We’re into the 9th month of 2013 now, and we’ve been spoiled so far this year in the trance scene. Aly & Fila released a superb artist album. BT released an EDM filled follow-up to These Hopeful Machines. ISOS 11. 10th Anniversary of ASOT and Anjunabeats Volumes. But we still have so much more to go with Buenos Aires ’13 dropping next month and our apparent yearly Universal Religion now out on the shelves (the same month and one day earlier than UR6 from last year, no less). Is it worth listening or even buying? Read on to find out…

I urge those interested in the history of Universal Religion and Armin’s yearly mixes to check out my review from last year on UR6:

https://researchinthesurf.wordpress.com/2012/09/15/armin-van-buurens-universal-religion-chapter-6-compilation-review/

For those already familiar, I’ll move on to this year’s recorded live in Ibiza mix. By now, we’ve pretty much accepted that the Universal Religion series is now a yearly event, in line with ASOT and the Yearmix. It also seems that we’ll be sticking with the spaceperson cover art for a while as well. It’s a unique and colorful cover, and I haven’t grown old of them yet. Definitely a lot more color palette explored this time around: a lot more purple hues than blue. Further, the same 16-a-side tracklist and joy of joys Armin’s mashups…hopefully which will be better this time around than UR6, which here the low points of the mix.

Looking through the tracklist initially, I have higher hopes from this album than UR6. For starters, there’s definitely a bit more newer tracks on here than last year alongside some newer artists. Granted, we have some (Simon Patterson’s “The One” and the overplayed “Airport Shivers” mashup) that have been out for a while, but we’ve got a nice selection of new tunes. New Rex Mundi is always exciting. New Omnia. Some Rayel. CE3SAR. ECO. To top it off, it seems that (especially in Disc 2) Armin’s fading away from the D#Fat electro house sounds and really putting weight behind this “Whose Afraid of 138?!” push. And yes, while it’s a gimmick and a way to make money and stay relevant in this transition, I’m still glad to see this side of trance make its way back to the mainstream.

So Universal Religion 6 scored a 6.69/10 from my review. Can Chapter 7 beat this rating? Let’s find out!

So, let’s go to CD1:

1. Antony Waldhorn – Theatrum (Intro Rework) (7/10)

The bass rumbles in. Crowd in the background. Some isolated but vibrant piano notes start a basic melody. A sad violin kicks in the background. It’s definitely taking longer to build up than last year’s “How Do I Know,” but this is great for an intro so far. It progresses a bit louder now with a marching drum beat in the background; starting to sound a bit grandeur which isn’t always a good thing? As we fade out of the intro with a pulsing synth, we’re getting to the main beat of the song now that quickly builds up. So far this is less “Intro Mix” and more “Rework,” which based on the mix name means I shouldn’t be surprised.

Unfortunately, it seems that the grandiose entrance was like rolling out the Hollywood Red Carpet and seeing the cast of one of those teen movies stroll onto the set: the main synths of the song are under-delivering from what we were built up to. The breakdown of the song brings back the horns and the drums again. It really is a song of theater: the sadness of defeat, the dark entrance of a villain, the triumphant rise of the hero. But even with the most gripping of performances, you still realize at the end, as the curtains close onto Mark Sixma’s new performance, that it was still just theater.

2. Mark Sixma – Character (6/10)

Oh gosh, the transitions again. It seems that Armin has yet to fix the problem with UR6: that a pitch build-up and drop to a different beat can’t be done 15 times in a row and still counted as “transition.” Songs have 1-2 minutes on either side of the meat for a reason. But when you’re trying to cram 16 songs a side, this is the tradeoff apparently.

Mark’s new track definitely starts off with some character. It’s still following the darker tones of our intro. While the synth work is good, you can still hear the backing electro pitch-up which I wish was removed already from the genre. The first breakdown is pretty quick, keeping the synths while removing the drums, slowly adding in the vocal choir into the background. A tinge of old progressive sounds overlaid with newer progressive synths. Silence. The main beat. A bit happier and…different. It’s an interesting track. It lacks the real movement for a club banger, but is still too electro-y to be a laid back progressive tune. The first half was definitely a bit more catchy to me; the second half more electro influenced and repetitive.

3. CE3SAR – Lakota (ilan Bluestone Remix) (6.5/10 – Saved By Bluestone)

Another quick transition. But I’ll overlook it as I’m excited to see Bluestone’s touch on this track, as he’s been one of my favorite Anjunabeats producers this year so far.

We have the usual electro pitchup, but a quick break with some tribal voices. It’s actually a nice breakdown here. Good piano in the background that’s ruined by someone’s whistle from the crowd. 😦

You can definitely tell where Bluestone had his hands on the remix, and the tribal/African voices reminds me of something Ali Wilson used to do on his older songs. But while his remixing is superb, it still can’t lift a mediocre track into greatness. It’s a good transition song, but nothing memorable, although it does seem to want to fit into an ABGT podcast moreso than an ASOT one, so maybe it’ll sound better there instead?

4. Arisen Flame – Gladius (5/10)

A bit longer of a transition – plus. Pitch-up to a quick beat change – negative. Armin used to be good at this sort of thing. Anyway, Gladius. Again, the elctro pitchup in the background with a typical vocal-infused synth in the foreground. Been there, done that. Nothing heavy in the first third of the song. The breakdown does have the qualities of an older style: sweeping prominent strings infused with euphoria. But sadly, that’s where its redeeming qualities end as we get back into the main beat. It’s not just that this song has the pitchup that makes it un-enjoyable. It’s the fact that the song is just lazy: there’s no movement, no journey. A trance song should be a journey, building up elements and removing them when needed. It shouldn’t be a linear path or pre-cut cookies. And that is where this song lies. Which is unfortunate, as I would have hoped 4 songs in there would have been something by now that would “wow” me.

5. Alex M.O.R.P.H. & Natalie Gioia – Dreams (10/10)

While not always a fan of his work, Alex M.O.R.H. definitely can bring the beat if he wants to. After another lon…no, wait, that’s not right. After another short rough transition, we get to our first main vocal song of the night. Definitely a 2010’s era progressive sound leading the way for the beginning of the song, overshadowing a nice, smoother synth in the background. The initial break has the opera shine; reminds me a bit of An Angel’s Love. “You make me close my eyes…” Wow. Just wow. Natalie Gioia’s voice matches the tone of the track: heavenly. Is one allowed to fall in love from a chorus alone? Right now, this is the first time on this side of the album where I want to just want to keep replaying the track, where I’m finally lost in the music on a journey into trance. Calling this now: this is the follow-up to “An Angel’s Love” and will receive many, many plays in the next few months. I really have felt I’ve fallen into a dream. Superb superb superb.

Follow-up: Apparently this made it as Tune of the Week on ASOT 630 which was aired yesterday. Well worth it. As a side, don’t listen to that episode before you listen to this album. Most of the tracks there are from UR7 (hence the UR7 special). BUT do listen to the ASOT Radio Classic: As The Rush Comes. Timeless.

6. Rex Mundi – Aureolo (9.5/10)

I’d argue for just cutting off CD1 after that last song, because realistically it’s just going downhill from here on out, but then we see the next artist, one of my favorites: Mr. Mundi. It’s a rough transition (and one that doesn’t work on any level) from Dreams, but it’s new Rex! Sometimes it’s a miss, but you can always be assured that Rex’s productions will be vastly different from what’s out in the scene. He reminds me a lot of Andrew Bayer and Mat Zo: very talented producers who explore and push the envelope of trance. This song is no exception. More in line with some of his “Opaque” and “Interstate of Lightning” work than “Bella Monaco.” A bit of “Menace” perhaps. His new EP on Armind, by the way, is well worth the download. 3 diverse tracks that each are superb in their own right.

Enough of my fan-boy saliva over Rex. The song. More big-room sound with the in-and-out of the heavy synth, but it works. The breakdown is light on the strings and touchy on the same synth, so more break than breakdown. But we hear rumbles. “Do da do da do da.” Our synth returns in big fashion. Definitely more of a theatrical triumph than Antony Waldhorn’s intro on this CD.

Ultimately, this is one of the songs you are either gonna love or hate. Add me to the hearts, as this is the king of the round.

7. Mark Knight, D. Ramirez V Underworld – Downpipe (Armin van Buuren Remix) (7/10, 2/10 if we’re grading based on trance qualities)

Awwww snap, we got ourselves a party now. Another quick transition (that works though). “To the music of falling water, and I don’t mean rain.” Mmmm you tell it. Shake. Shake. Shake.

So this song is definitely the odd-person out of the CD. It’s definitely not in line with any 138 from Armin recently, or even his pop hits. It’s not really trance, but it’s not the euro-pop stuff like “This Is What It Feels Like.” It’s dirty. It’s got moves. This is a song that comes into a club with a posse. “Gonna make you shake.” Yeah, it’s got me moving. The only real drawback of the song is the high-pitch synths used as a “trance” breakdown. Kinda ruins the second half really, a pity as while this song does nothing on a euphoric level, it has left some nasty cracks in my wall from my subwoofer. This is the song that you secretly admit to loving, but when the 140 fans are around, you go “Oh no…why would Armin ever do this song? Yaa…I mean boo, boo.”

8. Armin van Buuren featuring Cindy Alma – Beautiful Life (Protoculture Remix) (7.5/10)

I need intervention. I’m starting to fall for these made-to-order trance songs. I’ll say up front that Armin’s new artist album is hit or miss for me. Don’t like the money grab with “This Is What It Feels Like.” But I’ll be damned if I’m not singing along in the car when it comes on the radio. I’m a secret Top 40 fan; don’t tell the other moderators of r/trance.

While this isn’t the best vocal on the album Intense (I’m a fan of “Won’t Let You Go” and “Waiting For The Night”), it’s still modern Armin. “Some people keep wondering…some people never found the answer” on why Armin does this to us. It’s made for the club trance. It lacks any journey or progression. It’s a vocal pop-trance song. But it’s “such a beautiful beautiful” song that you just can’t help singing along to. Or maybe you can. That’s the Top 40 fan of me sneaking out again. Or maybe it’s Protoculture’s touch on this track, which is just banging, for the club or headphones. Either way, it’s another one of those secret loves, and love it or hate it, it’s definitely on the short list for a spot in the ASOT Top 20 this year. And while it may not be Top 20 material, I’m still dancing to this song.

9. Orjan Nilsen – Violetta (7/10)

It’s another quick, rough transition again (why Armin do you torture me like this?), but we’re going into a song off of Orjan’s new album, albeit one that’s been out for a while. But while it’s no “Between The Rays” or the untouchable “La Guitarra,” it’s definitely more in line with “Viking” than “PhireWorx.”

We start off with a nice reverbing synth. A meh pitchup. Then the classic Orjan bass. And the progression to the breakdown is just perfect. Speaking of, when we get there, it’s just a nice smooth layer of perfection. And instead of a big booming synth breaking the silence, we get a perfect buildup. It may not be progressive in any sense, but you can see why it’s been a staple in Armin’s sets: it gets the club moving very quickly, myself included behind this computer. Take a listen. It’s not classic Orjan, but definitely one of the better tunes he’s put out.



10. Omnia – Immersion (9/10)

Complete standstill. Then the classic sound of what can only be described in one word: “Omnia.” A quick transition that works for once. It’s Omnia’s new track, and it’s definitely one to keep on replay for the next few months. It’s more in line with “Lights” than, say, “The Fusion.” It’s got this very nice vibe to it. Reminds me of a cross between Ashley Wallbridge (when he did trance) and some old-school Gareth Emery…like from Northern Lights album or something. To be honest, sort of sounds like “Arrival” or “Stars,” maybe “Citadel.” Not complaining though, because it’s brilliant. Great beat, progressive vibe throughout. The only downside is Armin cutting out the bass by messing with the EQ halfway through.

11. Skytech – The Other Side (8.5/10)

Coldharbour back in UR, with Skytech again taking the number 11 track spot on CD1. “Armin Armin Armin.” The tempo has definitely been going up the past few tracks, and we’ve skipped the happier songs from earlier in the night and are going full-out in the club. These last few songs have really been a string of club bangers, and for once, I’m actually not complaining on a UR series compilation.

Armin stop dropping the song and EQ for crowd noises.

Ah yes the song. Classic Skytech sound. Classic club banger. It’s another brilliant production. Great progression and a marching drum beat throughout that just builds up to perfection. More big room, but we lose electro elements that we’d find in W&W and gain the trance anthems of modern-day Coldharbour. This is definitely a City Series CD2 Markus Schulz sort of song. I’m surprised it’s here on CD1 of UR, but not complaining. I haven’t been doing that much this side, have I? Hmmm….

12. Ronski Speed feat. Lucy Saunders – Rise Again (Omnia Remix) (7.5/10)

Looks like I still have no room to complain, as we keep the darker Coldharbour vibe going with our next vocal track featuring the always-wonderful Lucy Saunders matched with Ronski Speed in an Omnia Remix. You can definitely hear the vocal chops and the synths that Omnia threw into the song. In fact, without knowing the artists, I would have pegged this as an Omnia track and not Ronski Speed, but no matter. It’s got a nice driving beat, but again, it’s pure vocal track. The breakdown is short, but it works with Lucy’s voice. “We’ll rise again…We’ll never be the same.” It’s no “Sanctuary,” and the beats after the breakdown aren’t anything special, but it’s still an enjoyable song for the most part.

13. Dash Berlin feat. Jonathan Mendelsohn – World Falls Apart (Jorn van Deynhoven Remix) (2/10, because I can’t rank it that much lower than D#Fat from earlier this year)

I knew it was too good to be true. The middle section of this album has just been hit-after-hit to me, and I’ve been coasting along without much complaint or issues with the song selection. But then we get to Da$h Berlin. And Jonathan Mendelsohn (there’s a reason there are so few trance vocalists in the scene. Nic Chagall he is not). And a song that has been overplayed for some reason, because it lacks any meaningful substance. And then for some reason Jorn van Deynhoven decided to remix it. Why he would waste time on this track, I have no idea, considering the brilliant remixes he has done in the past for Universal Religion. It’s not trance. It starts off Euro-Dance and goes straight to Electro House after the breakdown. I’d honestly would take some W&W at this point, which considering their current direction, is definitely a big ask.

I’m trying to think of some redeeming qualities here. The title? No, it’s depressing. Lyrics? “If you should ever feel so broken that you can’t go on.” Crap. That it’s almost over? Well, yeah, it would be…Wait, I like that it keeps to a 4/4 beat pattern! Superb work!

(I miss the days of “Man on the Run…”)

14. Eximinds – Euphoria (6/10)

We have a nice smooth transition into Eximinds newer track. While the intro beat was nothing impressive, I love the piano in the breakdown. We haven’t seen much of that this time, have we? Where’s Andrew Rayel when you need him?

The buildup out of the breakdown is standard for the most part. It’s definitely a nice vibe to the track and keeps up the energy from the past few songs. But for a song called “Euphoria,” I’m just not feeling that at 100%. Eximinds have produced nice tracks in the past, but it seems that they can’t get past the “oh, that’s a great filler track status” and into the “TOTW” category of songs.

15. Max Graham – The Evil ID (7/10)

Speaking of keeping the beat up, we hear a song that’s been out for a while, but I’m not complaining. The song definitely holds true to it’s evil nature: it’s definitely something that should have came after or before Skytech’s track on this album.

During the break we hear the crowd again. I know this is a live set, but Armin seems to be including them a lot more this time around than last year.

Anyway, the track. Evil synths. Progressing downwards instead of upwards like every other trance track in the past few years. No real breakdown of sorts (except a buildup/pitchup done [mostly] right back to the main melody). It’s got the heavy bass. It makes you move. And while maybe not Max Graham’s best work, it makes a case for being included in the Top 5.

16. Andrew Rayel & Jwaydan – Until The End (Club Mix) (6/10)

It would not be an Armin compilation without Andrew Rayel. A weird transition to this song, but then again, that shouldn’t surprise us at this point. It’s also a bit more upbeat than our past song, so we have a quick mood swing. Our third and last vocal this time. “I can see the future in your eyes….you know we have tonight.” The drum beats here and synth work is definitely less 550 Senta and more of 600 Musa.

Ah, the breakdown. Piano, but not overdone surprisingly. “I will catch you when they knock you down.” Jwaydan’s voice is going to be a hit or miss for people in this song, but this is no “We Control The Sunlight.” Unfortunately, after the breakdown we go back to Andrew Rayel’s more recent modern-prog-house exploration, and it’s meh to be honest. There’s nothing inspiring from it. It’s too boisterous and noisy, but hey, if you have to go out, I guess do it loud? Still, I wouldn’t be complaining if “The Evil ID” ended this side of the album.

That wraps up our first disc!

CD 1 Average: 6.97/10

First things first: CD1 on UR7 definitely was better as a whole than UR6. But it’s still weak mainly due to the bookends of this album. It’s like an Oreo if you’re only a fan of the creme filling. In fact I wouldn’t mind the first and last 4 songs of the album just being chopped out. Mainly because those songs were either too loud, too generic, too housey, or just plain bad. The middle section though…wow wow wow. It might be 2013 and not 2003 trance, but Armin strung together a set of superb tracks, something that I can’t really say of his compilations of late.

The highlights of CD1:

Hymns of Praise:

Alex M.O.R.P.H. & Natalie Gioia – Dreams (10/10) – This track is just wowzas. When Alex is on the top of his game, he knows how to deliver.

Rex Mundi – Aureolo (9.5/10) – He’s nicknamed Sex Mundi for a reason. Another banger from Rex.

Omnia – Immersion (9/10) – Another brilliant track from Omnia; a worthy follow-up to “Lights.”

Faded Bells:

Armin’s Transitions – Quick and rough as what seems to be standard for his live sets. Disappointing.

Armin’s EQ work – I can hear the crowd and their whistles just fine Armin. You don’t need to fade out of the song or lower the EQs so I can listen to them. Like them, I’m here for you and you only.

Mark Knight, D. Ramirez V Underworld – Downpipe (Armin van Buuren Remix) (7/10, 2/10 if we’re grading based on trance qualities) – It’s not trance. The higher-note synths don’t flow with the rest of the track. But damn if it isn’t catchy. So if we’re basing this on trance, it’s meh. Based on placement and grooves? Winner.

Dash Berlin feat. Jonathan Mendelsohn – World Falls Apart (Jorn van Deynhoven Remix) (2/10, because I can’t rank it that much lower than D#Fat from earlier this year) – I switched out this song with a clip from Steve Aoki’s set. I couldn’t tell the difference.

So, can Armin avenge his mediocre bookends? Will we have have any superb masterpieces? Let’s find out as we go on to CD2!

1. Andrew Rayel – Dark Warrior (9/10 because it’s absurd, but realistically 2/10 because it has a maybe a few seconds that are actually defined as trance)

Long, winding strings are for losers. Winners go heavy, hard, and fast when starting an intro mix. Andrew Rayel to start things off after just finishing CD1. And we start dark…real dark. The bass line on this song is just ridiculous. The first time I heard this song, I was going “omg wtf did Andrew do” but the more I listen to it, the more I’m intoxicated by it. The heavy synth. The standard piano. The Tiesto-style prog house synth out of the break. The “boom boom da da da da.” It’s not a club banger: it’s a club demolisher. It’s also electro big room house, save for the piano breakdown. Maybe the outro. It’s not trance, but boy does it get CD2 off to a banging, absurd start.

2. Ralphie B – Ragnarok (7.5/10)

Suddenly transitions matter to Armin, because we surprisingly have a nice one here. The beat starts off nice. Everything is faster tempo than CD1 and definitely fills more of a night club vibe than CD1. The higher-pitched synths sound like some sounds from 2008-2009, but the overall track is well put-together. Our breakdown favors the more prog. house breakdown with the drums and synths still in the background, overshadowed by the sweeping strings. Our exit, however, is not monstrous or loud, but a nice buildup to our main melody. As I’m listening to the song, it reminds me a lot of a crossover between old-school progressive trance and new progressive house. It’s a catchy little tune, but at this point I’ll concede that Armin probably should have started with this tune and kept Andrew Rayel’s track for an electro house set. Oh, yeah, the outro synths are superb in this song. Reminds me a bit of Omnia.

3. ECO – A Cry To The Moon (6.5/10)

New Eco! Always a pleasant surprise after his nice Constellations Compilation album last year. He’s keeping the uplifting vibe on this side of the album so far with a nice vocal “aaahhh” throughout the background. Definitely more ahh than a cry, though. The background piano, so far during the break, is the only real indication that this is an Eco production. It’s missing a lot of his signature sounds that his prior works have had. And while I’m not a fan of the pitched drum to exit the breakdown, we do get to our main beat, whose synth does have that Eco touch on it. But it’s not enough to really propel the song. I enjoy Eco’s works, but this just seems a bit plain.

4. Alex M.O.R.P.H. – Eternal Flame (Solarstone Pure Mix) (8/10)

Alex remixed with a Solarstone Pure Mix? Yes please. We’ve got a quick, but nice transition, into this song, again keeping our BPM at the magical 138 or so. Starting off we can hear the quick Solarstone synth hits that are standard in his mixes. But for the first minute or so, we’re not really progressing anywhere. But when we start kicking in the main synths, boy does this remix deliver. As everything fades for our breakdown, the skillset of Alex M.O.R.P.H. takes over. It’s got a Andy Moor feel to it, with its strings. Or maybe this is the spiritual successor to “An Angel’s Love;” it has the same strings if I’m not mistaken. Regardless, while it might be overshadowed by his CD1 “Dreams” hit, this song definitely stands on its own. My biggest complaint is that it can get a bit repetitive at times and limits the amount of progression in the sound array that it accomplishes for the 4 or so minutes it is on.

5. Craig Connelly & Christina Novelli – Black Hole (Jorn van Deynhoven Remix) (7/10)

The trio here has the potential, unfortunately, to send this song into a real black hole. Craig Connelly is definitely more in the modern progressive house side of things than trance, featured on Garuda many times over the recent years. Jorn’s remix of Dash Berlin on CD1 was appalling. And while I know everyone was head over heels with Christina Novelli and “Concrete Angel,” I’ve always felt left out of that bandwagon: I wasn’t a fan of her voice or the song. So I enter this song very, very skeptical of the results.

To start, we do know this will be our first main vocal song. And we’re definitely more in line with a classic Jorn van Deynhoven sound rather than a house-Connelly sound. “There’s no way out…” as we go to our first breakdown. The strings soar and fade. “Don’t let go…is all you say…where you go I will follow. I will break away.” As we hear Craig’s euphoric and grandiose breakdown, the song reaches its climax and, surprisingly, is actually pretty good so far. The main beat following is more in line with Craig’s recent works, but with the trance twist. It’s got a nice tempo and a pretty good grove. Not the most original sounds from either of them with an above-average vocal performance. But I’m leaving the song much more surprised than I was going in with my prior expectations.

6. Wach – The Queen (5/10)

So this is legitimately the first artist I have not heard of so far this compilation. Doing some research shows him as an 18-year-old Tunisian producer with his first single/hit on Universal Religion. Not a bad way to start a career. We’re keeping things moving after a decent transition. Sounds a lot like an older Andrew Rayel track with the vocals in the background following the synth. The classic strings in the breakdown with some un-necessary drums. The synths plus violin just need to vibrate a bit more and it would sound like an Italian dinner for some reason. As we exit to the main beat, we get a more pronounced melody take place that’s sort of in line with “Humming The Lights” from UR6. Which brings us to the unfortunate reality of this song: the elements are cliche and brings nothing new to the table. And as the producer is just 18, he hasn’t had a chance to develop a unique style to his music yet, so nothing sounds fresh; everything seems to copy a prior song before it. So while it’s not bad by any means, it doesn’t offer the listener anything more than just a filler track.

7. Simon Patterson feat. Lucy Pullin – The One (6/10)

An interesting choice here with a track that’s been out for a while, but I guess it’s time for a vocal, no? It’s a weird transition to the more house-y and perhaps even psy-type beats that Simon Patterson put together, but I like the screwed “One” vocal in the background.

But the track takes a completely different turn when we get to our first verse. It sounds more like summer than a club anthem now. And I’m not feeling the vocal production of Lucy from this track either. The breakdown and exit is melo-dramatic and indifferent from any number of trouse sounds. The main part of this song just isn’t inspired in any way, but the redemption is the intro and outro of this song, which falls more in line with the uplifting and higher tempo feel of CD2.

“How many dreams are falling short?” Does this track count?

8. Jorn van Deynhoven – Six Zero Zero (6.5/10)

Again, weird that Armin’s playing another older song in his mix (and our third appearance from Jorn van Deynhoven), but Armin isn’t giving us a break yet with 6-0-0. While this song has the classic JvD touch all over it, it’s no “Headliner” from last year, which was a brilliant surprise I must say. It sounds like JvD’s take on an anthem for ASOT 600 in hist style at a high tempo. It’s got a good beat to it overall, but there’s nothing really setting it apart here.

9. Ciro Visone – First Coming (Ian Standerwick Remix) (8/10)

Ah, there’s the bad, quick transition…I was [not] missing those. So we’ve got an artist and a remixer, both whom I’ve never heard of, although it seems Ian gets a decent amount of playtime on FSOE, so we’ll see how this (i assume) uplifting track gets along.

Starting off sounds good. I like the quick piano hits in the background of our main melody. There’s not much buildup or fallout as we get to the breakdown, but it’s definitely a cool trance breakdown full of distorted and vibrating synths rather than the typical strings/piano mix. And our buildout has a nice ring to it as well with the male vocal hits in the background. Which brings us to our second breakdown (if we really exited to begin with). Heavier synths this time. More pronounced. Euphoric, uplifting trance at its finest with a hint of snare (2013 seems to be a good vintage so far, no?). And the bass line moves you as we get to our main melody. I may have not heard of either of these two before, but unlike Wach, I’m hoping they appear on my trance radar more frequently.

10. Andrew Rayel & Alexandre Bergheau – We Are Not Afraid of 138 (7/10)

Armin missed a good opportunity here. Should have started with “Who’s Afraid of 138?!” “We Are Not Afraid of 138!” “You Should Be Afraid of 138 (which is his new single in my mind).” 138 puns for the rest of the album, make it so.

Anyway, a pitch transition which is meh. But our third Rayel of the album and second so far this side. For those not a fan of the intro, it’s definitely not in the same style, but being the second release on the WAO138 label, more in line with the euphoric and uplifting crowd. In fact, the complete opposite of “Dark Warrior;” this song has happier and trancier vibes all throughout. A breakdown worthy of Andrew Rayel’s piano and Alexandre’s beautiful violin. Reminiscent of a trance scene of long ago with synths of today’s era. I’m still split on this 138 resurgence (as while I’m a fan, I also love the darker and lower tempo trance as well), but if this is the newer sound of Armada, I’m liking it a lot more than the electro stuff they were putting out last year. So while perhaps not the best track in the world, it holds it own.

11. Dart Rayne & Yura Moonlight and Sarah Lynn – Silhouette (Allen & Envy Remix) (9/10)

Another quick and useless transition, but we go straight to a heavy bassline and vocal hits from Sarah Lynn. Turn up the volume: this track has the makings of being “massive.” Especially with Yura Moonlight on duty. The breakdown is quick with soothing strings. Initially I thought this was going to be a pure vocal song; I’m pleasantly surprised it isn’t. “To find you…to find you…” I’m loving these vocals in our breakdown, rising up with the beat. “To be with you…”

The tracks got the energy required on this side of the CD, but combines the best elements of the uplifting sounds and the big room sounds of late, instead of the worst sounds which seems to be the norm these days. And that bass! I can just hear it oozing out of my headphones. Yep, this is definitely a highlight so far on the album, and quite honestly should definitely be closer to the end of the album than in the middle-section; it has that feel of a great uplifting song to finish a set.

12. Sergey Nevone & Simon O’Shine – Apprehension (Aly & Fila Remix) (10/10)

The champs of uplifting are here, remixing two talented producers on this track. We’ve got a smoother transition here that still maintains our high beat mix. Sweeping strings and a decent synth line with deep bass to start us off. The breakdown? Oh man, that piano. How it just slows to an apparent stop. And just takes over the scene from the backing strings. Talk about a breakdown. Which, by the way, seems to be taking its cue from Harold Faltermeyer’s Memories, which was the song used in one of the sadder scenes from the movie “Top Gun.” Still though, it’s a brilliant song through and through and definitely worthy of a perfect score for this review.

13. Armin van Buuren – Who’s Afraid of 138?! (Photographer Remix) (9/10)

Ew on the transition. With such high bpm and long outros/intros for both of these songs, I really think Armin could have done better here. But hey, we’ve got the song that started the movement (or rather, the song following the movement). Regardless, we’ve got one of the big names in uplifting on remix duties: Photographer. He’s definitely been one of the producers to look at this year, and this song is no different. Building bass for our intro as we go to our breakdown, which while not the best that Armin has ever done, is still a nice change from his usual. And to be honest, I’ve been a fan of this remix over the original song. The synths and bass pattern Photographer employs shifts it from a good uplifting track to a banging euphoric masterpiece.

14. Jase Thirlwall vs. Shogun – Freaked Skyfire (3/10)

We get another quick transition here to our first of two mashups, which after UR6, automatically spells disaster. First and foremost we have the overplayed, overhyped, and worn out Skyfire which has been on the air for 2.5 years already. Second, Armin decides to skip this beautiful uplifting music that we’ve had for the past half hour plus and go straight back to the big room noise sound with Jase Thirlwall’s Freaked. The breakdown is decent, but the vocals here are completely useless, out of place, overdone, tired, and just bad. The main beat isn’t bad and definitely a step up from the intro to this song, but it has nothing to do with the past songs we’ve been hearing so far recently, or even on this side of the album so far.

Spoke too soon. We get more vocals and a heavy, thumping bass that brings back the big room sound. Armin: spend more time on transitions than mashups. Your sets and fans will thank you.

15. Photographer vs. Armin van Buuren feat. Susana – Airport Shivers (3/10, both songs would be like 7-9/10 on their own)

Speaking of useless mashups, here’s a riddle for you:

What do you get when you take a good but overplayed uplifting track and combine it with an overplayed vocal track from an era that most modern trance fans don’t remember?

This song! (Because this song is a joke, get it???)

Look, I like Photographer. His Airport song is at least more in line with the songs we’ve had so far on this album. I enjoyed it when it came out. But it’s an older song. I also (sort of) enjoyed Shivers, but it wasn’t always my favorite of Armin’s. But still, it’s a great mid-2000s classic from Armin.

Combining them was a mistake. Playing this in what seemed to be every. single. set. in ASOT 600 was a mistake. Playing it during the entire Ibiza summer season was a mistake. And putting it on your compilation almost a year later is….you guessed it…..a mistake. Utterly useless.

So in short: both songs are superb by themselves. Great bass and synths from Photographer. Great vocals from Susana. Good beat from Armin. Worthless mashup.

16. A.R.D.I. – Beyond The Time (7/10)

We end this track with another quick and sad transition. But despite the heavy bassline, we go quick into our breakdown. Which is actually in line with what we’ve been hearing before the mashups. It’s a muted synth from A.R.D.I., and it definitely meets the criteria of “euphoric” and even anthem/epic trance from back in the days, but it does it properly. And while the main beat might be a bit noisy and a bit distorted, overall, it’s got a nice punch and way to end the album. Again, if we’re trying to give the crowd one last “hoo-rah” before leaving, this wouldn’t be a bad choice.

So, there you have it: Disc 2 of UR6.

CD2 Average: 6.97/10

So calculating the score with Andrew Rayel’s Dark Warrior of 9/10 gives us the exact same score as CD1, which was a bit surprising at first. However, whereas CD1 started off weak, went strong, and finished weak, CD2 started rough, had a few highlights, weakened out, had almost a perfect tri-fecta, and then fell apart near the end. It’s difficult to say whether this side as a whole was better than CD1. It’s definitely going to be more appealing to the euphoric and uplifting fans, that is for sure. Since I’m a fan of the pop and the uplifting, maybe that’s why I enjoyed both…

Some highlights:

Astronaut in The City:

Dart Rayne & Yura Moonlight and Sarah Lynn – Silhouette (Allen & Envy Remix) (9/10) – Great uplifting followed by…

Sergey Nevone & Simon O’Shine – Apprehension (Aly & Fila Remix) (10/10) – Which was superb with the breakdown followed by…

Armin van Buuren – Who’s Afraid of 138?! (Photographer Remix) (9/10) – This perfect remix. A rare trifecta, but a welcome one on CD2.

Andrew Rayel – Dark Warrior (9/10 because it’s absurd, but realistically 2/10 because it has a maybe a few seconds that are actually defined as trance) – Because this song demolishes clubs, but at least in a way that’s enjoyable (I’m looking at you D#Fat).

Graffiti Walls:

Andrew Rayel – Dark Warrior (9/10 because it’s absurd, but realistically 2/10 because it has a maybe a few seconds that are actually defined as trance) – Because it’s not really trance at all and does not match the tone of the rest of the album.

Wach – The Queen (5/10) – Nothing really special on this track with sounds lifted from past producers and songs.

Armin’s Mixing – He started off good, but fell back into his routine of quick, rough, and crap.

Armin’s Mashups (Both 3/10) – They were crap in UR6, they’re crap here. Not needed, worthless, and better off deleting those two tracks in the mix. Then with 14 tracks on a side, not only could songs be longer, but transitions could be, wait for it, longer! Maybe even actually exist!

Armin’s Fans, at least the ones that go to Ibiza – Why do they always have to end every Universal Religion compilation as of late chanting “Armin” in the sounds of “Ole Ole Ole?” Be more creative!

Universal Religion Chapter 7 Average: 6.97/10

So, there you have it. The seventh installment of Universal Religion by Armin van Buuren. And can I say that I’m relatively surprised by it’s performance, especially considering the dismal racket of UR6 and Armin’s uninspired sets as of late?

Let’s first go with production. EQ/Sound was fine in CD2, but the drop off for the crowd in CD1 was okay the first time around. By the third time it was pointless. The mixing matched his ASOT compilation of the past few years as well as UR6: subpar, quick, and non-existent in some places.

Next is song selection. I think overall is was a lot better than UR6, and definitely touches back on his trance roots moreso than UR6 (which was suppose to be his grand gesture back to his trance roots….it wasn’t). There were some absolutely stunning selections this time around. And then there were some poor choices. Then the necessary fillers.

Song order was at least more consistent this time around than UR6. We didn’t keep flipping between light/dark, beach/club. Things were consistent for the most part throughout save for the occasional big room song interrupting an uplifting journey.

Finally, we get to the album as a whole. Does it represent Universal Religion? Again, moreso than 6 and on par with 5. But I’ve accepted the fact that the series is definitely trending more like Tiesto’s ISOS series with its different styles and flavors. The original (and in my mind true) style and sound of Universal Religion can be found in UR1-4. UR5-7 is definitely more “this is what I can do during a liveset if I try and push new tunes.” There are great songs on them and moments of trance brilliance. But it’s lost any sort of theme or consistency throughout. Partly because of Armin’s shift of sound as his popularity grew. Partly because of the shift to two CDs.

On the plus side, it seems that Armin definitely played more to his strengths this time around than with UR6, which seemed to cater more to the Ibiza crowd than his trance fans.

Anyway, time for:

FAQ!

Universal Religion 7 just got released today, so should I buy this?

If you’ve been a fan of ASOT for the last year or so and Armin’s sets from ASOT 600, then yes. It’s got something in it for everyone, from big room to absurd bangers to superb uplifting. So while perhaps not the best compilation that you’ll purchase this year (*cough cough* Markus Schulz’s Buenos Aires ’13 *cough cough*), it’s definitely enjoyable.

How does this rank with earlier Universal Religion Compilations?

UR5 paled in comparison to 1-4. UR6 was even worse. With the bar so low, UR7 cleared that and is on par with UR5. Fans of the uplifting sound would probably argue that it’s better than UR5, but for trance in general, I think they’re on equal footing.

Still feeling bad about this yearly 2CD format?

Yeah, but I’ve accepted the fact that it’s going to be a “I’m in Ibiza; let’s record two live sets every year” compilation rather than a “Wow, that was a good set I just made. I should make a CD out of it.” Still, new unreleased tracks every year. I can’t complain.

What things reminded you of that classic UR feeling?

Nothing really on this CD, but I’ll say that Alex M.O.R.P.H. was on fire. So was Aly & Fila and Photographer on CD2.

What tore down this bliss?

Mashups were pointless. Mixing was abysmal. And then there were some tracks that were just plain uninspired. Also Dash Berlin.

Any surprises?

“Dreams” just blew me away. Rex Mundi as well (but that’s not as big of a surprise, is it?).

Last but not least, do you recommend this album?

This time around, a resounding yes. Decent overall, and fans of Hour 2 will enjoy (most) of CD2.