Paul van Dyk Albums (9)
What The Critics Say
In Between, Paul van Dyk's first studio album in four years, and only his second in seven, was certainly a long time coming. In fact, it was questionable whether another studio album would come at all. A lot changed over that span of time in terms of musical trends -- the rise (and descent) of Microhouse, for instance -- but thankfully van Dyk sticks with what he does best on In Between rather than experiment with an assortment of styles like he did on his previous album, Reflections (2003). Like his earlier albums -- 45 RPM (1994), Seven Ways (1996), and Out There and Back (2000) -- this one is a seamless trance excursion, with each track segueing into the next, sometimes so subtly one must rely on the track numbers to distinguish the songs from one another. However, the trance sound of In Between is far removed from that of van Dyk's earlier work. It's a much more nuanced, multi-layered sound that is practically soothing relative to the exhilarating ups and downs of Seven Ways, to look back a decade for a point of comparison. Part of what makes In Between such a soothing listen is vocalist/songwriter Ashley Tomberlin, who is credited on three songs, and the other, primarily female vocalists who pop up every now and then over the course of the album. These pretty and generally soft voices bring some life to music that is otherwise drifting and casual, driven by a steady beat that never hits too hard. The highlights of this long, 17-track album generally arrive early, beginning with "Haunted" (featuring Lo-Fi Sugar) and "White Lies" (featuring one of the Pussycat Dolls, Jessica Sutta). The latter of these two songs is clearly the album's crossover single, and while it's catchy and memorable, it might well be too dumbed-down for its own good (not to mention for the good of the album). While these are the initial highlights, intended to draw in listeners with short attention spans, the run of songs that begins with "Complicated"/"Get Back" (both featuring Tomberlin) and peaks with "Another Sunday" (which -- keeping with the vocal emphasis -- features a memorable sample) is more satisfying and arguably the heart of the album. There are many tracks that follow, of course, including the forceful "New York City" (featuring no less than five songwriters, three producers, and four vocalists -- at least according to the credits), but as the album meanders from point to point, never departing too far from its home base in terms of sounds or beats, it's easy to lose focus and let the music recede into the background. It's clear In Between is no return to form for van Dyk, as there's evidently no returning to the heady days of the late-'90s trance boom. Still, it's good to hear the veteran DJ/producer back in the studio after all these years, even if he is assisted by a long list of up-and-coming co-writers, co-producers, and vocalists who no doubt give the album much of its character and sense of purpose. ~ Jason Birchmeier, All Music Guide
'Zurdo: Musica Original de la Pelicula'
Release Date 9/23/2003
Tracks 11
Label Universal International
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What The Critics Say
Paul Van Dyk is one of the few trance DJs with a sure touch in the producer's chair as well as the DJ booth. Reflections, Van Dyk's first album of new productions in three years, illustrates that his long years of Smiths/New Order fandom left him with a good sense for a sublime hook. While not a pop album by any means, Van Dyk did write songs for Reflections, and collaborated with several artists, all of them obscure and strictly to type (Vega 4 equals Dirty Vegas, Jan Johnston equals Sarah Cracknell). "Like a Friend" is a standout: a sublime melody and an unencumbered backing track prove the perfect setup for Johnston's sincere platitudes about friendship ("Be aware of the world/And be true to your conscience"). Most of the songs here are detached in their attempts at euphoria, always with a strong melody linked to a percussion line that sits back and waits for several minutes to elapse before fading away. [In 2004 Mute released a special edition featuring a bonus disc of eight remixes.] ~ John Bush, All Music Guide
What The Critics Say
The superstar DJ certainly lives the smart life, jetting from San Francisco to Liverpool to Hong Kong, relaxing in well-appointed lounges before he takes the decks, and if he's Paul Van Dyk, taking his camera (or his cameraman) into the streets to document the urban bustle that apparently inspires his music. After ten long years on the rise among trance DJs, Van Dyk celebrated star status with Global, his first full-length DVD (with an accompanying CD), an all-in-one career travelogue, greatest-hits compilation, and mix album. These aren't simply home movies, or even a scrapbook from someone with access to the most stylish clubs in the world. The film, directed by the German design firm Die Gestalten from over 40 hours of footage, begins with quick cuts of life for the DJ (taxicabs, trains, airports, the usual urban street life, and of course, lots of clubs) with a few attempts at narrative -- clubbers preparing for a night out plus a few misguided cinematic milieus for Van Dyk himself (running through cityscapes, riding in the back of a flat-bed truck through dark streets, even shopping at a supermarket). The commitment to audio technology is impressive, with a 5.1 Surround Sound remix performed by Nucleus Sound Studio. ~ John Bush, All Music Guide
'The Politics of Dancing'
Release Date 10/23/2001
Tracks 33
Label Ministry of Sound
See Album Tracklist and Review
What The Critics Say
Before this epic double-disc set for Ministry of Sound, the most respected spinner in progressive trance circles had never released a mix album (barring only a free CD given away with copies of Muzik magazine). While inside the booklet, Van Dyk discourses on the social ramifications of dance music as youth culture (therein the title), the music has a bit more energy. Trance fans will immediately gravitate to the driving one-note basslines, unmissable breakdowns, and occasional vocal tracks from appropriately ethereal females, though The Politics of Dancing isn't at all dance-by-numbers. Besides venturing into breakbeat and even house territory, Van Dyk also indulges in much post-production of his mix. Though often considered a sin in DJ circles, it's wholly welcome here. Most listeners here are playing along at home, after all, and a few well-placed effects are all that's needed to keep attention up. He crafts a nice transition from "Killin' Me" by Timo Maas to "B.W.Y." by Maji Na Damu and plays with his own remix of U2's "Elevation," working it into the own-production "Autumn." As difficult as it is for any trance mix album to rise from the rut of inferior product, The Politics of Dancing accomplishes at least one of the missions in the title (yes, the liner-note essay is a bit daft). ~ John Bush, All Music Guide
What The Critics Say
Paul van Dyk, Germany's most prominent trance producer at the turn of the century, edged forward creatively on his third studio album, Out There and Back. Whereas his past two albums, 45 RPM (1994) and Seven Ways (1996), were fairly straight-ahead affairs similar in approach to a trance DJ mix dotted with anthemic moments such as "For an Angel" and "Forbidden Fruit," this third album is more eclectic, with distinctive songs and a greater emphasis on vocals. In fact, those listeners with an affection for mid-'90s trance might be disappointed by the eclecticism on display here. "Another Way" is an early highlight, sequenced as the third track. The one-two punch of "Avenue" and "Tell Me Why (The Riddle)" a couple tracks later stands out as the album centerpiece. As with most albums of this type, Out There and Back drags a little toward the end, but everything considered, this is still a more well-rounded and thus engaging album than van Dyk's previous two and, certainly, most others in the trance bin. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Seven Ways suggests a time in Paul van Dyk's career when, weary and tottering from the success of "For an Angel," the Teutonic favorite was at his wit's end to unearth anything even halfway as interesting to throw back to the tangential adoration of his newly discovered worldwide fan base. Still, many have faired worse. Top-quality singles like the soothing, prickling "Forbidden Fruit" (burglary of Orbital's "Halcyon + On + On" notwithstanding) or the weltering, Kraftwerk-inspired "Words" know where they're going -- even if van Dyk doesn't -- but, with an innumerable stockpile of wispy trance pottage clogging any potential forward-looking thrust, it's hard to tell if the final message is one of occasional post-breakthrough recalibration or of a jagged, confused transitional album that strums along for a few years until van Dyk would happen upon the anthemic immensity of "We Are Alive." ~ Dean Carlson, All Music Guide
What The Critics Say
Paul van Dyk's full-length debut, 45 RPM, is a straightforward affair, spreading his style of trance across the distance of an entire album. The highlights come early, with "I'm Coming' (To Take You Away)" and, especially, "For an Angel," though the successive songs do more or less keep the intensity level in the red. [The 1998 re-release of 45 RPM is the one to get, as it appends the "E-Werk Club Mix" of "For an Angel" to the end of the album for a wonderfully uplifting grand finale.] ~ Jason Birchmeier, All Music Guide
