The story of "Around the World (La La La La La)" is a literal journey across borders, from its Russian origins to its dominance on global dance floors. The Origin: From Russia with "Pesenka"
The iconic melody wasn't originally German or even English. It was written and recorded in by the Russian pop/techno duo Ruki Vverh! (Hands Up!) under the title
(Little Song). The original track featured the exact same catchy "la la la" hook that would later define the global hit. The Transformation: ATC and Planet Pop In 1999, German producer Alex Christensen
discovered the track and decided to produce an English cover. He formed the group ATC (A Touch of Class) specifically for this project.
: ATC was a truly international "manufactured" group consisting of four members from different countries who met in Germany: Joey Murray (New Zealand), Sarah Egglestone (Australia), Tracey Packham (England), and Livio Salvi : The single dropped on May 22, 2000 , as the lead track from their debut album, Planet Pop Global Success
The song lived up to its name by becoming a massive international success: European Dominance : It spent six weeks at #1 in Germany
and topped the charts in Austria, Switzerland, Poland, and Romania. North America : It reached #28 on the Billboard Hot 100
in the U.S. in early 2001, a rare feat for a European dance track at the time.
: The music video became iconic for its late-90s aesthetic, featuring a yellow Melkus RS 1000 sports car and high-energy dancing. Legacy and Modern Revivals
Though ATC disbanded in 2003, the "La La La" melody has never truly gone away. DJ R3hab (2019)
: The Dutch DJ released a modern remake titled "All Around the World (La La La)," which collaborated with the original ATC members and brought the melody to a new generation. Ava Max (2020) : The melody was heavily interpolated in her hit single "My Head & My Heart" If you're looking to enjoy this in FLAC (lossless) format
for a portable player, the track is widely available on high-fidelity streaming services or digital retailers like
, often found on early 2000s "Best of Eurodance" compilations. specific high-quality digital store where you can buy the FLAC version of the Planet Pop
The Ultimate Guide to ATC's "Around the World (La La La La La)" in Portable FLAC
Few songs capture the infectious energy of the late 90s Eurodance era quite like ATC's "Around the World (La La La La La)." Released in May 2000, this track didn't just climb the charts—it became a global phenomenon. For audiophiles and nostalgia hunters alike, hearing that iconic "la la la" hook in FLAC (Free Lossless Audio Codec) is the only way to truly experience the depth of its production.
Whether you're building a lossless digital library or looking for the best way to take this anthem on the go, here is everything you need to know about the song and the best portable formats to enjoy it. 1. The History Behind the Anthem
ATC, which stands for A Touch of Class, was a German-based international group that struck gold with their debut single.
The Russian Roots: Many don't realize the song is actually a cover of the 1998 Russian hit "Pesenka" by the group Ruki Vverh!.
Chart Dominance: Produced by Alex Christensen, the track reached number one in Germany, Austria, Poland, Switzerland, and Romania. atc around the world la la la la la flac portable
Planet Pop: It served as the lead single for their debut studio album, Planet Pop, which featured the group's signature blend of high-NRG and Eurodance. 2. Why Choose FLAC for Portable Playback?
When you listen to a 128kbps MP3 on the go, you’re missing out on the "shimmer" of the synthesizers and the crispness of the vocal layers. FLAC is the preferred format for "Around the World" for several reasons:
Bit-Perfect Quality: FLAC provides an exact duplicate of the original CD data. Unlike MP3, which discards audio data to save space, FLAC is lossless.
Storage Efficiency: While it delivers CD-quality sound (16-bit/44.1kHz), FLAC uses compression algorithms that make files roughly 50–60% smaller than uncompressed WAV files.
Rich Metadata: FLAC supports comprehensive tagging, meaning your portable player will correctly display the album art from Planet Pop and full track information. 3. Best Ways to Listen Portably
To get the most out of a FLAC file of "Around the World," your hardware matters as much as the file itself.
Digital Audio Players (DAPs): High-end portable players (like those from FiiO or Astell & Kern) are designed to handle FLAC's higher bitrates natively, often featuring superior DACs (Digital-to-Analog Converters) for a cleaner sound.
Smartphone Support: Most modern Android devices (3.1 and later) support FLAC natively. For iPhone users, you may need a third-party app like VLC or a dedicated high-res player to manage your FLAC library.
The Wired Advantage: To truly hear the difference between a lossy MP3 and a lossless FLAC, skip the Bluetooth. Standard Bluetooth compression can negate the benefits of a lossless file; a wired connection ensures you hear every bit of the original recording. 4. Technical Specs for the Audiophile
If you are hunting for the highest quality version of the 2000 original, look for the King Size Records German CD Maxi-Single (Catalog: 74321 75520 2). Standard Rip Quality: 16-bit / 44.1 kHz FLAC.
Tempo: 132 BPM, perfect for a high-energy workout or travel playlist. Key: A Minor.
From the streets of Germany to your portable player today, the "magic melody" of ATC continues to go "around the world" in more clarity than ever before.
The sun never set on the network.
High above the clouds, where the air was thin and the jet streams painted invisible highways across the stratosphere, there was a constant, rhythmic heartbeat. It wasn’t the roar of the engines, nor the whistle of the wind. It was the voice.
"Air Traffic Control, this is Seven-Zero-Alpha, climbing to flight level three-five-zero."
"Seven-Zero-Alpha, roger, maintain three-five-zero, report reaching."
It was a symphony of instructions, acknowledgments, and clearances, weaving together the chaos of global aviation into a tapestry of perfect order. And at the center of it all, in a cramped apartment in Santiago, Chile, sat Julian.
Julian wasn't a pilot. He wasn't a professional controller. He was an "ear"—a dedicated, obsessive archivist of the ether. His apartment was a shrine to the radio spectrum. Tangled wires snaked across the floor like vines, connecting adapters, amplifiers, and computers. The story of "Around the World (La La
But on the desk, sitting amidst the chaos of electronics, was the Crown Jewel. It was a small, unassuming, rectangular device: a portable FLAC player.
Most people listened to music. They streamed low-bitrate MP3s that stripped the soul out of the cymbal crashes and the bass drops. But Julian was a purist. He listened to the world in Free Lossless Audio Codec. He heard the breath between the controller's words in Tokyo; he heard the static crackle of a storm front over the Atlantic in perfect, crystal-clear fidelity.
"London Control, good morning, Heavy Eight-Eight," a voice crackled through Julian’s headphones. The sound was so crisp it felt as if the pilot were sitting on the edge of Julian’s bed, rather than hurtling through the sky at 500 knots.
Julian closed his eyes. He had a ritual. He didn't just listen; he traveled. He called it his "Flight of the Portable."
He picked up the small FLAC player. It was heavy for its size, built like a tank, with a sleek black screen and tactile buttons that clicked satisfyingly under his thumb. He didn't have a specific playlist of songs. Instead, he had a playlist of frequencies.
He pressed the forward button. Click.
[TRACK 02: JFK_TOWER_NY.wav]
The sudden shift in atmosphere was palpable. The polite, clipped efficiency of London faded, replaced by the fast-paced, rapid-fire banter of New York.
"JetBlue two-two, hold short runway three-one, traffic crossing."
"Holding short, two-two."
"Delta heavy, winds three-two-zero at ten, cleared to land runway two-two-Right."
Julian tapped his foot. New York had a rhythm, a jazz-like improvisation. The controllers were the percussionists, keeping the beat. He imagined the skyline, the Statue of Liberty, the sprawling maze of tarmac. The FLAC player rendered the scuff of the controller's chair, the distant hum of the radar room. It was immersive. It was real.
He picked up the device and walked to his window, looking out at the smog of Santiago. But in his mind, he was in the tower at Kennedy, watching the landing lights cut through the morning fog.
He pressed the button again. Click.
[TRACK 07: MELBOURNE_CENTRE_AU.flac]
The accent changed. The voices became laconic, friendly, laid back under the burning Australian sun.
"Qantas Seven-Four, contact Melbourne Centre on one-two-seven-decimal-five. G'day."
"G'day, Melbourne, Seven-Four."
Julian smiled. The "G'day" pinged through the headphones with such clarity he could hear the smile in the pilot's voice. The static was different here—thinner, somehow. The vast, empty expanse of the Pacific stretched out in the silence between transmissions.
"ATC around the world," Julian whispered to himself, a little tune forming in his head. He hummed it softly, swaying with the portable player in his hand. "La la la la la... FLAC portable."
It was a silly little song, but it was his mantra. The device in his hand was a portal. While others needed passports and tickets, Julian needed only his headphones and the lossless capture of the radio waves.
He skipped forward again. He wanted something tropical.
[TRACK 12: TAHITI_APPROACH_PF.flac]
The sound of paradise. There was almost no static here. Just the smooth, calm voices guiding heavy jets down onto the tiny strips of coral in the middle of the ocean.
"Tahiti Approach, Air France Eight-Seven-Heavy, with you descending flight level two-four-zero."
"Air France Eight-Seven, welcome home. Information Mike current, runway zero-four, cleared for the approach."
Julian closed his eyes and inhaled. Through the FLAC player, he could hear the hum of the background interference—the sound of the ocean waves interfering with the signal, a rhythmic, soothing pulse. It sounded like music.
The track is available in FLAC (Free Lossless Audio Codec) format, which preserves all audio data from the original master. Format: 16-bit / 44.1 kHz FLAC (Standard CD Quality) Bitrate: Typically ~850-1000 kbps (lossless) Tempo: 132 BPM Original Key: A minor 🎧 Portable & Digital Availability
For portable listeners seeking lossless quality, the song is primarily found on digital platforms that support FLAC downloads or high-res streaming.
This article deconstructs each part of the keyword to serve fans of 90s Eurodance, high-resolution audio collectors, and portable audio enthusiasts.
The beauty of portable FLAC files is freedom. You can take ATC’s globe-trotting hit from Tokyo to Berlin to New York without losing a single bit of audio data or relying on a spotty internet connection.
Pro tip for fans: Seek out the original 2000 CD single or a verified 16-bit/44.1kHz FLAC rip. Avoid “remastered” versions that add loudness war compression—the original dynamic range is what makes that “la la la” hook feel so airy.
If “paper” refers to a paper sleeve or liner notes — you won’t get those with a FLAC file unless you buy the digital album with a PDF booklet (e.g., from Qobuz). If it’s a typo for “player” or “folder,” let me know.
A typical FLAC of “Around the World” is ~25 MB. For a 3:35 song, that is fine. But if you want the extended mix (7:00), that jumps to ~50 MB.
Solution: Use FLAC Level 8 (compression, not quality loss). This reduces the file size by ~30% without changing a single bit of audio. Use software like XLD (Mac) or FLAC Frontend (Windows) to re-compress.