Former Sequential One producer Andre Tanneberger, aka ATB, may be one of the pioneering figures on the German trance scene, but it's still hard to justify why his floor-filling back catalog has been revisited for the third time in five years on this 2010 compilation. Singles and More shares 14 of its 18 tracks with Seven Years: 1998-2005, and 17 with 1998-2008: The Definitive Greatest Hits (which only omitted "Feel Alive"), which renders the whole collection both pointless and slightly misleading, considering every song featured was a single. Still, for anyone looking for a streamlined overview of the prolific DJ's career, this isn't a bad place to start. There are the massive late-'90s Ministry of Sound singles which introduced the world to his trademark fusion of twanging guitars and Balearic beats, such as the sultry and sensual chart-topper "9PM (Till I Come)," the undeniably similar "Don't Stop," and his cover version of Adamski's iconic club classic "Killer"; collaborations with Bermudian singer/songwriter Heather Nova (the Chicane-esque chillout of "Renegade"), Wild Strawberries' Roberta Carter Harrison (the pulsing techno of "Hold You"), fellow native electro act York (on the bluesy house of "The Fields of Love"), his trance-pop reworkings of Olive's "You're Not Alone" and Jocelyn Enriquez's "A Little Bit of Ecstasy." Incorporating material from his first six studio albums, from 1999 debut Movin' Melodies to 2007's Trilogy, alongside the new tracks recorded for his first retrospective ("Believe in Me," "Humanity"), the album misses a trick by ignoring his last effort, 2009's Future Memories, entirely, while there are also several notably absent singles from his DJ in the Mix releases ("Here with Me," "Summer Rain"). With nothing new to offer, it remains to be seen what the "and more" in the title is referring to, and although this is a solid introduction to ATB's talents, clubbers wanting to investigate further would be better off with his more comprehensive 2008 retrospective.
Share this page
AllMusic Review by Jon O'Brien