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Electronica artist Paul Van Dyk is the Merlin among techno-pop
crofters. His latest compilation, The Best Of Paul Van Dyk,
is filled with gyrating dance tracks and parachutes of techno-pop
clips producing sonic rays shooting off like a massive laser-light
show. Van Dyk has the energizing club-generated cycling of Fatboy
Slim, the sparkly electro-pop tumblers of The Chemical Brothers,
and the shimmery cinematography of Andrei Lanes. Featuring
a gambit of original tracks, The Best Of Paul Van Dyk shows
that Van Dyk has his fingers in the batter of new age dance-pop. Comprised
of two discs with disc 1 containing tracks from his own vault and
disc 2 furnishing tracks that Van Dyk wrote for other artists, including
U2's "Elevation" and Justin Timberlake's "What
Goes Around Comes Around," Van Dyk's compilation covers a wide
range of his material and all of it is programmed to create a Moulin
Rouge style light show.
Tracks like "Home" and "Let Go" are configured
with pulsating club beats and a string of cosmic explosions groomed
with a futuristic tint. The electro-pop magnetic fields of "For
An Angel" and "White Lies" are embellished with shooting
diamond-like sparks and a profusion of exhilarating robotic sound
effects. He fastens dance-pop endorphins in tracks like "Forbidden
Fruit" and "Together We Will Conquer," which recall
'80s new wavers like Erasure and Depeche Mode, whom
Van Dyk recorded "Martyr" with, bringing out the cavernous
pitch of Dave Gahan's register. The fiery rhythmic strikes
and techno-pop laurels wreathing "We Are Alive" and "Time
Of Our Lives" are encrusted with nitric raptures and glistening
streaks, all of which have become Van Dyk's calling card.
The Best Of Paul Van Dyk is imprinted with tracks that resonate
in full bloom. It is Van Dyk's best material in his 15-year run in
the music industry, bundled up in a tidy package for fans, and anyone
else who enjoys sonic light shows.
-Susan Frances
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