A Dream by Adam Sharpe: A Tech House Banger That Still Hits Hard
Alright, let’s cut the crap. If you’re into electronic music—specifically that sweet spot where tech house meets progressive house—you need to hear A Dream by Adam Sharpe. Released back in 2010 on Whartone (yeah, a UK label), this album is one of those hidden gems that doesn’t get enough love. It’s raw, it’s unfiltered, and man, does it slap.
First off, shoutout to “A Dream (Jon Kong & Chris Aidy Remix).” This track? Absolute fire. The beat drops like a sledgehammer right outta nowhere, and once that bassline kicks in, forget about chillin’. You’re either dancing or pretending you don’t wanna. The energy here is relentless—no filler, just killer vibes from start to finish. What sticks with me most is how they layer those synths; it feels chaotic but controlled, like they knew exactly when to throw you off balance before pulling you back in. It's not perfect, but damn if it ain’t effective.
Then there’s “A Dream (Matt Black Remix),” which takes things down a notch—but only slightly. This version has more groove than grit, letting the melody breathe while still keeping your feet moving. The buildups are slow-burning, almost teasing you, but when the drop finally hits? Pure euphoria. I remember spinning this late at night, windows down, speakers cranked up so loud my neighbors probably hated me. But honestly? Who cares? Tracks like this make you feel alive, even if it means pissing people off along the way.
Now, I gotta say, the original mix is solid too, though it leans a bit too polished for my taste. And Nick Correlli’s remix? Meh, it’s alright. Nothing groundbreaking, but it gets the job done. Still, these tracks are all part of what makes A Dream such a wild ride—it’s got variety without losing its core identity.
Here’s the thing: albums like this remind me why I fell in love with electronic music in the first place. No fancy gimmicks, no overproduced nonsense—just pure, unadulterated sound designed to make you move. Sure, it came out over a decade ago, but trust me, it still holds up today. In fact, listening to it now kinda pisses me off because we don’t get enough stuff like this anymore. Where’d all the real producers go?
Anyway, weird flex, but after blasting this album nonstop, I started having dreams about being stuck in some neon-lit rave from the future. Maybe that’s what Adam Sharpe was going for—or maybe he just wanted us to lose our minds on the dancefloor. Either way, mission accomplished. Now excuse me while I dig through my old vinyl collection and pretend I’m cool again.
