For many of my generation, Tilt are the benchmark of quality Progressive House and Trance. Signed by Paul Oakenfold to Perfecto/Warner Music label in the early 90s, they had their first UK top 40 hit with ‘I Dream’ in 1996. In 1998 they moved record label to Red Jerry’s brilliant Hooj Choons and more hit singles followed. ‘Invisible’ (featuring the vocal talents of Dom Atkins AKA Grace) was a top twenty hit, and ‘Rendezvous’ and ‘The Seduction Of Orpheus’ (a favourite of Danny Tenaglia) were massively influential tracks which moved the progressive/trance-dominated house scene into previously uncharted, darker territory. Tilt had become a major force in the international dance music revolution – with their tribal drums, booming bass-lines and unforgettable melodies, they blurred the lines between house and trance and supplied millions of dance music lovers worldwide with the soundtrack to their weekend. Staying resolutely at the cutting-edge of electronic music, TILT have emerged from the studio with what may be their finest long player yet. ‘Resonator’ is a body of work that can effortlessly look eye-to-eye with any of the pantheon of dance music’s classic albums of the last two decades, demonstrating that Mick Park and Nic Britton are very much at the top of their game. With the insight and mastery of the studio (and it’s inherent analogue machinery) that twenty years of experience at the forefront of the dance industry can bring, TILT still manage to make music that sounds like the future. House, techno, and classic electronica pulses course through ‘Resonator’, featuring the talents of guest vocalists Sam Mollison and Dominique Atkins (Grace). The ten tracks of ‘Resonator’ (or eleven if you are fortunate enough to own a vinyl copy) comprise an epic trip for both the ears and for the dance floor. I’ll dispense with the blow by blow account of each track; this album is simply the pinnacle of Tilts 20 year musical journey. Each track is lovingly crafted and delicately balanced in terms of light and dark. 30 Hits of Acid, Falling Again, Here is Not Now, KU and The Hurt all stand out as singles, although its a tough call really; every track is gold dust. Whats refreshing with this album is the use of film clips and radiophonic workshop outtakes to augment the tracks. Yes, this is a collection of dance tracks, but what makes it all the more listenable at home is the inclusion of these off the wall snippets. In fact the inclusion of down tempo track Make You High makes me hark back to a time in UK pop culture when Britpop ruled and the North of England was the centre of the Universe and is another personal highlight for me, its a real shame its the only one, as I would have loved to hear the range of sounds I know the lads are capable of. Ending on a high with the brilliant Sam Mollison collaboration – The Hurt, Tilt do what they are famous for; emotional, vocal progressive house. There isn’t enough of it today, maybe Tilt can address the balance… I hope so. Dance floors are much better places when theres a song to sing.