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It`s hard being talented and unknown. Just Ask Ian Knowles. This young hard trance producer has been around, doing a few remixes here and there. Some high profile, to try and get noticed, but it’s his own tracks that have to do the business if he’s to get big. Read on.......
With United as One and Hell’s Fanfare already floating around, will Ian Knowles’ latest offer, the strangely named That Track With the Piano On It, finally give him a name in the big time. Well you won’t forget the title in a hurry that’s for sure…..
I first heard Ian Knowles when he did a very clever remix of Ian Van Dahl’s Try on NuLife’s Harder mixes EP and remember thinking, I best watch out for this man. It’s fair to say however, that it was over shadowed by the stunning Alphazone Remix on the A side. (What a Remix!) But never the less it showed what he could do. Since then I’ve been interested to hear more from this young talent. Checking out his Remixes of tracks like, Real & Richardson -Sunshine On A Rainy Day and G-Spott- U-R-G on UK super label Nukleuz, as well as yet another Ian Van Dahl remix on Can’t let you Go and again a clever but much over looked remix of The Boogie Pimps- Somebody to Love on the mighty Data Records.
This, is Ian Knowles’ second release after the double A side United As One/Hell’s Fanfare on the same label, fledgling out fit Simply Recordings.(Which has just got a Re-release on Belgium label Nitrox with a remix from Jaron Inc)
That Track with The Piano On It 139Bpm
The track starts with a very Veracocha style sound. With a flanged and phaser’ed line sequence, sounding very close to that of the line used in their remix of Ayla. So the track opens up very nicely. Latin percussion and very loud, if a little too harsh hi hats are introduced, followed by a wonderful sounding clap. Giving it that brilliant hard trance side to side nature. The song breaks and the bass line is added along with a quick second hi hat. The bass line that is added does sound a little shallow but it has a funky edge that drives it on regardless.
Properly the most striking thing to this track is the piano of the title, itself. It’s added here in a mini break over the top of the flange line and some deep layers and arpeggios lines. The introduction to these does seem to be slightly out of place but the production work is super here, with all the lines and sequences slotting into place neatly. The piano, a simple melody with delay effect and reverb sounds beautiful. Giving the track a true warmth and uplifting quality, which coupled with the feel of the deep soaring layers makes it very pleasing to the ear. The drum loops are added back to the track and continue along with the piano for a good half minute until the Layers take over, swooping loudly into the lead. Ian Knowles then introduces the key charges, which with the shallow bass line, do sound a little weak, whilst fading in the track’s main sequence. The structure here is not of your normal trance track and shows Ian Knowles is thinking on his feet. Trying to come up with something similar yet different at the same time. With almost no pause for breath the song is away.
The main sequence, which sounds very similar to that used by Graham Gold on his beautiful track The Ending, is once again simple but never the less very nicely done and works well with that weak bass.
The middle section of the song is also very interesting. With the bass line reverting back to it’s original key and being accompanied by the main sequences backing chords. These sound very euro trance in nature. (Maybe that Ian Van Dahl influence showing there) Adding a driving force, until the deep layers and key charges come back and the song breaks back to the piano break of earlier. Only this time the main sequence is brought back before the re-introduction of the drum loops with the haunting piano still in place. The drive of the song is wonderful and once the bass, the main sequence, chords and all, plus the piano are altogether the song really does show it’s uplifting elements. After a good minute the track winds down to the same ingredients from the build, the Latin percussion still in place and the flange line taking us to the end.
That Track Without the Piano is the same tune but without the piano in place. The effect isn’t a huge difference, more of a preference for the do and listener.
Conclusion:
Overall.
It’s an interesting blend of styles Ian Knowles has on this track. Changing his style from the harder side of trance to a more personal and thoughtful, yet driving style. This track, sounding very much like something you would find on Relative Records. It wins top marks for it’s original sound, if not it’s title, but loses some marks for it’s rushed feel and weak bass line. There is something not quite right about the song, lacking any catchy or classy qualities that make you want to go and buy it before anything else. It does however, piano or piano less, make you want to know it name, purely because of it’s striking sound and curious structure. An ambitious and nice enough effort from Ian Knowles without being truly amazing.
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