PRE-ORDER ITEM : Expected December 5th 2017. This item will only be shipped to you on or after the official release date. Please note any orders containing pre-order items won't be shipped until all items are available, so please order this separately to avoid delays. Please remember that release dates are at the mercy of labels, distributors, and pressing plants and will change constantly.
Sven Väth tunes into ‘The Sound Of The 18th Season’ on a gentle note. Just a touch of a vocal and a fluttering riff display a sense of adventure. Willow arouses our curiosity for the night, the people, the laughs and for electronic music. A little later, the groove becomes more insistent and Eduardo de la Calle from Madrid has the crowd gather around his pulsating bassline and crackling hi-hats. With sparing chords, the Spaniard reaches us as sensitive, emotional beings.
With the daring sing-a-long of Basti Grub, Väth shows his playful side and another, deep, scratchy voice flashes a profound humour which is superseded by the nonchalance and coolness of Eddie Fowlkes and singer Na Dee. With Fort Romeau, processed voices spread a trippy, unreal vibe and give us an inkling of what is to be expected in the second part of the set. Moments later, Väth blends a new, very special bassline into the mix, which has been composed by none other than Chez Damier. Ricardo Villalobos’s casual, eye-opening grooves appear to be the ideal counterbalance to Damier’s unbounded bassline. Damier and Villalobos whisper and laugh, repeating the word ‘Conspiracy’ over and over again. Väth senses a hidden relation between Villalobos and John Tejada, whose improbable, space-grabbing synthesizer sounds can be felt all the way from the soles of our feet to our scalp.
With DJ Slyngshot the mix becomes more physical and raw but Väth does not abandon the subtlety of the first part of the mix. With Paul, he immerses himself deeper into the iridescent, psychedelic dynamics of the music. With his unique blend of joy and serenity, Isolée manages to express the magic of electronic dance music in just one perfect track. The spacey, retrofuturistic sounds of Kink set a first high point and with Adam Port & Stereo MC’s, Väth gives us a short breather before taking off to the second part of the mix with one of the mind-blowing hits of 2017.
‘Avalon’ by &Me puts a hymnal vocal and unbridled tribal percussions on top of a floating house groove creating an unimagined, spiritual depth. Patrice Baeumel absorbs this pathos and creates a sonic vastness which has us connect to the sublime beauty of the universe. With Fideles, Väth resolves this tension in loose synth sounds. The ghostly ‘On The Way’ by Gaiser, with its uncanny voices, feels like a message from another, surreal world. With the crazy, tempestuous synths of Aubrey, Väth gives us an impression of the bold endgame of the 18th season, of the state we will be in as we leave the party. Only moments later, he already pushes us a step further with a wonderfully immediate Chicago house stomper from Slam. “Clap your hands just a little bit louder,” the singer keeps repeating, full of passion.
With Electric Rescue, Väth grants us sense of safety and relief, just for a moment. Väth tunes into the finale with ROD’s ‘Hor’. With Secret Cinema & Egbert, Väth is lingering for a moment to reach a new climax in the unlikely mix of sirens and shouts of Peder Mannerfelt & Hodge, which is topped by Rico Puestel with carnivalesque turbulence.
Väth then plays Barnt’s ‘if she says she is a healer, she is a healer’, one of the truly magical numbers of the year. Barnt manages to fuse the mysterious, the remote and the immediate into one sound. Then it ́s already time to say goodbye. Inigo Kennedy’s groping, longing sounds suggest a new beginning and with the incredible strings of Paul Nazca we are already in the next chapter of Sven Väth’s fabulous journey.