When I hear the name ‘Ronski Speed’ I think of everything I love about trance music. An amazingly talented producer first and foremost, and a DJ that has proven himself worldwide, since the early days of guest mixes and rare club appearances. The German, Ronny Schneider, started his career in 1997 and soon became part of the newly founded Euphonic label based in Loebau in Eastern Germany. He has been responsible for some of the greatest tracks and remixes in the world of trance, and has created some of the most influential tunes in my record collection. Ronny’s remix of Sonorous ‘Protonic’ is in my top ten records of all time, and his collaboration with vocalist Devia Lea under the guise ‘Sun Decade’ saw one of the most legendary club tunes ‘I’m Alone’ grace the UK. The list could continue for pages, with the name ‘Ronski Speed’ one of the most prolific features of mix cd’s, compilations, and DJ sets around the globe. Working with some of the biggest names in the industry, Ronny has remixed for the likes of Armin Van Buuren, Aly & Fila, and Above & Beyond to name but a few.

However, it is not the past that I wish too divulge. It is the present and future that has seen the German develop and mature his sound into new avenues. As is the trend with many trance producers in recent years, the pinnacle of production is to release an artist album, much like those of other genres. And ‘Pure Devotion’ is possibly one of the most eagerly anticipated albums in trance music. With the reams of tracks under his name, what would make the album? What new sounds could we expect from Ronny? How would such an expert remixer approach a full artist album? I can tell you now that the result exceeded even my high expectations. I have listened continuously for several days now and there is not one track that is yet to tire. The sheer aural diversity is superb; with a range from downtempo ambient chill right through to progressive tech trance mayhem. This is how it happens...

Ronksi Speed (Ronny Schneider)
also known as 'Sun Decade'

CD1

A blissful introduction with the album title track ‘Pure Devotion’ providing a chilled out mix of strings intertwined with a graceful female vocal. Warmth and depth that engulf you from the beginning, a few piano keys drift you along gently, welcoming you to the album like the first rays of sun at the start of a new day. The chilled out start leads you into a sense of calm, before ‘The Space We Are’ featuring the vocals of Sir Adrian and that trade mark John O'Callaghan bass line kick in and immediately fill the air with a new founded energy. Ronski Speed presents a new rework of the JOC remix, which keeps the brilliant strummed bass but gives it a breaks drum loop. It brings back great memories of a few years ago, but with a civilised reworking that fits in with this album perfectly. Up next the vocals of Aruna blissfully provide a transition to full on euphoria, with the enormous recent hit ‘All The Way’. The strings and vocals provide a formidable melody that is magnificent in both the album version and the Paul Miller remix. You can see why this has received plays from Armin van Buuren, Above and Beyond and Tiesto alike. Gently creeping in next is an inspired album version of a track which passed me by without too much enthusiasm previously. ‘Love All The Pain Away featuring Julie Scott’ had been a familiar sight in tracklists of the scenes biggest names. However the original mix did not make the most of the vocals and melody in my opinion and in some respects was rather over-rated. This album version takes things in a completely different direction, and Ronny has executed perfectly a downtempo chill out track that has Ibiza terrace written all over it. ‘Something Happened On The Way To Heaven’ is an ambient interlude, showcasing the diversity of Ronny’s productions but also provides evidence of just how epic his breakdowns on club tracks can be. I can imagine a nice kick roll and percussion meeting a gorgeous bassline that would raise the roof of any club around the globe. Soon after you have caught your breath, a gentle yet firm kick from the intro to ‘Are you’ joins the chilled pads and we are once again on our way. The vocals of Mque are joined by a piano melody that gently builds to a drifting breakdown, where pads combine to offer a slice of Balearic beach trance that is similar to the DJ Shah Sunlounger sound. A nice attempt at something that Ronski Speed is not often known for, once again showing his diversity, but not the most groundbreaking of songs on the album. Still worth a listen, especially if you are after something deep and Balearic that is extremely well produced.

The introduction to ‘Into Your Love’ featuring Alynn Carter is a flawless example of piano and vocals leading to a strong bassline and break beat percussion and kick. This track promises euphoria and it delivers. Alynn’s vocals fit the track incredibly well, the laid back ‘Luminary’ style but with a slightly more rugged movement brought on by that electro-edged bass. Pads provide a string accompaniment that conjures images of a city at night, the hustle and bustle a background to a journey through uplifting sounds. A favourite of mine, which is crying out for a remix, and the opportunity for club airplay.

On the contrary ‘Cold Cruel World’ featuring Jenry is a full on trance track with a shorter edit for the album version. I am rather cautious of male vocal tracks, as Paul Oakenfold once noted all those years ago, it is rather difficult to pull it off. Despite the hint of the dark side that is German Euro Pop, the breakdown is actually rather well done, and the way the vocals are given some echo and delay whilst the kick builds makes for a pleasing drop to what could have gone disastrously wrong. The track drops without the vocals and could have remained that way if I am to be truly cynical. However, as the subtle melody and great bassline progress the lyrics return. If we see a dub mix of this tune in the future, it could be in my box for a warm up set, otherwise those vocals will still leave me undecided.

The piano introductions return with ‘The Deep Devine’, coupled with dark pads that give way to an uplifting, epic sounding melody. The chanting vocals of Ana against the strings give a haunting effect that works extremely well. Yet another sign of Ronny’s superlative production techniques and ear for quality. The chanting evolves into the first verse of vocals, evoking thoughts of distant lands. A theme throughout RicoPortland.com, this would definitely be in my music player on a journey, near or afar. The chorus takes you even further away, which manages to avoid the nonsense we sometimes here on vocal tracks from artist albums. This gives way to more chanting and a break beat interlude with a cut in the bass. This returns soon after to build to a break with just the melody and strings. The drum loop and second verse rejoins soon followed by the chorus. This track caught my imagination and is a great showcase of production skills in a genre which is not necessarily Ronski Speed’s staple. ‘Shadow Of The Sun’ featuring Farita is an ambient chilled track with more chanting vocals and enchanting pads. The occasionally banging of a tribal drum helps the track on its way before the chilled onset of ‘Overfloat’ is upon us. The first few notes of a great melody begin with a chimed bell sound, before a deep strings section commences. The build up to the first break is immense, and excites of what is to follow. The kick leads to a funky techy bassline with smooth percussion, building and introducing new elements as it advances. The melody soon rejoins proceedings before a late break introduces an electro sample and pitch change that personally does little for the rather bland track. Nonetheless ‘Overfloat’ is still an impeccably produced piece of music.

‘Revolving Doors featuring Karen Ires’ begins with a solid kick and the rough edged samples give hints of a more techy number in store. As the first drop demonstrates, the introduction of a techy hard bassline and sample sets the scene, and soon builds with touches of Karen’s vocals. Subtle pads frequent the distant background, the main focus of the track being the bassline. The main break is welcome relief from the tech, and a dreamy melody combines with the vocals to create a modern euphoric moment. This gives way to the bassline and we are on our way again. This would fit into many harder edged sets, as well as more uplifting styles.

‘Clear Your Mind’ featuring Sir Adrian gives another chance to indulge in the slightly deeper side of Ronny’s latest productions. With a clever bass line pitch fluctuation, and a darker melody ‘Clear Your Mind’ builds to the break with Sir Adrian’s vocals which at first remind me of ‘The Space We Are’. As the strings build and the vocals are accompanied by a plucked sound, the melody is in full force and this track actually comes alive from the prior monotony. The whispered repetitive vocals on the breakdown fill the air with suspense, and increase the drama of the drop, which begins with that now infectious bassline pitch change. Great production value, and interesting male vocals, with a bassline reminiscent of Stoneface & Terminal or Marc Marberg productions.

Nearing the end of CD1 is ‘Drift Away’ featuring the vocals of Aneym. This is a beautiful uplifting melodic chilled trance track with cleverly chopped vocals. It reminds me of earlier Ronski Speed productions all combined into one modern package. There are even hints of ‘Sole Survivor’ in there for good measure! Great for listening to on the beach or cruising in your car, it oozes good vibes and has a bassline that makes you want to tap your foot. Far from ground breaking - but a solid track nonetheless.

The last track on CD1 is ‘White Flame’ featuring Alexander Perls on the vocals. A rather confused tune with vocoded vocals that do not lend themselves very kindly to this generic break beat chill. However, as always everything is extremely well produced and tightly sequenced, so a fair attempt has been made here at proving with skill and experience, the damage of inevitable predictability can be limited.

CD2

CD 2 commences with ‘Slide’, a chilled start that gives way to a broken kick and Balearic chilled themes. Before long the smooth upbeat sounds of ‘Bluescreen’ are upon us, terrace trance with a 'housey' twist. I love the funky bass line, but the tune did tend to pass me by somewhat. Despite this, after several listens I commend Ronny on an attempt at something different, one which he has pulled off rather well. I can see this in the box of many dj’s across a variety of genres.

Back to trance with ‘Manic Star’, with Aneym once again on the vocals. This track has a deeper, more progressive feel than some of the others. It builds with just a hint of the vocals, a basic introduction cleverly building. The break sees heavenly vocals from Aneym join a soothing melody. For a moment it is easy to be lost in trance perfection here. A breakbeat kick joins the break and fits perfectly. The drop shortly follows in which the track changes quite dramatically and we are plunged into a progressive tech trance number. The break returns once more for a brief rest bite before ending on the techy note. Awesome production and brilliant break, with plenty of tech for those harder heads!

‘Last Remaining Light’ is a great example of how well Ronny creates instrumental trance tracks with wonderful and original melodies that fit well on this album whilst causing havoc in clubs around the world. One of my favourite tracks from the album, melody, strings and key changes to perfection take you far away from the troubles of this world. Listen in your car in the evening, on your iPod walking around the city during the day, on a big system at a club, or simply at home in the comfort of your armchair and you will be rewarded. ‘Hemisphere’ follows from where ‘Last Remaining Light’ left off. Sublime instrumental trance with a great melody and a pure ‘hands-in-the-air’ break that halfway through gives way to tech progressive edged chaos. This continues shaking hips and flailing arms before a breakbeat section introduces the melody once more just in time for a second break. Great stuff, and with a Nitrous Oxide remix smoothing things out a touch, expect this to be a huge release.

I first heard ‘Evapor8’ on A State Of Trance episode 364 and immediately fell in love. Although I have praised Ronny’s attempts at producing sounds other than what we know he is already capable of, I can’t help but succumb to his sublime ability to create stunning instrumental trance of the highest calibre. This is Ronski Speed at his very best; this is the sound that I have fallen in love with since his remix of ‘Sonorous – Glass Garden’ first surfaced in the year 2000. Evapor8 is as original and unique as it is uplifting, a feat that is often hard to come-by in the trance scene in recent years.

‘Out Of Order’ featuring Charly Coombes demonstrates the dangers of using average male vocals. It is saved by the techy progressive drop after the main break, which leaves the track with some credibility. An instrumental or dub mix would be a pretty decent track, but compared to the previous two offerings it has quite a way to go. The techy edge of ‘Starcase’ however provides quite the opposite. Arguably one of the better tech-progressive trance tunes on the album, I can imagine this will be well received by many top jocks. The moody, dark break builds in intensity until the track drops and devastation is unleashed onto the dancefloor. Guaranteed carnage, once again delivered with impeccable productions levels.

‘Aural Slave’ has already featured on Above and Beyond’s radio show, ‘Trance Around The World’ and is another great club track from Ronny. A luscious strings breakdown coupled with angelic vocals, and a kick sample leads into a full on reverb driven main section. The techy, funky bassline style that we have seen in a few other tracks on the album is present again, yet fits faultlessly with the rest of the track. ‘Soulseeker’ with Stoneface & Terminal featuring Alexander Perls was one of my favourite tracks from earlier this year, with my preference of the package being the Stoneface and Terminal Mix. However it was pleasing to hear the full vocals with a different drop, albeit a slightly ‘diluted’ version of Stoneface and Terminal’s dance floor pandemonium experienced first hand at the mercy of Marco V during Trance Energy 2008! This is a great example of how male lyrics can definitely work well if used properly. ‘Collapse’ is another tech trance track with a superbly uplifting break that has that ‘early hours of the morning’ feel to it, despite having a rather bouncy electro bassline. I’m not too sure of this ‘album version’ as I would have liked to have seen more use of that euphoric break; however it is still a very useable tune. The album closes with a new ‘Ronski Speed Breaks mix’ of ‘Sole Survivor’ with Sebastian Sand. This featured on Kyau and Albert’s ‘Positive Ways 4’ compilation from 2005 under the ‘Sebastian Sand’ mix. It is a track that is close to me and I was intrigued to hear how it had been updated for this album. I am pleased to say that Ronny has exceeded my expectations with a delightfully chilled alternative that keeps the original dreamy break and several elements from the Sebastian Sand mix. The break beat is joined by some clever key changes that keep this in fitting with similar chilled tracks on CD2. Another album favourite for me.