DJ Tiësto
In My Memory

The clichés about electronic music abound, just as they do with metal and its more or less picturesque derivations (not that they bother everyone, some even ardently crave the stereotype), but as is often the case, the actual distancing from certain maxims is never complete, as there is always a grain of truth that persists in practice.

So, let's say it, without moralizing or attempting to circumnavigate the solid iceberg of political correctness: it is a fact that certain genres offer a different experience depending on the mental state of approach (what a discovery, you might say), however, I would like to highlight how certain musical types like the one here become incredibly more enjoyable with the right (altered) mental state.
Trance cannot be a genre appreciated by everyone; those accustomed to pure hardcore pounding usually find it too disjointed and dispersive, and those who primarily consume house and break-beat often struggle to perceive the kaleidoscope of mental representations that loom on the occipital lobe; they are still looking for images on the retina...

But we (we, you, me, them, who knows...) are not interested in all this, because for the past few years we are no longer a niche seeking expansion, and this is largely thanks to people like Paul van Dyk and the ever-present (but evergreen) Tiësto.

Fresh from international success with the remix of Silence, at the dawn of the new millennium, our artist takes a break from compilations, and through his label releases this album, accompanied by live sessions lasting between three and nine hours (!!) in which he performs solo.
The experience gained in the shadow of the previous decade becomes evident, and in a few months, the flying Dutch captain of the synth launches three torpedoes, which indeed strike the top charts of Northern Europe, but leave the most significant marks underground.
"Flight 643" quickly becomes a reference point in the genre, just like the growing pace characteristic of "Lethal Industry" and the visionary trip of "Suburban Train", singles quickly backed by sweeter tracks, including the splendid "In My Memory", "Close To Me", "Battleship Grey", to close (in chronological release order) with the more hallucinatory and energetic "Magik Journey", "Dallas 4pm", and "Obsession".

It's not easy to quantify the weight this album has had on the European techno-trance scene, but it’s certain that the notion of concert has changed considerably, evolving into a mass event perfectly integrated and compatible with the canons of completely different genres (locations evolved from illegal tents or underground clubs to arenas and stadiums).
Musically, it's as if arcades have been erected under which many, among those who cultivate aspirations in this sense, pass or will have to pass.
In 2002, thanks to this album, Tiësto was cited as the best DJ in the world, a title he maintains with great style in 2004 with his second album ("Just Be"), and which consistently returns to him since. The opening of Athens 2004 will confirm the solid European base and will definitively fling open the doors of the new continent to him.

Every genre has its milestones; Tiësto's "In My Memory" weighs at least as much as "Autobahn" by Kraftwerk did when it was released, just to stay within the realm of electronics... you get the idea.

p.s. samples coming soon :)