Of the 13 tracks on In Order to Dance, Vol. 2, two are produced by Americans. New York artist Joey Beltram's "Energy Flash" and Detroit artist Suburban Knight's "The Art of Stalking" characterize most closely the sound emulated by the Europeans. Both feature pounding bass beats and low-frequency synth melodies that evoke a dark aura of foreboding paranoia. Many of the European producers featured on this compilation, such as C.J. Bolland, Frank de Wulf, and Dave Clarke, use a similar style in their music. For example, de Wulf's "Dreamtrance" opens with a cinematic use of synthesizers to create an eerie 30 seconds of anticipation; this is then resolved as the bombastic 4/4 bassline erupts along with a foregrounded mid-frequency synthesizer riff, which remains present for most of the track, driving the tempo. In sum, the early tracks produced by the R&S camp of artists increased the intensity of American dance music and simplified the rhythms, creating a style of music that is a bit too extreme and too predictable for modern listeners but has historical significance.