Wizzy Noise - Elecktro Theater

Elecktro Theater, the third full-length album from the well-known Greek duo, marks a development of the group’s advanced techno-trance fusion. Following up on the critical and commercial success of Cyclotron, Wizzy Noise adapted to the shifting trends of the time to deliver one of the biggest psytrance releases of the year. The long winter of the minimal movement was reaching a timely conclusion in 2003, and Elecktro Theater arrived at the perfect moment to capitalize on the growing interest in a hybrid style of full-on and progressive: the “neo” full-on style, as it was then called.

A word about the packaging and presentation. This CD was released in a slim cardboard slip which has the ugly side effect of scratching up the disc any time it is brought out or put back. It is flimsy and easily damaged as well. The art itself generated a fair amount of dialogue in the online forums back when it was released, as people considered the merits of the approach Micky Noise has taken. My take on it: as a graphic designer I can appreciate the style, but I don’t feel it suits the music.

Radical Payne makes a strong opening, digging deep into the Wizzy sound with heavy synthetic rhythms, eerie atmospheres, and intelligent progression. There are brief moments in the body of the song where a certain lightness seems to shine through, but it isn’t long before an ominous mood returns. The sublime peak of the song is flavoured with a sick twist in the bass line and restrained metallic leads. As an introduction it sets the score perfectly, rounding the edges off the traditionally mechanical sound of psychedelic techno, and fleshing out the results with a smart and sophisticated drive.

The remix to Screwheads, originally released on Z.M.A.RT in 2001, represents a fusion of old influences with the group’s ever-developing production techniques. At first, it seems like another slice of techtrance, with a mean kick drum and some gritty percussion loops. A closer examination will reveal that Wizzy Noise are working an obscure form of cinematic magic here once again, injecting their creation with considerable depths. It’s a nasty effects-based piece, lacking in much of a main theme, but it still sounds solid.

The title track seems to have been the big winner with the DJs of the day. I remember hearing this on all the dance floors back when it was fresh. It should be easily recognized by the clever clockwork rhythms crafted with actual samples of a wind-up clock! The leads in this one are fairly neutral, stabbing out of the speakers with a certain nonchalance. There are a few moments where a spooky atmosphere develops, but the track usually returns to straight-forward dance floor stimulation before very long. In the end, it is a mid-range anthem suitable for bridging between styles in the midst of a set, but not quite as deep or memorable as some of the rest.

Paradise Lost is full-on from the very beginning, rolling out with a rapid tempo and energetic rhythms. This one feels much more traditional in its approach, resorting to simple and effective rising acid lines, arpeggiated melodies, and an unremarkable break and return late in the song. Wizzy Noise put their own mark on this tried and true formula, but it seems rather dry off the dance floor. Some reviewers prefer this song for its energy, but I don’t find it engaging my attention enough.

Mental Discipline is the sort of track where you put your head down and just dance. The throbbing drums, tight percussion loops, and rigidly contained atmospheres maintain a steady drive, while small psychedelic effects incrementally build as time passes. Distorted industrial-style vocals can be heard in the last third, mumbling incoherent pronouncements such as “energize,” during which the restrained tension of the song finally breaks. It seems a bit contrived, unfortunatly.

Demented Drum (Part 1) shows off the more full-on side of the Wizzy sound, similar in some respects to Paradise Lost. A subtle and persistent acid line hovering in the background is the seed for several explosive outbursts of strong electric riffs throughout the track. A deep break in the sixth minute sets up the final sequence of shockingly powerful acid lines, with guaranteed dance floor impact. Unquestionably effective.

Timeline is widely regarded to be the weakest track of the album – a consensus that was reached after it was selected for a remix single released one year later. Few could understand why this of all tracks was selected for such a high-profile project. Now, it’s not terrible or anything, but it doesn’t have much going for it. Drifting along in pure progressive fashion, the track is perforated with stark tribal drum strikes and a distinct tonal flourish. In the end, it is somewhat dull and repetative.

Demented Drum (Part 2) takes the original version and adds power, depth, and distinction. After a substantial introduction piereced by distorted kicks, the track charges off into hazy clouds of unadulterated psychedelia. Ominous cinematic sweeps build expectations, slick drum loops cycle with robotic precision, and twisted acid riffs build towards a growing peak. At the third minute mark, eerie (Japanese?) vocals make a haunting entrance, tying the whole song together. Wizzy Noise finally nails the cyberpunk vibe with this dark futuristic epic. Excellent work!

Dreamwave revises the clockwork rhythms of the title track into a chugging morning monster. The drive is fairly straight-forward, albeit with a few kinks in the groove. Playful melodies dabble around in the early moments, floating along without staying long enough to develop very far. The first half feels like a real tease, as the artists explore different themes in the process of building energy. A short break introduces a gorgeous ethereal atmosphere later on, but it doesn’t stay long. A sustained melodic sequence finally builds in the last moments of the song, then the show is over. I have a mixed reaction to this track, after some careful thought. At times it seems random and unfocused, but I can see how this would work up a crowd and make them eager for something more coherent. In the end, I don’t think it works.

Outmosphere shuts it down with one last Wizzy exposition. The beat is hard, fast, and rather crunchy throughout, integrating a highly processed breakbeat sample. The electric acid riffs are nothing new, stabbing the rhythm with a short repetative sequence of notes. The first half is boring, but the last is lit up with a nervous morning melody of some kind. It is not entirely to my liking.

Elektro Theater is clearly designed for powerful dance floor moments. The problem with such a release is simply that time passes, technology advances, and after about two years no one is playing it out any more. I am always seeking the timeless qualities of trance in the music I explore, and there isn’t much of that here. Demented Drum (Part 2) will make my list of all-time Wizzy favourites, and I will spare a listen for a few others here, but most of this album sounds somewhat dated by now. That being said, it is still quite listenable, even if the novelty has worn off.

Anyone who takes an academic interest in trance history should take note of this album’s importance as a transition piece even if the dance floor thrilling qualities do not endure. I would still rate it as above average, but the general unsuitability for home listening leaves me hesitant to recommend this far and wide. In the end, the group did not make a significant improvement beyond the nasty cybertech style of Cyclotron. Wizzy Noise fans will want to give it a listen, and psytrance fans who retain an interest in older dance floor material would also do well to give it a spin.

Release Data

Artist: Wizzy Noise
Title: Elecktro Theater
Label: Candyflip Records
Format: CD album
Released: 2003

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