This week’s article is about a small project who only released 4 tracks. Their biggest success was known under 2 names, the initial name and the soundtrack-name. So which track am I thinking of? It’s ofcourse Watergate – Heart Of Asia (DJ Quicksilver Remix)
The Watergate-project was started in 1998 and heir first release, The Battle (also known as Mull Of Kintyre) contains a bagpipe-sample inspired from the hit single Mull Of Kintyre by The Wings (ex-BeatlePaul McCartney’s old band). The track peaked at no 20 in the German singles chart.
Their second release, Watergate EP contained 3 new tracks. Maid Of Orleans (The Battle 2), Chi Mai and Fire ’n Spice. Maid Of Orleans was a cover of an old OMD-track with the same name and Chi Mai was a cover of Ennio Morricone’s track with the same name
But it was with the third release, Heart Of Asia that the big success came. The track was heavily inspired by Ryuichi Sakamotos 1983 track Merry Christmas Mr. Lawrence which was on the soundtrack to the movie with the same name (starring David Bowie and Ryuichi Sakamoto amongst others).
Worth noticing is that there was a bootleg floating around called Waiting For Tonight In Asia mashed with Jennifer Lopez’s popular track, Waiting For Tonight. The bootleg was done by a guy called Mixmachine. He did some nice mashups back in the days.
There was even an album, the 1999 title The World Of… which contained 13 tracks including the singles mentioned above.
The last release from Watergate was the 2002 collaboration with Mythos (of Mythos ’N Dj Cosmo-fame) called A Neverending Dream which was a vocal track. The track got pretty catchy lyrics and came with a pretty hard remix by Hennes & Cold.
So what can be said about Watergate which I havent mentioned above? Well, not much I guess. When I first heard Heart Of Asia, i was blown away with the track, especially in the breakdown. When I later heard the Jennifer Lopez-bootleg I fell in love again.
And that love has so far lasted for more than a decade.
This week’s article will not be the usual lenght as this track is a one-hit-wonder and actually a cover from a popular 80s-band. So which track am I thinking of? Tenth Planet – Ghosts (Vincent De Moor Remix).
Lyrics:
When the room is quiet
and the daylight´s almost gone
It seems there´s something I should know
Well I ought to leave,
the rain it never stops
with no particular place to go
Just when I think I´m winning
when I´ve broken every door
the ghosts of my life, they´re wilder – than before
Just when i thought i could not be stopped
when my chance came to be king
the ghosts of my life, they´re wilder – than the wind
But I´m feeling nervous
now I find myself alone
the simple life´s no longer there
Once I was so sure
now the doubt inside my mind
comes and goes but leads nowhere
Just when I think I´m winning
when I´ve broken every door
the ghosts of my life, they´re wilder – than before
Just when i thought i could not be stopped
when my chance came to be king
the ghosts of my life, they´re wilder – than the wind
The singer on the Tenth Planet’s version is Clare Pearce, who’s a member in their other project, Barraka. I really love the tiny flanger they put on her vocals.
Although the original 1982 UK Top 5 hit by Japan is abit dark and moody, the Tenth Planet-release feels a bit happier.
Originally released in 1998 in the US on promo-cd but made popular in 2000 when releaserd in the UK and the rest of Europe.
A cool fact about the 1998 promo-cd is that the original listing only had 6 tracks but the actual release had 7 tracks. The version not listed was the Redanka’s Spooky Disco Vocal Mix.
The version I prefer is the Vincent De Moor-remix which IMHO is a really well-produced trancetrack, especially the bassline which also can be heard in Vincent’s project Veracocha (together with Ferry Corsten).
After the success of Ghosts, Tenth Planet released a second single, the 2002 single Walk On Water which didn’t do any good so the project was scrapped after that.
Although the track is nearly 15 years old, I still find the track quite fresh. The track has ben re-released over the years and was even featured as classic of the week on Armin Van Buuren’s radio show A State Of Trance. And that’s what I concider it to be. A true classic.
This week’s article is about a singer that i’ve mentioned a couple of times before. On her first collaborations, she wasn’t even credited but since then she’s released 2 albums and have done tonnes of collaborations with most of the major DJ’s. I’m ofcourse talking of Susana and her track together with Armin Van Buuren called Shivers. (Buy on Itunes)
Lyrics:
A little bit just a little bit… [x4]
World’s on turn around
Music make no sound
Where is sweetness found
Where love is gone
Sun don’t come around
Don’t make a sound
Where can love be found
If your heart won’t feel
Shivers
Up and down my spine
Breaker
Not on my mind
A little bit just a little bit… [x4]
How could it end this way
Don’t leave me, love me
Just a little bit longer [x3]
They don’t turn tonight
Morning don’t bring light
Where is sweetness found
Where love is gone
Won’t you stay tonight
Let the truth shine bright
Where can love be found
If your heart won’t feel
Memories
Emotions that we share
Teardrops
Signing my face
How could it end this way
Don’t leave me, love me
Just a little bit longer [x4]
A little bit just a little bit… [x4]
Goosebump-points:
00:51 when the vocal part ”A Little bit, just a little bit” starts 01:19 when the main vocal starts. 02:31 when the main breakdown starts and fades out. 03:00 when the full breakdown starts. 03:12 when the main chorus starts. 03:56 when the full music starts. 04:53 when the mini-break comes with the piano. 05:06 when the second chorus start with the full music.
Susana Boomhouwer started her singing career in 2004 as a vocalist on Ernest vs Bastian’s hit single Dark Side Of The Moon. The track was officially released in 2005 but had already done it’s rounds among the DJ’s as a promo. IMHO, the Dogzilla-remix is the one you should listen to.
She later appeared on Armin Van Buuren’s hit single Shivers and also signed to Armin’s label Armada Digital. 2005 was also the first year that Armin set up his liveshow Armin Only where Susana sung live.
She also appeared on Re:Locate’s album Rouge where she sung on the track Escape.
The next collaboration with Armin Van Buuren was with the 2008 hit single If You Should Go and has since then been featured on all Armin’s albums. On Armin’s last album, Mirage, Susana sung on the intro-track Desiderium 207. The single If You Should Go was also the first release that Susanas vocals were credited on.
Since then, she has done some amazing tracks with most of the world’s biggest names in dancemusic.
Susana did a collaboration with Talla 2XLC on the track I Know. The original track is pretty good but I really love the more uplifting Paul Miller-remix.
Susanas first album, Closer featured all the tracks above + some new tracks like the title track, Closer with Omnia and The Blizzard which was truely one of 2010’s best tracks. Just love the Closer-vocals together with the beautiful track by Omnia and The Blizzard, especially the bass which is an Omnia-signature.
Worth noticing is that Home (together with Dark Matters) is a remake of Coast 2 Coast featuring Discovery – Home from 2000. I warmly recommend the Daniel Kandi Remix.
Susana has a really distinctive voice and you can easily hear that it’s her singing on all those collaborations. Ever since I first heard Dark Side Of The Moon, i’ve liked her voice. I hope to see more collaborations in the future and who knows which DJ she’s gonna perform with next. As long as she keeps up with the good work, she has a bright future. I hope to hear more from her soon!
This week’s article is about one project that has been released over 120 times on different labels and remixed by many of the worlds major DJ’s over 40 times. First released in 1993 and still played by many dj’s worldwide. I’m ofcoruse talking about Energy 52 – Cafe Del Mar (Three ’N One Remix). (Buy on Itunes)
Goosebump-points:
01:11 when the synth-stab kicks in. 02:10 when the main melody kicks in. 03:07 when the full melody kicks in . 04:48 when the track starts to fade out. 05:17 when the strings come in. 05:32 when the track starts to build before the explosion. 06:01 when the bassdrum kicks in. 06:15 when the reverse bassdrum kicks in. 06:29 when the full melody starts.
Energy 52 was a small project by German Paul Schmitz-Moonmann, most known under his Kid Paul-guise started dj’ing in 1988 like Dubmission, E-Werk and Tresor.
Before the release of Cafe Del Mar, Paul released 3 other singles under the Energy 52-moniker. The 1991 releases Expressions/Eternity/The Bassline & State Of Mind and the 1993 single Weak didn”t leave many impressions. Eternity and State of Mind were produced by Harald Bluechel (a.k.a Cosmic Baby) aswell as Cafe Del Mar.
When the initial release came in 1993, no one knew what impact that track would have to the clubgoers. For instance, It was nominated as one of 50 tracks as Top 20 Dance Tracks of Last 20 Years by the listeners of BBC Radio 1 in 2011.
The original 1993 release only had 2 versions, Kid Paul Mix and Cosmic Baby’s impression but it was with the 1997 remixes that the track became huge.
In 1997 we saw remixes by Solar Stone, Oliver Lieb & Three ’N One whereas the Three ’N One’s remix did get some chartsuccess and climbed to no 51 in the UK singles chart.
It was the Three ’N One-remix that got me hooked to the track. I later heard the Olier Lieb-remix which I also find really good. There was even a video made for the Three ’N One-remix. Worth noticing is that the same video were also used for the Nalin & Kane-remix aswell as the 2002-remix by Marco V.
In 1998, the track was re-released with remixes by Hybrid, Kinky Roland and Nalin & Kane. The latter made it into the charts and peaked at no 12. IMHO, the Nalin & Kane-version is too ”dark” for me but still well-produced and not that bad.
The 2000-release had a slow version by Humate and a stunning ambient remix by Michael Woods. IMHO, Michael Woods-remix capture the mood of the song better than Humate. There was also an unofficial bootleg flying around which contained the vocals by Sonique but IMHO, that version was pretty bad.
Next chart-success came in 2002 with the Marco V-remix which peaked at no 24 in the UK singles chart. The release also contained new version by John ’00’ Fleming, Sven Väth and a updated version from Three ’N One which also came with a new video.
2003 saw a remix by Chicane and a new track from Fragma called Man In The Moon which uses Cafe Del Mar as background. When the Fragma-track first did it’s rounds around the DJ’s of the world it was called Mar In The Moon as it was released as white label.
The next remix-batch came in 2006 with remixes by Raul Rincon, Tall Paul, Soul Seekerz, K-Klass and Kenny Hayes. I can’t say that i’ve heard any of them before but now as I was listening thru them, i’d have to say that the Kenny Hayes-remix is the best of them.
Cafe Del Mar will always be a track that’s talked about with the highest respect as it’s IMHO one of the tracks that defines trance. As I mentioned before, the track was nominated for top 20 of dance tracks over the last 20 years. That’s so wrong. In my book it IS in my top 3 of the best tracks ever made. My personal top 20 varies but one thing is sure. Cafe Del Mar will always be one of the 3 best tracks in the world.
Transforming the tunes
We need your support!
If you’ve got the breath back
It’s the first page of the second chapter
I want you back for the rhythm attack
Coming down on the floor like a maniac
I want you back for the rhythm-attack
Get down in full effect!
I want you back for the rhythm attack
Coming down on the floor like a maniac
I want you back, so clean up the dish
By the way, how much is the fish?
How much is the fish?
Here we go, here we go
Here we go again
Yeah!
Sunshine in the air!
We’re breaking the rules
Ignore the machine
You won’t ever stop this
The chase is better than the catch!
I want you back for the rhythm attack
Coming down on the floor like a maniac
I want you back for the rhythm attack
Get down in full effect!
I want you back for the rhythm attack
Coming down on the floor like a maniac
I want you back, so clean up the dish
By the way, how much is the fish?
How much is the fish?
Sunshine in the air!
Come on! Na, na, na, na, na, na, na, na, na
Everybody! Na, na, na, na, na, na, na, na, na
Come on!
Together!
Yeah! Yeah!
How much is the fish?
How much is the fish?
Yeah!
Come on, come on
Argh!
Resurrection!
Celebrate The Nun hand some hits with the singles Ordinary Town & Will You Be There. The latter peaked at no 5 in the US Billboards Dance/Club play chart in June 1990. Their next hit, She’s A Secretary peaked at no 12 in the same chart in december the same year.
All in all, Celebrate The Nun released 2 albums and 5 singles before H.P and Rick left the project for Scooter.
Their first single, Vallée De Larmes was released in 1993 and didn’t get that much notice. It was first after the release of second single, Hyper Hyper that the guys saw that this wouldn’t be a short-term project.
The single did very well, both in the charts where it peaked at no 2 in the German singles chart and within top 10 in most european countries and it also did really well on the dancefloors. Worth noticing is that H.P. mentions most major DJ’s who were popular at the time in the track.
The followup, Move Your Ass! did even better and sold Gold in Germany with over 250.000 singles sold and had the same success in the charts. Worth noticing is that this was the first ever Scooter-track I heard. A friend of mine later bought the Hyper Hyper-single. The track also features the famous line ”It’s nice to be important – but it’s more important to be nice” which is somewhat of my motto.
The 1995 single Friends followed the same recipies as the earlier singles with H.P. Baxxter on vocals, except that they used a pitched up sample for the main song-part.
The track was in the top 20-charts all over europe. The followup, Endless Summer followed the same recipy and did as well in the charts.
The first Scooter-album, …And The Beat Goes On which featured 11 tracks including the ones mentioned above and some tracks which were featured on the b-sides to the singles.
With their second album, Our Happy Hardcore their influences can easily be spotted.
For instance, first single, Let Me Be Your Valentine samples ”Mu Mu” from The KLF. You can hear loads of KLF-influences when you listen thru material from 1996 and onwards.
The next track, Rebel Yell is a remake of Billy Idol’s track with the same name.
You can find more Billy Idol-influences when listening thru their albums.
I’m Raving is also a remake of Marc Cohn’s track Walking In Memphis (which many artists since have covered). The track did really well and peaked at no 4 in the German chart and even sold Gold. You can also hear a tempo-change from 160-190 bpm in earlier tracks to 138 bpm in this one. The track was featured on their third album, Wicked.
The single Break It Up is actually a ballad which was a big change from the bmp-pumped harddance-tracks they’ve done before and later became the first of many ballads.
The next single, Fire was featured on the soundtrack to Mortal Kombat – Annhiliation and the single sold gold in Germany. It was also the last track that featured Ferris Bueller who left the band to pursue his solo career. Ferris Bueller was replaced by Axel Coon.
The second single, Fuck The Millennium (another KLF-reference as The KLF released a single as 2K called Fuck The Millennium) and did almost as well, peaked at no 4 in Sweden and no 3 in Finland. The single sold Gold in Sweden with over 20.000 units.
In the track, H.P. calls himself Dave From Sheffield. Why Dave and Sheffield, nobody knows. Rumor has it that he was once interviewed by a guy who greeted H.P. As ”Hi, i’m Dave. Dave From Sheffield” but who knows why and what influented them.
Worth noticing is that this album was the first of many released on the label Sheffield Tunes which is a sublabel to Kontor Records and founded by Scooter.
Scooter actually got an award for Most Successful Dance Act at the 2000 Viva Comet Awards which IMHO is a big leap for bands like this. It’s not often that you see a group like this get an award as their music isn’t exactly radiomusic.
Ramp peaked at no 2 in the UK where it sold Gold with over 400.000 copies. The track was featured on the best of-album, Push The Beat For This Jam (The Singles 94-02) which was 19 of the best tracks so far and included 3 new tracks. Ramp was a remake of Supertramp’s 1979 track The Logical Song
In 2002, Alex Coon quit the band to pursue his DJ career and Jay Frog took his place.
The first track released with Jay Frog in the band was Nessaja. The track was influented by a track from German Peter Maffay called Tabaluga. The track did really well and peaked at no 1 in the German chart and sold gold with over 250.000 units and did really well in most european countries.
The followup, Weekend uses the main sample from Push – Strange World. There’s also a reference to The KLF with the line ”Respect the man in the ice cream van” The track did really well chart-wise and peaked at no 2 in the German chart and did top no 10 in many european countries. Worth noticing is the topless dancers in the video
Second single, The Night was the last who featured a high pitched voice sung by Nikk (married to Rick J. Jordan). The track did fairly well and got a top 10 spot in the german chart.
A fun fact about track is that during the shoot of the music video, H.P. Met his future wife.
The track did really well and peaked at no 1 in both Austria and Hungary and also reached no 4 in Germany
It was around this time I stoped listening to Scooter, especially after the single Shake That which was more disco-ish. If I hadn’t stoped listening at this time, I surely had stoped later.
After 2006 when Jay Frog left the band and Michael Simon joined they were heavily influented by Jumpstyle which I personally loathe. They did have some success after this though but they had lost me as a follower. I know many more who has said the same thing.
But again, you win some, you loose some as the old saying goes.
I was watching the DVD Scooter Live In Hamburg the other day and I realise that (except for the Jumpstyle-parts) that I really miss the good old Scooter. I only wish I’d have seen them live. For that would be the ultimate Scooter experience.
This week’s article is from a sideproject to one of the biggest 90’s-band who influented alot of people to start listen to all kind of dancemusic. The most fun fact is that no one knew who they were when their first single came out and most people couldn’t even guess who it could be. I’m ofcourse talking about Ratty – Sunrise (Here I Am). (buy on Itunes)
Lyrics:
On the floating, shapeless oceans
I did all my best to smile
til your singing eyes and fingers
drew me loving into your eyes.
And you sang ”Sail to me, sail to me;
Let me enfold you.”
Here I am, here I am waiting to hold you.
Goosebump-points:
00:33 when that hypnotic bassline comes in. 01:00 when that synth comes in. 01:54 when the breakdown starts and the lyrics come in. 02:31 when the chorus comes in. 03:00 when the main synth comes in. 04:21 in the beginning of the second breakdown. 05:21 when the chorus repeats again.
Ratty has a quite odd background. Although created by the men behind the german Techno-band Scooter, they themselves never revealed who they were. On all promotional pictures, there were 3 persons dressed up as three big rats.
It was actually not Ratty in those costumes but 3 guys called Janse, Jean and Martin.
A fun fact is that Martin is Axel Broszeit’s older brother.
But let’s start from the beginning.
On February 5th 2001, the single Sunrise (Here I Am) suddenly appeared in music stores all over Germany and soon after, the track was released in Canada, England and USA. The track got alot of attention already from the beginning and there were some confusion to who could have done it.
”We just wanted to do something completely different that didn’t have the name Scooter on it,”- said Rick Jordan and Axel Coon ,” and it worked”
The original video to the track is pretty cool. Instead of rats running around a maze, there are humans running around in the maze, trying to find the exit and they are observed by big rats.
Ratty tried to release a followup to the popular Sunrise-track but the track, Living On Video (a remake of the spanish band Trans-X’s track with the same name) but it never became that success that they needed. The track was released on vinyl only and it was about to go to be pressed on CD-maxi but the label stoped it.
It was first after the project was cancelled that Scooters manager, Jens Thele started talking about Ratty and who was behind it.
A cool fact is that even long before the Ratty-project started, you could hear Scooter mentioning them in some of their tracks.
On the 1998 album. No Time To Chill, there was a song called Expecting More From Ratty. Also, .Ratty was mentioned in the song Psycho (excerpt from the lyrics: …inspired by those people like Ratty…) and on the single She’s The Sun, there was also the b-side which was called Sunrise (Ratty’s Inferno), which is also a remix of Ratty’s Sunrise (Here I Am).
Ratty also did some remixes:
Marc Et Claude – Loving You (Ratty Remix)
Gouryella – Tenshi (Ratty Remix)
Starsplash – Wonderful Days (Ratty Remix)
Fragma – Are You Alive? (Ratty Remix)
ATB – Hold You (Ratty Mix)
Ron Van Den Breuken – Keep On Movin’ (Timeless) (Ratty Dub Mix)
So to sum it up, it’s not that often that a band/group/project get so much attention after just releasing one track. People usually call this a One Track Wonder but I’d have to say that even though they are right, it feels like the Ratty-project is too good to fit that group.
For me, the track is a true classic and I remember the joy I felt when I finally found the CD-maxi in my local record shop. I even got my rock-buddy to buy a copy!
I guess that the track, although more than 10 years old would still fit todays trance-goers taste in music, especially with that hard riff after the breakdown. For me, it will always be remembered as one of the best tracks in the world.
It’s hard to talk about trance classic and don’t mention this next track. It was one of those track that got re-released tons of times and is still getting new versions today. The track i’ve selected for this week’s article is Binary Finary – 1998 (Gouryella Remix). (buy on Itunes)
Goosebump moments:
00:41 when that fabulous Gouryella-bassline kicks in 01:09 when more of the melody comes in. 01:51 when the full melody kicks in. 02:47 when the lead comes into the breakdown. 03:01 when the strings come in. 03:27 when the lead goes up in tone. 04:24 when the full melody starts up again.
Australian born Matt Laws, Stuart Matheson started producing tracks in 1997. They were later joined by Sasha Vatoff who is their live-dj who tours the world.
The first version of 1998 actually came out in 1997 on a 2-track EP called 1998 / Zapya on UK label Aquarius
The track was later picked up by most major labels and remixed by many of the big names in the trance community.
In fact, 1998 was the first trance track that made it into the UK top 30. The 1998-version got as high as 24 whereas the 1999 version peaked at no 11.
Of the lot, i’d have to say that I really love the original although it feels abit too fast for me. The first version I ever heard was the Paul Van Dyk-version which is more spot on what I liked at the time. It has those signature Paul Van Dyk drums and overall Paul Van Dyk-sound.
The version I fell in love with though was the Gouryella-version, but again, I’ve always been a big Ferry Corsten-fan and together with Tiesto, he made such beautiful tracks. That thumping baseline, that signature snaredrum, those melodies. It almost gives me a hardon just thinking about those tracks, too bad Gouryella isn’t around anymore.
I also like the Dumonde-remix as it has that harder Dumonde-edge to it.
On the Positiva-release of 1998/1999 (released in 2003), you can also find a Ronski Speed-remix of 1998 which was never release as a single.
Since the release of 1998, there hasn’t been that many releases from Binary Finary. I guess that it was pretty hard to pick up producing after such success with the first single.
The 2001 release, Niterider is a pretty decent track. Feels more like goatrance than ordinary trance.
Binary Finary released their only album in 2006, called The Lost Tracks which contains 16 tracks that they’ve written since 1998, released on Armada Digital.
When you listen through the new material, you can easily hear that they have gone for a more modern style in trance. My guess is that most of the collaborations were made to find new inspirations on which way expand their music.
Next track to be released is Binary Finary & Vegas Baby! – Folded & Molded which you can hear a preview of here.
They have also been touring alot this year all over the world. I was supposed to see them perform this June but their gig got cancelled.
So to sum it up. Binary Finary has been around for quite some time. Although it’s been pretty quiet from them up to last year, they have still been busy producing and touring.
Their signature track, 1998 will forever be known as one of trance music first big hits and will hopefully live on forever as the record companies will keep on remixing the track for a fresh new audience.
Or atleast I hope so.
This week’s article is about a producer that has been pretty quiet the last few years. I discussed it with some friends and everyone said the same thing. Where has Mirco De Govia gone? So I decided to listen thru some of his stuff and landed on a true classic: Mirco De Govia – Voller Sterne (Super8 Remix). (Buy on Itunes)
Goosebump moments:
00:26 when you hear the hypnotic bassline fade in slowly and builds for another 40 seconds 02:32 when the second breakdown comes in. 02:59 when the music comes to an halt. 03:13 when the strings come in 03:41 when the synthstabs come in 04:23 when the full music starts again 05:19 when the guitar kicks in
German born Mirko Zettl started producing trance and techno back in 1991 but his first own release came in 1994 under his alias Mirco De Govia with the EP Romantic EP. After the release, Mirco took some time off to study computer science On on the release, there is a remix by his good friend Ralph Kyau (from Kyau & Albert).
The first own single on Euphonic was Clubspring Meets Mindspring, a 2-track EP, both tracks are wellproduced tb303-monsters but I prefer Mindspring as it’s more in my taste.
The second single, Epic Monolith (co-produced with Ronski Speed) follows the earlier singles recept with a major tb303-bassline and a complex buildup. The piano in the breakdown makes this an complete epic trancer. Epic Monolith was later signed to Alex Gold’s label, Xtravaganza.
Things That Matter (co-produced by Ronski Speed) follows the earlier recipy and is a really epic trancer. Love the lead-instrument in the track.
Mirco’s first album, Chronoscale came out in 2003 and contained 2 cd’s. The first CD contained original tracks and the second CD contained Mirco’s remixes of other artists tracks. The album was co-produced by Kyau & Albert and Ronski Speed.
The featured track, Voller Sterne came out in 2004. It keeps that complex buildup from his previous tracks with a hypnotic bassline and warm pads.That breakdown is to die for. The album version is somewhat of a Chicane-ripoff with that balearic feeling and breakbeat drums. I prefer the Super8 Remix as its more driving but still keeps the warmth of Mirco’s original track.
Asarja was another collaboration with Ronski Speed. They each made a version of the track. Mirco’s version has a strong buildup, a balearic breakdown with piano and still that complexity over it. Ronski’s version is abit harder, it still keeps that balearic feeling in the breakdown and even has wave-sounds in it.
The 2008 album, Iconic Path was an all new album and contained loads of gems like Vital Spark and Evolution Part II along with 11 other well-produced tracks. All tracks were produced by himself and mastered by Rough Mullar a.k.a. Sonorous.
The last release we saw from Mirco was the 2011 track, Sleeping Beauty. While the album version is somewhat of a chillout-track, the Ronski Speed-remix is a techy monster. Love the piano in the breakdown.
Over the years, Mirco has also remixed track by Above & Beyond vs. Andy Moor,
Super8, Kyau & Albert, Sonorous, Sun Decade, Ralphie B & Lasgo with good success.
Although Mirco hasn’t quit producing yet, many of my friends asked if he quit the business as there has been quite quiet from him. I hope Mirco will keep producing for a few more years as I believe he still has some tracks in him before he retires.
His formula for producing still works, his tracks complexity is really awesome and the depth in his productions will still be modern for another decade. I love his use of the TB303-synth which was more frequent on his earlier releases.
I hope to hear some new tracks from him soon. If not, his old productions will live on forever.
This week’s article is somewhat different than the others. Instead of writing about one track or one artist, this article will be about alot of tracks with one common thing.
All tracks are trance- or other EDM-versions of ordinary commercial pop-tracks.
My fascination with electronic dancemusic started at an early age. Could have to do with that my brother was into synthmusic or that my family had MTV already back in 1984.
I have never been a radio-person as I think that most tracks played there (especially the commercial radio stations) is played over and over until people are fed up with the tracks.
What I wanted to hear was something else than the ordinary radio-listener heard. I wanted to hear the club mixes or remixes of the tracks. So I started buying 12” singles and later CD-maxis to feed my brain with stuff that most people never heard (if they didn’t go to a club).
I started listening to clubmusic long before I started frequenting clubs as there’s usually an 18 year minimum on swedish clubs. But when my time was in, me and my friends used to go out 1-2 days every week, both to dance and to drink.
Enough about me, now let’s get back to the music.
I got this idea of this article while listening to Evanescence – Hello (Trifactor vs Gabriel & Dresden Remix). If you compare the remix to the original, the original is somewhat of an emo-ballad while the remix seems abit happier but still keeps the original piano and voice.
When you come to think about it, there has been alot of beautiful tranceversions which originated from radiomusic/commercial pop.
Another track that’s highly thought of in the trance community is Delerium featuring Sarah McLachlan – Silence (Tiesto’s In Search Of Sunrise Remix) which is a bang-on trancer while the original is a slow track with gregorian chants but still danceable.
When we’re on the subject of Delerium, they have been the remixers choice the last 10 years. The Delerium-single After All came in 2 versions. Original and Svenson & Gielen-remix. The latter usually found its way onto compliation albums whereas the original was only available on the album or as a single.
Another example is the Madonna-hit What It Feels Like For A Girl where the official radio/video-version was the Above & Beyond Remix. Madonnas music has always been dance-oriented and the last few albums has been produced by the elite in the music industry to give her that dancefloor edge she’s always had strived for.
Speaking of ladies, another remix favourite is Dido. Her original tracks has always been well-produced as her brother is the all-famous Rollo (from Faithless). Her track Sand In My Shoes got a well-deserved remix-work from Above & Beyond.
It’s hard to forget one of the first tracks that made the remix bigger than the original. 99% of the times when you hear Everything But The Girl’s smash hit Missing, it’s the Todd Terry Remix you’re hearing. It was one of those tracks that showed the music industry what power a remix can have.
Another early crossover-track was the William Orbit remake of classical musician Samuel Barber’s track Adagio For Strings which got an awesome Ferry Corsten-makeover.
It’s not only pop music that gets the dancefloor-treatment. For instance dutch rockers Kane got a sweet remix from Tiesto on their track Rain Down On Me.
To sum it up. The artists original tracks are made for their original audience while the remixes are made usually to fit a dancefloor or to get the usual radiolistener a chance to hear their favourite track made in a different way to fit other moods. What we have heard the last 10 years or so is that most artists are getting more dancefloor-friendly.
A big example of this is the big crossover for american rap-artists to the european dancefloor with helps of DJs like David Guetta & Calvin Harris. No wonder that David Guetta was chosen the no1 DJ from the readers of DJMAG last year.
We can also see that big Trancemusic-names like Tiesto, Ferry Corsten & Armin Van Buuren is moving more towards housemusic nowadays as the big ”mass” which is into housemusic has taken over the dancefloors. Just look at the big parties like Energy or Sensation White which is more house-oriented nowadays than their origins in trancemusic.
My hope for the future is that some of the people listening to popmusic on the radio could find new listening grounds in housemusic or trancemusic when listening to their favourite artist thru the remixes. If only 5% of the listeners gets inspired, i’m more than satisfied. And I guess the remixers will feel the same.