I’ve recently re-listened to all the ISOS compilations by Tiësto, and here are some of my thoughts for anyone who cares to read them.
ISOS 1-2 are the closest to the Magik series in sound and spirit. No surprise there, they were even released between parts 4-5 and 6-7, respectively. Moreover, ISOS 1 clearly "picks up" where the preceding series left off, featuring many of the same artists: Yahel, Gouryella, and Kamaya Painters.
However, you can already feel a distinct difference by ISOS 2. Despite its evolution over several years, Magik was and remained more "clubby" and dance-oriented (it’s no coincidence the last two parts were recorded during live performances). In contrast, In Search of Sunrise felt more atmospheric, relaxed, and even melancholic in places. It was poetic, much like the title itself.
Part 3 is the "night breath of a sea breeze." It is the most romantic and dreamy compilation in the entire line. It even takes about five minutes to ramp up (spanning 2-3 tracks, depending on how you count) before a "proper" beat finally kicks in. Even then, it’s a very "soft" variety of trance: no "acid," no beefy basslines, no uplifting "pounding"... just airy synths and mysteriously shimmering background samples. I’ve always said this is the best ISOS, and perhaps the best Tiesto compilation period.
ISOS 4 partially preserved that romantic seaside vibe, but swung much harder toward a club sound with dense basslines. As a result, it lacks a bit of cohesion. This might be due to it being the first double-disc release in the series: there was simply more material, making it harder to "fit" the tracks together and select only the absolute best. In my opinion, there are some sluggish, uninteresting segments, especially in the middle of the second disc. Also, with a subtitle like "Latin America," you subconsciously expect more guitar melodies than there actually are.
When listening to them back-to-back, a sharp slowdown in tempo and a lean toward house becomes very noticeable in Parts 5 and 6. It was during this period that the most long-term and attentive fans began grumbling about Tiesto leaving trance (or, conversely, welcoming it - I’ve seen that too).
That said, the second discs of both compilations occasionally venture into the territory of the Space Age series or the Revolution compilation (does anyone still remember those?). By that, I mean it gets dark, with lots of percussion, and plenty of "space" when that percussion drops out. There are some incredibly cool and criminally underrated tracks, like "Green Astronauts" for example.
However, as cohesive mixes, I’ve always considered these installments to be the weakest. Funnily enough, I almost never re-listen to the fifth one... yet I’ve played the sixth regularly. Last year, it even made it into my personal top albums on Spotify. Though, I’ll have to disappoint you: that’s purely because it’s great background music for work; it’s just the right amount of light and unobtrusive.
In retrospect, the final installments clearly show Tiesto’s internal struggle and a lack of certainty about where to go next. He wanted to reach new, broader (and younger) audiences, but do so without a radical break from his old fans. Eventually, he realized this was impossible and made a long-term choice in favor of the US market. And I'm saying this without judgment - the desire to secure a comfortable life is perfectly understandable. Also, I genuinely like Kaleidoscope.
I’d even dare to say that Part 6 specifically signals the direction Tiesto would take just a couple of years later. "High Glow" resembles "Feel It In My Bones" in structure and melody; the deadmau5 influence is obvious in "Always Near"; "Fall To Pieces" seems to have influenced songs like "I Am Strong" and "Who Wants To Be Alone"; the "droplets" of "Dancing Water" clearly transformed into the "rays" of "Surrounded By Light." Ibiza is, if you will, a "proto-Kaleidoscope."
Part 7 (Asia), accordingly, is a "proto-Prismatic." At the very end, there was suddenly more trance again... but, of course, a much more modern-sounding version of the genre. It was trance of the digital age: polished, slick, and meticulously mastered. It’s as clear and transparent as a forest spring (which even appears in one of the photos). Yet, it often also carries a heavy pop influence - the special Armani Exchange Exclusive three-disc edition even features a Britney Spears remix. Tiesto’s current radio show has a similar vibe and a similar mixture of genres. We’ll see where it leads from here.
