Zero Point One - Andy Moor

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The name Andy Moor would be familiar to many a trance fan. In 2006 and at the relatively tender age of 25, he became a trance household name for his collaboration with trance behemoths Above & Beyond in Air For Life – one of the standout and most loved tracks of the UK trio’s phenomenally successful debut album Tri-State. He has also worked with the likes of Markus Schulz and Paul Oakenfold and has similarly explored the commercial tip with the likes of Britney Spears and Avril Lavigne.

Widely considered as being a true trance talent, I was more than just a little interested to see what he would dish up for his debut, Zero Point One. Kicking off with the aptly named Atmoshpherica and moving through the gentile and soothing November Morning and Please Forgive Me – the latter coupled with the vocals of Nicole McKenna – it completes a pleasant and very accessible interlude into the album. Moor has gone vocals-heavy, with no less than 14 of a total of 18 tracks on the album featuring voices from some known trance vocalists.

Undeserved featuring the voice of Meredith Call is one of the strongest ones on the album: lots of the uplifting light fluffy stuff, but thrown deep into the peak-time of a big room set, lots of bass, and you know that they’ll be reaching for the lasers. It’s that kind of tune. And given this album has been produced by Armada one can surely expect it to feature in the sets of the label’s DJ stablemates.

Throughout the album, each track glides seamlessly into the next and it makes for a very enjoyable and easy listening experience. Ordinary People is vintage Moor, if there’s such a thing, and on the whole, about a third of the album through and it’s all sounding rather pleasant and tracking very nicely.

We’re then showered in a stream of ballads, World to Turn and Love Again and Leave Your World Behind with truth be told, probably shouldn’t even be called trance. Probably appropriate that iTunes considers them “Electronica”.

My main beef with this album begins to emerge. It starts really well and it oozes so much potential, before it all seemingly breaks down into a massive cloud of fluff. In Your Arms does the same, starting off as one of the more promising offerings of the album, with some strong driving progressive trance, before it once again suddenly drops into another sea of the stuff.

Orbithing is significantly better. What some might call Trance 2.0 – or whatever you wish to call it – it’s fun, armed with a nice melody, and unlike the rest of the album, actually keeps you guessing. Similarly with Story of my Life which drives home with some progressive punch and is a little bit more creative in what it offers.

Don’t Sound the Alarm is something a little different again, and packed with a nice break beat, it offers a darker, grittier tune. It breaks into a sea of the fluffy stuff 2/3 of the way through, and in my opinion, it detracts from how good the tune probably could’ve otherwise been.

For me, it is indicative of a theme throughout the album. Over about 75 minutes of music, Moor has crafted together a relatively strong mix of tunes and as far as a debut album is concerned, he has given it a decent nudge. The unfortunate thing however, is that so many of the tunes appear to progress along a very similar tangent. Where he has shown us something different and been a bit more creative, he hits the nail on the head – it’s just a shame there isn’t more of it.

The second last track of the album Time Will Tell similarly could’ve been an absolute barnstormer of a tune, but again, breaks down into a little too much of the light and fluffy.

Some of the tunes on this album will almost certainly be remixed by others, and will be booming trance-floor successes. Moor has given us a debut that could in time, generally be considered to have been good. What is most disappointing though, is that it probably could’ve been so much better.

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