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The Evolutionary Perspective
Category Archives: Trance
Posted: October 16, 2019 at 5:32 pm
Moshe Dayan didnt have a formal training in art. He took to it intuitively, he says, in his childhood and found happiness in painting in the last few years. When he felt he had a decent body of work that he could showcase, he approached Hyderabads Kalakriti gallery that manages The Gallery Caf, with some trepidation. I wasnt sure if they would consider a relative newcomer like me, says Moshe. But within a month, his portfolio was given the nod and he was asked to assemble a series.
The caf is now decked with 27 of his paintings, all in watercolours. Not many Hyderabad artists work in watercolours these days, but this is the medium I enjoy working with, he says.
Moshes paintings stem off things that happen around us in day-to-day lives, but presented with new perspectives and lighting that reflects the mood in different times of the day. He finds beauty in the ordinary things and calls this series And Trance Everywhere.
Curated by Ruchi Sharma, the showcase focuses on the artists urban musings that range from people walking under a bridge in the metropolis to musicians and fire artists during performances. Even the everyday occurrence of being stuck in traffic snarls finds representation.
What perks up Moshes work is the pop of bright colours; hes particularly partial to canary yellows and reds. Plants by the window sill in his studio as the light seeps in early morning speak of a new dawn and possibilities while the cluttered interiors of a tea stall are bathed in orange hues. Some of his works also give a hint of the artists own leanings in music and art for instance, the portrait of Ilaiyaraja.
I like to look at things around me a little differently, and the use of watercolours helps me present a softer visual narrative, sums up the artist.
And Trance Everywhere is on display at The Gallery Caf, Hyderabad, till October 21.
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Posted: at 5:32 pm
by: Rachel NarozniakOct 14, 2019
It takes two to tango, and three to Waltz. Highly sought since Above & Beyonds premiere of the single at A State of Trance 900 in Utrecht in February 2018, Waltz now gains an official release, serving as a finale of sorts to the electronic trios recently concluded ABGT350 celebration in Prague.
A sonic reprieve from Above & Beyonds more vocal-centric stylings, Waltz is a wholly instrumental showing that comes in both an edited and an extended version. A penetrating bass line punctuates the atmospheric number, which slowly and tantalizingly arches and falls for a near five-minute duration. It epitomizes the unique and masterful blend of trance, pop, and electro elements that the iconic trio are known to inject of each of their releases. Waltz appears on Above & Beyonds newly released 27 track album, Group Therapy 350 Live from Prague.
Tags: Above & Beyond, AGBT350, Waltz
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Posted: October 13, 2019 at 12:45 pm
Once upon a time, club-goers went out solely for the music, the person playing them wasnt part of the appeal. The rise of the DJ superstars began thanks to expert tastemakers who had inside access to the new and obscure records. These curators started to offer an experience other clubs and DJs couldnt, and so the demand grew. Some of the DJs still do exactly this only now its with an audience of millions of people globally. We take a look at some of the biggest and longest-running mix shows by these tastemakers that unearth the biggest hits. Kicking off with Tiesto, who in the early days was working in a record shop by day and then to the likes of Diplo, Above & Beyond, Pete Tong, Hardwell and Armin Van Buuren.
Tistos Clublife started in 2007 and has become one of the most sought after mix shows for DJs to get their records played on, it has now aired over 650 episodes and inspired his compilation series. Each week the Dutch icon shows us his tastemaking prowess that has kept him at the top for decades, teasing exclusive releases from around the scene among them many from his revered record label Musical Freedom. It has aired on 3FM and Radio 538 in Holland. Previously it was 2 hours long, however, this year Musical Freedom took the reigns of the second hour with exclusive mixes from its roster. You can also hear the biggest songs via the Clublife Playlist on Spotify.
A State of TranceArmin van Buuren
Armin van Buurens live radio show A State of Trance is now 18 years old and coming up on its 950th episode. It is co-hosted by Ruben de Ronde and airs weekly on Thursday 20:00 (CET) and 14:00 (EST) live on YouTube and is broadcasted on various stations. The two-hour show covers the best music in trance and dance, with special guests frequenting the studio. Armin holds events for the milestone episodes which attract hundreds of thousands of fans. Armin ensures he covers the best from his label Armada and its subsidiaries. Listen to full episodes here.
Radio One Essential SelectionPete Tong
Pete Tong is the definition of the dance mix show, he has taken over the radio waves of the UKs BBC Radio 1 for as long as many clubbers can remember. Originally called the Essential selection, it was later rebranded as just Pete Tong. They kept the segment Essential New Tune, where we get to hear his pick of the best new music, an accolade that often signals a future club hit. The show also pairs nicely with the Essential Mix also on BBC whereby Pete brings in select artists for a coveted slot to show dance lovers what they are all about.
Group TherapyAbove & Beyond
Group Therapy is brought to us by none other than Above and Beyond, and it has evolved into a world of its own. While it got it was named after their 2011 album, the show embodies its meaning with a warm and positive community. The trio now holds major events for all the shows milestones, recently celebrating #350 in Prague and treating fans to a chilled river livestream set from a boat beforehand. The weekly show consists of the best current trance among them releases off their Anjunabeats imprint.
Hardwell On AirHardwell
Hardwell has been on hiatus for year now yet his radio show remains as active as ever. Premiering new music from himself as well as his Revealed label is a staple for the show. Hardwell has special features throughout the tracklist such as Community Pick Of The Week, Hardwell Exclusive, Track Of The Week and more. The show has consistently aired weekly from March 2011. This is one of the picks for fans who love the electro big room side of dance music.
Diplo & FriendsDiplo
While in the US he has an entire station called Revolution radio, over the pond in the UK the outspoken and iconic DJ has hosted his eclectic mix show Diplo & Friends for some time. Each week he drops an exclusive mix and brings on two talented artists for guest slots, often unearthing new talents for their first shot as well as bringing on seasoned DJ veterans.
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Jimmy Page and Scarlett Sabet Are the Music-Poetry Power Couple the World Didn’t Know It Needed – Interview
Posted: at 12:45 pm
Scarlett Sabets poetry is felt three-fold when she performs it. The written words arent the same when she says them; they are trance-like, told as if from memory. To call the London-based talent a poet and performer seems inadequate. Shes more so a musician, or, perhaps, a mystic. Her haunting readings have taken place at storied book shops such as San Franciscos City Lights and Shakespeare & Co. in Paris, and shes been invited to read at the likes of Wellesley College. She has published four collections of poetry on her own imprint: Rocking Undergound, The Lock and The Key, Zoreh, and Camille earlier this year. Today, she debuts her spoken word album Catalyst, produced by her partner, the legendary musician Jimmy Page. Interview sat down with the couple to talk about coming together for this project, the brilliance of the Velvet Underground, and paying to produce your own work.
STEPHANIE LACAVA: You two met in 2012, but it was two years later that your relationship started and you first talked about collaborating together. It would be five more years before todays release of your project on all streaming platforms. Why this album now?
JIMMY PAGE: One project that I knew it shouldnt be was poetry with music. So with the production of Scarletts work, I wanted to create an individual character for each poem, a sonic landscape to compliment it.
LACAVA: And with all due respect, that was also a cool move. It would have been kind of eye-rolling to do music accompaniment.
SCARLETT SABET: Yes. It feels exciting, but also like a natural progression, I think, because we live and work together every day. Literally every one of these poems, Jimmy was there when I wrote it, and he was the first person that heard it and hes seen me perform so many times.
PAGE: It was six years ago that I first heard Scarlett read.
SABET: At Worlds End Bookshop on the Kings Road in Chelsea.
PAGE: I thought, This is really interesting. Shes really interesting. Shes definitely got something there. And the people in attendance soaked up Scarletts reading.
LACAVA: Surely, youve read a lot of crowds.
PAGE: Thats a good point. The whole place hushed. Rocking Underground was the first poem I heard of Scarletts and when we started production, we began with it.
LACAVA: I think people assume the title of the poem is a music reference, but its actually quite literal
SABET: I was on a train. My computer had broken. It was just one of those, ugh, kind of despairing Sunday nights. I just remember there was a guy with a backpack in my face, and I got out my notebook, and there was the rhythm of train.
LACAVA: Do you usually listen to music while you write?
SABET: Its got to be something thats trance-like. I can understand why youd listen to jazz, for example.
LACAVA: Thats a place where both of your practices kind of overlap.
PAGE: Well, yeah. I did this interview with William Burroughs for Crawdaddy Magazine in 1975. We started to talk about trance music. I thought maybe hed been to see Led Zeppelin on just one occasion. Actually, it was many times at Madison Square Garden. Anyway, we then started talking about this whole trance ethos, about the Master Musicians of Jajouka, this whole genre of tribal trance music from Morocco.
LACAVA: You learned about Jajouka from Brian Jones?
PAGE: Yes. To be fair, I know that Brion Gysin had introduced Brian Jones.
SABET: He was a painter and musician, Burroughss lover, and he came up with the cut-up technique with Burroughs.
LACAVA: Ah. What was your connection to Jones?
PAGE: Id heard Elmore James songs (which Jones played a lot,) but I couldnt quite work out how to play the music. People would say it was literally, from the neck of a bottle. I thought, So, lets see how this guy Jones does it. Sure enough, he gets up on stage and starts doing some Elmore James songs, and he has the equivalent of what everyone would know as a slide on his finger. I started talking to him when he came offstage, and I said, Well you know, youve really got that down. What are you actually using? You must understand that nobody that I knew played slide guitar at all. This is the first time Id seen somebody do itbefore Jeff [Beck] was doing it, before the Rolling Stones. So, he said, Oh, have you got a car mechanic near you? And I said, I literally do have one not too far away. He said, Go there and ask for a bush. Its called a bush. A thing used used in car maintenance. And he said, Youll find that itll just fit on your finger absolutely perfectly, and thats what I use. This guy was so generous.
LACAVA: Is there any young musician today who has really impressed you?
PAGE: Well, I was so impressed with the two guys that I saw with you.
LACAVA: Stefan Tcherepnin and Taketo Shimada, the New York-based Afuma.
SABET: They were so good. You said that was reminiscent of New York in the 60s?
PAGE: Well, well, yeah. It was. It definitely had that sort of trance vibe.
LACAVA: Back to Scarletts start. You did your first reading at Shakespeare & Co. in Paris in January of 2015. Jimmy help set it up?
PAGE: So, when Sylvia (Whitman, owner and daughter of George Whitman) was giving me a tour after my own book signing, I saw the poetry section there, and I said, Do you having readings here? And she said, Yes. And I said, Well, French as well as English? Oh, no. Only English. And I thought, I know a poet.
LACAVA: It was Sylvia who introduced me to Scarlett years ago.
PAGE: After hosting Scarlett, Sylvia said to me, Its really powerful in print, but her renditions, theyre in another realm.
LACAVA: So, Sylvias now the fourth person in this interview.
PAGE: Thats right. And something else funny happened when I was back at Shakespeare and Company. The man in charge of the rare book department said, Oh, Sir, that Franoise Hardy track that you were on was absolutely amazing. Thats one of my favorite pieces of your guitar work. I thought, Well, wait a minute. Im going to check, Im going to track this down. When I heard it, lo and behold, theres this distortion box. Its called a fuzz box. And I was the one who helped create this thing, and there it was on Francoise Hardys Je nattends plus personne. I did it when I was a session musician. It was a session in Pye Studios at Marble Arch, downtown where all these Petula Clark hits were done. It wasnt until you were in the studio that youd see the artist come in. And youd go, Oh, I know who this is. Or, I dont know who this is. But when Francoise Hardy came in, I knew who she was. She had on one of those turtlenecks and that sort of tweedy skirt.
LACAVA: You also did some early sessions with Nicobefore she was part of the Velvet Underground.
PAGE: Nico came to London to record the Gordon Lightfoot song Im Not Sayinwith Andrew Oldham as a solo artist. So, theres this huge orchestral session with Nico singing, and Andrew asked me to write a B-side with him for Nico, routine, play, and produce it on a separate session, which I did. Its called The Last Mile. I was a staff producer on Immediate Records.
LACAVA: How old were you?
PAGE: 19 or 20. I was going to routine her at her apartment just near Baker Street in London with my acoustic 12-string guitar. Nicos son with Alain Delon was there and he was holding up my guitar in the air, and I decided it was time to rescue it.
LACAVA: When did you see her again after that?
PAGE: Steve Pauls Scene Club (Pauls nightclub The Scene at 46th and Eighth Avenue) had been decorated by Andy Warhol. I dont know what youd call it here, but its this silver wrap
PAGE: All the walls were covered with Mylar because Andy Warhol said that color was the color of speed. And playing down there was Nico and The Velvet Underground. I had an incredible connection with Lou Reed, and we spent lots of time talking.
SABET: Was that the first time you met him?
PAGE: Yeah, and Id seen The Velvet Underground on more than one occasion. They were almost like a resident band. Andy Warhol was keen for them to be there. I can tell you exactly what it was like. When I heard the first album, it was just exactly what they were like. They were just like that. It was absolutely phenomenal.
LACAVA: See, thats interesting in the context of his new project, as well. The difference between seeing someone in person versus the recording
PAGE: The other thing about Steve Pauls and The Velvet Underground was that it didnt really have too many people coming to hear it, which I found extraordinary.
LACAVA: How many people were there?
PAGE: Well, hardly any people. Like, nine, a dozen people. It was so radical, such a radical band. You know, Maureen Tucker just playing the sort of snare drum. And the fact that there was the electric viola with John Cale. You just didnt get this sort of line-up. It was really arts lab, as opposed to pop music, this wonderful glue, this synergy between them that was dark. It was very dark.
LACAVA: You mentioned Warhol. Do you remember seeing him there?
PAGE: No, he wasnt actually there, but I met him with the Yardbirds. I dont actually remember the hotel, but there was a reception for the Yardbirds. He came in, and he was with one other person. I was talking to him, and he said, I just want to feel the band, feel the Yardbirds. I want to feel their presence, was the exact quote. We had a conversation and at the end of it he said, You should come to the Factory, and do an audition. But we were working, and I didnt manage to do that. And then I saw him again in Detroit in 67, when we were playing there. Andy Warhol was proceeding over this wedding, and The Velvet Underground were there. So, I got a chance to say hello again.
LACAVA: Something interesting that Scarlett told me once was that you steered her toward self-publishing. That legitimacy doesnt come from a labelit comes from creating the thing you want to create.
LACAVA: You could have told her the opposite, based on your experience.
SABET: Jimmy was like, Well, look. The first Led Zeppelin album, I paid for that.
LACAVA: You produced and paid for it?
SABET: They had a record. He then took it to record companies. He took it to Atlantic and said, This is what weve got. Im not releasing singles. Take it or leave it. He literally said the words, I didnt want to go around cap in hand saying, Oh please. Wed like to write some songs. Its better to do it.
PAGE: What Ive been producing over the last few years are Led Zeppelin rereleases and catalog items. It means a lot of listening to quarter-inch tapes, and its all in real time. I had to approach this project in such a way that the first album speaks for itself. The last and ninth album of the studio albums were Coda, so on every album in between, I had to make sure all of these companion discs were done and present the idea to the record company along with new artworkthat way to ensure the complete vision of the recordings were released.
SABET: With the sound engineer, Drew, Jimmy would explain how he wanted to kind of layer some of my voices. And I practiced some on cassette, so it was like a guiding track, and then Id listen back, and I understood the timing and what we were going to do for each one. If there was a sound or there was a better take, wed talk about that.
PAGE: The first one that I wanted to try was Rocking Underground, which opens up the whole of this work. It was recorded on a cassette tape. It was so noisy, but urgent. I said, this is what were going to use, but then it needed some extra work to be done to augment the base layer
LACAVA: Oh, thats cool!
PAGE: So, it opens, and its really disturbing, all this ambient noise. And I know we pulled it off. Because theres such a variety on it, and it will be such a surprise. Its the sort of thing that you listen to for, say, Side One, from beginning to end. The whole sequencing is there for a reason.
LACAVA: Were living in an age of the ubiquitous podcast. Everyone has those things in her ears.
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Posted: at 12:45 pm
Were you at the Gorge in October this year? The legendary venue increased their festival season to hold an event for Seven Lions, Slander b2b Nghtmre, and The Glitch Mob. Insomniac Events and USC Events worked with Gorge Staff and Live Nation to host the event.
We planned smart for the cold weather. People had multiple layers, blankets, and beanies. The rave gods smiled on the Gorge, as we were gifted no wind on the festival site. Not to mention the pulsating dubstep, trap, and psy-trance that kept us warm all night, and a surprise set from Jason Ross as the sun set over the Columbia River.
Seven Lions headlined the event with the last set of the evening. He took the stage just after 10:30 p.m. and ended around midnight. One of the PNWs favorite adopted sons, he was able to expertly mix heavy bass and dubstep songs fluently into psy-trance. What an insane combination of tracks that he chose. Notable songs included December, a Dreamin X Clarity mashup, and a remix of Above & Beyonds Sahara Love.
Slander stood on stage with their lifelong friend NGHTMRE, as they showed the Gorge what they are about. We love Slander and NGHTMRE, and then when they were together it was next level. NGHTMRE has such a great ear for music while Slander knows exactly how to throw a killer party.
Over the last few years they have stepped back from the microphone and have let their high energy music speak for itself. Did we mention that Slander brought their Atom Stage to The Gorge? Dont know what that is? We got you covered.
The Glitch Mob were certainly the wild card on this lineup. As per usual, the trio performed everything in Ableton Live, making for a unique performance to say the least. They started right after the sun went down, and we all know how the The Gorge changes a little after sundown.
The Glitch Mob brought the Pacific Northwest to a state of pure hype. With heavy drumming, they dipped into the corners of bass music, trap, and beyond. They ended with their traditional Skullhead,off of their masterful Love, Death, Immortalityalbum.
It was so much fun last weekend. We saw strong support from Seven Lions and Slanders fanbases. Conscious Crew saw a welcome return after they werent involved during Bass Canyon or The Group Therapy Weekender.
What was your favorite set? We want to know how you combated the cold weather! Let us know on Facebook or Twitter!
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Posted: at 12:45 pm
Ilana Tel-Oren October 12th, 2019 - 9:51 PM
Desert Daze returned to the Lake Perris State Recreation area for the second consecutive year, boasting a weekend full of psych and indie rock, as well as heavy-hitting headliners including Ween, The Flaming Lips and Wu-Tang Clan. Festival founder Phil Pirrone learned from a tumultuous start last year with parking and security and took to social media to personally answer the festival-goers questions. Opening a second entry to the festival grounds this year made it a breeze to enter the festival on day one and wait times were minimal if not non-existent.
One of the first performers announced for the 2019 lineup was Stereolab and their set was met with much anticipation and excitement.Stereolabs manager started hyping the crowd in an odd but funny way by reading Desert Daze Testimonials, some of which were pretty bizarre, including one from Flash from Costa Mesa who was a cop turned extreme anarchist by experiencing Desert Daze. When Stereolab entered the stage, the crowd went wild, particularly over front woman Laetita Sadier, who donned a statement-making rainbow flowing dress. Sadier enjoyed giving the crowd clues as to which song was next. For example, saying this is an expansion trip were all on an expansion trip! before going into the song Expansion Trip and all right lets Ping Pong! Their hour-and-a-half long set was an expansion trip in its entirety. The band was tight and showcased some serious instrumental talent. Their set ranged from french disco to heavy 60s inspired psych sounds and the crowd was loving it.
Flourences featured electronic clicking noises and an 80s-inspired danceable rhythm. Percolator had fast bass arpeggios and singing that was incredibly impressive to watch and listen. Youre still here! Were going to play something a little more disco but not French Sadier said, somehow in surprise of the crowd they drew in and before going into Contranatura. Come and Play in the Milky Night, was utterly trance-enducing and made liberal use of bass arpeggios again. Its time for disco of the French sort Sadier said before going into French Disko. They finished up their set with some jammy psych sounds and it was safe to say that their performance was headline-worthy.
The Flaming Lips brought out all the theatrics from what seemed like hundred of balloons, a giant disco ball and finally a hamster ball that transported front man Wayne Coyne on a crowd surfing journey. The band performed The Soft Bulletinin its entirety and then some. After a thematic Richard Strauss opener, they got started right away with opening track Race for the Prize and immediately dropped colorful balloons on the crowd who were excited to bounce them around. Coyne himself waved around a large balloon that read Fuck Yeah Desert Daze. Coyne shared that his friend, Lindsey was about to give birth during their set and encouraged the fans to cheer for her. In fact, he shared a couple of inspirational message that night, encouraging everyone to be grateful for the present moment. The audience had a chance to participate in Sleeping on the Roof by making insect sounds on queue. They played a couple extra songs including Yoshimi Battles the Pink Robots Pt. 1 and ended the set with Do You Realize? The legends certainly knew how to keep the audience entertained, from dropping glittering disco balls to utilizing a large light-up gong.
Animal Collective performed a colorful set at the Moon Stage, with animated visuals that correlated with the songs appearing on the massive screen behind them. While their sound certainly cant be classified as easy listening, there were several stunning moments of sound reverberating from the stage. Songs like In the Flowers and DownDownDownDown were hypnotically stunning, while songs like Grass were more abrasive. Hello desert seekers happy to be here with you David Portman aka Avey Tare addressed the crowd in the middle of their set.
Atlas Sound, the project of Bradford Cox, provided a set of dreamy, echoing songs.The Deerhunter frontman donned a head to toe mustard outfit. An Orchid was like a 50s love song with fluttering synths, Sheila was a dreamy song with a dance beat. Ladies and gentlemen Noah Lennox, he gestured to the Animal Collective member who joined for Walkabaout, their collaborative song, which certainly incorporated both of the groups sound well. Cox took a minute to share a message about mental health, encouraging anyone struggling to reach out and seek help. It appeared to be a personal message as well, as he mentioned to the crowd he wasnt sure that hed even make it to Desert Daze. Meanwhile, L.A. outfit Part Time filled the Theater stage with dreamy, dance-worthy sounds, playing songs off their new album like I Didnt Know. They ended their set with a brilliant lounge-inspired cover of The B-52s song, Dance This Mess Around.
Hailing from Brooklyn, New York, lo-fi band Crumb has been gaining more fans by the minute. Their new album Jinx is full of heavy-hitters to blast on repeat and they played several of those songs including Part III and Ghostride. The band even performed a couple brand new songs including closing song Tunnel and another song that featured a sultry sax solo. The crowd watched intently, nodding their heads along and getting into the lo-fi, jazzy sounds. The bass player shared gratitude to the crowd and their fans, as Desert Daze would be their final stop after a several-month tour.
Were DIIV we have a record that just came out Friday, were gonna play the entire thing. Zachary Cole Smith said to the crowd. The colorful string hangings flowed beautifully with the shoegaze opener Horsehead. Deceiveris the bands latest album and its predominantly slow, heavy shoegaze. This is only the second time weve done this, bassist Colin Caulfield said after pausing before the second song. This is kind of a night time record we made, he continued to share, expressing the irony of performing under the beating sun. Every song is in a different tuning they explained the holdup before going into Skingame which had the crowd nodding along. I hope nobody here wants to hear our old songs because were not playing any of them Caulfield joked before heading into Blankenship, probably their fastest song on the record. Their sound completely washed through comedian and musician Fred Armisen, who was impersonating different types of lead guitar players. You know its gonna be a long night when you hear this chord before strumming the heavy E minor. He led the crowd in a sing along a gold crown it gets thrown around before moving onto making fun of singers and drummers.
Frankie and the Witch Fingers delivered an early set of pure, raw energy reminiscent of a King Gizzard and the Lizard Wizard performance. They played several songs off their new album ZAM,starting their set with Work. By the time they started the second song, a pit formed and continued for the rest of their set. Realization mixed up softer and heavy parts with screeching guitar solos that made the crowd go nuts. Another song had clicking sound effect from the singer, who clicked his tongue into the mic while comically making eye contact with the crowd. Each of their songs were easily over 5 minutes, with incredible soft moments from beginning and end to booming bass and shredding guitar in the middle. Aaaah the lead guitarist screamed into the mic and the crowd screamed back before going into Dark Sorcerer which had the crowd singing along to the chorus. You guys are so fucking fun this is the best festival in the world.
Other highlights included an early, shredding set from Triptides who just released a new album. They performed a couple new songs including Power of Creation and Changes.
Those who stayed up to catch noise-rock act Metz were met with sounds of pure fury! The mosh pit inside the Theater tent kicked up so much dust it was barely breathable. Songs like Spit You Out and Eraser were sure to leave the crowds ears ringing through the night.
A couple crowd members high fived each other at they safely held up a crowd surfer. Jessica Pratt played a dreamy set with acoustic guitar and keys. Stoner metal act Witch got the smoke flying with their heavy, headbang worthy jams.
Connan Mockasin shared a bizarre video depicting himself as a creepy music teacher and after it was fun watching him play and sing softly along to W.I.T.C.H., who could be heard from The Block stage to the Theater tent, as he riffed atop their simple chords.
Wand beckoned the crowd into the Theater tent with rocking psych sounds.Brazilian Group Sessa drew a crowd to the Moon Stage with their acoustic lullabies and performed asweet cover of Helen Smiths Im Controlled by Your Love.
Many festival goers stopped at the installations, one including some swings right between the Theater and Moon stages. The Desert Daze community was a sight to see, filled with plenty of friendly faces and not a glitter-butt in sight. With a strong start to the weekend, the roll is expected to continue with another two full days of amazing music from Devo, Flying Lotus, Wu-Tang Clan and many more.
File Photo: Sharon Alagna
Posted: at 12:45 pm
The irony is that, just as voters in states across the country are rejecting exaggerated claims about marijuanas harms and legalizing the drug, alarm over allegedly addictive technology is on the rise.
Read more: I wont buy my teenagers smartphones
In recent years, CBSs 60 Minutes featured Anderson Cooper interviewing Tristan Harris, director of the Center for Humane Technology, who claims technology is leading to human downgrading and is destroying our kids ability to focus. The Washington Post ran a headline declaring Subtle and Insidious, Technology Is Designed to Addict Us. Even The Atlantic ran a piece that asked Have Smartphones Destroyed a Generation?which, naturally, went viral on everyones smartphone.
A slew of books, with titles such as Irresistible: The Rise of Addictive Technology and the Business of Keeping Us Hooked, The Hacking of the American Mind: The Science Behind the Corporate Takeover of Our Bodies and Brains, and Glow Kids: How Screen Addiction Is Hijacking Our KidsAnd How to Break the Trance, paint a bleak portrait of the human psyche under the trance of internet-connected devices.
Moral panics are often based on half-truths. Reefer Madness wasnt all wrong. According to the National Institute on Drug Abuse, fully 9 percent of people who consume marijuana develop a cannabis use disorder, even though the drug is widely understood not to be chemically addictive (at least not in the way nicotine, alcohol, or heroin leads to compulsive dependence).
Similarly, personal technologies are potentially addictive to some people, but like cannabis, not to everyone. By promoting the idea that technology is hijacking our brains and getting all of us addicted to our devices, techno-fearmongers promote the exception rather than the rule. They redirect the debate to the product instead of the underlying causes of addiction for the unfortunate few suffering from the pathology. The fact is, the vast majority of people are not and will never become addicted to their devices or their favorite social-media platforms just as almost no one gets addicted to alcohol from having a glass of wine with dinner or addicted to pot from toking up from time to time.
Clearly, the extreme use of pretty much anything can be harmful. However, for those who use marijuana or Facebook moderately, the negative effects are negligible. While headlines spread fears about addictive technology, the data show that almost nothing is happening. Earlier this year, Scientific American reported on a study of 350,000 adolescents that found that technology use had a nearly negligible effect on adolescent psychological well-being. The article added, Eating potatoes is associated with nearly the same degree of effect and wearing glasses has a more negative impact on adolescent mental health.
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‘Drug users’ filmed ‘shooting up’ in broad daylight outside flats before staggering away in trance-like state – Mirror.co.uk
Posted: August 25, 2017 at 4:15 am
A sickening video appears to show a group of alleged drug users shooting up outside flats in broad daylight.
The group were seen congregating in a barely-covered doorway drinking spirits from a bottle and injecting themselves with what appears to be drugs.
A concerned resident filmed the group from an upstairs window, where he lives with his two young children.
Soon after, the group were filmed walking away in a "trance-like" state moving slowly, drinking from a bottle and staggering around after appearing to "shoot up" in the doorway, the Hull Daily Mail.
Keith Allison, 45, from west Hull, says he was disgusted when he saw the scenes unfold in front of his eyes.
Mr Allison, who called the group a "joke", was in his house when his partner filmed the group from a bedroom in his house.
He said: This isnt the first time its happened which is why we filmed it.
"Ive got two young kids and if they looked out the window, or god forbid stepped out the back gate, theyd come face to face with it. Its not fair.
Keith slammed the group for hardly concealing themselves.
In the video, one woman can clearly be seen with her trousers by her ankle injecting into her leg or groin, whilst another woman injects a needle into her arm.
Keith said big groups, not dissimilar to the one in the video, are always hanging around the area.
Ive never seen a drug exchange myself but theres always people loitering at the edge of the park and waiting for something," he said.
"A car often pulls up. They literally go and do it in the first doorway they come across. The street is crawling with people like this.
In July this year, the newspaper reported a young girl stumbled across two drug users with needles hanging out their legs at the park near where this group were filmed.
The pair were so still the nine-year old thought they had died.
Keith, who has a ten-year-old and fourteen-year-old, says he is concerned about the welfare of those growing up around this type of behaviour.
Keith said: Theres always discarded needles lying around. Its disgusting and scary. What if a little kid picked them up? Its not safe.
He also mentioned that the groups argue and fight amongst themselves.
He said: We know the stuff going on. I wouldnt want my ten-year-old playing out there.
Its unfortunate but some of this is just routine around here.
Ward councillor Nadine Fudge said: This is a big problem around the area, particularly the park.
"Weve put notices up around it in different languages asking people not to drink or use drugs there. Weve paid for a lot of CCTV around the area so we know whats going on.
"The main thing is to educate people about the problem.
Mrs Fudge mentioned the chemist in the area opens until late and provides a methadone programme and clinic.
She said: We had the same type of problem on another street, it is an ongoing problem but we managed to sort it out there so we will use the same tactics here.
"We are going to find and catch the drug dealers and hopefully the users will move on.
A statement on the Humberside Police website says: "Drugs and drug related crime have a huge negative impact on our communities.
"We are committed to tackling the problems associated with drug use and drug dealing across Humberside and welcome any information you may have.
"We would encourage anyone with information about drug dealling to call 101 or Crimestoppers anonymously on 0800 555 111."
Portico Quartet: Art in the Age of Automation review reunited foursome make dreamy, layered trance – The Guardian
Posted: at 4:15 am
Hushed horns and temple gongs Portico Quartet. Photograph: Duncan Bellamy
On their last album, they slimmed down to a trio, signed to Ninja Tune Records and reinvented themselves as an ambient synthpop outfit, with help from various guest vocalists. Now theyre back on their original label and reunited with Keir Vine, who provides those distinctive and hypnotic steelpan-style patterns on an instrument called the hang. Jazz purists may have lost interest in the band by now: saxophonist Jack Wylie rarely improvises in any meaningful way. Instead, his languorous lead lines are pitched somewhere between Arve Henriksens FX-laden trumpet and Graham Masseys soprano sax in 808 State. But among the rather snoozy trance dirges are some delicious moments. Opening track Endless invokes Massive Attacks Unfinished Sympathy, while A Luminous Beam mixes a punky two-note bassline with junglist breakbeats and astral electronic burbles. Best of all is the title track, a beautiful, symphonic layering of hushed horns, temple gongs, warm synth pads and dreamy strings.
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Posted: at 4:15 am
Thanks to the Pure Trance Team, arecent post on Facebookhas the collective Trance Family going crazy debating the context.
Today, the Pure Trance Team, headed under the direction of Solarstone, posted a simple image to Facebook and opened the floor to debate.
Heated comments have flown around the internet in relation to this post both in favor of the new and the classic. As a bonafide fan of the genre, and after reading the comments flowing around, I decided that it might be good to lay some context and to gather my personal thoughts on the matter.
Want to know more about the recent Solarstone? We interviewed him just a few months back!
In regards to history, it is extremely hard to say that Rich doesnt have respect for the classic styles of Trance. Heck, he helped write a number of songs considered by many to be classic tracks of the genre. Take the track Seven Cities as a prime example of just that.
Seven Cities was released in 1999, ripe in the era he discusses in the post above. It is perhaps a zenith track to epitomize the summertime mood and moving melodies of what Trance is. He does not deny how important these tracks are, nor does he lack respect for his own work.
Having been in Ibiza and on a boat party with him in 2015, I heard him drop this track as the sun set on the Mediterranean Sea. He loves this track and what it means to his fans. With that in mind though, remember he has continued to produce tracks year after year to continue moving the genre forward.
If a quick look back into the discography of the labels Solarstone has attached his name to doesnt show this, I admittedly dont know what does. We could take a stance and look at Pure Trance and Pure Trance Progressive onlybut lets dig a bit deeper into the history books.
From the Solaris-era youll find talents like Alucard, Mike Shiver, Mark Eteson, Mark Pledger, Bot Cipryan, Matt Cerf, Majera, LTN, and Forerunners. This doesnt even bend the page to see who was selected to create remixes under these artists, but Im picking out two samples below for you to peruse.
Here we find tracks by talents considered legend today Bobina, Magic Island (aka Roger Shah), Sunny Lax, and Agnelli & Nelson. The following two tracks from FKN and Bobina show off the style presented during the Deepblue Records era.
It is clear to see the foundation Solarstone comes from when developing his thoughts and releasing the statement he made on Facebook.
With the above all in mind, I offer this response in the debate in favor of Richs statement:
For the fans, it sounds strange but its about context. The comment is about supporting the new wave of up and coming talent say a Forerunners or Sneijder three to four years ago. It focuses on where the genre is heading, rather than the legends of yesteryear. In some ways, he means breaking away from old-school talent like Ferry Corsten and Paul Oakenfold (who chase trends over sticking to the genre) and giving new people a shot. Rich doesnt mean that the music they make today isnt good, or that it isnt Trance right now. He just wants to see support for the new at something like Dreamstate or the rebirth of Trance Energy.
Dont get me wrong, I love a ton of old-school Trance guys, and would love to see Johan Gielen get a set here. Im stoked to see Marco V play at Dreamstate and throw-down Trance. Yet, Marco V left the genre years ago and lacks any major accomplishment for the modern Trance community. Thats the context of the comment. He wants us younger guys in the scene, whove been working hard for years to get any recognition in our local or break into the national/international scene. Hes excited for people like Niko and Triceradrops to break through the ceiling and take the mantle forward. He wants talent like Magnus to grow and take over what makes the genre great!
Rich is tired of seeing events (and maybe it is a regional thing) that revolve around Trance of old, or bringing back talents that may have been popular around the turn of the century. I for one would rather see Forerunners over a Tiesto set at this point. Id rather see Shugz over Dash Berlin/Alice Deejay. Thats the point hes trying to make. In fact, a part of me really wanted to hear what Neptune Project would have done with a open-to-close set down in San Diego without the classics moniker.
Heres the magic there is no reason a DJ cant play classic tunes! If you want to strictly play a set of them, sure, label it as a classics set. When you have the table before you, open to take people on a journey, why not give them something vivid and new, instead of relying on memories of sounds gone past? As a DJ personally, Im not afraid to weave in Arksuns Arisen with modern tunes in a set. Ill take Marco Vs Godd and slam it into two FSOE Excelsior tunes or whatever.
I understand the counterargument for why Ferry/Paul/Dash are on lineups over the rising talent. That is not what he is discussing from the conversations weve had (the true cash flow issue of festival production and maximizing the base that comes through the door). Hes talking about why people like Alex Ryan or Ally Brown cant get a gig but people keep booking someone like Armin hoping for that magical classics set that blows all of our old-school minds. Why dont we stop wishing for the past to be the present, and focus on the present and future of the genre being great?
Matt MyStro S
MyStro's been embedded for years in dance music industry - finding the passion during the early years of the internet when in 6th grade.Since the passion began, he's done a bit of everything - DJed in Ibiza, promoted and thrown his own parties, VJed, created promotional material, worked A&R for labels, and of course, wrote for blogs.Now he is here with EDM Identity, ready to make waves with his honest and unique perspective honed through years of varied experiences in the industry.
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