Paul van Dyk - 8/30/03, Boston Avalon

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Originally posted by djextremity@Aug 22 2003, 03:18 AM
(I love 'The Riddle', even though they played it on MTV)

Are you sure thats a PVD song? I mean, unless he remixed it.

Cause I know Gigi D'Agostino spun "The Riddle"?

Hmmmm. :huh:
 
Originally posted by dveit@Aug 21 2003, 11:22 PM
WERD!!!

Very nice post man, describes it in much deatail and very intrequetly. :thumbsup:

And thanks, I spend a lot of time defending the kind of music I really love...just like people trashtalk Oasis, but I don't have enough good things to say about Oasis. (Most) Trance music has a way of gripping you real tight if you let it.
 
hell yeah dude, i try to defend it to people but i could never go into the detail you just did. i usually just get frustrated and tell them to eat a dick! :D
 
Originally posted by Timo Maas+-->
Timo Maas) said:
Trance music is just music that gives you a feeling of being in a trance you forget everything, your work, your pressures and letting the DJ guide you.

Originally posted by deedrah@
Trance has been evoluting in so many different directions now ,that it would be very hard to give any definition to this sound.originaly Trance music was coming from Germany(91/92) but fast some artists like juno reactor started to carry on with more sounds and developpments.I would say that,as far as I know,vision of the trance is very different from country to another...People in Israel don't expect the same music from a trance DJ than is the states or japan for example.(that's maybe why being a trance DJ is so interesting nowadays!
by now now trance is mainly divided into 2 separate movement:

-The sasha kind-of -style trance ,that's a mix between fluffy belgium club house and early trance style.very powerfull at the moment.
-The psy-trance,that's the style that is the daughter of the first goa trance vibe,called the big wave,containing artists we all know,psychaos,gms,absolum...this is the following of the original psy-trance.

if I wanted to give a more personal definition to trance,I would say that it s any sound sequences that induces a pro-opio-melanocortine(POMC) production in my brain.pomc is a precursor of the molecules that makes you naturally feel good. (sorry, this is my very personal definition...)


jahsonic.com

History Of Trance-Music
Perhaps the most ambiguous genre in the realm of electronic dance music , trance could be described as a melodic, more-or-less freeform style of music derived from techno. Or house. Maybe both. Regardless, to many club-goers, party-throwers, and EDM adherents, trance is held as a significant development within the greater sphere of (post-)modern dance music.


The Early Nineties
As a genre, trance is said to have begun as an off-shoot of techno in German clubs during the early 1990s. The name derived in 1991 from a project of Dag Lerner (DJ Dag) and Rolf Ellmer (Jam El Mar) called Dance2Trance. Their song "We Came In Peace" also set the original definition of trance music, a drawn out and monotonous pattern with a short but repeating voice sample. The sound was meant to work hypnotic to the listeners. Arguably a fusion of techno and house, early trance shared much with techno in terms of the tempo and rythmic structures but also added more melodic overtones which were appropriated from the style of house popular in Europe's club scene at that time. (Interestingly enough, that style of house was referred to as "club" or "Euro.") However, the melodies in trance differed from Euro/club in that although they tended to be emotional and uplifting, they did not "bounce around" in the same way that house did. This early trance tended to be characterized by the anthemic qualities described above, and typically involved a break-down portion of the song in which the beat was dropped for a few bars to focus on the melody before bringing the beat back with a renewed intensity. The sounds used in trance tended to be produced by analog synthesizers (or recently, digital simulations of analog synthesizers, often called virtual analog synthesizers, with lush "strings" providing the basis for the melodies and pads, while similar analog equipment was used to produce basic bass notes and the regimented "four-on-the-floor" drum loops. This style became instantly popular in Europe and spread very quickly. Before long, trance was spawning sub-genres such as dream trance, acid trance, hard trance, and goa. (NOTE: Goa and psy-trance are arguably older, with their characteristic sounds purportedly emerging in Israel as far back as 1991.)

The Mid Nineties
By the mid-1990s, trance had emerged commercially as one of the dominant genres of dance music. Immensely popular, trance found itself filling a niche as edgier than house, more soothing than drum-n-bass, and more accessible than techno. By this time, trance had become synonymous with progressive house and both genres essentially subsumed each other under the commercial banner of "progressive." Artists like Brian Transeau (BT), Paul Van Dyk, Ferry Corsten Art Of Trance and Underworld came to the forefront as premier producers and remixers, bringing with them the emotional, "epic" feel of the style. Meanwhile, DJs like Paul Oakenfold, Sasha, and John Digweed were championing the sound in the clubs and through the sale of pre-recorded mixes. By the end of the 1990s, trance remained commercially huge but had fractured into an extremely diverse genre. Some of the artists that had helped create the trance sound in the early and mid-1990s were, by the end of the decade, branching out with more experimental work (artists of particular note here are BT and Underworld, the latter of which was defunct by 1998). Perhaps as a consequence, similar things were happening with the DJs as well; for example, Sasha and Digweed, who together had helped bring the progressive sound to the forefront, all but abandoned it by 2000, instead spinning a darker mix of the rising "deep trance" style (as marked by the duo's 2000 release, "Communicate").

The Present
At present (and as alluded to earlier), trance is as much about who plays the music as it is about what it sounds like. Many artists described as producing a very powerful trance sound (e.g., Underworld's "Cowgirl" from 1994 remains a floor-filler) have most recently released tracks more suggestive of techno (Underworld's "Moaner" from 1998); DJs like John Digweed, known for spinning scintillating trance anthems in 1996, turn to a darker, housier sound in 2000. All the while, new artists and DJs enter the fold, either taking over the vacancies left in the anthemic, "progressive" arena (e.g., Tïesto and ATB), or else introducing new forms, modes, and themes (e.g., Sander Kleinenberg and Steve Lawler).
For more concrete examples, check out any number of purported trance compilations; perhaps the most highly recommendable source would be the Global Underground series (http://www.globalunderground.co.uk), including its "Nubreed" sub-series, because it captures the diversity of the genre as expressed through many of its brightest DJ talents. Also recommended as source material would be the Tranceport/Perfecto Presents... series, any of Sasha & Digweed's Northern Exposure mixes, and any of the mixes in the Renaissance series.
 
Originally posted by http://www.wikipedia.org/wiki/Trance_music
Trance music
From Wikipedia, the free encyclopedia.

Trance music is a subgenre of electronic dance music that developed in the 1990s.

Perhaps the most ambiguous genre in the realm of electronic dance music (EDM), trance could be described as a melodic, more-or-less freeform style of music derived from a combination of techno and house. Regardless of its precise origins, to many club-goers, party-throwers, and EDM adherents, trance is held as a significant development within the greater sphere of (post-)modern dance music.

While there is no strict definition for "trance," songs of this genre are usually characterized as being accessible and having "anthemic" qualities. Using that as a starting point, a basic trance track could then be described as being comprised of a particular melodic and/or vocal hook which is given presence over an uncomplicated bassline, a simple drum pattern (which often includes snare and/or kick drum rolls to mark "big moments"), and perhaps one or two other semi-quantified aural elements to provide texture and enhance the rhythm. Trance also usually features more complicated chord progressions and melodies then were found in the music at the time, including 4 chord progressions symptomatic of 80's new wave music. However, not all trance fits that profile, and often times a song's classification as "trance" has just as much to do with who is playing it as what it sounds like.

Some sub-genre classifications of trance include:


Goa trance
Psychedelic trance
Minimalist trance
Progressive trance
NU-NRG
A brief history of trance music

In a social and artistic rebellion in 1986, young Mexican girls from east Los Angeles created a new musical style called "tantra" which was later called "trans" then "trance." This was a moving away from the traditional violent gang oriented hip-hop their boyfriends liked created. This art form also became "melody" and "speed" which transformed into early House music. Early house was very melodic and faster than hip-hop usually with girl vocals singing about love, hope, dreams, romance, togetherness and being happy. House was an early grandfather to some of today's modern electronic and rave music.

Elements of what would become trance music were being explored by industrial artists in the late 1980s. Most notably, Psychic TV's 1989 album Towards Thee Infinite Beat, featuring drawn out and monotonous patterns with short but repeating voice samples, is considered by some to be the first trance album. The intent was to make sound that was hypnotic to its listeners.

These industrial artists were largely dissociated from rave culture, and their trance albums were generally experiments, not an attempt to start a new genre with an associated culture -- they remained firmly rooted culturally in industrial and avant-garde music. As trance became to take off in the rave culture, most of these artists abandoned the genre; Coil's 1991 album Love's Secret Domain is probably the last major trance album by an industrial artist.

As a genre in its own right, trance is said to have begun as an off-shoot of techno in German clubs during the early 1990s. The name derived in 1991 from a project of Dag Lerner (DJ Dag) and Rolf Ellmer (Jam El Mar) called Dance2Trance. Their song "We Came In Peace" is considered by those not familiar with the work of Psychic TV to be the song that set the definition of trance. Arguably a fusion of techno and house, early trance shared much with techno in terms of the tempo and rhythmic structures but also added more melodic overtones which were appropriated from the style of house popular in Europe's club scene at that time. (Interestingly enough, that style of house was referred to as "club" or "Euro.") However, the melodies in trance differed from Euro/club in that although they tended to be emotional and uplifting, they did not "bounce around" in the same way that house did. This early trance tended to be characterized by the anthemic qualities described above, and typically involved a break-down portion of the song in which the beat was dropped for a few bars to focus on the melody before bringing the beat back with a renewed intensity. The sounds used in trance tended to be produced by analog synthesizers (or recently, digital simulations of analog synthesizers, often called virtual analog synthesizers), with lush "strings" providing the basis for the melodies and pads, while similar analog equipment was used to produce basic bass notes and the regimented "four-on-the-floor" drum loops. This style became instantly popular in Europe and spread very quickly. Before long, trance was spawning sub-genres such as dream trance, acid trance, hard trance, and Goa. (NOTE: Goa and psy-trance are arguably older, with their characteristic sounds purportedly emerging in Israel as far back as 1991.)

By the mid-1990s, trance had emerged commercially as one of the dominant genres of EDM. Immensely popular, trance found itself filling a niche as edgier than house, more soothing than drum-n-bass, and more accessible than techno. By this time, trance had become synonymous with progressive house and both genres essentially subsumed each other under the commercial banner of "progressive." Artists like Brian Transeau (BT), Paul Van Dyk, Ferry Corsten (Art of Trance), and Underworld came to the forefront as premier producers and remixers, bringing with them the emotional, "epic" feel of the style. Meanwhile, DJs like Paul Oakenfold, Sasha, and John Digweed were championing the sound in the clubs and through the sale of pre-recorded mixes. By the end of the 1990s, trance remained commercially huge but had fractured into an extremely diverse genre. Some of the artists that had helped create the trance sound in the early and mid-1990s were, by the end of the decade, branching out with more experimental work (artists of particular note here are BT and Underworld). Perhaps as a consequence, similar things were happening with the DJs as well; for example, Sasha and Digweed, who together had helped bring the progressive sound to the forefront, all but abandoned it by 2000, instead spinning a darker mix of the rising "deep trance" style (as marked by the duo's 2000 release, "Communicate").

At present (and as alluded to earlier), trance is as much about who plays the music as it is about what it sounds like. Many artists described as producing a very powerful trance sound (e.g., Underworld's "Cowgirl" from 1994 remains a floor-filler) have most recently released tracks more suggestive of techno (Underworld's "Moaner" from 1998); DJs like John Digweed, known for spinning scintillating trance anthems in 1996, turn to a darker, housier sound in 2000. All the while, new artists and DJs enter the fold, either taking over the vacancies left in the anthemic, "progressive" arena (e.g., DJ Tïesto and ATB), or else introducing new forms, modes, and themes (e.g., Sander Kleinenberg and Steve Lawler).

For more concrete examples, check out any number of purported trance compilations; perhaps the most highly recommendable source would be the Global Underground series, including its "Nubreed" sub-series, because it captures the diversity of the genre as expressed through many of its brightest DJ talents. Also recommended as source material would be the Tranceport/Perfecto Presents... series, any of Sasha & Digweed's Northern Exposure mixes, and any of the mixes in the Renaissance series. Labels to reference would include 3Beat, Bedrock, Devolution, Fluid, Fragrant, Hooj Choons, Hook, Perfecto, Positiva, and Yoshi Toshi and ATCR Trance Music

 
well, when you have time, only then can you fully understand what trance is all about
 
Originally posted by vtecsir1@Aug 22 2003, 01:53 PM
global underground is the best series of cds!

I'd have to disagree, they are good, but not the best. :p
 
good reads...i havent read the last one yet, but i'll get to it. One problem ive had is when people start talking to me about trance, if they can't recognize names like oakenfold, pvd, bt, atb, etc. i count them off as "radio trance listeners." oh well we all have our faults.

global underground series is good, but i think the best all time trance album has got to be oakenfolds tranceport (it was mentioned in one of the articles. its the cd that started the tranceport series.)
 
most of the global underground discs suck if you ask me. transport, im not into either.

it's all about the live sets. thats where you get the vibe.

my fav oakey disc is Live in Havanna Cuba followed closely by live in Shangai China
 
i like most of them but thats my taste, what other collections do you think are better dveit

i enjoy the livesets a lot better myself but they are a little bit harder to come by on kazaa.
poakenfold@liverpooluniversity is hands down my favorite but hard as hell to find
pvandyk@ibiza is an excellent live set also
 
some of my favorite live sets:

Paul Van Dyk - Live at Mayday 05-01-2002
Paul Van Dyk - Live at Cream Amnesia Ibiza - 08-16-2002
Paul Van Dyk - Live at Rosenmontagsrave - 02-11-2002
Paul Oakenfold - New Years Eve 2001
Paul Oakenfold - Live at Gatecrasher
Paul Oakenfold - Live from Havana Cuba
Mark Oliver - Live at Viva Nightclub - 11-18-2002
Ferry Corsten & AVB - Live @ Godskitchen Ireland - 03-16-2003
Ferry Corsten - Live At Dance Department 01-19-2002
Ferry Corsten - 2002 Retrospective Mix - 01-01-2003
Ferry Corsten - Live At Innercity
Doc Martin - Live at Industry
DJ Tiesto - Magik 6 - Live in Amsterdam
DJ Tiesto - Magik 7 - Live in Los Angeles
DJ Tiesto - Live at Trance Energy - 04-30-2000
DJ Tiesto - Live at Sensation - 01-07-2000
DJ Tiesto - Live at MC Palace - 01-24-2003
DJ Tiesto - Live at Haoman 17 - Israel 04-01-2002
DJ Tiesto - Live at Gelredome Arnhem, Holland - ID & T 3FM Radio 05-11-2003
DJ Tiesto - Live at Dutch Dimension (Solo Tour - Holland) 2-2-2002
DJ Tiesto - Live at Dutch Dimension 02-02-2002
DJ Tiesto - Live at Club Eau - 2 Year Anniversary Party - 2001
DJ Ludvig - Nordic Treasures 025 - Live @ BasicBeats Radio - 06-19-2003
DJ Johan Gielen - Live at mysteryland 2000
Christopher Lawrence - Live at Grooveradio 07-17-2001
Carl Cox - Live at Space In Ibiza - Essential Mix
ATB - Live at Trance Energy 2001
Armin Van Buuren - Live at Extrema 2001
Armin Van Buuren - Live at Club Eau - The Hague Part 2 - 10-26-2002
Adam Beyer - Live at Timewarp - 04-06-2002
Richie Hawtin - Live atKyoto 08-17-2001
Richie Hawtin & john aquaviva - Live at Tresor - 09-11-2000
Sandra Collins Live at Ultrafest - WMC, Miami - Essential Mix 3-23-2003
Sasha - Live at Alexandria Palace New Years Eve - 12-31-1999
 
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