The Grid’s “Floatation” EP showcases three new resurrections of the 1990 Balearic trance bomb of the same name. Slof Man, Prins Thomas and Round Table Knights contribute remixes of the popular track, whilst The Grid revamps the original for its twentieth anniversary presentation. The revamped original is characterized by luscious measures swoon with both flute and drum; working in concert with one another supports the foundation, a mélange of sluggishly driven bass. Dressed with Sacha Souter’s dreamy and echoic vocals, The Grid’s “Floatation” is a measured and contemplative resumption of a decidedly vintage track. Beyond a mere retooling of the original, however, the latest interpretations produce interesting specimens for analysis.

Prins Thomas’ remix represents a certain kind of musical fusion of deep house and disco that can only be reminiscent of colorful cocktails and South Floridian sunsets. Lasting nine minutes, the track reserves time to build intensity, recede, and build some more. Tasty morsels of savvy, afterhours funk swim between and throughout the softly padded beat. Prins Thomas creates patterns of aural undulations, of wave-like form, that provide a soothing electronic exodus for those in a quaint, carefree mood. Sit back, sip your drink and follow the sun as it sinks beneath the waterline.

The Round Table Knights remix “Floatation” with club-friendly atmospherics – but for all the keyboards’ inspirations, the final product sits firmly on the smoother side of house. Just as the music loses itself to distorted reverberation during the build, soothing lyrics coyly beg the listener to “Take my hand [and] come with me” – whereupon one cannot help but obey! The mist and tranquility of trance anchors itself one way on the well-weathered shores of bigger club hits, but it also forges into contemporary progressive; solid up-tempo hi-hat and stab combinations are overlain with the repetition of high register and even higher reaching piano chords. I became separated from the evolution of progressive trance for a few years, but I can say (with personal confidence) that this remix does justice to the delicate balance between both the groove and majesty of trance.

Last but (in this reviewer’s opinion) absolutely furthest from least is the ambitious housey-dubstepped brainchild of Slof Man. Teasing the listener into the track with atmospheric keys is the only point of comparison between this and any other rendition of “Floatation.” Slof Man turns this vintage tune into an atypical dance excursion. Its individuality is fortified by broken beats that glide into the melody and float briefly out of reach before pummeling the dancefloor with aggressive volleys of aural vertigo characteristic only of dubstep. The track simulates a wickedly fun and “techy” experience whose appearance alongside sexy hypno-breaks will come as an honest surprise to those seeking your average progressive tune. Slof Man’s remix is edgy, delivering both spook and groove without the inclusion of vocals. This remix traces one of the first substantial lines in the sand by marking the successful synthesis of progressive trance and dubstep along the endless beaches of electronic possibility. Sacrificing density for individuality, this track floats – soars, perhaps – above the rest.

- James Woodruff