Monday, October 1, 2007


n his Latest Project, Paul Van Dyk Straddles Two Vast Musical Worlds—Clubland & Beyond. Still, He Wonders Why He Remains Burdened By Global-DJ In-Fighting.

Published in the September 2007 issue of DJ Times Magazine
Volume 20 - Number 9
By Emily Tan

Germany’s Paul van Dyk is undeniably one of the world’s biggest DJs. His driving, banging techno and euphoric, melodic trance has become his signature sound and it has won over legions of die-hard clubgoers. Although he frequently tops the international DJ polls, van Dyk says he remains more concerned with delivering his next show than fretting about this year’s ranking or how he compares to other global jocks. Is he talking about Tiësto? Read on.

As a producer, van Dyk’s epic and stirring original productions like “We Are Alive,” “For An Angel” and “Nothing But You” (featuring Hemstock & Jennings) have become “trancefloor classics.” Other popular tracks, of course, have gained notice beyond clubland. Like fellow EDM producers like Röyksopp, DJ Colette and others, he’s been discovered by advertising agencies and a pair of van Dyk tracks—”Connected” (licensed to Motorola for TV and web commercials) and “Time Of Our Lives” (licensed to Jeep)—have enjoyed the extra exposure.

His four full-length artist albums—45 RPM, Seven Ways, Out There And Back, Reflections—have helped further build his global fanbase, but it’s the latest effort that makes van Dyk most satisfied. On In Between (Vandit/Mute), van Dyk maintains his social and political awareness and expresses himself on the most personal album yet. With a host of collaborators—from the Talking Heads’ David Byrne to the Pussycat Dolls’ Jessica Sutta—sharing his vision, van Dyk releases some relatively poppy, vocal-based songs. Hooky tunes like “White Lies” (featuring Jessica Sutta) are sure to please a wider audience, while still satisfying his legions of fans. More underground devotees may appreciate more contemporary club fare like the bumping “Sabotage.”

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