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DJ Ernesto - Stop9.5 (The Remixes) - 15-Nov-09 09:13 PM
At first listen, some of the arrangements of Phynns remix should sound starkly familiar to his earlier remix of Ernesto vs. Bastian - Whos The Starter, only everything sounds multiple times more professional and pronounced here. Clearly, his talent was going through a serious breakthrough phase during 2003 and 2004. Phynn uses an abrasive high-pitched distorted shriek sound, as I can best describe it, that is also audible in his version of Fictivision vs. Phynn - Escape. This synth, which stands out so strongly, gives the song a furious, spitfire edge to it. The female vocals are present, but so elusive and scattered throughout that the track almost sounds like a complete instrumental. The vocals, then, just add a hypnotic backdrop, a stealthy technique on Phynns part, while the real action is transparently at the frantic synth works, strong percussive instruments, and deep rolling basslines. During the chorus, you notice the twisted, but straightforward, melody sort of startup at a continuous pace, before suddenly changing up to a more intricate arpeggio. A brilliant, brilliant release.

Kaste - Desert Eagle - 09-Nov-09 05:08 PM
The original mix of Desert Eagle is in all seriousness perhaps the most relentlessly euphoric of them all on the Anjunabeats label up to this point. And let me further say that Anjunabeats has quite a reputation for its euphoric uplifting trance collection. This is one of those tracks that relies on a torrential influx of aggressive synth elements at the introduction to prepare you for a no nonsense climax, rather than cautiously building up and slowing down the tempo during a breakdown. Instead the breakdown unhooks from the buildup almost unnoticeably because you are by now in such a rapturous state, everything you understood before about uplifting trance has shifted to a new plateau. Female vocal snippets add such vivid color when alongside a punchy piano, while the energy is well sustained and never loses its originality with the help of numerous basslines that provide so much of Desert Eagles heart pounding drive and rhythm. The melodic influences just send you into orbit from there.

Solar Stone* - Solarcoaster - 03-Nov-09 01:38 PM
The Midway Mix of Solarcoaster is proof enough for me that trance music reached stellar heights at one point, and has the potential to play with your emotions in deeply profound ways. This song is one of my sharpest memories relating to my discovery of trance music back in the early 2000s. I suppose fate would have it that this was one immense way to become exposed, for essentially the first time, to this form of music.

The reason Solarcoaster, especially the Midway Mix, was such a huge breakthrough for me was because it opened my eyes to a species of electronic music that focused on pronounced melodic builds and shifted attention away from easy to grasp beats and melodies at obvious climaxes. This to me suggests a level of higher musical thinking so vastly apart from many other forms of dance music. This goes the same for the original for Solarcoaster as well, but I am simply especially enamored with the Midway Mix, which gives it a stronger edge. Solarcoaster is brilliant, and the Midway Mix is simply perfect.

Ralph Barendses (Midway) interpretation of Solarcoaster, just like the original, is accessible without being commercial, catchy, or cheesy. It is deep and broadly emotional without being saccharine. There is some very fine equilibrium at work here, between the uplifting, the mysterious, and the melancholy; an equilibrium between what works wonders in a club setting and what will also release you when you are just listening at home.

There is also an equilibrium between technical wizardry, such as the perfect entry and release of an acid riff of sorts that strikes just before each breakdown, and musical genius. A luscious guitar playing out a delicate chord progression is backdropped by a xylophone that rings out calmly, an array of lush (if shy) synths, and a haunting presence of enigmatic female vocals saying "Youre so cool", all arranged to make you want to scream to the heavens. And yet, there is this contrast between these gentler elements and the more aggressive, club-friendly ones, such as the deep bassline and acid elements. Not a single element seems out of place or excessive.

Thinking back on all this, I am strongly reminded of why I fell passionately in love with trance music in the first place.

Kyau vs. Albert* Feat. Damae - Velvet Morning - 31-Oct-09 02:29 PM
Ultimately, its the Mirco De Govia remix that will likely be remembered years down the line. Not much introduction is needed on Mirco De Govia, but I suppose it never hurts to say once more how incredible his use of ambient techniques and trance riffs can make one powerful song. The pad synths strongly bring out the melancholy of the original during the breakdown, with some driving bass leading to a flute-like instrumental. When the main vocals enter and the lead synths fade in, it sends you into orbit. There is an unbelievable amount of melancholy that can leave you weak at your knees. This is simply high caliber trance music.

The Aalto remix received considerably more airtime and was even featured on Armin van Buurens mix compilation album "A State of Trance 2004." The first few listens are certainly not a problem, as the production sounds clean and uplifting. But eventually, it turns out to be rather generic and typical when it stands next to most trance songs. To me, it is one of the weakest productions to have gone as far as it did. The bassline is dull, there isnt much depth or atmosphere, and the percussion (what few there are) sound almost too tight. Although, hypnotic vocal chops and the addition of a piano bridge salvage it a bit.

So with that said, the Mirco De Govia remix is what I found the most inspiring.

Re:Locate - Typhoon / Fortitude - 30-Oct-09 03:29 PM
I am probably going out of convention for saying that I prefer the B Side, "Fortitude", but it is rather true that this one, and not the much more popular "Typhoon", grips me the most. Fortitude, I would say, is one of the rarer types of trance music Ive heard, where the pad synths are the main melodic focus, rather than lead synths. What I find special in Fortitude is ability to turn what could easily have been a chillout track into a smooth trance song that retains its club friendly nature. The pads have an airy, almost flute-like texture, and the melody is unbelievably graceful and moving in all its simplicity. The songs energy level moves somewhat linearly (ascending to its initial peak once the song goes to a breakbeat segment) until the breakdown, at which point we are left alone with the aura of the main melody. The breakdown nicely contrasts this melody with an interesting range of percussive sounds that bring out this almost summery feel. I would generally describe the songs melodic elements throughout as slippery wet, almost like a more melodic redux of Re:Locates earlier track "Waterfall." Combined with the melody, Fortitude seems to dispatch you to some of the most remote corners of the world as you drift off into euphoria. Fortitude is pure bliss, and a gravely underrated tune.

Typhoon on the A is definitely more upfront than Fortitude. The melody certainly spells out "typhoon" based on its ominous, yet playful, tone. The chord structure is anticipatory, but it gets to a point, which I just discussed. Typhoon is the more aggressive song on this release, and I wouldnt rate it a notch below 5/5 either. Its simply out of preference that I prefer the more relaxed Fortitude in this case.

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