Euro Beats 2
The story of Richard Bayliss continues
? ? ? It hasn't
been so long since Richard/TND/Civitas released Euro Beats, a collection of
five nice tunes. And here they come – Euro Beats 2. The
story continues, and not only concerning the name! Number two resembles its
predecessor in more than just one aspect. Again there are five tunes and with a
bit of effort they all can find their sibling in the first collection. Don't
worry – it's no recyclation, just the atmosphere of the collection is pretty
much the same – and those who tried the first one (or at least read the review) know that it's a plus.
? ? ? Compared to EB 1, the second one carries even more professionally done music, at least to my ears. Especially the „recording“, the balance of the instruments is done more than well. If you're a regular Bayliss scrolltext reader, you know that he's not as good as he likes to claim (I believe he'll leave this behind when he – deservedly! – gets fully recognized by the scene), especially when it comes to coding, but a good musician he is! Euro Beats is another nice bunch of music for your ears and I think you're gonna like it.
? ? ? The intro music will suffer from the disproportion between the code part and the music. There's a slightly swinging Civitas logo and quite a short scrolltext. After the moody first part the music gets a drive and goes for the top in a couple minutes. It goes through a whole scale from thoughtful slowness through a melodic dance part to drum solos. Don't outspace the intro if you don't want to miss an equal part of the collection. It will also get you to the Euro beating state of mind. And last not least – read the scrolltext – it's not just a simple „Here it comes“ bunch of characters. It carries a message.
? ? ? There is a cover of a strong theme. In EB 1 it was Sort of Techno Tune, here it is Last Ninja Megamix. Well, if there's a major difference between us SID brothers, it's in the opinion on covers. While Umba Sid likes them, Professor Ugha Sid does not. So my words are going to be a bit harsh. Simply: I don't like it. I don't like it for the same reason for which I don't like Reyn Ouwehand's version of the Last Ninja theme on Nexus 6581 and for which I hate the new remix of Nights in White Satin sung by Sandra. The atmosphere is gone. Yes, this is the time of drums and basses but by adding a techno rythm to Last Ninja you'll just kill the feeling. It's possible to argue that a cover version is an independent work of art and as a standing alone tune it would be quite nice. Yeah, it would. But nohell! This melody I simply connect to ninjutsu and mystery and for the drums and basses I would just kill. And it's a pity because some of the other sounds are very precisely designed and sound really Asian!
? ? ? Are you in a need of a hardcore techno tune? Last time you could bang your head to Defuzion 3, this time you're gonna be Intoxicated. The melody and sound are not PVCF this time, though, and it's a step forward! I'm getting bored of all those PVCF epigones. Richard seems to be developing his own techno style (which you can also check on his DMC Music Disks 1 and 2). The contrast between full scale basses and drums and teeny weeny heights builds a nice 4'30" tension which ends up in a break – by the way the first time I heard Richard use such a strong break. As a real techno it's not so much about the main theme but about the background which is set nicely. The tune is well built up and despite it's techno, it's OK to me. But I won't hide from you that I like the positive part of Richard Bayliss better!
? ? ? And now let's go for the top three. EB 1 had a strong rolling rythm and theme in Whoomps, there it is (remember the jumping ogre?). This you'll find in Intersection. It bases on a huge contrast. The first minute is a slow, meditative music with probably the best non-techno sound Richard has ever created. It's a room on the highest floor in a castle in the middle of the night. There's a candle creating a small circle of light on the table. And the view is crowned by full moon visible from the high, narrow window. And bang! Suddenly this peace is broken and the techno part starts. The effect is just overwhelming. At the first hearing I was pretty disturbed but later it somehow started holding together. The techno part doesn't grab you as strongly as in Whoomps! but it's got a more complex sound. And as well as Whoomps, it's positive techno, something only Richard seems to do these days. The whole works and is simply great. But… still one day I'd love to hear a full Richard tune in the peaceful style. It might be amazing.
? ? ? The most eurodancing tune is indubitably Sceptre. Believe me, it would be much more comfortable to me to write the usual way but as I'm listening to the piece right now, my head is slowly swinging left & right, my legs tap each one a different rythm and my fingers dance on the keyboard even when I'm typing. This one just makes you move. It's a great demonstration of what Richard is best at: a catching rythm, nice (though a bit dull) melody and especially the full sound which lets you forget about such a ridiculous number of channels as three. Last not least, to this tune I want to remark that Richard gets my full respect for having the guts to compose and release something that could be regarded as disco. Thumbs up, man! This one is it!
? ? ? In Euro Beats 1 there was Loving the World of Fantasy and it instantly became my number one. I couldn't be pleased more than I got when I found a sequel to it in Euro Beats 2! The author gave it the name Laid Back but let's throw it into a black hole and set up a new one: Loving the World of Science Fiction. Last time it was a magical forest, this time it's a spaceship heading for some, to me unknown, goal up there. People on board have their relationships and personal troubles and tasks but together they live for the one goal and roll over all obstacles. There are meteor rivers, a strange race, difficult communication, strong magnetic fields but one thing is for sure: they'll make it!
? ? ? Maybe you'd like to hear some more detailed description of this tune. Well, there's everything that makes Richard the nice musician he is. The full sound, strong melody, balanced instruments, flutes, and the music develops. It goes from somewhere and reaches its end. It's more than a tune – it's a story. Thank you, Richard!
? ? ? If you're seeking a conclusion or a final verdict: you go a great way, Richard. Give us more stuff like this, please!
? ? ? Ugha Sid, also called The Professor
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