Faithless - Reverence

Cheeky/Arista: 1996/1997

Given all that we’ve come to adore about Faithless, the wild genre hopping on their debut album doesn’t seem so daft anymore. Why of course they’d go from handbag house to gospel folk to trip-hop bop – it’s what they do! On the other hand, electronic music’s seen nearly two decades of deconstruction since, rendering Reverence more of a novel dip into uncharted dance waters than anything astoundingly shocking or ground-breaking. Come to think of it, it’s not like the album was that far removed from the liberal dance-fusion going on in the UK earlier in the ‘90s either. Tell me what Faithless had that groups like Stereo MC’s, 808 State, or Primal Scream didn’t have. Oh, right, those super epic house anthems. Okay, two things. Oh, right, a brilliant producer in Rollo. Okay, three- y’know what, forget it.

As the mid-'90s rolled on, Rollo and Sister Bliss were already a prominent tandem within UK clubland, but the duo felt they were capable of more than kicking out singles for amyl house heads. They also suspected the audiences that fist-pumped to their tunes on the weekend might enjoy a slower, relaxed vibe when chilling at home. And they be right, trip-hop gaining all sorts of critical and commercial traction at the time. No surprise that YOLO-Rollo and Madame Bliss would throw their hats into that lucrative pile, but they lucked out in landing a chill, conscious-leaning MC with an incredible amount of spiritual charisma. Wait, how is that lucky? Maxi Jazz' style of lyrical manifestation should have fallen flat on its face in an era of gangsta' boasting, yet punters quite enjoyed his laid-back words of wisdom and anecdotes.

Then there’s the other half of Faithless’ vocals, Jamie Catto. Most know him these days as Who’sThatNow?, but way back in the group’s formation, he was just as vital a component to the Faithless sound as your Maxis and Didos. He provided a husky, soulful croon that complemented Rollo and Bliss’ dalliances into R&B and gospel, making songs like Don’t Leave and Angelina all the more powerful for it. Wow, considering I was kinda’ blasé about his songs when I first played Reverence, I never thought I’d miss his presence in later Faithless albums. Guess it helps to grow an appreciation for music outside the easy ear-candy of plucky stadium house bangers like Salva Mea and Insomnia.

Was that the plan all along, woo in the clubbed-up caners with a pair of undeniable anthems, then drop serious music education on them when they buy the album? Mr. Armstrong and Ms. Bentovim never claimed as such, merely making the tunes that captured their interest (in less than a month, no less!) and letting the chips fall where they may. The duo sound just as surprised by Reverence’s two-fold success in interviews, though they must have suspected they had something unique going for them. The only fault with this LP I can make is Faithless had yet to realize their full potential.

ACE TRACKS: October 2013

That’s it, then. I’m done with In Trance We Trust. I don’t care if they keep releasing mix CDs, it’s over for me, finished. 020 surprised me in how much I enjoyed the results, so why risk ruining that positive afterglow of a series that did right in the end. They corrected their missteps, found the groove they always hinted was possible, and now it’s time to close that chapter, move onto other things. Eh? Anjunabeats? No…. no! Never! Here, how about some ACE TRACKS that I reviewed way back in October of 2013? There be In Search Of Sunrises here.


Full track list here.

MISSING ALBUMS:
Jean Michel Jarre - Jarremix
Various - Influence 1.1: A Hardtrance Experience
Sounds From The Ground - High Rising
Sounds From The Ground - Brightwhitelight

Percentage Of Hip-Hop: 16%
Percentage Of Rock: 4%
Most “WTF?” Track: Brian Sanhaji - Cortosis (why did I like this track again?)

Still no Waveform Records on Spotify, thus still a significant chunk of missing music by Sounds From The Ground. ‘Tis odd that Influence 1.1 isn’t available though, as many Hypnotic Records compilations are floating throughout the streaming service. Maybe Cleopatra wasn’t satisfied with the sound quality? Oh, and no ‘Italo Classics’ either, obviously – besides, I could never do those tunes justice as Zyron did for his mixes.

This month was quite a diverse one, which usually results in a fun, eclectic playlist, but I dunno. Between all the Waveform dub, In Search Of Sunrise trance, eastcoast hip-hop, and funky-house house, things never quite clicked the way I hoped it would. Maybe I’m just being needlessly self-critical this time out. I do find it funny how, in the time since going through that particular stretch of albums starting with “I”, I’ve added twenty-two more releases within that block. Mind, two-thirds of that are In Trance We Trust mixes, but still.

Various - In Trance We Trust 020: Mike Saint-Jules & Sneijder (CDs 2 & 3)

In Trance We Trust: 2014

So Menno de Jong's mix for this 3CD mega-event Twentieth edition volume of In Trance We Trust turned out better than I expected. I suspect two reasons for that. First, Menno's unabashed enjoyment of the vintage euro-trance stylee came through in his mix, infecting me with his enthusiasm in the process – too often sets like these come off perfunctory hits rinse-outs, but not so much this one. Second, as this is an anniversary release, of course one of these discs would go the throwback route, saving the other two for contemporary takes on trance. I may as well enjoy the CD that shares some attributes of my early rave days, even if I did my darndest to avoid it back then. After all, whatever Mike Saint-Jules and Sneijder have in store will obviously be inferior.

Oh, hi Sagat, what brings you to this review? Wait, what are you-

Sagat: Tiger Genocide!


*several hours later* Oh man, did I ever get some sense knocked into me. A real slap-shocker, just like listening to these remaining two CDs.

I’ll be damned, but both discs mostly pick up right where Mr. De Jong left off. Mind, Saint-Jules’ set does plod for much of its first half, the sort of thunking anthem prog that made some previous In Trance We Trust volumes such a chore to get through. Things get especially dire midway with a pair of tunes that sound like they’re hitching onto recent Dutch house nonsense (of course Richard Durand would be one of the producers). It was all that I feared from these sets.

Then, in an instant, MSJ’s done with it, starts unloading his own brand of hard trance bangers, and holy geez, these are just as much fun as Menno’s offerings. Why are these fun? Logic says I’m supposed to hate these, but damn if I don’t get the feels for these anthems. They’re just so unapologetic, earnest, and don’t give a fuck what those other scenesters think. It doesn’t hurt ol’ Mike keeps his mixes quick, never letting tunes dawdle for longer than they need to – even the breakdowns have something keeping the momentum, serving as lulls rather than full-stop dithering tedium. It’s euro-trance that utilizes its clichés with efficiency, and is all the better for it.

Meanwhile, this Sneijder fella’, hot damn, he’s just relentless with the energy. Even with breakdowns and supersaws and the whole lot, I’m completely on board his set from start to finish. It’s the beats, mang, relentlessly vicious rhythms that make all the requisite euro-trance downtime bearable (I imagine even with a gun to their head, euro-trance DJs would sooner take the bullet in their brain than play a track without a breakdown).

I still wouldn’t recommend In Trance We Trust 020 to anyone uninterested in this scene, but then it’s not trying to win such folk over anyway. These guys are done with appealing to tourists, perfectly content catering to those who never stopped trusting in trance. D’aaww, so sappy. PLUR hugs!

Various - In Trance We Trust 020: Menno de Jong (CD1)

In Trance We Trust: 2014

The folks at Black Hole Recordings had to realize the In Trance We Trust brand was in desperate need of a shake-up. The genre its namesake was based upon had dwindled in clubber interest and market share. Much of the old guard moved onto more lucrative ventures. New singles continuously failed at enticing a new generation into its scene. All that remained were staunch die-hards, those who truly did trust in trance regardless of popularity. It isn’t as massive a group as those found at massive festivals, but at least they were a dedicated bunch, who'd stick with you through the good times and the bad, provided you didn't deviate from what they felt was a purity of their preferred music. What was the label to do then? Try riding the trendy bandwagons in the hopes of remaining relevant, or start catering specifically to a guaranteed, though smaller, following? Speaking of Menno de Jong's career...!

Okay, ol’ Menno hasn’t taken quite the same path, mostly resisting throwing his lot in with noisy electro anthems and dubstep permutations like many of his brethren did. For a chap who seemed primed for a larger career though, he floundered a bit at the turn of this decade, soon after closing up his Intuition Recordings print. Aw, I actually kinda’ liked that label, his Intuition Sessions mix one of the few CDs that got me tentatively giving trance another chance. While it’s no surprise he’d end up at one of the mega-labels, it’s interesting that he’s releasing singles and now offering a set on In Trance We Trust. Their DJ mixes have mostly gone to up-and-comers and relative unknowns for over a decade now, and surely Mr. de Jong has enough scene clout that he need not slum it with sub-labels.

Then again, hitting the big Two-Oh is something to celebrate for any series, so why not have a prominent name at the helm. And as ol’ Menno’s been one of the genre’s resolute ‘old-school’ supporters, it makes good sense having him provide a throwback euro-trance set. There are breakdowns, girly vocals, and oh God is there supersaws. None of these have any chance of being a hit in this day of EDM, and despite production chops at the bleeding edge of modernity, are all recycling the same standard formulae from euro-trance of old.

Yet, I’m strangely fine with this, even enjoying myself most of the time. The energy is relentless, especially in the latter half when tunes absolutely tear (yeah, that’s John Askew for ya’). Menno even provides a rare vocal tune I unashamedly like (Creatures Of The Night), proving the ol’ Law Of Averages I guess. No matter how overwrought, cliché, or sappy this set goes, MdJ kept pulling me back in, anxious to hear what sort of anthem he’d drop next. It’s like he’s paying homage to that scene’s roots (the fun and the wack), and screw whatever recent developments have gone down. Those are sentiments I can respect.

Various - In Trance We Trust 011: Phynn (Ishkur's Review)

In Trance We Trust: 2006

(Click here to read my original TranceCritic review)

(note: one of my ironclad rules is I will not review anything I do not have in my personal collection of music, even if I've already technically paid for it - Ishkur doesn't have such scruples though, so he pinched in to do a review of this for me. Enjoy!)


Eurotrance is like a rollercoaster. The first time, you enjoy it. You enjoy it a lot. You enjoy it so much, you go again. And again. But after a hundred times, not so much. For nearly 20 years eurotrance has inundated us with the same ride, the same coaster, the same up and down nonsense in music stores, supermarkets, elevators, hotel lobbies and every La Senza, Bebe and Hot Topic in every mall. Some people never tire of riding the same coaster. Those people have the musical sensibility of a squirrel and the insecurity of a crack whore, to the extent that they’ve created their own annual popularity contest to tell themselves how good they are at their own music. You call them every cracker-ass white dutchbag at Sensation White. We simply call them trancecrackers.

Continuing the compost crap collection of common cookie cutter cardboard cutout copycat cracker-ass compact disc compilation compositions for low countries cunts is In Trance We Trust 011, played by Phynn. I won’t say mixed because trance DJs don’t mix, they play pre-recorded music. You might recognize Phynn as the Dutch trance DJ everyone loved. No, the other one. No, the other one. No, the other one.

The In Trance We Trust series started in 1999 as a showcase of the titular sublabel of Testicle’s Black Hole Reamings, promising to bring a harder edge to Dutch eurodisney cheese, which is like promising to make your food spicier by adding mayonnaise. They’re up to 020 now, each one an annual sampler platter of the label’s milquetoast offerings, indistinguishable in form and content. And yes, that is how they number them. That means we have 977 more to go. Listening to them in succession would feel longer and more agonizing than Stephen King’s ‘The Jaunt’. [you don’t know the half of it –Syk]

This mix is thoroughly unremarkable in every conceivable way. You’ve been on this rollercoaster before. There is nothing new or special here. 79 minutes of disposable, formulaic, feather-lite fluff, only 53m of which is actual trance (the other 26m are breakdowns – long, boring, annoying, non-dancing wristwatch-checking go-to-the-bar-and-get-a-drink breakdowns). For this reason I give it an objective score of 67%. It is a C-average mark. Just like Phynn’s career.

Tracks of note:

Kay Stone – Alone has one breakdown and it’s only 8 bars. That makes it a moderately decent trance song.

Mode Hookers – Breathe is a piss-poor attempt by Sander van Doorn to make farting bassline house that all the kids were into at the time.

Phynn’s own track Close Encounters runs the gamut of the stop-start nonsense that makes eurotrance so insufferable. It’s easily the worst track and also the longest. Gee Phynn, promo whore much?

Airbase – For the Fallen, a breaktrance number in the Freeland tradition, proves my theory that trancecrackers will listen to other genres but only if trance producers make them.

Phynn’s mixing: You know they have bots that can do this now, right?

Various - In Trance We Trust 009: DJ Mark Norman

In Trance We Trust: 2004

The boys that built Black Hole Recordings and all their various offshoots were growing up, starting their first tentative steps as successful stars outside the safe embrace of familiar family. Erm, only one was successful, but then Mr. Verwest’s always been a driven individual, capable of taking root anywhere he so chose. Not so much the others though, but as the likes of Fijneman and Helsloot had drifted from the In Trance We Trust print, it was time for a new generation to take up the mantle (though after veteran Ton T.B. gets his kick at the can, ‘natch). Fresh blood, rising stars, innovative outlo- AHAHAHA! Oh, that last one’s rich. All the latest crop of producers did was recycle the old tricks and put a fresh coat of paint on it, but hey, it’s not like kids discovering trance for the first time knew any better.

Whatever. I have to talk about Mark Norman, one of these supposed new stars of the future. He – or rather still they (Mark de Jong left the duo a few years back) had already released a few singles on the short-lived label Silver Premium, finding a new home with Magik Muzik when that one folded, and have remained within the Black Hole Recordings family to this day. Norman Lenden only releases sporadic singles now, but for a short while in the mid-‘00s, the Mark Norman brand was a hot product emerging in euro-trance’s re-shuffling of movers and shakers, a force for the harder side of the scene that wouldn't follow turncoat trends like hardstyle or electro house. And then he did when festival paydays became the norm. So it goes.

In Trance We Trust 009’s another mix that surprised me, and not just because I got the proper CD this time. I’m already familiar with Mark Norman’s style of music from his (their) productions, and given the annoyingly repetitive era of eurotrance this was released, was expecting something similar to Helsloot’s last mix or even Phynn’s set for ITWT011 - some good tunes, but mostly tedium and another fuckton of breakdowns.

And while that’s kinda’ holds true for ITWT009, there’s far more consistent energy in Mark Norman’s chosen weapons of rinse-out. This set goes for the hard anthemage from the opening, and doesn’t let the pedal off until the laser leaves the aluminum. Okay, I can vibe to this, absolutely. Even the breakdowns seldom kill the set’s momentum, and the only outright cheese moment is the obligatory Tiësto promotion, Love Comes Again. Gotta’ pay respects to the label’s Godfather.

Today’s guest review spot was supposed to be Sakura, but she’s late as usual. Mm, who else hasn’t had reviewed one of these yet? Hey, Birdie, what do you think of Mark Norman’s In Trance We Trust mix?

Birdie: Prefer some UK garage ‘n’ grime m’self, mate.






Wait, didn’t you die before either of- *oof!*


Sakura: Sorry, sorry I’m late! I thought I saw Ryu on the way, and…

Various - In Trance We Trust 007: DJ Misja Helsloot

In Trance We Trust: 2002

Misja Helsloot has the distinction of kicking off this line of DJ mixes, way back- Hold a second…

*best-worst Londo Mollari impression* MISTA Helsloot! MEESTA Hell Sloot! MEESTA HELL SLUTTY-SLUTE!

Sorry, had to get that out of my system. Where was I? Ah, yes. Mr. Helsloot, the second jock to get a second shot at mixing In Trance We Trust. After spending much of his early DJ career in third tier status, this should have at least propelled him up a notch within Dutch trance’s sphere of influence. Not that it was a good mix (oh Hell no!), but the In Trance We Trust brand still had that shiny Tiësto allure glow, and any chap associated with the brand should have benefited from the rub. Why, it’s the perfect time to spend the next few years producing singles and running a label (Gesture Music, plus sub-label First Second Records). Neither took off in any significant way though, either failing to generate much traction in an increasingly bloated scene, or ol’ Misja grew bored of the business model. Eventually he re-refocused his efforts on productions and DJing again, thus completing the typical path for most trance hopefuls in the ‘00s.

I’ve been spoiled a couple times with this series, especially with Cor Fijneman’s last mix (who’d have guessed!). I cannot deny I had some expectation- nay, hope that In Trance We Trust 007 would surprise as these earlier editions often have. After all, I know just how shit these CDs would turn in later editions, and older stuff’s just naturally better, amirite? No, ima-not-rite on this one, as most of the latter-era In Trance We Trust mixes at least have one thing this volume doesn’t: actual set flow.

True, the tunes were often balls and jumped on way too many bandwagons, but there was some care to how they were stitched together. Mr. Helsloot shows no such craft, simply aligning a bunch of unrelated epic, melodic bangers one after the other and calling it a day. Even when a few good tunes stand out, they’re isolated instances, whatever momentum they generate quickly undone by a follow-up with a gratuitous full-stop breakdown. Oh God, are there ever fucking breakdowns on this CD. And what’s with Ton TB’s Future Voices aping a pile of old-school Oliver Lieb tricks? It’s like he mashed up Netherworld with ancient Spicelab. Now I want to play ITWT06 instead – the real deal’s there.

Guest reviewer for this CD is none other than the aspiring woman’s pro-wrestling superstar, Rainbow Mika! She keeps insisting on some promo time, and might as well give it here.

R. Mika: Wait, I’m on now? Alright, trance music! Um, this is like J-Pop, right? Oh oh, no, that’s not it. Oh dear, I don’t know anything about this. Just, just give me a chance to listen to it some more. Does Zangief listen to trance music? No? Ah, well, I’ve some autographs to sign anyway. Exhibition matches at Sardine Beach every Saturday!

Various - In Trance We Trust 006: DJ Cor Fijneman

In Trance We Trust: 2001

Last round, I lamented ending up with Cor Fijneman’s first mix for In Trance We Trust, as his immediate follow-up looked more interesting of the two. Well fret not, 2013 Sykonee (oh God, I’m doing this…), because your future self will enjoy In Trance We Trust 006 after all. Oh, and while I’m conversing with Near-Past Me, you ought to get on that Silent Season label’s CDs before it’s too late. Trust me.

ITWT005 caught me off guard by high the average BPM was, so thoroughly subjected to trance’s gradual slowing throughout the ‘00s as I was. However, the Blackhole sublabel was initially designed as an outlet for the harder, clubbier side of the genre, so I shouldn’t have been. Yet, diving into ITWT006, fully expecting a brisk tempo from the outset, I’m still struck dumb by how fast these tunes are. They’re not the hard-hard form of trance either (freeform?), mostly hanging around melodic side of things the Dutch jocks adored.

And what’s this? Tunes with energy and drive. Synths flying in from space. Hooks that aren’t sap. Bangin’ 4am tech-trance business. Freakin’ old school acid trance! I know the release date on this claims 2001, but ol’ Cor’s mix sure feels like a ‘90s one. It’s not like he’s included a pile of older producers and tracks in here either. Yeah, Mr. Lieb get’s repped, and Airwave had a solid discography behind him by that point. Many more on here were just breaking out though, and would go on to have lengthy, respectable careers. Marco V’s here! Orkidea’s here (providing a mint remix to Tiësto’s Flight 643)! Darren Tate’s here (as Citizen Caned)! Of course Mr. Fijneman’s here too, bringing in a Geert Huinink assist for a surprisingly solid tech-trance outing in 10 PM. Unfortunately, Geert Huinink is also in at his Geertiest on the track Escalator from Headstrong. Too… much… Dutch…

While most of these trance tunes tickle me right, ol’ Cor’s mixing still isn’t much to get fussed about. That said, his set construction’s mostly sound, melodic stuff dealt with early, and then segueing into pounding tech-trance for a strong finish. Oh, except for one utterly daft moment near the end with cheese-mongers Dance Nation’s Sunshine (with Mr. Fijneman on the rub of course), hopelessly misplaced in- ah, forget it. The CD’s been good, and you’ve earned this silly moment, Cor. Nu-italo lives!

Anyone new to trance will figure In Trance We Trust 006 as rather old-fashioned these days. We better get a Street Fighter who’s about as old-fashioned as they come, T. Hawk. This guy’s so old-fashioned, it’s like he’s an old-timey stereotype!

T. Hawk: Hn. I’ll ignore that. The music does little for me. Some okay rhythm, not much else. That’s all I have to say about this.






Nothing at all? How about some of these titles, like Spirit In The Sky?

T. Hawk: …






Mysteries Of Life?

T. Hawk: …






The Journey? Nothing?

T. Hawk: …






Implacable.

T. Hawk: Yes.

In Trance We Trust: Super Champion Review Project Turbo - Round 2 Fight!

C-c-c-comber Breaker! Wait, wrong game. Initiate Super Fire Blow! No, that's not it. Test my might? Oh HELL no! New challengers appear! Yeah, that's the stuff.

Whatever famous fighting game phrase you prefer, I am indeed breaking up my regular queue for a brief return to the world of In Trance We Trust. Revisiting the series' music for my December 2013 ACE TRACKS Playlist got me curious whether the label was still kicking around or had quietly folded into the glowstick illuminated night. Not only has it held on, but even knocked out another mix, reaching the mighty Volume Twenty in a 3CD extravaganza! Damn, I knew I shouldn't have let Dan Hibiki deliver the final blow to the series. Guess it’s time for me to step into the fighting arena for another round (plus a few assists from various Street Fighter Alpha 3 participants, ‘natch).

Of course, I can’t return to a DJ mix series without adding some stipulations for which volumes I’ll buy. Last round, I picked up every edition that was cheaper than In Trance We Trust 011, my official introduction to these CDs. Turned out every single mix after DJ Phynn’s set fell into that condition, so I’m left with very few still out there regardless. Since I was getting In Trance We Trust 020 no matter what (because glutton for punishment, right?), I figured rounding up whatever mixes were cheaper than that one as the best option for a purchasing stipulation. So now I have every volume of In Trance We Trust aside from the first four (expensive rare now). That includes In Trance We Trust 011, but the CD still hasn’t arrived, now two weeks overdue - I don’t know if it ever will. I’d rather not waste anymore time waiting, but I’ll see if I can come up with something in its space instead.

Ol' Dirty Bastard - Return To The 36 Chambers: The Dirty Version

Elektra: 1995

This is the first Wu-Tang album I actively recall playing, though I probably heard a couple other Clan tracks before without realizing it. Not that I even knew Ol' Dirty Bastard had anything to do with the Staten Island supergroup at the time – nay, t'was that bizarre cover that drew me in. Hell, the name alone had me grabbing the CD for an in-store demo, curious what a self-professed dirty bastard would sound like. Skipping past a far too long intro, I was hit with the instantly catchy piano hook of Shimmy Shimmy Ya and boisterous rap of Ason Unique demanding he be given the mic’ so he could take it away. Yeah, I hadn’t a clue what that meant, and it still seems like a clumsy line, but damn does he ever make you want to repeat it. Aside from a few hilariously juvenile sex raps though, I don’t recall much else from that first playthrough. Guess I was distracted by a nearby, shiny new Club Cutz 6 CD or something.

Much has been made of the utterly daft notion that Dirt McGirt had enough lyrical skill to have Second Wu-Tang Solo Album honoraries bestowed upon him, much less an actual solo career. Folks loved his sing-songy style of off-kilter flow, sure, and he had a crap-tonne amount of charismas (it’s how he keeps his rhymes smellin’ so funk-aayy). No one, however, labelled him a remarkable wordsmith. Hell, how often did he even pen lyrics? So much of Return To The 36 Chambers sounds like he has a cliff’s notes version of material to hang off a menacing RZA beat, then freestyles the rest. Ol’ Dirty spouts off so much seemingly random jargon and rapping styles over the course of nearly any track, it’s honestly quite a thrill hearing which tangent he goes on next. Like, here’s some lyrics from Hippa To Da Hoppa:

“Niggaz better loosen they ass, felt the glass / A forty ounce bottle, yo yo yo yo money yo pass! / Woooh-woooh-woooh! I sweat it live / MC gonna live God? No, the nigga die / The max-imum of MC's are populating / The min-imum of those MC's are dominating / Now all and together now, to what what who? / Rhymes come stinky like a girl's poo-poo.”

They don’t read like much, but coupled with his unpredictable flow and RZA’s unpredictable production, this simple tune is oddly mesmerizing. And the whole album’s like this! Even when fellow Wu-Tang members pop in for a few bars, they all fall lock-step into Mr. Russell Jones’ off-kilter world in the slummiest Shaolin back alleyways.

I don’t think there’s another hip-hop album out there quite like Return To The 36 Chambers. It’s the ODB unleashed in all of his unhinged charm, the RZA getting his gear grimy as fuck, released in the prime of the Wu-Tang Clan’s musical output. You may not care for the Ol’ Dirty Bastard’s content, but you sure don’t wanna’ look away either.