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| quote: | Originally posted by Az
1) The Ferry Corsten mix is possibly the greatest track ever, I don't think Ferry was trying to stay too true to the original, as it is a fairly sombre piece, but what Ferry has created is a tune so unbelievably epic, that very few tracks have ever come close to it. If you say thats stale, you need a slapping 
as for the Tiesto mix, we're gonna have to agree to disagree, cos I think it's gash  |
Well you're gonna have to slap me on that one, because "the greatest track ever" will always be a blasphemous joke to me. You might think I have horrible taste, but that's just the way it is.
| quote: | 2) I didn't make it clear, I thought Tiesto was good pre 2001. I say good, not excellent, as his beatmatching has always been poor, but I loved the first 6 of the magik series, his trance energy and innercity sets etc, but the change in style was what got me. It seemed so dramatic, and before you can pin me down on the whole "he eveolved, you didn't" thing, I liked the tunes he was playing, it just seems beatmatching, and set structure went out of the window, in a relentless pursuit to be Paul Oakenfold. He even finished on CJ Bolland - The Prophet with standard jesus pose  |
Glad you *loved* Tiesto's compilations and sets up to Magik 6. I do think he took the best possible path of evolution these past couple of years because his style reacted with innovation and creativity to the clear downfall of quality in formulaic Dutch trance of the post-1998-2000 era. From 2001 up to this day, you can still tell that some people are stuck in the climax of 1999 and have just not moved on. Magik 7 was indeed a very Oakenfoldish compilation and I'm sure that the Oakey from back then was one of many influences in his "evolution". But you can't deny that the same Tiesto trademark of connecting melodies and creating harsh contrasts has always been there to this day.
| quote: | 3) Dallas 4pm = Slide - Closure
The whole reform/ suburban train thing (which tbh I'm not too fussed about, I fucking love suburban train )
and the answer to whether or not he did with style? the jury's still out  |
Again, the Tiesto trademark (production-wise) is very obvious in all of these tracks, regardless of how much "borrowing" he did. Not to mention that Tiesto's versions ultimately have much more class and depth in melody, harmony and rhythmic effect on the dancefloor. The first three Gouryellas have that common characteristic of his artistic/musical trademark in their layout (of course balanced with Ferry's genius production skills). By taking Tiesto out of that great equation, Ligaya miserably failed to live up to its name, once again proving his skills and his gift for melody.
| quote: | 4) Try telling Armin that
compare the Tiesto "power mixes" with the kosheen and moby remixes. I can't honestly see the guy changing his style THAT much in 2 years, without a change in engineer, or "outside" influences ($$$$$$$$$$$) |
The kosheen and moby remixes do suck, no question. But I don't even think of those when I talk about Tiesto's evolution. Tiesto himself said he did them for commercial/pop purposes and never played these tracks on his sets for the same reason (except for Extreme Ways dub, which was fairly decent). Traffic, Nyana, his remixes of Southern Sun and Tears from the Moon etc. all unequivocally have a Tiesto trademark as much as tracks like Endless Wave and No more tears from 5 years ago. Tiesto is a pretty old guy and he's obviously no computer geek, but that doesn't make him any less of an amazing composer. The engineer aided his change of style by introducing new sounds to his production, technology also changes music and forces it to evolve. I repeat that the engineer is just a tool and an instrument that improves your sound/production quality, but Tiesto is still the one that has to come up with the actual music and comes up with something that works in the dancefloor.
Again, this is all just a matter of taste and i'm not changing my mind and neither are you. Cheers!
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, i wish more posts were this educated)..
