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G. Sexton (Ireland)

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In Trance We Trust/Xtra..
In Trance We Trust/Xtra..

5.0 out of 5 stars A hidden gem, 22 Aug. 2016
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To achieve a level of coalescence, we must first embrace an imaginary space where there are no buildings, no trees, no roads and no people. We write down some notes that are used to categorise Trance such as melodic, uplifting and progressive, and then erase them from this dimension, as these descriptive terms will not be required during this mix.
Allow DJ SL to enter this space and take us on an amazing journey using a collection of visual Trance integrities that have been uniquely designed around a natural and unstoppable progression of organic shapes, structures and rhythms to bring a whole new level of linear approximations to the world of Trance. Dark, shaded and beautifully textured, DJ SL first travels through some of his inspirational functions until the airy vocals of Nic Chagall’s – What You Need (NC’s Prelectric Mix) are crafted internally with engineering precision as a way of highlighting the noticeable lack of vocal integration. A vividly designed area whose very breath relies on the landscape that surrounds us is filled with a humble awareness of its relentless magnitude before migrating changes of colour are applied to its constantly changing construction. Circles of natural migration are then reapplied as the positioning of elevation rises, and it doesn’t take long before we find ourselves locked within an inescapable field of total atmospheric and cosmic genius. Reference points shine brightly over originating transpositions when a decisive turn engages warp drive velocity taking DJ SL, the entire ‘In Trance We Trust’ team and everyone else through a fluidic special dimension of unknown destination. Unfamiliar entities to the Trance evolution are instantly attracted to its universal capabilities and as the mix ventures off into whatever lies ahead, DL SL and the production team hit the set with one of the most powerful integrated engagements that has ever graced my ears.
There is no skipping tracks on this one as it’s an ‘all or nothing’ situation with everything adding up to a seriously intense listen, and a defining addition to our CD music collections.


Soulful House
Soulful House
Price: £2.95

4.0 out of 5 stars Subjective, 12 Aug. 2016
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This review is from: Soulful House (Audio CD)
When viewed on CD format, the term ‘Soulful House’ should conjure up some level of curiosity amongst a broad range of fans to this closely monitored genre. A simple presentation where all credits for compiling and mixing are held within a sealed interior, and the only clues to what lies inside are shown through a listing of well established artists and tracks that are dominating the dance music industry today. Other than that, the only other information relates to Sony Music & Sony Distribution. OK, so as we have a trusted brand, let’s see what’s on offer.
Firstly, this is a mixed compilation and it’s worth pointing that out as it somehow manages to escape from the cover. Secondly, in keeping with today’s trends, we import to PC, transfer to a portable player, plug in a set of headphones and away we go.
Starting with Faul & Wad Ad Vs. Pnau’s – Changes, the first mix introduces us to some of the influential elements that are going to be used for the construction of the set. Katy B’s harmonious ‘Let Go For Tonight’ (Fred Falke Remix) is placed with attitude before setting off on a decisive trip through a host of tracks that have been mixed together in a sharp combination of styles ranging from supremely energetic to downright lazy. Building a set that relies on expressive contributions is well handled and it moves through to a lighting peaks display in the shape of Mike Mago’s – The Show (Vocal Edit) before Paloma Faith’s – Can’t Rely On You (MK Remix) brings an burst of soulful charisma to the mix. Bondax’s – Giving It All grabs most of the attention and when the unequalled signature productions of - Kings Of Tomorrow Feat. April – Fall For You (Sandy Rivera’s Classic Mix) is dropped, the set is deferentially held with a calmed state before moving through to the second mix where a more contrasting combination is applied, and features a slightly cleaner sound, all of which surrounds a harder main room and back room club style. Darker generic rhythms of underground House stamp the set with a certain degree of control, and highlights include the horizontal tones of Nervo & Marco LYS’ – Don’t Break My Heart, the shadowy textures of Say Lou Lou’s - Better In The Dark (Hygrade Remix), the juicy auditions of MØ’s – Don’t Wanna Dance (Davidian Remix) and one of the many standout tunes featured on the compilation – True – Drums Of Death Feat. Yasmin.
There are a few tracks featured on this release that just don’t seem to make the cut and should have either been dropped or sent back to the drawing board but where this compilation really goes wrong is on the production end. Most listeners using entry level headphones that have been cleverly designed to hide these flaws will have no issues what so ever but for those using more expensive high end devices, it’s a little bit of a mess. Irritating levels of increased base combustion run their way around some the more accurately tuned productions, destroying the flow and upsetting the rhythm. Do we accept that this may have been done on purpose? Absolutely not! Young producers have a wealth of high end production equipment at their fingertips and if they are determined to bring this developing sound under the scope of ‘soulfulness’ then it not only needs to be right – it needs to be ‘spot on’. We have a defining UK sound combined with a genre of music that was influenced and born in the US, and the bottom line is that it fails the UK stamp of approval quite considerably. Some readers may feel that my pessimistic view could be criticised as being subjective, but the reason for my outburst is that if it were not for this detrimental underlying flaw, this really is a great mix and it could have been a cracker if someone actually cared enough to produce it. So, as there are no credits on the cover, then the blame lies with whom? From most of the featured artists offerings, the terms ‘soulful’ & ‘house’ are deservedly credited but on the production end, it’s a very poor offering and would be slammed by most, if not all of the genre’s peers. What I love the most about this mix though is that it is packed with attitude and well constrained within the field of today’s younger generation and those with an ear for electronic House. Lucky guys!


In Trance We Trust/Xtra..
In Trance We Trust/Xtra..
Price: £9.44

4.0 out of 5 stars Point Trance, 8 Aug. 2016
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Having a vision of something that doesn’t exist is a challenge that many of today’s DJ’s, artists and producers face on a regular basis. Carefully selecting tracks with colour is one thing, but spinning off a set with a classic tune such as Li-Kwan’s – Point Zero (Benya 2006 Mix) is a challenge in itself - requiring skill, composure and determination, so as to produce something special and avoid our attention wandering off in a completely different direction.
In Trance We Trust Xtra 2 see’s DJ SL take to the decks in a ‘one off’ special with a selection of well known productions which most fans of Trance should instantly recognise. And so, with a brief in hand, DJ SL begins the journey by lovingly presenting us with a whole drift of varying snapshots designed to touch those with a drive for uplifting, progressive Trance melodies. Taking a combination of highly diminished and precision laid charges to create a slightly puzzling atmosphere, the mix first reaches out and takes a quick peek at what lies inside our music collections before venturing through a grand slam consolidation of European and afar greatness, with tracks such as Javier and Finjemaen’s – Sweet Talk, Ekon’s – Existence (C-quence Remix) and T4L’s - Maximus rising to centre stage. Revolving from within delicate touches of streamlined euphoria, some listeners may find that the included levels of varying objectiveness resulting in reduced cohesion to possibly be a little to ‘up close and personal’ for their own demanding degrees of perception, but given some time, this mix still somehow manages to find its rightful place within our own life’s musical reference points. Production deliberately flows through a series of aesthetical pressure zones which ensures an even distribution of balance across a broad spectrum of listening devices and as the set draws to a close, a unique vision is then finally materialised


Cinco by Cielo (2008-06-17)
Cinco by Cielo (2008-06-17)

5.0 out of 5 stars Make me dance, 21 July 2016
Prepare to meet ‘Cielo – Cinco,’ and please allow her to take you firmly by the hand on a privately guided tour of what lies behind her beautiful, vertically shaped walls. All who enter must of course be qualified, so no delays are spared in spinning off some familiar arrangements that are designed to bring calmness to the air and pay recognition to all the great artists who have helped build what you are about to hear.
Moving through a series of low resolution base grooves and enthusiastically aligned progressions, the first mix slowly sets out to acquaint listeners with some of the deferential elements that have been applied to its highly evolved construction. Changing tracks become a series of lucid corners, each one relating to a vividly designed space, where a gentle infusion of House, Jazz, Funk, Disco and Soul are all allowed to speak their piece. A powerful selection of vocal tracks such as Aliz Alvarez & Malena Perez’s – Cool Lil Thing (Alix Alvarez Dub) and Ultra Nate’s – Twisted (Louie Vega Remix) are systematically introduced to bring an elusive essence of characterisation to the strong feelings of togetherness that have been created at some point during the set.
As we move through to the second mix, a safer combination of sophistication and colour are some of the key features that are allowed to find more space, with tracks such as Herb LF Featuring Matt Flores’ – City Rush (Boogie Dub) and K-Scope’s – Eleckrikiss rising to the top. And with all this free space, and the placing of Joi Cardwell & Steal Vybe’s - Wanderlus, the ‘thumbs-up’ is given to enter into a luscious and more playful arena of exotically vibrant tribal rituals. Including tracks such as De Melero Tuccillo’s – Deep Inside and Swell Session Vs. Mark De Clive-Lowe Featuring Anni Elif’s – All Of Me (Charles Webster Mix),the remainder of the set is then decisively held within a laid back confused state until the final track - DJ Pippi Vs. Willie Graff’s – Hyper Space (Space Dub Mix) is played, leaving listeners asking themselves: At which point during the two disc compilation did ‘Cielo-Cinco’ actually let go of their hand, and where exactly on Planet Earth is the exit door?
On a proportional level, it really is brilliant. On a technical level - the fact that it is identifiably lacking a sense of cohesion due to the discreet filtering of most (if not all) studio advancements means that some listeners may not appreciate the compendious depth of knowledge that has been super imposed on the production end. Some confusion may also arise on the categorisation front as to whether it belongs to the House, Electronic or Progressive genre, to name just a few. It is however, very powerful and seriously deep.


Deep House Euphoria
Deep House Euphoria
Offered by Bee-Entertained
Price: £4.95

2.0 out of 5 stars Conventional, 15 July 2016
Verified Purchase(What is this?)
This review is from: Deep House Euphoria (Audio CD)
Take a label that in its time has produced a host of legendary releases, a few mediocre compilations, and a number of complete disasters. Stick a ‘Deep House Euphoria’ on an attractive and well defined case, coupled together with a host of tracks that are currently flooding the charts, and then bring it to market – Yeah, right! But wait, maybe, just maybe, the team behind Ministry of Sound’s overwhelming experience within the Dance music industry have something up their sleeves. Oh, it seems so tempting - you can just imagine the feeling of bringing that captivating sound into the world of electronic that exists today, and hearing artists such as London Grammar, Clean Bandit and Route 94 (to name a few) light up the sky. Who would be in a position to produce such a mix? The excitement builds and suddenly we are faced with an endless supply of tracks, and an abundance of DJ’s and producers that could surely rise to the challenge. Alas, it appears that either no one at MOS’s headquarters had the nerve to suggest such an optimistic plan or, if it was suggested, it got knocked back due to reasons that are confidential and highly sensitive. So that leaves us with a collection of quality commercial tracks that many of today’s younger fans would love to hear on a mix compilation. Sounds great doesn’t it? Oh, surely someone didn’t forget about the ‘Euphoria’ label. It appears so, because unless my eyes are deceiving me, I am now looking at a Deep House Euphoria 3 x disc compilation that contains nothing else other than a collection of electronically infused House sounds. Who do we blame? Or should we just go with the flow and concentrate on what it contains, forgetting about branding, marketing and all that nonsense, after all - who cares? It’s all about the music right!
Ok, let’s start with the first mix which doesn’t really deserve to be called a mix as it lacks knowledge, direction, rhythm and any sense of cohesion.
Onto the second mix, which to be fair has a lot more effort applied, kicking off with a cracking track – Disclosure Feat. London Grammar – Help Me Loose My Mind (Paul Woolford Remix), and features some well presented examples of varying production levels including DJ Fresh Vs. Jay Fay Feat. Ms Dynamite’s – Dibby Dibby Sound (Codec Remix) and Foxes’ – Youth (Le Youth Remix).
Onto the third mix which contains some banging remixes from both past and present, all of which are thrown together with some darker unconventional auditions. All in all, if you do have any, or most of the featured tracks already in your collection, then you probably won’t get much more out of this compilation.
So back to the nonsense part with a word of advice to all the younger fans of today’s vibes, and the multitude of performers who are trying so hard to make their stand. MTV Dance in recent years has shut its door on all past classic Dance movements, so we are left with EDM, Electronic and today's generated House. If this process continues, within a few years, every artist involved in today's Dance music industry will be repositioned to airplay somewhere else other than the authoritative MTV Dance station (with no disrespect meant to any other music channel). Where does that leave them? Destined to the history books and forgotten. It would be so easy to point the finger at the marketing department - after all, it’s their responsibility isn’t it?


Late Night Tales presents Sasha: Scene Delete
Late Night Tales presents Sasha: Scene Delete
Price: £9.99

1 of 1 people found the following review helpful
5.0 out of 5 stars Personal & Intense, 12 July 2016
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Whether we like to admit it or not, the world of Dance music now spans more than three decades, and during that time, things inevitably change. The German translation for Music is spelt Musik, and when we delve further into the mysterious world of expression through literature, art, music or any other means, the word ‘multitasking’ just so happens to also contain the letters – MUSIK.
Anyone who is familiar with Sasha’s production work during the past decade would have expected any future releases to follow suit; and it does – but in a very mellow dramatic kind of way. ‘Sasha: Scene Delete,’ from a technical view point, is an enthralling collection of superficial layers, textures and lines that are held together through a means that only Sasha himself can understand. It has been created to bring listeners to a place that is highly immersive, visually transparent and beautifully detailed, using an uninterrupted combination of down-tempo, non-rhythmic tones, to bring a certain level of emphatic awareness to the world that has been created around them. Responsive in places, but vaguely distilled in others, most associated listeners should feel the many notional aspects that have been used to draw structures within its simplistic, fluidic pattern. Of course, from a true ‘artists’ perspective, keeping music like this within such a constrained, minimalist space would be completely pointless, so for those who are not familiar with Sasha’s indescribable status within the world of Dance music, try to imagine the unveiling of a scroll that has only been segmented through the means of necessary chapters. Rather than reverting back to the places where music brings us to, instead, focus on the points where music surrounds us. The future remains unspoken, but for the moment it’s: positively horizontal, curled up sideways on the couch, a set of headphones plugged in, another fine offering of perspective and a welcoming part to our musical journeys.


Om Miami 09
Om Miami 09
Offered by gowingsstoreltd
Price: £1.42

4.0 out of 5 stars Memorable, 17 Jun. 2016
This review is from: Om Miami 09 (Audio CD)
Let’s begin by taking the ‘Y’ out of groovy, let’s take the ‘Y’ out of funky, the ‘Y’ out of sexy (can we say that? Yeah, why not!), the ‘Y’ out of rhythm (OK, that’s probably pushing it), and whilst we’re at it, let’s take the ‘Y’ out of sweaty too. Let’s call upon the streets of Chicago, the vibes of San Francisco, the corridors of New York, the voice of the Deep South and the passionate Latin rhythms that have influenced House music in so many ways. Let’s pay recognition to all the DJ’s, producers, clubs, dance floors and fans of House music from all around the world that make House music what it is today, and let’s not forget the engineers and technicians who work tirelessly to give us the equipment that we all need to produce and reproduce these amazing, addictive sounds. And if all that weren’t enough, let’s call upon DJ Fluid to produce us a slam, bam, in your face, cutting edge mix that reflects on all of this.
Sound’s impossible, but that’s exactly what OM Miami 09 attempts to deliver - by taking listeners on a sloped journey through some of the harder, grubbier and lesser known underground vibrations that exist only on a minuscule platform, and then combining them together within a blanket of sordid electronic percussions that have been emerging during the past decade. Featuring a host of rare tunes that have been stamped with both style and authority, OM Miami 09 delights in itself by mingling these two elements together to create the surprisingly soothing atmosphere that it had intended on doing in the first place. The strong, testing baseline that floats its way through the set is held from start to finish, and is designed to take most, if not all, of House devotees well out of their happy listening zone. How DJ’s and producers continue to create music like this will forever baffle me.


In Trance We Trust 19
In Trance We Trust 19
Price: £11.61

2.0 out of 5 stars Internal, 11 Jun. 2016
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This review is from: In Trance We Trust 19 (Audio CD)
When the name ‘Kris O’ Neil' first appeared to me many years ago, I was subjected to such an electrifying stampede of Trance barriers, my ears ached for hours afterwards. In Trance We Trust 19 pretty much does the same thing, but instead of offering up something similar, this one delves into the dark world of EDM. Devilish, monstrous and evil in all contexts, this release pushes the boundaries of Trance to its limits and if played loud enough, is likely to scratch your speakers. If it’s high-end propane driven screeches that you’re after, then this will definitely tick a few boxes.
Unknowingly, this release questions as to whether EDM has stepped outside the endless limitations of Trance or not. With EDM, the sky is the limit, whereas with Trance, the sky is only the beginning, which concludes that EDM is merely just an internal factor of Trance’s universal capabilities.
The possibilities of meeting somewhere in the middle are quite open, but if it says ‘Trance’ on the cover, then a majority vote says: absolutely not.


Perceptions of Pacha Vol.1
Perceptions of Pacha Vol.1
Price: £18.22

1 of 1 people found the following review helpful
5.0 out of 5 stars In the House, 3 Jun. 2016
How far back do we go in our search for quality House music? Has House music really been massively over-produced during the past two decades? Are the benchmarks that we set ourselves during our musical journey, dangerous to what we listen to in the future, or do they slowly drift away as we progress? Is the House music we listen to today merely a part of an evolutionary process or does music actually have the power to hold us to a specific era in time? History has shown us that on many an occasion (not all), we spend an eternity learning how to master something, but once we reach this achievement, it seems that we then feel that it’s time to move on. I can’t give you all of these answers, but maybe some of them might appear whilst listening to this.
Perceptions of Pacha Vol. 1 begins with Kimbu Kimra’s – Raise The Dead – and it’s there for a reason – as a consolidation of global mythical gatherings are brought together, and then locked within a technological vault, waiting silently to be re-opened. It conjures up a momentarily space in time, where a hollowing, chilling void between the music and the people is brought to the surface, in a manner of which can only be described as ‘bizarre’, and echoes from within a profound and dimensionally enclosed space, thus defining what outside interferences truly mean. Because of this, it compellingly shuts itself away from any minimal engagements, hence ensuring that only those with a key are allowed to open it.
It would be fair to say that the nature of the set will not appeal to everyone, but on this occasion, it just so happens to be the point, and is therefore only recommended for those who have a true passion for sounds that deserve their place to be set in stone. House every weekend – bring it on my friend.


In Trance We Trust 020
In Trance We Trust 020
Price: £13.30

4.0 out of 5 stars Justifably scored, 27 May 2016
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This review is from: In Trance We Trust 020 (Audio CD)
Three DJ’s in the shape of Mike Saint-Jules, Sneijder and Menno De Jong, three discs, one compilation and 54 tracks. So where does In Trance We Trust 020 take us I hear you ask? Well, for a start - not inwards - but outwards and upwards so as to rise, challenge and push the boundaries of a CD mix concept to its limits.
Enter Menno De Jong who spares no time in spinning up some high level, octane fuelled amalgamations with the early introduction of tracks such as Adam Nicky’s – Perfect Destiny & Liquid Soul’s – Nirvana. A relentless mix is pushed hard, and a vast selection of Trance consolidations twitter and shake with anticipation as they eagerly await their turn to fill each perceptible space that has been decisively allocated by Menno De Jong. Magnetic vocals are all given ample light to shine through during the stratospheric frenzy before the set finally gives way to the next act.
Mike Saint-Jules' entrance attempts to bring stillness to the chaos with tracks such as Tomac’s – The Quest & Luke Terry’s – I Will Rise feat. Silkskin (Mike Saint-Jules Dark Moon Mix), but an uncontrollable internal force refuses to cooperate and the mix begins to lose its light reflections when Alex Wackii’s – Gravity takes to the stage. Molecular structures and electronic identities are blasted to oblivion and the set remains within a dark scope before it’s alignment with Sneijder.
The last mix reintroduces the light theme with tracks such as Mark Eteson’s – Aventus & Chris Metcalfe’s – High Altitude leading the way. Blowing everything out of the water, Sneijder’s entire mix is built around a velocity drive of fundamental tunes that gracefully manoeuvre from within a soaring line of uplifting airwaves that reach, push, tickle and squeeze the limits of just about every conceivable Trance genre.
In Trance We Trust 020 is primarily aimed at those who prefer their everyday Trance to be a little less engaging and a lot more thrilling. On the production front, apart from the odd bump, everything is precisely edited and deliciously angular, and destined to bang, pop and rock the nuts off any set of cans (or buds of course). There are a few things wrong, most of which are forgivable, some of which aren’t. Most are self explanatory, but at the end of the day, rules are rules: one, two, three strikes – and you’re out.


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