounding melody counteracts the menacing atmosphere, creating a wonderful play on contrasts within this track as it rushes towards its end.

So far we've been treated to some great sounding individual songs here but Lieb seems ready to take us further into his trip through the cosmos with tracks that complement the next very well.

Can You See The Yellow Turtles certainly gets us going on the right foot, as it drives with even more energy than My Time Is Yours did. After some three minutes of vigorous rhythms, a distorted, stuttering pad creates an incredibly moving melody, feeding off the heavy percussion to create an unforgettable, sonic treat. Miss Understanding slides quite comfortably in as Yellow Turtles ends on its main pads, matching the former track's atmosphere quite nicely with punchy rhythm that doesn't lose anything during the switch. In fact, they harmonize with each other so well, for a while I thought they were the same track.

However, Miss Understanding doesn't get much of a chance to show off, as it ends almost as soon as it begins. A bit of a shame, I suppose, as there are some interesting effects at play here, but Lieb has relegated this track as a transitional song to lead us into Sweet Gravity.

Now this is what I love to hear in trance: unique sounds creating new melodies. At first, the guttural effect used here certainly doesn't sound like it could be used to make any music out of, but as Lieb adds higher pitches to this sound, notes seem to emerge. The low and high pitches play around about for a minutes worth of lead in but never mingling, merely hinting and teasing at things to come. Thus, when the two octaves merge just as the kick hits, the release of primal energy is potent.

However, Lieb doesn't play this up as much as he potentially could. Instead of coming on even fiercer, he seems quite content to let a flat, muted version of this lead take over for most of the rest of Sweet Gravity, only bringing the original sounds back towards the end. Sour grapes, I guess, but perhaps he wanted to take the energy level down a bit following the previous two tracks as we are beginning to head into the more ethereal part of Rendezvous In Outer Space.

Sweet G (#2) more or less retains the same basic melody as its former compatriot, except relies on spacey synth chords and atmospherics than infectious hooks and driving rhythms (although, it does briefly have some of that, too). As the song fades out, eerie pads emerge as The Hidden Sun Of Venus takes us on an ambient excursion through space. Mechanical effects pulse their way along as these synthy sonic textures meander about, which makes the shift into Lunar Orbit very smooth, the latter's atmosphere even more mechanically ominous than anything else on this album. After this ten-minute sequence of three tracks, one could feel as though they'd taken a brief tour through the inner solar system.

A fairly simple little trancer with Everything Is takes us back down to Earth. Relying more on rhythm and hypnotic effects than anything else to carry it forward, the track merely serves its purpose to segue us nicely into Enter Paradise, a track that flies with fantastic synth chords, stuttering electronic lines, and energetic rhythms. As this song ends, the synth chords are replaced with voice pad chords to end off on a harmonious note. This would have been a perfect cap on an already solid album but Lieb manages to go one better with what follows.

Abandoning all the standard rhythmic structures that have been previously established on Rendezvous, Lieb explores the frenetic percussive elements of breakbeat tracks in Fontana's lead in. The rhythm gets really busy as layers are continuously added for nearly two and a half minutes, yet no solid kicks of any sort surface. Mildly breaking down at this point, a soaring melody emerges, using a similar distorted, stuttering synth pad that was wielded wonderfully in Yellow Turtles. Some two minutes later, the main melody takes a seat to allow Lieb to get creative with the percussion, embellishing with hi-hats, snares, and toms like a kid with his first drum kit. And, while that wonderful melody doesn't exactly return in Fontana, in the aptly named Reprise, it gets the full glory to play out with orchestral strings as a gentle pulse throbs in the background like a heartbeat -now that's a way to cap off an album.

While Rendezvous In Outer Space isn't exactly the greatest album Lieb produced as L.S.G. (although still leagues above many contemporary trance acts), it is undeniably the most comprehensive of them. Touching upon all facets of the alias, it serves as the best primer if you are just getting into the L.S.G. works, as the various themes throughout would be explored in greater detail in later albums. From here, you could leap into the harder sounds of The Black Album from My Time Is Yours, or the otherworldly Into Deep from The Hidden Sun Of Venus, or the trancey favorites of Volume 2 from Lonely Casseopaya and Fontana, depending on your particular taste.

Score: 8/10

ACE TRACKS:
Lonely Casseopaya
My Time Is Yours
Fontana

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

Cosmic Gate - Different Concept, Part 2 (Original TC Review)

E-Cutz: Cat. # EC 2004/2
Released April 2004

TRACK LIST
A. Bilingual (8:37)
B. Monotune (9:02)

(2010 Update:
Wow, who would have thought this was going to be the end of Cosmic Gate's hard trance era. This review is definitely a product of its time, as the duo's whole change of direction isn't even touched upon here.)

IN BRIEF: More quality from the Cosmic Gate crew.

With some good, solid percussion that progressively adds layers driving the first two minutes of Bilingual, Cosmic Gate's most recent EP sets us up for quite the stomper of a track. Things calm down briefly as bass kicks begin to throb from beyond a murky veil, allowing a pulsating saw synth to slowly emerge from the background. Less than a minute later, the percussion kicks back in, the synth becoming more focused and punctual in time to the rhythm as it slides across the stereo spectrum. Soon though, things fade off again to the throbbing bass kick permeating the background. A great little piano melody fed with a bit of reverb plays out, eventually gaining momentum in itself as some synth pads join as well. This breakdown goes on for perhaps a little too long (a minute and a half) considering how driving Bilingual started out but there's enough momentum carried over into the piano melody to keep at least some part of the body moving.

And anyways, once things do get going again, the anticipation built up to the return of the main synth lead and percussion is enough to really get you moving. Things play out quite typically from here, with the main synth lead and piano melody alternating turns in carrying the song to a brief percussion lead-out; however, when the elements used are as good as they are here, this can make for a good set piece.

Monotune on the flip gives us techy percussion to start out, setting up a respectable pace. Over two minutes later things calm down, allowing a crunchy, stuttering saw lead to emerge from the background, eventually gaining enough momentum on its own to allow the percussion to fade away for the time being. As it gains intensity, the synth smoothes itself out, becoming fuller in sound until...

Um, it just dies, actually.

After a second's pause, the synth starts up again, starting from a low tone to build in intensity as it leads into heavy, driving percussion, embellishing from Monotunes opening percussive elements. When these two ingredients feed off each other's energy, we are fed some incredibly vigorous stuff for a good minute. After we are given a chance to catch our breath with some reduced percussion, the song cycles itself over again, adding a bit of a pulsing bass and a few extra effects to mix a little diversity before capping off some eight minutes in with a simple percussion lead-out.

I rather enjoyed these two cuts from Cosmic Gate. Granted, they aren't going to re-define trance anytime soon but neither do they dilute the name either. This is solid, four-to-the-floor material that knows its role as set pieces tailor made for getting the crowd moving. The pauses in momentum are, for the most part, welcome respites from the intensity of these tracks, although I did feel Bilingual's carried on a bit longer than it really needed to. Still, this is a welcome release to any fan of hard trance's collection.

Score: 7/10

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

DJ Merlin & NXP - Deep In My Mind (Original TC Review)

Tunnel Records: Cat. # TR 3078
Released 2003

TRACK LIST:
A. Deep In My Mind (Extended Mix) (9:04)
B. Deep In My Mind (Barbarez Remix) (6:59)

(2010 Update:
My first 'below average' review, which stunned TranceCritic's owner quite a bit since he recommended this to me for coverage. It was pretty bad then, and the fact these guys seemed to have fallen off vindicates my early assumptions. So, hah! Take that, Jon!)

IN BRIEF: Aren't we all tired of screaming synths by now?

There's an absolutely great moment in the extended mix of Deep In My Mind, where the beats are thumping, the bass is galloping, and a subdued riff screeches inconspicuously.

Unfortunately, it comes nearly eight minutes into this track and lasts a mere twenty seconds, at a point where its role is 'lead out' from the main bulk of this song. What do you have to deal with to get to this point? Some fairly unremarkable moments, to say the least, but since I have no word count limit on the internet, I'll say more.

After some typical shuffling percussion lead in, a rather perky bassline starts up with a bleeping effect playing off it from behind. Two minutes later, we get a minor breakdown, allowing the built up percussion to be stripped away in layers as a little singing of the song's title unfolds. Soon enough, all the introduced elements are completely gone, allowing a gargantuan synth to blast forth, spurring on a breakbeat build.

A decent enough technique but for one problem: despite its zealousness, this synth sounds far too whiney. Add to this the fact the riff it plays is nothing more than straightforward boshing to go along with the thumping kicks, and, well, it's just superfluous. There'd be just as much energy to this track without it thanks to the throbbing basslines, as is evidenced at the end of this song when the synth recedes and allows a background lead to do the work.

Two builds are in this track, the second of course bigger than the first, but I'd take eight minutes of the lead out of Deep In My Mind over these builds any day.

Marty Schmidt (better known as DJ Dean but using his Barbarez alias here) seems to be aware of the main synth's lack of ability to carry the song on its shoulders so, for his remix on the flip, he adds some more elements to help it along.

The lead in is much punchier, laying the beats on fierce with chunky acid blurps and snappy percussion. Over two minutes later, things recede and allow a throbbing synth line to emerge in a minor breakdown. Crowd noise is added and, as the main synth of the original is brought in, the extra throbbing synth really brings texture. Another synth line plays off the main one, doing what needed to be done in the first place: adding depth to an otherwise basic banger of a track.

Granted, the synth still sounds whiney but at least it isn't the focus of the entire track anymore. There are whole stretches where the other synths get to show off a bit as well; disappointingly, nothing overly remarkable is done with these extra elements either. For the most part, they just thump or throb along with the kicks. Schmidt's remix is better than the original but not by a whole heck of a lot.

Despite a few things that work, these two tracks don't really bring a whole lot to the table. There's far better offerings of hard trance out there.

Score: 3/10

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

Various - Trans'Pact Productions: Chap. 2 (Original TC Review)

Trans'pact Productions: Cat. # 96-01
Released 1995

Track List: 1. Asia 2001 - Guarana Cupana (9:24)
2. Koma Club - Migro G (6:43)
3. Koma Club - Palpitating (6:01)
4. Tribute - Acid Intermed (6:24)
5. Koma Club - Power In Your Mind (6:28)
6. Dan Ovan - Initial Osc (6:11)
7. Platinium - Digital Deck (5:42)
8. Loren.X - Love Tribu (6:49)
9. Progressive Transe - Eternal Tribulation(5:47)
10. Asia 2001 - Arkology (8:15)

(2010 Update:
So, a couple years later, I discovered that pretty much all of these are by the same guy, Martin Cooper -and then the dude's real name is Gilbert Thévenet. Only Dan Ovan seems to be unique, at least according to Discogs. I guess that explains why the rhythms sound nearly identical from track to track. Synths are still wicked-crazy sounding though.)

IN BRIEF: Experimental trance as a genre? It should be.

Every so often during my music browsing, a little gem of an obscure release will catch my eye in the racks of a shop. Nothing on it will be familiar to me, most of the artists quite possibly having only made a couple singles before returning to their day jobs. Quite often, a mere handful of dedicated discographers will have ever heard of the label. Yet, what is contained on the release may be a long lost buried treasure just waiting to be re-discovered by accident.

And while this one in particular may not be such a release, it certainly does not deserve to be overlooked a decade later.

Most acid trance in the mid-90s was in a more experimental stage as artists were testing the boundaries of what would and wouldn't work for sounds in their songs, and this somewhat enigmatic label out of France founded by Martin Cooper (also known as Loren X) was no exception. For the most part on this compilation of releases from Trans'Pact, experimentation does work, though it sometimes seems tracks were built just for these sounds' sake.

But before we even delve into those types of tracks, we have Guarana Cupana by Asia 2001, a pairing of Martin Cooper and Florian Seriot that released many albums through Trans'Pact. Hey, it's your own label, so why not?

There's quite a lengthy intro to Guarana Cupana, using many percussion sounds to give it a tribal feel. Effects mesh about and a light synth pad adds some texture towards the end of this intro. Once it's over, the percussion picks up in intensity. Trance hi-hats, bass kicks, claps, and multiple acid lines -some bassy, some squelchy- are progressively added for a couple of minutes worth. Eventually, we are treated to the main riff, a rather typical psy sound that subtly varies in pitch. In a minor breakdown that follows a minute later, the synth pad helps accentuate this riff quite nicely. Percussion returns to the fray and a wobbly bit of acid is given prominence, lending this track to an old school vibe. Finally, everything comes together for quite the rousing climax that lasts a good three minutes long, never losing momentum as elements weave themselves in and out expertly.

At times Guarana Cupana can come across as a little too busy (especially when a few effects that really don't add much come into play) but, for the most part, creates a nice textured song that, unfortunately, does take its time in getting somewhere. The next couple of tracks by Koma Club are far more direct in their approach.

A bizarre sounding intro starts Migro G off. In fact, it sounds like Koma Club were just messing around on a synth here. Don't let this turn you off of this track, though. The intro only lasts half a minute and you'd be missing a fun, floor-stompin' excursion into acid trance. Koma Club doesn't try to trick you with anything fancy -it's purely meant to get your feet moving. A great, driving riff that doesn't get too repetitive due to its fun nature balances out with a warbling acid line all over this track. Good effects and minor pauses in pacing (gotta catch our breath, after all) keep things interesting throughout.

Palpitating is a little darker than the previous track but still has high energy thanks to some great sounding electronic lines that benefit from reverb quite a bit. By a minute and a half in, more of the focus seems to be put on crazier synth sounds accentuated with an eerie pad that slowly emerges from the background. There isn't really a riff in this song, as it is carried by pure atmospherics over the rhythm. Those of you who are more weaned on immediate riffs are likely to be turned off of this track but I rather enjoy it. This is trance music that really allows you to become lost within its hypnotizing effects.

Followed up is Acid Intermed by Tribute. This is one of those rare tracks where every element comes together to create such an enjoyable listening experience. Right from the start we are greeted with a stuttering acid line that never becomes repetitive thanks to some ever-so-subtle pitch effects expertly weaved through the sound spectrum. Trancey riffs and sinister, sweeping synth pads balance things out with just the right amount of percussion (with some of it benefiting from a little reverb as well) to not make things sound too busy as each element comes and goes throughout. One quibble, though: more punch in the bass kick would have been nice. Ah, well. Such was most acid trance from this time, I guess.

Koma Club returns with Power In Your Minds, another song where the effects and atmosphere of this song really hold it together. So much, in fact, that without it we'd have a high paced but relatively boring excursion into acid trance. It's seems a shame that nothing was able to develop much further without it. These effects are so incredibly dark and menacing the only way I can describe it is akin to some evil machine breathing (again, probably thanks to Koma Club's apparent love of crazy synth sounds). A little whistling riff to offset this menace contrasts very nicely as a bassy acid line benefiting from gradual pitch changes builds from there. The main acid line that joins some two minutes in is alright for what it's worth (trippy and energetic) but sometimes ventures too high in frequency which can be quite piercing on the ears. When the atmospherics are in play, this track works wonders. Without, though, it's just tedious. Some better balancing of the elements would have been welcome.

The next track on this compilation, Initial Osc by Dan Ovan has the same problem. There's a great sounding pad here that comes in a minute and half into this song. In contrast, everything else seems to be a little forgettable. That's not to say the quick pace, reverb percussion, or acid lines benefiting from pitch effects aren't good as well -it's quite enjoyable, especially from a dance floor standpoint. However, this spacey pad is just so sweet sounding, I wish it was used more often throughout instead of just three sections. Oh well. Full prominence of it is given at the end of the song so it's worth it.

After such a steady stream of solid tracks, this next one, Digital Deck by Platinium, doesn't really have enough going for it to make it all that compelling. For the most part, it's just various acid blurbs and squelches fed through pitch effects accompanied by rather tinny percussion. I was willing to overlook such percussion in Acid Intermed because the rest of the song was so good but without anything to raise the level of Digital Deck above standard fare, it's glaringly evident. There's a point some three and a half minutes in where a bit of synth punches through the acid but it doesn't have enough to carry this track out of mediocrity. Considering how good this compilation has been thus far, this is quite a letdown in contrast.

If anything though, a definite pattern to most of these tracks should be apparent. Quick pace? Check. Acid bass and riffs? Check. Pitch effects galore? Check. So, it doesn't come as much of a surprise that Martin Cooper's offering as Loren X in the form of Love Tribu has these elements as well. What stands out rather well here, however, is a sweeping, spacey synth pad that sounds quite nice. And, unlike Initial Osc, this pad is utilized throughout, allowing the listener to become quite entranced within its sound. But even the stuttering acid bass sounds great enough to carry this song on its own. With both elements together, Love Tribu really does stand out from the pack of similar structured hypnotic numbers.

Eternal Tribulation by Progressive Transe brings things down again, though. It's not an entirely bad song, as some distorted, high-pitched pad work that comes into the song some two minutes after fairly standard percussion lead-in does give the song some soul. However, the tinny nature of the percussion on here tends to sound too busy at points and effectively detracts from the meatier parts, sometimes even burying it. This could have been easily in league with Love Tribu had things been more refined but, as it is, Eternal Tribulation just barely makes it as a transitional track.

Bookending this compilation is another track by Asia 2001: Arkology. Compared to the rest of the tracks, this one is relatively slower. Much like Guarana Cupana, there is a fair amount of lead-in using darker acid effect here. Coming off the heels of the last few songs that were using much higher frequency pitches for their acid lines, this track sounds quite fresh. For the most part, there aren't any clear-cut riffs or main acid lines. Elements ranging from spacey bleeps to reverb acid stabs to stuttering arpeggios weave themselves in and out with typical psy trance fashion. It's a great song to end the album on, really.

Despite the scarcity of anything from Trans'Pact these days, I'd still give this the thumbs up for psy fans. Sure, the tinny percussion on a number of these tracks does make this sound somewhat dated but you've just got to love the experimental nature of some of these, especially from Koma Club. There's an aura of innocent curiosity to this compilation as these sounds were being created and utilized for the first time. You just don't hear much of it anymore to the degree being offered here from trance these days. If you can locate this rare album, snatch it up.

Score: 8/10

ACE TRACKS:
Koma Club Palpitating
Loren X Love Tribu
Acid Intermed - Tribute

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

Chris Fortier - Trance America (Original TC Review)

Engine Recordings: Cat.# WIL33673
Released 2000

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


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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Score: 10/10

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

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