The album title says it all!

For reports and reviews on the new studio album of Scooter one is ignored: The failure of the last slice. Just 4 weeks, was The Big Mash Up (# 15) place in the album charts, from the singles we will not only talk- most of them missed the Top 50. For the veterans of the stage Technos, whose publications usually in the top 10 land, a disaster. What was the reason? Scooter had largely verabschiedet- from their previous, very own Greater Trance those numbers you had at The big mash up looking with a magnifying glass. Instead they hewed their fans dubstep and urban dance around the ears. The enthusiasm was limited. As could even achieve anything a normal extraction in a duet with Vicky Leandros.

But how to stay on the pulse of time and true to himself at the same time? It seems as if Scooter answered this question with the new album Music for a big night out. The atmospheric intro Full moon slowly builds up with gespentischen Trance surfaces and all sorts of effects to the sounds brighten slowly and a catchy melody and squeaky brilliantly in the opener in a raver, baby passes. Way of Dubstep and Co.- here again rumble around 140 BPM through the ear canals and HP may Baxxter with skillful flow and mindless lyrics à la When I say: convince Hey, hey, hang the DJ. The already well-known chorus reminiscent of the Beatles classic Hey Jew, the HP denies itself and opens into a somewhat harder, yet catchy Hardtrance-part. The second single Army of hardcore hardly changes the recipe, also here HP retakes the vocals in the chorus, which sounds at first a bit bulky. The Nessaja sound sounds here generally somewhat softer, though well known. Here Scooter have endeavored to include all sorts of background vocals and vocal effects one of its old features. It has already dealt with the first two songs to cover versions, this is the first single 4 at a little striking: Here was the refrain of Beverly Craven 4 o clock in the morning as a template. Here you have the recipe scootersche hit somewhat more adapted to the Zeitgeist: The Sound of Avicii Greetings, coupled with HP's vocals and guest vocalist Jaye Marshall, which contributes to their 3 songs (ungepitchten!) Vocals. I found the song as the first single but disappointing, I like it in the gallery context quite well. No way to hide is built rather unusual: a minimal synth intro HP are short announcements (We want to party, party no way to hide, you just follow, follow, what you hear inside) before again Jaye Marshalls voice atmospheric pads sounds that can be described as talented with her lascivious soul voice and here can shine more than the previous song. To a chorus slowly Lalala- sound Greater trance sounds, paired with contemporary transition effects and H.Ps shouts before repeating the process. What Time Is Love? is likely one of the Skip-candidate of the album for me. For already, I believe the 4th time, the guys KLFs covers song of the same name, this time wearing the cover for the first time the original name. The song is not bad and sounds skilfully to-date, on a decent Main part one waits in vain, instead waiting on this with stuttering vocals and too ordinary sounds. I hope you have for the last time let off steam so here. The actual Hitfeuerwerk starts only now: With Overdose (Frazy) the guys have the perfect successor for songs such as Maria and How much is the fish at the start. At the beginning sound H.Ps distorted vocals in the vocals with roboterartigem, pitched singing before the 8-bit tune of Synapsenkitzlers Frazy sounds and can be heard in the anschließnden repetition in Hardtrance sound. Stadium chants and cries of animation HP (I cant hear ya-Louder!) Included. Wen this song has no hit potential across the single charts, which then?
The following four tracks have the makings for decoupling: In Talk about your life is finally back to hear the voice of Nikk who already gave their estranged Mickey Mouse singing the best in Nessaja. They are joined by catchy Jumpstyle sounds in Shufflerhytmus, vocal effects and winking Reime- as always (I can be the bun and You can be the burger girl). I wish I was perfectly combines Scooter 90s and 2010s. During the catchy chorus sung by Jaye Marshall evokes feelings to old ravers hours, waiting the instrumental part with swirling trance sounds and modern big-Room sounds. The auto-tuned rape of HP are also supported by this mixture. The driving electro cover of the American folk song Black Betty surprised when alternating duet between HP Baxxter- turn singend- and Jaye Marshall. Here is dispensed with shouts, but one focuses on the typical genre gimmicks with vocals, beats and rhythm changes.
The last two songs go back slowly and often form the classic finale of their albums: Too much silence can be used as classic trance song with a great structure, convince soulful vocals and put forward a strong synth hook. At Last Hippie Standing Scooter company a trip to the Goa-world at a rapid pace, piano Lines and oriental vocals.

On this album there is Scooter succeeded in making her known characteristics of party suitable Stadium Techno audible again, the same miteinzustreuen current influences from the dance scene. The Dubstep they said, despite the threat to the continuation of farewell. The album is on the one hand by different genres varied, on the other hand you had previously installed an instrumental Verschnaufungspause which now missing here. But the album has so many superior songs as long gone, which would have the makings of a hit. The album has its title name really deserves. It is desired scooter that you can find the best album and maybe hopefully well-chosen Singles their way back to the top places of the charts.

Overall rating: 4.5 / 5 points
Favorites (order): Overdose (Frazy)
I wish I was
No way to hide
Talk About Your Life
Im a raver, baby
Black Betty