Tilt ‎– Invisible

Label:
Hooj Choons Australia ‎– HOOJ073CD, Addiction Records ‎– HOOJ073CD
Format:
CD, Maxi-Single
Country:
Released:
Genre:
Style:

Credits

Notes

This Australian issue contains the full unedited versions. The UK CD singles were edited to comply with UK chart rules in force at the time of production.

Engineered at Midi Room Studios, Stoke On Trent.
Published By Copyright Control / MFS Ad. BMG/UFA / Trinifold Music Ltd.

℗ 1999 Hooj Choons Ltd. © 1999 Hooj Choons Ltd.
Shock Dance Distribution

Barcode and Other Identifiers

  • Barcode: 5 021456 096909

Other Versions (5 of 14) View All

Cat# Artist Title (Format) Label Cat# Country Year
HOOJ 73F Tilt Invisible (12") Hooj Choons HOOJ 73F UK 1999 Sell This Version
none Tilt Invisible(Acetate, 12", S/Sided) Not On Label none UK 1999 Sell This Version
none Tilt Invisible(Acetate, 12", S/Sided) Not On Label none UK 1999 Sell This Version
HOOJ 73 CDR Tilt Invisible(CDr, Maxi, Promo) Hooj Choons HOOJ 73 CDR UK 1999 Sell This Version
HOOJ 73 Tilt Invisible (Disc One)(12", Promo) Hooj Choons HOOJ 73 UK 1999 Sell This Version

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czelaya

czelaya

August 9, 2010
edited over 8 years ago

This was the strongest promo release that Hooj Choons didn't officialy release. It’s a shame because all 3 promo discs, not only, contained incredible remixes of Invisible but other tracks that were so strong they could of easily been released as singles. I wish I knew what Red Jerry was thinking with the official Invisible release because when it finally debuted, only a remix of Invisible (not even the original was released) with What’s This (B-side) arrived at record stores.

Hooj Choons originally released Invisible as three promo discs. It included the original version of Invisible, titled Rendezvous (Quadraphonic Instrumental Mix) [Tilt vs. Paul Van Dyk], which was featured on a number of compiliations-including Paul Oakenfold’s Transport. Rendezvous was basically Invisible without the vocals, and some basic keyboard arrangements. It was the original encapsulation of Invisible, with the aid of Paul Van Dyk, before it was polished further by Tilt. The promo release also included the Original Vocal 12 that contained the fabulous vocals by Dominique Atkins. Then there was the Lost Tribe Vocal Remix of Invisible remixed by Matt Darey under his Lost Tribe alias. At this time, Matt Darey was becoming a tour de force in trance music. He had already produced a number of tracks under Lost Tribe, Tekera, Li Kwan and other aliases that were used by many progressive and trance DJ’s like Sasha and Digweed. His remix of Invisible was an outstanding progressive trance interpretation before the pinnacle trance explosion that made trance a more mainstream sound.

Of all the remixes of Invisible, the least known was Tilt’s Supernatural dub released on the very limited promo disc 73X (it was the most highly sought of all the promotional release). Consequently, no one was aware of this remix because promo disc 73X was released in a small quantities. The general public only became aware of this release when it was released on Matt Darey’s Ibiza Euphoria. Of all the remixes of Invisible this is the least reminiscent of the original, but it’s the most memorable of all the remixes. In 1999, progressive trance was gaining popularity, and if there was a group that could produce an epic and well polished track it was Tilt. The Supernatural Dub contains an almost tropical feel because of the conga drums, samples, and heavy drum patterns. It’s an “epic” remix, but "epic" done astonishingly right. As the track develops, the beat gets harder, and the sound of a submarine pings ensnares. Layers of sound culminate to a breathe taking and cinematic breakdown. Up to this point, the track sounds nothing like the original Invisible, then a number of keyboard arrangements evoke celestial sounds and haunting chords project into a wall of emotion, but in a very dark tone… then you hear it, the keyboard riff to Invisible in all of it’s glory comes into play. Seldom can you use the words beautiful, dark, and emotional, all at the same time, to describe a dance track, but this is indeed the exception. This isn’t just dance music but music. This was Tilt’s final progressive trance track before they helped paved the way for the darker and more tribal sounds of progressive house.

What’s This and I Dream were the other two releases on the promo discs that weren’t remixes, but original tracks. What’s This was a tech-trance number that had a rhythmic-generating bass line that could literally destroy any dance floor. Then there was Tilt’s I Dream (Tilt’s Resurrection Mix) that had elements of the two original remixes of I Dream {the tilted dub and case de angeles remix}. The Resurrection Mix is a befitting name for the track because of the overall dark tone of the track. It’s a shame that Hooj Choons didn’t include this as a single. Like Invisible, it was used everywhere from Sasha’s San Francisco CD to almost every "This is what I call trance” compilation. However, don’t let the popularity of this track fool you. It’s a very haunting and eerie track that uses dark melodies and analog synthesizers throughout its rampage of sound. I Dream could of easily been used as the main theme for a film.

Unfortunately, Invisible didn’t get a 2 or 3 disc official release. A good number of its remixes and tracks were released in obscurity from the general public. Why, I don’t know. But the promo release along with Space Maneuver’s “Stage One” and Pete Lazonboy’s “Sacred Cycles” where some of the strongest releases from Hooj Choons.