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Trance – Wikipedia

Trance is an abnormal state of wakefulness in which a person is not self-aware and is either altogether unresponsive to external stimuli but is nevertheless capable of pursuing and realizing an aim, or is selectively responsive in following the directions of the person who has induced the trance. Trance states may occur involuntarily and unbidden.

The term trance may be associated with hypnosis, meditation, magic, flow, and prayer. It may also be related to the earlier generic term, altered states of consciousness, which is no longer used in "consciousness studies" discourse.

Trance in its modern meaning comes from an earlier meaning of "a dazed, half-conscious or insensible condition or state of fear", via the Old French transe "fear of evil", from the Latin transre "to cross", "pass over". This definition is now obsolete.[1]

Wier, in his 1995 book, Trance: from magic to technology, defines a simple trance (p.58) as a state of mind being caused by cognitive loops where a cognitive object (a thought, an image, a sound, an intentional action) repeats long enough to result in various sets of disabled cognitive functions. Wier represents all trances (which include sleep and watching television) as taking place on a dissociated trance plane where at least some cognitive functions such as volition are disabled; as is seen in what is typically termed a 'hypnotic trance'.[2] With this definition, meditation, hypnosis, addictions and charisma are seen as being trance states. In Wier's 2007 book, The Way of Trance, he elaborates on these forms, adds ecstasy as an additional form and discusses the ethical implications of his model, including magic and government use which he terms "trance abuse".

John Horgan in Rational Mysticism (2003) explores the neurological mechanisms and psychological implications of trances and other mystical manifestations. Horgan incorporates literature and case-studies from a number of disciplines in this work: chemistry, physics, psychology, radiology and theology.

The following are some examples of trance states:

Trance conditions include all the different states of mind, emotions, moods and daydreams that human beings experience. All activities which engage a human involve the filtering of information coming into sense modalities, and this influences brain functioning and consciousness. Therefore, trance may be understood as a way for the mind to change the way it filters information in order to provide more efficient use of the mind's resources.

Trance states may also be accessed or induced by various modalities and is a way of accessing the unconscious mind for the purposes of relaxation, healing, intuition and inspiration. There is an extensive documented history of trance as evidenced by the case-studies of anthropologists and ethnologists and associated and derivative disciplines. Hence trance may be perceived as endemic to the human condition and a Human Universal. Principles of trance are being explored and documented as are methods of trance induction. Benefits of trance states are being explored by medical and scientific inquiry. Many traditions and rituals employ trance. Trance also has a function in religion and mystical experience.

Castillo (1995) states that: "Trance phenomena result from the behavior of intense focusing of attention, which is the key psychological mechanism of trance induction. Adaptive responses, including institutionalized forms of trance, are 'tuned' into neural networks in the brain and depend to a large extent on the characteristics of culture. Culture-specific organizations exist in the structure of individual neurons and in the organizational formation of neural networks."[3]

Hoffman (1998: p.9) states that: "Trance is still conventionally defined as a state of reduced consciousness, or a somnolent state. However, the more recent anthropological definition, linking it to 'altered states of consciousness' (Charles Tart), is becoming increasingly accepted."[4]

Hoffman (1998, p.9) asserts that: "...the trance state should be discussed in the plural, because there is more than one altered state of consciousness significantly different from everyday consciousness."[4]

According to Hoffman (1998: p.10), pilgrims visited the Temple of Epidaurus, an asclepeion, in Greece for healing sleep. Seekers of healing would make pilgrimage and be received by a priest who would welcome and bless them. This temple housed an ancient religious ritual promoting dreams in the seeker that endeavored to promote healing and the solutions to problems, as did the oracles. This temple was built in honor of Asclepios, the Greek god of medicine. The Greek treatment was referred to as incubation, and focused on prayers to Asclepios for healing. The asclepion at Epidaurus is both extensive and well-preserved, and is traditionally regarded as the birthplace of Asclepius. (For a comparable modern tool see Dreamwork.)

The Oracle at Delphi was also famous for trances in the ancient Greek world; priestesses there would make predictions about the future in exchange for gold.[5]

Stories of the saints in the Middle Ages, myths, parables, fairy tales, oral lore and storytelling from different cultures are themselves potentially inducers of trance. Often literary devices such as repetition are employed which is evident in many forms of trance induction. Milton Erickson used stories to induce trance as do many NLP practitioners.

From at least the 16th century it was held that march music may induce soldiers marching in unison into trance states where according to apologists, they bond together as a unit engendered by the rigors of training, the ties of comradeship and the chain of command. This had the effect of making the soldiers become automated, an effect which was widely evident in the 16th, 17th and 18th century due to the increasing prevalence of firearms employed in warcraft. Military instruments, especially the snare drum and other drums were used to entone a monotonous ostinato at the pace of march and heartbeat. High-pitched fifes, flutes and bagpipes were used for their "piercing" effect to play the melody. This would assist the morale and solidarity of soldiers as they marched to battle.

Joseph Jordania recently proposed a term battle trance for this mental state, when combatants do not feel fear and pain, and when they lose their individual identity and acquire a collective identity.[6]

The Norse Berserkers induced a trance-like state before battle, called Berserkergang. It is said to have given the warriors superhuman strength and made them impervious to pain during battle. This form of trance could have been induced partly due to ingestion of hallucinogenic mushrooms.

As the mystical experience of mystics generally entails direct connection, communication and communion with Deity, Godhead and/or god; trance and cognate experience are endemic. (see Yoga, Sufism, Shaman, Umbanda, Crazy Horse, etc.)

As shown by Jonathan Garb,[7] trance techniques also played a role in Lurianic Kabbalah, the mystical life of the circle of Moshe Hayyim Luzzatto and Hasidism.

Many Christian mystics are documented as having experiences that may be considered as cognate with trance, such as: Hildegard of Bingen, John of the Cross, Meister Eckhart, Saint Theresa (as seen in the Bernini sculpture) and Francis of Assisi.

Taves (1999) charts the synonymic language of trance in the American Christian traditions: power or presence or indwelling of God, or Christ, or the Spirit, or spirits. Typical expressions include "the indwelling of the Spirit" (Jonathan Edwards), "the witness of the Spirit" (John Wesley), "the power of God" (early American Methodists), being "filled with the Spirit of the Lord" (early Adventists; see charismatic Adventism), "communing with spirits" (Spiritualists), "the Christ within" (New Thought), "streams of holy fire and power" (Methodist holiness), "a religion of the Spirit and Power" (the Emmanuel Movement), and "the baptism of the Holy Spirit" (early Pentecostals). (Taves, 1999: 3)

Taves (1999) well-referenced book on trance charts the experience of Anglo-American Protestants and those who left the Protestant movement beginning with the transatlantic awakening in the early 18th century and ending with the rise of the psychology of religion and the birth of Pentecostalism in the early 20th century. This book focuses on a class of seemingly involuntary acts alternately explained in religious and secular terminology. These involuntary experiences include uncontrolled bodily movements (fits, bodily exercises, falling as dead, catalepsy, convulsions); spontaneous vocalizations (crying out, shouting, speaking in tongues); unusual sensory experiences (trances, visions, voices, clairvoyance, out-of-body experiences); and alterations of consciousness and/or memory (dreams, somnium, somnambulism, mesmeric trance, mediumistic trance, hypnosis, possession, alternating personality) (Taves, 1999: 3).

Trance-like states are often interpreted as religious ecstasy or visions and can be deliberately induced using a variety of techniques, including prayer, religious rituals, meditation, pranayama (breathwork or breathing exercises), physical exercise, coitus (and/or sex), music, dancing, sweating (e.g. sweat lodge), fasting, thirsting, and the consumption of psychotropic drugs such as cannabis. Sensory modality is the channel or conduit for the induction of the trance. Sometimes an ecstatic experience takes place in occasion of contact with something or somebody perceived as extremely beautiful or holy. It may also happen without any known reason. The particular technique that an individual uses to induce ecstasy is usually one that is associated with that individual's particular religious and cultural traditions. As a result, an ecstatic experience is usually interpreted within the context of a particular individual's religious and cultural traditions. These interpretations often include statements about contact with supernatural or spiritual beings, about receiving new information as a revelation, also religion-related explanations of subsequent change of values, attitudes and behavior (e.g. in case of religious conversion).

Benevolent, neutral and malevolent trances may be induced (intentionally, spontaneously and/or accidentally) by different methods:

Charles Tart provides a useful working definition of auditory driving. It is the induction of trance through the sense of hearing. Auditory driving works through a process known as entrainment.[citation needed]

The usage of repetitive rhythms to induce trance states is an ancient phenomenon. Throughout the world, shamanistic practitioners have been employing this method for millennia. Anthropologists and other researchers have documented the similarity of shamanistic auditory driving rituals among different cultures.

Said simply, entrainment is the synchronization of different rhythmic cycles. Breathing and heart rate have been shown to be affected by auditory stimulus, along with brainwave activity. The ability of rhythmic sound to affect human brainwave activity, especially theta brainwaves, is the essence of auditory driving, and is the cause of the altered states of consciousness that it can induce.[citation needed]

Nowack and Feltman have recently published an article entitled "Eliciting the Photic Driving Response" which states that the EEG photic driving response is a sensitive neurophysiological measure which has been employed to assess chemical and drug effects, forms of epilepsy, neurological status of Alzheimer's patients, and physiological arousal. Photic driving also impacts upon the psychological climate of a person by producing increased visual imagery and decreased physiological and subjective arousal. In this research by Nowack and Feltman, all participants reported increased visual imagery during photic driving, as measured by their responses to an imagery questionnaire.

Dennis Wier (https://web.archive.org/web/20060915232957/http://www.trance.edu/papers/theory.htm Accessed: 6 December 2006) states that over two millennia ago Ptolemy and Apuleius found that differing rates of flickering lights affected states of awareness and sometimes induced epilepsy. Wier also asserts that it was discovered in the late 1920s that when light was shined on closed eyelids it resulted in an echoing production of brainwave frequencies. Wier also opined that in 1965 Grey employed a stroboscope to project rhythmic light flashes into the eyes at a rate of 1025Hz (cycles per second). Grey discovered that this stimulated similar brainwave activity.

Research by Thomas Budzynski, Oestrander et al., in the use of brain machines suggest that photic driving via the suprachiasmatic nucleus and direct electrical stimulation and driving via other mechanisms and modalities, may entrain processes of the brain facilitating rapid and enhanced learning, produce deep relaxation, euphoria, an increase in creativity, problem solving propensity and may be associated with enhanced concentration and accelerated learning. The theta range and the border area between alpha and theta has generated considerable research interest.

Charles Tart provides a useful working definition of kinesthetic driving. It is the induction of trance through the sense of touch, feeling or emotions. Kinesthetic driving works through a process known as entrainment.

The rituals practiced by some athletes in preparing for contests are dismissed as superstition, but this is a device of sport psychologists to help them to attain an ecstasy-like state. Joseph Campbell had a peak experience whilst running. Roger Bannister on breaking the four-minute mile (Cameron, 1993: 185): "No longer conscious of my movement, I discovered a new unity with nature. I had found a new source of power and beauty, a source I never dreamt existed." Roger Bannister later became a distinguished neurologist.

Mechanisms and disciplines that include kinesthetic driving may include: dancing, walking meditation, yoga and asana, mudra, juggling, poi (juggling), etc.

Sufism (the mystical branch of Islam) has theoretical and metaphoric texts regarding ecstasy as a state of connection with Allah. Sufi practice rituals (dhikr, sema) use body movement and music to achieve the state.

Divination is a cultural universal which anthropologists have observed as being present in many religions and cultures in all ages up to the present day (see sibyl).[citation needed] Divination may be defined as a mechanism for fortune-telling by ascertaining information by interpretation of omens or an alleged supernatural agency. Divination often entails ritual, and is often facilitated by trance.

In Tibet, oracles have played, and continue to play, an important part in religion and government. The word oracle is used by Tibetans to refer to the spirit, deity or entity that enters those men and women who act as media between the natural and the spiritual realms. The media are, therefore, known as kuten, which literally means, "the physical basis".

The Dalai Lama, who lives in exile in northern India, still consults an oracle known as the Nechung Oracle, which is considered the official state oracle of the government of Tibet. He gives a complete description of the process of trance and possession in his book Freedom in Exile.[13]

Convergent disciplines of neuroanthropology, ethnomusicology, electroencephalography (EEG), neurotheology and cognitive neuroscience, amongst others, are conducting research into the trance induction of altered states of consciousness resulting from neuron entrainment with the driving of sensory modalities, for example polyharmonics, multiphonics, and percussive polyrhythms through the channel of the auditory and kinesthetic modality.

Neuroanthropology and cognitive neuroscience are conducting research into the trance induction of altered states of consciousness (possibly engendering higher consciousness) resulting from neuron firing entrainment with these polyharmonics and multiphonics. Related research has been conducted into neural entraining with percussive polyrhythms. The timbre of traditional singing bowls and their polyrhythms and multiphonics are considered meditative and calming, and the harmony inducing effects of this tool to potentially alter consciousness are being explored by scientists, medical professionals and therapists.

Scientific advancement and new technologies such as computerized EEG, positron emission tomography, regional cerebral blood flow, and nuclear magnetic resonance imaging, are providing measurable tools to assist in understanding trance phenomena.

There are four principal brainwave states that range from high-amplitude, low-frequency delta to low-amplitude, high-frequency beta. These states range from deep dreamless sleep to a state of high arousal. These four brainwave states are common throughout humans. All levels of brainwaves exist in everyone at all times, even though one is foregrounded depending on the activity level. When a person is in an aroused state and exhibiting a beta brainwave pattern, their brain also exhibits a component of alpha, theta and delta, even though only a trace may be present.[14]

The University of Philadelphia study on some Christians at the Freedom Valley Worship Center in Gettysburg, Pennsylvania, revealed that glossolalia-speaking (vocalizing or praying in unrecognizable form of language which is seen in members of certain Christian sects) activates areas of the brain out of voluntary control. In addition, the frontal lobe of the brain, which monitors speech, significantly diminished in activity as the study participants spoke glossolalia.[15] Dr. Andrew B. Newberg, in analysis of his earlier studies as opposed to the MRI scans of the test subjects, stated that Buddhist monks in meditation[16] and Franciscan nuns in prayer[17] exhibited increased activity in the frontal lobe, and subsequently their behaviors, very much under voluntary control. The investigation found this particular beyond-body-control characteristic only in tongue-speakers (also see xenoglossia).

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Trance - Wikipedia

Trance (2013) – IMDb

3 wins & 3 nominations. See more awards Learn more More Like This

Comedy | Crime | Drama

A corrupt, junkie cop with bipolar disorder attempts to manipulate his way through a promotion in order to win back his wife and daughter while also fighting his own inner demons.

Director:Jon S. Baird

Stars:James McAvoy,Jamie Bell,Eddie Marsan

Action | Crime | Thriller

When a notorious criminal is forced to return to London, it gives a detective one last chance to take down the man he's always been after.

Director:Eran Creevy

Stars:James McAvoy,Mark Strong,Andrea Riseborough

Drama | Horror | Sci-Fi

Told from Igor's perspective, we see the troubled young assistant's dark origins, his redemptive friendship with the young medical student Viktor Von Frankenstein, and become eyewitnesses to the emergence of how Frankenstein became the man - and the legend - we know today.

Director:Paul McGuigan

Stars:Daniel Radcliffe,James McAvoy,Jessica Brown Findlay

Action | Crime | Fantasy

A frustrated office worker learns that he is the son of a professional assassin and that he shares his father's superhuman killing abilities.

Director:Timur Bekmambetov

Stars:Angelina Jolie,James McAvoy,Morgan Freeman

A fine art auctioneer mixed up with a gang joins forces with a hypnotherapist to recover a lost painting. As boundaries between desire, reality and hypnotic suggestion begin to blur the stakes rise faster than anyone could have anticipated. Written byFox Searchlight

Taglines:Inside the mind. Outside the law.

Budget:$20,000,000 (estimated)

Opening Weekend USA: $131,145,7 April 2013, Limited Release

Gross USA: $2,319,187, 2 June 2013

Runtime: 101 min

Aspect Ratio: 2.35 : 1

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Trance: Explore Trance Music at Beatport

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Trance music – Wikipedia

Trance is a genre of electronic music[7] that emerged from the British new-age music scene and the early 1990s German techno and hardcore scenes.[2][3] At the same time trance music was developing in Europe, the genre was also gathering a following in the Indian state of Goa.[10]

Trance music is characterized by a tempo lying between 110150 bpm (BPM),[6] repeating melodic phrases[6] and a musical form that distinctly builds tension and elements throughout a track often culminating in 1 to 2 "peaks" or "drops".[6] Although trance is a genre of its own, it liberally incorporates influences from other musical styles such as techno,[4][2] house,[1][2] pop,[4] chill-out,[4] classical music,[4][5] tech house, ambient and film music.[5]

A trance is a state of hypnotism and heightened consciousness.[11] This is portrayed in trance music by the mixing of layers with distinctly foreshadowed build-up and release. A common characteristic of trance music is a mid-song climax followed by a soft breakdown disposing of beats and percussion entirely,[4][6] leaving the melody or atmospherics to stand alone for an extended period before gradually building up again. Trance tracks are often lengthy to allow for such progression and commonly have sufficiently sparse opening and closing sections to facilitate mixing by DJs.[4][6]

Trance is mostly instrumental, although vocals can be mixed in: typically they are performed by mezzo-soprano to soprano female soloists, often without a traditional verse/chorus structure. Structured vocal form in trance music forms the basis of the vocal trance subgenre, which has been described as "grand, soaring, and operatic" and "ethereal female leads floating amongst the synths". However, male singers, such as Jonathan Mendelsohn, are also featured.[12][13]

The "Trance" name may refer to an induced emotional feeling, high, euphoria, chills, or uplifting rush that listeners claim to experience, or it may indicate an actual trance-like state the earliest forms of this music attempted to emulate in the 1990s before the genre's focus changed.

Another possible antecedent is Yuzo Koshiro and Motohiro Kawashima's electronic soundtracks for the Streets of Rage series of video games from 1991 to 1994.[14][15][16] It was promoted by the well-known UK club-night "Megatripolis" (London, at Heaven on Thursdays) whose scene catapulted it to international fame.[verification needed]

Examples of early trance releases include but are not limited to KLF's 1988 release 'What Time Is Love' (Pure Trance 1),[17] German duo Jam & Spoon's 1992 12" Single remix of the 1990 song "The Age Of Love",[1] and German duo Dance 2 Trance's 1990 track "We Came in Peace".[6]

The writer Bom Coen traces the roots of trance to Paul van Dyk's 1993 remix of Humate's "Love Stimulation".[1] However, Van Dyk's trance origins can be traced further back to his work with Visions of Shiva, being the first tracks he released[18] In subsequent years, one genre, vocal trance, arose as the combination of progressive elements and pop music,[4] and the development of another subgenre, epic trance, finds some of its origins in classical music,[4] with film music also being influential.[5]

Trance was arguably at its commercial peak in the second part of 1990s and early 2000s.[19][20]

Classic trance employs a 4/4 time signature,[6] a tempo of 125 to 150 BPM,[6] and 32 beat phrases and is somewhat faster than house music.[21] A kick drum is usually placed on every downbeat and a regular open hi-hat is often placed on the upbeat or every 1/8th division of the bar.[6] Extra percussive elements are usually added, and major transitions, builds or climaxes are often foreshadowed by lengthy "snare rolls"a quick succession of snare drum hits that build in velocity, frequency, and volume towards the end of a measure or phrase.[6]

Rapid arpeggios and minor keys are common features of Trance, the latter being almost universal. Trance tracks often use one central "hook", or melody, which runs through almost the entire song, repeating at intervals anywhere between 2 beats and 32 bars, in addition to harmonies and motifs in different timbres from the central melody.[6] Instruments are added or removed every 4, 8, 16, or 32 bars.[6]

In the section before the breakdown, the lead motif is often introduced in a sliced up and simplified form,[6] to give the audience a "taste" of what they will hear after the breakdown.[6] Then later, the final climax is usually "a culmination of the first part of the track mixed with the main melodic reprise".[6]

As is the case with many dance music tracks, trance tracks are usually built with sparser intros ("mix-ins") and outros ("mix-outs") in order to enable DJs to blend them together immediately.[4][6]

More recent forms of trance music incorporate other styles and elements of electronic music such as electro and progressive house into its production. It emphasizes harsher basslines and drum beats which decrease the importance of offbeats and focus primarily on a four on the floor stylistic house drum pattern. The bpm of more recent styles tends to be on par with house music at 120 to 135 beats per minute. However, unlike house music, recent forms of trance stay true to their melodic breakdowns and longer transitions.[22]

Trance music is broken into a number of subgenres including acid trance, classic trance, hard trance, progressive trance,[4] and uplifting trance.[4] Uplifting trance is also known as "anthem trance", "epic trance",[4] "commercial trance", "stadium trance", or "euphoric trance",[6] and has been strongly influenced by classical music in the 1990s[4] and 2000s by leading artists such as Ferry Corsten, Armin Van Buuren, Tisto, Push, Rank 1 and at present with the development of the subgenre "orchestral uplifting trance" or "uplifting trance with symphonic orchestra" by such artists as Andy Blueman, Ciro Visone, Soundlift, Arctic Moon, and Sergey Nevone & Simon O'Shine, among others. Closely related to Uplifting Trance is Euro-trance, which has become a general term for a wide variety of highly commercialized European dance music. Several subgenres are crossovers with other major genres of electronic music. For instance, Tech trance is a mixture of trance and techno, and Vocal trance "combines [trance's] progressive elements with pop music".[4] The dream trance genre originated in the mid-1990s, with its popularity then led by Robert Miles.

AllMusic states on progressive trance: "the progressive wing of the trance crowd led directly to a more commercial, chart-oriented sound, since trance had never enjoyed much chart action in the first place. Emphasizing the smoother sound of Eurodance or house (and occasionally more reminiscent of Jean-Michel Jarre than Basement Jaxx), Progressive Trance became the sound of the world's dance floors by the end of the millennium. Critics ridiculed its focus on predictable breakdowns and relative lack of skill to beat-mix, but progressive trance was caned by the hottest DJ."[23]

The following is an incomplete list of dance music festivals that showcase trance music.

Notes: Sunburn was not the first festival/event to specialize in India in trance music. Much earlier pioneers of Goa parties[2] held events as early as the late 80's and through all of the 1990s[7]

Electronic Music festivals in the Netherlands are mainly organized by four companies ALDA Events, ID&T, UDC and Q-dance:

Electronic music festivals in the United States feature various electronic music genres such as trance, house, techno, electro, dubstep, and drum and bass:

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The Force Factor – Trance and Hard Trance Podcast

Lots of bootlegs/remixes/mashups in this one, so if you like that sort of thing youre in for a treat!A few producers including the awesome Bryan Kearney kindly distributed some excellent productions over xmas so Ive included a few to get the year off to a banging start. Plus a great guest mix from up & coming Vancouver based DJ, EYC.

01. Whiteroom vs Ferry Corsten - White Love (Bryan Kearneys Passionate mashwork)02. Bryn Whiting - Never Coming Down03. Planet Perfecto Knights - ResuRection (Paul Oakenfold Full-On Fluoro mix)04. Cygnus X - Superstring (Jordan Suckley IO remix)05. Jordan Suckley - Flames (Sneijder 1AM remix)06. Jean Jacques Smoothie - Two People (Kipster remix)07. Josh C - Knock Off (David McRae remix)08. On NRG - Own Way09. Paul F feat. Adele - Rollin In10. Bryan Kearney - You Will Never Be Forgotten (Unreleased mix)11. Bryan Kearney & Snatam Kaur vs Solarstone vs Neptune Project - Ong NamAztec In Seven Cities (Bryan Kearney Pach-Up)

EYC Guest Mix:12. Matias Faint - Casino Fire (Kent & Gian remix)13. Sunny Lax - Always (Matt Skyer remix)14. Nick Sentience - Kinetic15. Paul Webster - Cut Off (Chris Metcalfe remix)16. Running Man pres. Fifth Dimension - Somewhere17. Bryan Kearney & Jamie Walker - Well Never Die

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The Force Factor - Trance and Hard Trance Podcast

Tarab

Ecstasy and Trance in Tarab Performance

Maren Lueg

Department of MusicCourse: Performance Theory

December 2007

MMusic Performance, SOAS

Ecstasy and Trance in Tarab Performance

Ecstasy and trance have a significant relevance with regard to the description of the overall experience of the participant of a tarab performance. However, the use of these terms within academia to describe a wide range of extraordinary phenomena within different cultures all over the world has made it difficult to clearly define these concepts.There is no word in English that accurately translates the word Tarab from Arabic to English, which makes it very difficult to define. Tarab is used in Arab culture to describe the emotional effect of music, but it is also associated with a traditional form of art-music.The word Tarab refers to an older repertoire, which is rooted in the pre World War 1 musical practise of Egypt and the East- Mediterranean Arab world and is directly associated with emotional evocation.(Racy 2003, p.4)

Tarab was a widely used concept within medieval writings on music and musicians during the Ottoman Empire. It is still in use today in the Arab culture where there are several factors that facilitate the creation of Tarab. Within art-music context the correct use of the maqams and modal progression combined with musical inspiration and creativity. (Racy 1982, p.391)Tarab has been defined by various ethnomusicologists, with the terms ecstasy and trance often being used as synonyms. This lack of definition has not just occurred in the description of Tarab music: there is also lack of clarity in the use of ecstasy and trance within ethnomusicology.My aim in this essay is to analyse the definition of ecstasy and trance in relation to Tarab Performance. To do this I need to look at the relationship between the meaning of the word trance and ecstasy in ethnomusicology and their use in music performance.In the first section Im going to look at the relationship between the meaning of the word trance and ecstasy in ethnomusicology. Secondly Im going to research the use of the word trance and ecstasy in relationship to music performance. Within the main section Im going to analyse the significance of trance and ecstasy in relationship to Tarab.The relationship between the meaning of the word trance and ecstasy in ethnomusicology.Rouget (1985) has found that, within the subject of ethnomusicology, the definitions of trance and ecstasy have been inconsistent. Both terms lack precise definitions, and are interchangeable. Trance and ecstasy are often used as synonyms in ethnomusicology. (Rouget 1985, p.4). He believes that the definitions of the terms in relation to music need to be differentiated, and thinks that spiritualism first gave trance the meaning it has today, to describe the possession of a medium by a visiting spirit. He then states the differences he has found between trance and ecstasy, in which ecstasy is experienced in loneliness, and is a conscious experience that stays in the memory of the person. Vision and hallucinations are often part of an ecstatic state, while trance is mostly free of such events. Trance is achieved in a community ceremony or music performance, and is characterized by unconsciousness and amnesia. Rouget (1985) has constructed a list of what he sees as the characteristic definition of ecstasy and trance:Ecstasy//TranceImmobility//MovementSilence//NoiseSolitude//In companyNo crises //CrisesSensory deprivation //Sensory over-stimulationRecollection//AmnesiaHallucinations//No hallucinations(Rouget 1985, p.11)

There has thus been a lack of clarity within ethnomusicology regarding how ecstasy and trance are defined, which has lead to some confusion of the concepts. Rouget (1985) has attempted to bring some clarity by defining trance and ecstasy very precisely and almost in opposition to each other. Although there are aspects of his definition that are useful and accurate, it can be limiting to use such rigid definitions. To be able to use these terms within the context of music and emotional expression it may be more appropriate to allow for a certain amount of fluidity and flexibility in these definitions. Racy criticises Rougets interpretations of trance Tarab in relationship to the use of trance. I question his [Rougets] profiling of Tarab as trance, or for that matter his strict dichotomy between trance and ecstasy. (Racy 2003, p.13)I am now going to look at the use of trance and ecstasy in the musical performance of a variety of cultures in order to gain a deeper understanding of the meaning of these terms within the context of world music.

Ecstasy and trance in musical performanceTrance has been used predominantly within the context of spirit possession. Most traditional societies use music and dance to induce a state of trance within a religious context for healing, or as part of a community ritual. Many traditional communities across the world have unique forms of trance-inducing music performance. The instruments and style can vary from loud drumming and repetitive chanting to quite meditative flute or string sounds. Induction of trance consciousness is believed to enable communication and union with God, gods, deities or spirits.In Bali, for instance, where trance is a common event as part of established religious practice, a particular type of meditative gamelan music accompanies this ritual. The dancer, who enters into a state of trance, is believed to be possessed by a deity or demon. This has been explained in the following way: while trancing, the core consciousness is temporarily replaced by a trance persona, a trance consciousness. (Becker 2004. p.11)The Balinese ritual is celebrated in a calm meditative atmosphere, in comparison to the Trance Fire Dance in Sri Lanka, which is complemented by intense drumming and verbal audience participation, as demonstrated by the following example:Very suddenly the drummers began a very loud and fast beat and the dancers leaped into the centre of the ovalfor more than an hour the trance dancer never broke rhythm, he never rested.(Schechner 1988, p89-90).The audience expresses its appreciation of the performance with vocal encouragement; the trance dancer is oblivious to the crowd, but still has enough presence of mind to reach into the fire dust pot and hurl dust into the air as part of the ritual.Healing in Tumbuka is based on transformation through the power of music. (Friedson, 1996, p.37) The dancer is believed to lose his identity in the state of trance; the spirit that possesses the dancer makes him move and takes over his consciousness. Drumming and singing are believed to transform the spirit from a possessing spirit to a source of energy.Within the Middle East we can find religious dhikr Sufi rituals that use music as part of their ceremonies. The dhirk Sufi ritual is practiced in dervish brotherhoods from India to Morocco. (Rouget 1985, p.263) Repetitive chanting and drumming are used as part of the ritual, to induce a violent trance, during which the dervishes pierce their flesh, walk on burning coals, grasp red-hot pieces of iron without harming themselves, or swallow broken glass to give visual proof of their invulnerability.Ecstasy is often used in the context of a Sama Sufi ceremony of the Mevlevi Order, to describe the state of consciousness in which the practitioner experiences the union with Allah while listening to music. Within the Sama ritual, one may attain a spiritual union with God or Allah in a state of mystical ecstasy. (Becker, 2004, p.42) The Whirling Dervishes in Turkey practice a meditative dance as part of the Sama ritual in which they turn in a particular manner on their own axes over long periods of time without suffering any physical complaints or dizziness, experiencing a state of ecstasy. The Dervishes remain fully conscious both during and after the ceremony. Sufis use music and poetry as an essential means of reaching a state of ecstatic communion with God. (Sullivan 1997, p.282)Ecstasy and trance have thus both been used to describe a process of transformation that moves the subject, in which the person may access physical or mental strength that enables him to perform beyond his normal abilities. The main difference between the use of the words trance and ecstasy seems to be that in a state of ecstasy, the subject has got the ability to concentrate intensely, being in full control of himself, expanding his state of consciousness, whereas the trance dancer loses control and memory, during the ritual.The examples discussed above correlate with many aspects of Rougets definition of trance, such as movement, noise, in company, sensory over-stimulation, and amnesia. However, in contrast to his definition of ecstasy as being achieved in solitude, silence and stillness, music and movement are important aspects of the Samma ceremony in achieving ecstasy for the Whirling Dervishes.Thus, in order to be able to analyze ecstasy and trance in relation to Tarab Performance, I am going to use the term ecstasy to describe a concentrated state of consciousness, which is achieved while in full control, at the same time as letting go of the identity with oneself. This means that the mind is not limited to ones personal experience, but expands to a collective or higher consciousness: it is experienced as great joy or bliss.

Analysis of ecstasy and trance in Tarab music performanceTo gain a deeper understanding of the relationship between Tarab, trance and ecstasy, I am going to first of all look at the historic context from which Tarab performance has developed, and then look at the use of the terms ecstasy and trance in relation to Tarab performance.Tarab performance has developed from a cultural context that has given great importance to music. Throughout the history of the Middle East, music has been associated with extraordinary powers that are believed to transform the audience and musician on a spiritual level. The Babylonians and Egyptians have linked music and sound to the cosmological fabric of the universe In the medieval Islamic courts, singers and instrumentalists are known to have cast an overwhelming emotional effect upon their audience. (Racy 2003, p.4). This powerful emotional impact can still be found in Tarab musical performance today, in which the audience and performers are transported to a state of musical ecstasy (Tarab), which the audience expresses by shouting and verbal appreciation during the performance. (Racy 1982, p.391)The members of the audience freely express their reaction to the performance to help build the overall emotional mood. The audience may call out phrases that have become part of the Tarab performance ritual to encourage the musician in their performance. For example, one might exclaim Allah or away (greatly elongating the first syllable of the Egyptian colloquial word for yes). The musicians, in turn, are moved and encouraged by the responses from the audience. This interaction creates a dynamic feedback system that contributes, ideally, to the ecstatic state of Tarab. (Music of Egypt, p.115)Racy explores Tarab as a multifaceted experience that can have intense emotional and mentally transforming effects ranging from excitement, inspiration, creativity and empowerment to a sense of timelessness intoxication and pain.The listeners reactions to the music are quite demonstrable, and often appear involuntary and virtually uninhibited They often describe their own musical sensation through metaphors as becoming intoxicated and losing the sense of time, (Racy 2003 ,p..5) to the extent that one may cry, faint or tear ones clothes. (Becker 2004, p.2)

This wide range of experience makes it very difficult to separate the ecstasy and trance within Tarab performance.Nothing can better explain what Tarab is than the following anecdote taken from Kitab al-aghani (The Book of Song), a famous collection composed by Isfahani in the 10th Century AD. As Jamila sang, all those gathered there were seized by Tarab: one of the guest the poet Umar began to shout out: Woe is me. Woe is me He tore his robe from top to bottom, in a state of total unconsciousness. (Rouget 1985, p281) This act of tearing a robe in total unconsciousness, through the influence of Tarab music, suggested that the guest entered a state of trance during the Tarab performance. Compared to that, the audience might have a more subtle experience, being transformed into a state of ecstasy through a moment of silence after an expressive and skilled performance demonstrating effective modulation and use of the maqams especially during the pause that follows the qafla. (Zuhur 2001, p233) Musicians stress that playing music can be a profoundly ecstatic and creative experience. (Nettl 1998, p.110) The musicians often experience a state of ecstasy during the Tarab performance that heightens their mental or creative abilities and prepares the artist to interpret the music and improvise with feeling. This ecstatic creative state of the musician is called saltanah. In a saltanah state, the musician becomes self-absorbed, focusing intensely on the music during the performance. Saltanah is part of the overall Tarab experience: It is the magic that momentarily lifts the artist to a higher ecstatic plateau and empowers him or her to engender Tarab most effectivelysaltanah is creative ecstasy. (Racy 2003,p120.) Saltanah is a state in which the artist experiences heightened mental and emotional creativity though fully conscious. The skillful application of musical inspiration in a state of saltanah is an essential aspect of the classical Tarab performance of the Nineteenth and early Twentieth Centuries in Egypt, that being Racys (2003) model.The term Tarab has also been used in other parts of the Middle East in relation to musical performance. Rouget describes professional drummers in Iraq breaking drums on their heads, a form of destructive behaviour (Rouget 1985, p.282), as part of a Tarab performance. This example of violent behaviour of the musicians in Iraq is more likely to have occurred in a state of trance. Such an act of distracted behaviour may indicate that the drummers lost self-control and experienced a state of unconsciousness similar to that described in the examples of trance in spirit possession rituals or within a Dhirk ceremony. We therefore need to look at the historic and cultural setting of a Tarab performance to be able to define its relationship to trance and ecstasy. The emotional intensity and overall experience of Tarab performance has changed over time, and may be less pronounced in modern day Egypt than it was during the Ottoman Empire, before the influence of the western industrial revolution introducing modern technology, large orchestras and concert halls. Nowadays, however, especially in urban settings, trance as an expression of musical emotion, of Tarab is less customary than it was in the past. (Rouget 1985, p.282) He continues that Tarab occurs today, mainly in country districts, where people still gather in the evening to sing, dance and play folk music in rural village communities.The experience of the musician during a classical Tarab performance of Arabic art music as described by Racy in Making Music in the Arab World is more likely to be affected by ecstasy than trance. Gaining creative inspiration and being alleviated to a heightened mental state. The example of the destructive trance-like behaviour of the professional drummers in Iraq demonstrates that the term Tarab is also used for other music performances within the Middle East that may essentially differ from the traditional Arabic art-music style. Therefore a trance experience of the musicians is more likely to occur outside the Tarab-art music performance tradition in Cairo, because the complexity of the structure and textual material of classical Arabic music demands full concentration of the performer.It is much harder to separate the relationship of trance and ecstasy with regard to the overall experience of the audience. We can generally say that it is more likely for a member of the audience to move into a state of trance within smaller communities or private settings.Looking at the historic context of the Middle East, in which music was believed to have extraordinary powers to spiritually transform the musicians and audience, gives us a great indication of a tradition of using music to gain an altered state of consciousness such as ecstasy or trance within the Middle East. The style of music and experience of the participant of the performance would have changed over the centuries, depending on the religious beliefs and state of society. Achieving a state of ecstasy or trance may have been more likely or relevant at different times and within different parts of society. Thus Tarab may have been a more powerful and deeply transformative trance inducing experience in the past when music was limited to the experience of live performance.

ConclusionThe significance of ecstasy and/or trance within a Tarab Performance is difficult to define, because of the lack of clarity of each of these terms. However both trance and ecstasy play an important rule within the Tarab performance. Ecstasy is in generally more relevant to describe an altered state of consciousness that the Tarab musician may experience during the performance of a traditional takht ensemble. Trance is more likely to affect the audience of a Tarab performance, but often to a lesser extent then experienced in a religious context. There is still a lot of room for further academic research of the definition of ecstasy, trance and Tarab within the use of music performance. The terms ecstasy and trance are to limited to successfully define their use in relationship to Tarab. Also, the use of Tarab as a term to describe an emotional experience during a music performance within Arabic culture is lacking clarity, and needs further investigation.

Bibliography

Becker, Judith, Deep Listeners: Emotion, Music, and Trancing.(Bloomington: Indiana University Press, 2004)

Bohlman, Philip V. and Bruno Nettl (eds), Dancing Prophets Musical Experience Tumbuka Healing. (London: The University of Chicago Press, 1996)

Friedson, Steven, Dancing Prophets: Musical Experience in Tumbuka Healing.(Chicago: Univ. of Chicago Press, 1996)

Goffman, Erving,. Interaction Ritual. (Harmondsworth: Penguin,1972)

Habib, Hassan Touma, The Music of the Arabs, Portland (OR): Amadeus Press, 1996) paperback with accompanying CD (1996)

Kapferer, Bruce, A Celebration of Demons.(Bloomington: Indiana Univ. Press, 1981)

Kingsley, Jessica, Constructing Musical Healing, The Wounds that Sing.(London: Boyce-Tillmann, 2000)

Klass Morton, Mind Over Mind: The Anthropology and Psychology of Spirit Possession (Morton Klass Rowman & Littlefield Publishers, Inc. 2003)

Marcus, Scott L., Music in Egypt: Experiencing Music, Expressing Culture(New York: Oxford University Press, 2007)

Miner, Allyn, Sitar and Sarod in the 18th and 19th Centuries. (Motilal Banarsidass, 1997),

Myers, Helen (ed), Ethnomusicology Historical and Regional Studies.(London: The Macmillan Press, 1993)

Nelson, Kristina, The Art of Reciting the Quran (Cairo: American Univ in Cairo Press, 2001)

Nettl, Bruno and Melinda Russell (eds), In the course of performance: Studies in the world of musical improvisation. (Chicago: Chicago Univ. Press, 1999)

Parkin, David, Lionel Caplan and Humphrey Fisher, The Politics of Cultural Performance. (Providence (RI): Berghahn, 1996)

Racy, A.J., Making Music in the Arab World: The Culture and Artistry of Tarab. (Cambridge: Cambridge University Press, 2003)

Ralls-MacLeod, Karen and Harvey Graham (eds), Indigenous Religious Musics especially, the articles by Peter Cooke and Malcolm Floyd. (Aldershot: Ashgate, 2000)

Rouget, Gilbert, Music and Trance A Theory of the relations between Music and Possession. (Chicago: Aldine, 1985)

Schechner, Richard, Between Theatre and Anthropology.(Philadelphia: University of Pennsylvania, 1985)

Schechner, Richard, Performance Theory. (New York: Routledge, 1988)

Schechner, Richard, The Future of Ritual: Writings on Culture and Performance.(New York: Routledge, 1993)

Small, Christopher, Musicking. (Middletown: Wesleyan Univ. Press, 1998)

Sullivan, Lawrence E. (ed.), Enchanting Powers: Music in the Worlds Religions. (Cambridge (MA): Harvard University Press, 1997)

Turner, Victor, From Ritual to Theater.(New York: Performing Arts Journal Publications, 1978)

Turner, Victor, The Anthropology of Performance.(New York: Performing Arts Journal, 1986)

Zuhur, Sherifa (ed), Colors of Enchantment: Theatre, Dance, Music and the Visual Arts of the Middle East. (Cairo: The American University in Cairo Press, 2001)

Website online journalThe Many Faces of Improvisation: The Arab Taqsm as a Musical SymbolAli Jihad RacyEthnomusicology > Vol. 44, No. 2 (Spring, 2000), pp. 302-320Stable URL: http://links.jstor.org/sici?sici=0014-1836%28200021%2F22%2944%3A2%3C302%3ATMFOIT%3E2.0.CO%3B2-I

Musical Aesthetics in Present-Day CairoAli Jihad RacyEthnomusicology > Vol. 26, No. 3 (Sep., 1982), pp. 391-406Stable URL: http://links.jstor.org/sici?sici=0014-1836%28198209%2926%3A3%3C391%3AMAIPC%3E2.0.CO%3B2-HAli Jihad Racy Racy 1982 Society for Ethnomusicology, Inc. page Musical Aesthetics in present-

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Trance Terra – Final Fantasy Brave Exvius Wiki

A woman who appears in tales from another world, where she played a role in the great conflict between humankind and espers. Able to wield magical powers believed lost to the world, Terra was used as a weapon by the Gestahl Empire bent on world domination. However, she was eventually saved by the treasure hunter Locke and joined him in the fight against the empire by becoming a member of the Returners. Dedicating herself to their cause, she travels with the group to see the esper Valigarmanda, where a strange power resonates with her. In moments, Terra transforms into an esper and flees to an unknown location.

If used after Magical Activation:Magic damage (3.6x) with ignore SPR (50%) to all enemies

10Frame delay: 60-8-8-8-8-8-8-8-8-8Attack frames: 60-68-76-84-92-100-108-116-124-132

0

If used after Magical Activation:Magic damage (4.2x) with ignore SPR (50%) to all enemies

10New frame delay: 60-8-8-8-8-8-8-8-8-8New attack frames: 60-68-76-84-92-100-108-116-124-132

0

If used after Magical Activation:Magic damage (4.2x) with ignore SPR (50%) to all enemiesGain access: Chaos Wave Awakened +2

10New frame delay: 60-8-8-8-8-8-8-8-8-8New attack frames: 60-68-76-84-92-100-108-116-124-132

0

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TRANCE Formation Of America

Best Goa Trance: Top Artists, Tracks & Albums – Karan Gill

Often a release has this one really mindblowing track which stands out from the rest. So while the release doesnt deserve a place, the track does. This is a list of tracks that stood out in otherwise average releases not covered above.

Thats the list of the best artists, albums, and tracks of my favourite genre Goa Trance! Its a great introduction to the genre. There dont seem to be any Goa Trance specific lists on the web despite the Goa sound being distinct from mainstream trance, hence this list. All feedback is welcome. If youre new to Goa trance, it may be easier for you to go through this short list first which has a complimentary torrent.

If you feel Ive missed out any noteworthy tracks, or have any other feedback in mind, dont hesitate to drop a reply.

Some QnAs on Goa Trance and this guide.

Q. Argh! Im not going to listen to all this. Give me the top 3 albums! Why cant you order them so I know what I should listen to first?!A. Here is a short list of the best Goa tracks.

Its too difficult to arrange all this stuff in order. I ask you, which is best, Twisted, Trust in Trance or Alien Protein? Or maybe Lets Turn On, or Cosmology? Because I havent the faintest idea. Well, okay, 3 albums you must get before anything else:

For a general flavour of Goa you can try getting Dragonfly presents: A Voyage into Trance mixed by Paul Oakenfold

Q. Whats the history behind Goa Trance?A. Goa Trance is a subgenre of trance that originated in Goa, India stemming from the hippie influence. It had its roots in psyrock and the mid-80s electronic music in Europe. Goa Trance was also called Trance Dance, hence the names of the Astral Projection and Cosmosis tracks. It slowly morphed into Psychedelic Trance around the turn of the millenium, and today there isnt much Goa Trance produced.

Here is a map of all the sub genres of psy and goa trance by Anoebis of Psynews. It was originally posted here. You cant see the whole thing properly so save it to your computer and then open it and zoom into the top left corner which shows Goa and its sub-genres.

Goa is a small (by Indian standards) state halfway down Indias western coastline and was a Portuguese colony for hundreds of years. It still retains signs of Portuguese influence, evident in the beautiful churches youll find there, which makes it distinct from the rest of India. Perhaps this made the Goans more tolerant of hippies. The story is that till the mid-70s hashish was legal and this, coupled with the beautiful beaches and the freedom, attracted the hippies. Anyway, till the early 90s, no one really cared about the drugs. Then it seems the police started cracking down and the scene shifted to other countries while Goa became a magnet for the usual tourist crowd.

Two albums which kicked the scene off were: Project II Trance from way back in 93. Order Odonata Volume 1 from 94.

The entire scene was managed by foreigners, mostly Europeans and Israelis. The only thing Indian about the scene was the location. Youll find that all the major Goa artists are from Israel, France, England and Italy. This will be clearer when you look at the list of major Goa labels down a page. It is said that a major reason for the spreading of Goa in Israel were RnR visits paid to India by Israeli soldiers after their compulsory military service. For playback, in the late 80s, casette disks were predominately used, replaced by DAT tapes in the 90s. (Vinyl warped in Goas heat). The party scene grew through the late 80s into the early 90s as DJs explored the sound, pushing sonic boundaries to give ravers the trippiest experience possible, and out of this desire to explore that experience, through music and parties that built up through the night, came the Goa sound.

Cathedral of St. Cajetan in Old Goa

The Goa sound is acid-filled, with the bass comprising of a thumping kick, very melodic and ecstatic without sounding cheesy (!). Goa trance tracks are melodious, but the harmonics are very important too. They start off slowly with a plain melody. Then the kick is added, then synths and the melody becomes faster and faster with the acid notes becoming quicker and closely spaced. The track then rises to a climax, and the dnouement is rather short compared to the tracks length. Goa tracks are generally 8 minutes long and can stretch to 11 minutes in length. They frequently have vocal samples, often from movies, generally referring to aliens, space travel and other New Agey themes. For example, Identified Flying Object had theories on space travel on the inside cover.

Goa Gil drew a link between Goa Trance and ancient tribal ceremonies. Goa trance wasnt just music to get you high, it was supposed to be a mind-altering experience.

For the mind altering experience some people at these parties were on drugs and their drug of choice was LSD, simply referred to as acid. To know the hows and whys simply listen to the vocal sample in Hallucinogen LSD or read them here. A sample from the track isYoure introduced to LSD, an its not like taking some other drug for instance like marijuana or something, hm, well, you know, its altogether a new thing, and you actually can have a religious experience, and, hm, and it can be even more important than reading the bible six times or becoming a pope or something like that, you know

Goa Trance parties generally started in the late evening and went on all night, ending the next morning, although parties in Goa could go on for days. This gave rise to a phenomenon singular to Goa and also Psychedelic Trance, a track is given a sub-genre by the time of the day it is most suitable for. For example, some tracks will be called morning. Another point to keep in mind is that one producer can or will have several seemingly separate projects, which is why its a good idea to use Discogs so you know which albums and projects to connect. For example, Ofer Dikovsky has worked under the monikers of Phreaky, Omputer, Tandu, Indoor, Sound Pollution, Oforia and Pigs in Space!.

Major Goa labels include:

NOTE: Acid, as in referring to LSD the drug, and acid as in referring to music are two different things. For LSD click on the link. Acid in music refers to the high frequency, high pitched tweerps, bells, whistles, squeeks, squeals, whooshes etc.

Heres great album cover from the Flying Rhino release, VA First Flight

Q. What happened to Goa?A. Well, essentially all Goa has been produced in 6 all too short years, 1993-1998 after which the sound became psychedelic. Psychedelic trance is much less melodic, has sharper distinct sounds instead of melodies which flow into each other and is darker. Goa Trance is more organic while psytrance is more mechanical.

A good illustration of the music around the time of transition of Goa into psychedelic trance is Koxboxs Dragon Tales album and Children of Paradise Urban Alien.Or, quoting sljiva for this,For a real contrast between goa and psy I would recommend checking Raja Rams two labels: TIP Records and TIP.World. TIP Records were releasing melodic, organic and eastern influenced trance prior to 1998 from artists such as The Infinity Project, Doof and Psychopod, while on the other hand TIP.World is some kind of psy successor of TIP Records and they release this metallic, cold and mechanical type of trance from artists such as Alien Project, 1200 Mics and Logic Bomb.

Another case in point is Etnica. By 2000, it lost 2 members and went the psychedelic way. Essentially all genres need to develop further, artists began to explore and wanted to branch off themselves from the Goa sound. Some produced more listener friendly music, others preferred the dark, more twisted atmospheres of Psytrance.

However, thanks to the efforts of Suntrip Records among others, a new wave of Goa artists have come up in Filteria, Khetzal, Goasia to name a few. I find the newschool Goa artists lean towards the morning or uplifting sound to a greater degree than oldschool artists, this can give the feeling that their tracks have less substance.

I dont want to give the impression that goa trance is better than psytrance. Its just that there so much mediocre, run of the mill psy out there that finding good psytrance takes time. You just need to look really hard for it because its hiding underneath a heap of commercial releases.

Q. All Goa sounds the same, with the same acid TB303 sounds!A. To really understand Goa or Psy Trance for that matter, Id say you have to dance to it. Goa/Psy Trance party listings are next.

Otherwise it takes time to develop a liking for Goa. Give the tracks a couple of listens and some patience. The sounds will be the same to a new listener but with time youll appreciate the different melodies and the acid. Goa Trance is not fluffy or cheesy so if youve started off by listening to that kind of trance, it will take some time to appreciate Goa Trance.

If youre new to Goa Trance or Acid Trance you could these tracks first:

Q. Goa Trance and Psytrance party/festival listings?A. Isratrance Party Listings all worldIsratrance Festival Listings all worldPsynews Party/Festival Listings all worldEktoplazm Event Listings mostly focused on the States and CanadaGoatrance.de focused on Germany for the large partPsyevents Parties in and around AustriaOzTrance & Australiens AustraliaPsytribe and Psycircle CaliforniaFractaltribe Listings North America

Q. Where can I get these tracks and the artist discographies?A. Dedicated Psy/Goa database at PsyDB Discographies at http://www.discogs.com .Tracks sold online Saikosounds or get them off Soulseek . There is also Psyshop which but people say Saikosounds is better.

Q. Are there any free Goa releases I can check out?A. Few Ive come across: Golden Vibes I Golden Vibes II Pyramidal Trancedence

Q. I wanna know more!A. Awright, here are some linksIsratrance Big trance forum with lots of party listings In-depth article on Goa Trance Site which chronicles the origin of Goa Trance till its transition into Psytrance Another article on Goa Trance, shorter and easier read then the other links Psynews Meet other people who have good taste ^^ and are into goa/psy A tryst with Goa Trance Another article from someone who was there The first half is a good first hand feel of the party scene in Goa What is Goa Trance? History and Development of the scene An article on the evolution of Goa after 2000 by one of the founders of the Suntrip label. Road to Goa Part of how it started in the 60s & 70sThe Rhetoric of Psytrance: Anix Gleo, Astroff, The Fusion, and Martin Cloud PsyTrance in Russia

There some movies made on the Goa Trance phenomenonKarahana Ganey Huga [Download] Movie on the famous party in Israel.Liquid Crystal Vision Ok movie if you ignore the hippy mumbo jumbo, has some nice visuals.Last Hippie Standing Has Goa Gil in a leading role

Q. I want to hear Goa tracks with Eastern/Oriental/Tribal influences, and those tracks that marked the point where the Goa sound began to form.A. Eastern/Oriental/Tribal influenced Goa tracks-Shakta & Moonweed Micronesia This one rules them all, with the strains of a beautiful sitar starting the track.-Shakta Silicon Trip (album) Many tracks have an Oriental/Indian feel to them.Canda Luxman-Sundog Touch the Sun-Bass Invaders Nene Naha-Chi-a.d. Pathfinder-Dogma Sutra Sarma-Pharagonescia Pharatropic-Elysium Monzoon has this eastern-tribalish atmosphere-Juno Reactor Beyond the Infinite-Juno Reactor Navras has a lot of Indian chanting, that complements the atmosphere of the track beautifully.-Medicine Drum Supernature-The Nommos Amma The best tribal track I have ever heard. In the climax of the track you will find this crazy, primal female vocal sample o/-Juno Reactor Beyond the Infinite (album) Similar to Shaktas Silicon Trip in that you will find many tracks with an Eastern/Indian feel to them.-Mysterious Wizard Visions of India

Oldest Goa/Proto-Goa/Goa-ish tracks-Tangerine Dream Pheadra (1973)-KLF What Time Is Love (Pure Trance Version) (1989)-Dance 2 Trance We Came in Peace (1990)-A.B. Kazes Out of Space Trance (1989) (album)-Trilithon Trance Dance (1991) (album)-The Overlords Sundown (Ionizer Mix)-Megabeat Twin Beats

In conclusion, Ive written this from the point of view of introducing someone unfamiliar with Goa Trance to the genre. I hope you liked it, and it helped you get to know the genre. There are many more artists out there like Bypass Unit, Dogma, Electron Wave, Kopfuss Resonator, Kumbh Mela, Kode IV, Lords of Chaos, Metal Spark, Mindsphere, Moksha, Ka-Sol, O.O.O.D, Ololiuqui, Planet B.E.N., Psychaos, Psyko Disko, Quirk, Shakatura, Sandman, Shaolin Wooden Men, Tarsis, Ypsilon 5, Xenomorph that there isnt really any end to listing albums & artists. Use Discogs to find other projects by artists you like (look up all the projects each individual member was part of, and the projects of members of those projects and so forth and youll quickly find a lot of releases to listen to) Psynews.org review section to discover more, Psydb and keep exploring the sound ^_^

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Best Goa Trance: Top Artists, Tracks & Albums - Karan Gill

Trance Retreat

PRICING

Early bird discount

We are offering a 5% early bird discount for anyone who confirms their booking and makes their payment in full by June 30, 2018.

What is included in the cost?

- Catered Breakfast, Lunch & Dinner (and snacks) served daily- Complimentary non-alcoholic beverages and select alcoholic beverages- Private estate accommodation for 8 days (7 nights)- Daily room cleaning- Return Transportation from fixed pick-up point in Bali, Indonesia- Use of Studio Monitors (shared) on-site- Guestlist & Transportation for any external Trance Retreat events hosted in Indonesia during the week

Optional group excursions and outings may be offered at a separate cost.

Is there a deposit required?

A 500 non-refundable deposit will secure your booking spot (pending selection) with the remainder of the balance due by August 31, 2018.

Arrival and Departure

We will set a Central, tourist friendly point in Bali as the initial pick-up at the start of the retreat (approx. Noon on Sept 16) and also as the return drop-off point (approx. 3PM on Sept 23).

Full Retreat Details

A detailed preparation guide and schedule of instructional events and side events will be emailed out to participants no later than 1 month prior to the start of the Retreat.

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Trance Retreat

Trance Definition and Meaning – Bible Dictionary

TRANCE

trans (ekstasis):

The condition expressed by this word is a mental state in which the person affected is partially or wholly unconscious of objective sensations, but intensely alive to subjective impressions which, however they may be originated, are felt as if they were revelations from without. They may take the form of visual or auditory sensations or else of impressions of taste, smell, heat or cold, and sometimes these conditions precede epileptic seizures constituting what is named the aura epileptica. The word occurs 5 times in the King James Version, twice in the story of Balaam (Numbers 24:4,16), twice in the history of Peter (Acts 10:10; 11:5), and once in that of Paul (Acts 22:17). In the Balaam story the word is of the nature of a gloss rather than a translation, as the Hebrew naphal means simply "to fall down" and is translated accordingly in the Revised Version (British and American). Here Septuagint has en hupno, "in sleep" (see SLEEP, DEEP). In Peter's vision on the housetop at Joppa he saw the sail (othone) descending from heaven, and heard a voice. Paul's trance was also one of both sight and sound. The vision on the Damascus road (Acts 9:3-9) and that recorded in 2Corinthians 12:2-4 were also cases of trance, as were the prophetic ecstasies of Saul, Daniel and Elisha, and the condition of John in which he says that he was "in the Spirit" (Revelation 1:10).

The border line between trance and dream is indefinite:

the former occurs while one is, in a sense, awake; the latter takes place in the passage from sleep to wakefulness. The dream as well as the vision were supposed of old to be channels of revelation (Job 33:15). In Shakespearean English, "trance" means a dream (Taming of the Shrew, I, i, 182), or simply a bewilderment (Lucrece, 1595).

In the phenomena of hypnotic suggestion, sometimes affecting a number of persons simultaneously we have conditions closely allied to trance, and doubtless some of the well-authenticated phantom appearances are similar subjective projections from the mind affecting the visual and auditory centers of the brain.

Alex. Macalister

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Trance Definition and Meaning - Bible Dictionary

trance | Definition of trance in English by Oxford Dictionaries

noun

1A half-conscious state characterized by an absence of response to external stimuli, typically as induced by hypnosis or entered by a medium.

she put him into a light trance

More example sentences

Synonyms

daze, stupor, haze, hypnotic state, half-conscious state, dream, daydream, reverie, brown study, suspended animation

the kind of trance he went into whenever illness was discussed

More example sentences

Synonyms

daze, stupor, haze, hypnotic state, half-conscious state, dream, daydream, reverie, brown study, suspended animation

in the Hades Warehouse there's the finest in trance and techno

More example sentences

Put into a trance.

she's been tranced and may need waking

More example sentences

Middle English (originally as a verb in the sense be in a trance): from Old French transir depart, fall into trance, from Latin transire go across.

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trance | Definition of trance in English by Oxford Dictionaries

Berserker – Wikipedia

Berserkers (or berserks) were champion Norse warriors who are primarily reported in Icelandic sagas to have fought in a trance-like fury, a characteristic which later gave rise to the English word berserk.

These champions would often go into battle without mail coats. Berserkers are attested to in numerous Old Norse sources, as were the lfhnar ("wolf-coats").

The English word berserk is derived from the Old Norse words ber-serkr (plural ber-serkir) possibly meaning a "bear-shirt"i.e., a wild warrior or champion of the viking age, although its interpretation remains controversial.[2] The element ber- was interpreted by the thirteenth-century historian Snorri Sturluson as "bare", which he understood to mean that the warriors went into battle bare-chested, or without armor.[3][2] This word is also used in ber-skjaldar that means "bare of shield", or without a shield. Others derive it from the preferred berr (Germ, br = ursus, the bear),[2] and Snorri's view has been largely abandoned.

It is proposed by some authors that the northern warrior tradition originated in hunting magic.[5][6] Three main animal cults appeared: the bear, the wolf, and the wild boar.[5]

The bas relief carvings on Trajan's column in Rome depict scenes of Trajan's conquest of Dacia in 101106 AD. The scenes show his Roman soldiers plus auxiliaries and allies from Rome's border regions, including tribal warriors from both sides of the Rhine. There are warriors depicted as bare-foot, bare-chested, bearing weapons and helmets that are associated with the Germani. Scene 36 on the column shows some of these warriors standing together, with some wearing bearhoods and some wearing wolfhoods. Nowhere else in history are Germanic bear-warriors and wolf-warriors fighting together recorded until 872 AD, with Thrbirn Hornklofi's description of the battle of Hafrsfjord when they fight together for King Harald Fairhair of Norway.

In the spring of 1870, four cast-bronze-dies, the Torslunda plates, were found by Erik Gustaf Pettersson and Anders Petter Nilsson in a cairn on the lands of the farm No 5 Bjrnhovda in Torslunda parish, land, Sweden.[8][1] Two relevant images are depicted below, along with two associated woodcuts made two years later in 1872.

Torslunda helmet: a one-eyed weapon dancer followed by a berserker[1]

Torslunda helmet: two warriors with boars upon their helmets[1]

Woodcut image from 1872[1]

Woodcut image from 1872[1]

It is proposed by some authors that the berserkers drew their power from the bear and were devoted to the bear cult, which was once widespread across the northern hemisphere.[6][9] The berserkers maintained their religious devotions despite their fighting prowess, as the Svarfdla saga tells of a challenge to single-combat that was postponed by a berserker until three days after Yule.[5] The bodies of dead berserkers were laid out in bearskins prior to their funeral rites.[10] The bear-warrior symbolism survives to this day in the form of the bearskin caps worn by the guards of the Danish and British monarchs,[5] the Royal Life Guards and the Queen's Guard.

In battle, the berserkers were subject to fits of frenzy. They would howl like wild beasts, foamed at the mouth, and gnawed the iron rim of their shields. According to belief, during these fits they were immune to steel and fire, and made great havoc in the ranks of the enemy. When the fever abated they were weak and tame. Accounts can be found in the sagas.[2]

To "go berserk" was to "hamask", which translates as "change form", in this case, as with the sense "enter a state of wild fury". Some scholars have interpreted those who could transform as a berserker was typically as "hamrammr" or "shapestrong"; literally able to shape-shift into a bear's form.[11]:126 For example, the band of men that go with Skallagrim in Egil's Saga to see King Harald about his brother Thorolf's murder are described as "the hardest of men, with a touch of the uncanny about a number of them...they [were] built and shaped more like trolls than human beings". This has sometimes been interpreted as the band of men being "hamrammr", though there is no major consensus.[12][13]

Wolf warriors appear among the legends of the Indo-Europeans, Turks, Mongols, and North American Indians. The Germanic wolf-warriors have left their trace through shields and standards that were captured by the Romans and displayed in the armilustrium in Rome.

The lfhnar (singular lfheinn), another term associated with berserkers, mentioned in the Vatnsdla saga, Haraldskvi and the Vlsunga saga, were said to wear the pelt of a wolf when they entered battle. lfhnar are sometimes described as Odin's special warriors: "[Odin's] men went without their mailcoats and were mad as hounds or wolves, bit their shields...they slew men, but neither fire nor iron had effect upon them. This is called 'going berserk'."[11]:132 In addition, the helm-plate press from Torslunda depicts (below) a scene of Odin with a berserker"a wolf skinned warrior with the apparently one-eyed dancer in the bird-horned helm, which is generally interpreted as showing a scene indicative of a relationship between berserkgang... and the god Odin[17]"with a wolf pelt and a spear as distinguishing features.

In Norse mythology, the wild boar was an animal sacred to the Vanir. The powerful god Freyr owned the boar Gullinbursti and the goddess Freyja owned Hildisvni ("battle swine"), and these boars can be found depicted on Swedish and Anglo-Saxon ceremonial items. The boar-warriors fought at the lead of a battle formation known as Svinfylking ("the boar's head") that was wedge-shaped, and two of their champions formed the rani ("snout"). They have been described as the masters of disguise, and of escape with an intimate knowledge of the landscape.[6] Similar to the berserker and the ulfhednar, the svinfylking boar-warriors used the strength of their animal, the boar, as the foundation of their martial arts.[6][19]

Berserkers appear prominently in a multitude of other sagas and poems, many of which describe berserkers as ravenous men who loot, plunder, and kill indiscriminately. Later, by Christian interpreters, the berserker was viewed as a "heathen devil".[20]

The earliest surviving reference to the term "berserker" is in Haraldskvi, a skaldic poem composed by Thrbirn Hornklofi in the late 9th century in honor of King Harald Fairhair, as ulfhenar ("men clad in wolf skins"). This translation from the Haraldskvi saga describes Harald's berserkers:[21]

I'll ask of the berserks, you tasters of blood,Those intrepid heroes, how are they treated,Those who wade out into battle?Wolf-skinned they are called. In battleThey bear bloody shields.Red with blood are their spears when they come to fight.They form a closed group.The prince in his wisdom puts trust in such menWho hack through enemy shields.

The "tasters of blood" in this passage are thought to be ravens, which feasted on the slain.[21]

The Icelandic historian and poet Snorri Sturluson (11791241) wrote the following description of berserkers in his Ynglinga saga:

His (Odin's) men rushed forwards without armour, were as mad as dogs or wolves, bit their shields, and were strong as bears or wild oxen, and killed people at a blow, but neither fire nor iron told upon them. This was called Berserkergang.[22]

King Harald Fairhair's use of berserkers as "shock troops" broadened his sphere of influence.[citation needed] Other Scandinavian kings used berserkers as part of their army of hirdmen and sometimes ranked them as equivalent to a royal bodyguard.[citation needed] It may be that some of those warriors only adopted the organization or rituals of berserk mnnerbnde, or used the name as a deterrent or claim of their ferocity.

Emphasis has been placed on the frenzied nature of the berserkers, hence the modern sense of the word "berserk". However, the sources describe several other characteristics that have been ignored or neglected by modern commentators. Snorri's assertion that "neither fire nor iron told upon them" is reiterated time after time. The sources frequently state that neither edged weapons nor fire affected the berserks, although they were not immune to clubs or other blunt instruments. For example:

These men asked Halfdan to attack Hardbeen and his champions man by man; and he not only promised to fight, but assured himself the victory with most confident words. When Hardbeen heard this, a demoniacal frenzy suddenly took him; he furiously bit and devoured the edges of his shield; he kept gulping down fiery coals; he snatched live embers in his mouth and let them pass down into his entrails; he rushed through the perils of crackling fires; and at last, when he had raved through every sort of madness, he turned his sword with raging hand against the hearts of six of his champions. It is doubtful whether this madness came from thirst for battle or natural ferocity. Then with the remaining band of his champions he attacked Halfdan, who crushed him with a hammer of wondrous size, so that he lost both victory and life; paying the penalty both to Halfdan, whom he had challenged, and to the kings whose offspring he had violently ravished...[23]

Similarly, Hrolf Kraki's champions refuse to retreat "from fire or iron". Another frequent motif refers to berserkers blunting their enemy's blades with spells or a glance from their evil eyes. This appears as early as Beowulf where it is a characteristic attributed to Grendel. Both the fire eating and the immunity to edged weapons are reminiscent of tricks popularly ascribed to fakirs.

In 1015, Jarl Eirkr Hkonarson of Norway outlawed berserkers. Grgs, the medieval Icelandic law code, sentenced berserker warriors to outlawry. By the 12th century, organised berserker war-bands had disappeared.

The Lewis Chessmen, found on the Isle of Lewis (Outer Hebrides, Scotland) but thought to be of Norse manufacture, include berserkers depicted biting their shields.

Scholar Hilda Ellis-Davidson draws a parallel between berserkers and the mention by the Byzantine emperor Constantine VII (AD 905959) in his book De cerimoniis aulae byzantinae ("Book of Ceremonies of the Byzantine court") of a "Gothic Dance" performed by members of his Varangian Guard (Norse warriors in the service of the Byzantine Empire), who took part wearing animal skins and masks: she believes this may have been connected with berserker rites.[24]

The rage the berserker experienced was referred to as berserkergang ("going berserk"). This condition has been described as follows:

This fury, which was called berserkergang, occurred not only in the heat of battle, but also during laborious work. Men who were thus seized performed things which otherwise seemed impossible for human power. This condition is said to have begun with shivering, chattering of the teeth, and chill in the body, and then the face swelled and changed its colour. With this was connected a great hot-headedness, which at last gave over into a great rage, under which they howled as wild animals, bit the edge of their shields, and cut down everything they met without discriminating between friend or foe. When this condition ceased, a great dulling of the mind and feebleness followed, which could last for one or several days.[25]

When Viking villages went to war in unison, the berserkers often wore special clothing, for instance furs of a wolf or bear, to indicate that this person was a berserker, and would not be able to tell friend from foe when in rage "bersrkergang". In this way, other allies would know to keep their distance.[26]

Some scholars propose that certain examples of berserker rage had been induced voluntarily by the consumption of drugs such as the hallucinogenic mushroom Amanita muscaria[25][27][28] or massive amounts of alcohol.[29] However, this is much debated[30] and has been thrown into doubt by the discovery of seeds belonging to the plant henbane Hyoscyamus niger in a Viking grave that was unearthed near Fyrkat, Denmark in 1977.[31] Given that crushing and rubbing henbane petals onto the skin provides a numbing effect along with a mild sensation of flying, this finding has led to the theory that henbane rather than mushrooms or alcohol was used to incite the legendary rage.[30] While such practices would fit in with ritual usages, other explanations for the berserker's madness have been put forward, including self-induced hysteria, epilepsy, mental illness, or genetics.[32]

Jonathan Shay makes an explicit connection between the berserker rage of soldiers and the hyperarousal of post-traumatic stress disorder.[33] In Achilles in Vietnam, he writes:

If a soldier survives the berserk state, it imparts emotional deadness and vulnerability to explosive rage to his psychology and permanent hyperarousal to his physiology hallmarks of post-traumatic stress disorder in combat veterans. My clinical experience with Vietnam combat veterans prompts me to place the berserk state at the heart of their most severe psychological and psychophysiological injuries.[34]

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Berserker - Wikipedia

TurnRVA Classes

TRX BARRELike Barre? Like TRX?TRX Barre is based onThe Volee Methodand is the Reese's Peanut Butter cup of Barre and suspension workouts!

It takes the best properties of both workouts and combines them to give you the most effective workout you can do in bare feet.

Enhance balance, core strength, flexibility and fluid functional movement.

Class size is limited to 10.

Bring on swimsuit season!

This interval class uses suspension training and timed intervals. Yeah - that means using straps anchored to ceiling mounts to get your workout in.

Since we're talking about your body weight and gravity acting as your resistance, you have to work your core... a lot, in order to stay stationary.

Quick bursts of cardio add fat burning of this workout. Makes all your muscles, including your heart, stronger!

Wecarry out this class in a couple of different options: TRX with Bootcamp, TRX HIIT and TRX Cardio.Class size is limited to 10.

Get your butt into Turn Table!

We promise you will have a good time and you won't have to memorize any choreography, just come in and get moving'! And did we mention - it's FREE in April?

Depending on the class size, participants will rotate through timed exercises that use weights, TRX straps, ladder drills and your own body weight to focus on your upper and lower body and abs.

Appropriate for all fitness levels.

Ready to learn a dance routine?Whether it's new material or something we've been dancing to for a while, we're going to spend our class time teaching you this routine and helping you get it down before you walk out.Bring your thinking caps to BREAKDOWN and get ready to dance the hour away.*Note - material may be seen again in Dance Trance

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TurnRVA Classes

Moon Trance – Lindsey Stirling (Original Song) – YouTube

Get my album Shatter Me on iTunes: http://smarturl.it/ShatterMe or the exclusive deluxe version at Target: http://smarturl.it/ShatterMeTAR

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Written and Directed by EMMY Award winning director Nathan D. Lee

1st Assistant Director Katie Schwarz

Production Design by Chloe Huber

Director of Photography Jacob Schwarz http://mysterybox.us/

Dance Choreography by Marc AlexandaUtah Urban Dance Organization (U.D.O.) utahudo@gmail.comhttp://www.facebook.com/utahudo

Dancers: Chaz Layne Bodily, Marcquet Hill, Arianna Brockbank, Kelsey Skousen, Leif Belnap, Rylie Tucker, Denali Pontvianne, Tia Aiono, Bethany Boutwell, Kalli Haws

Makeup:Dale Flink, Noah Bailey, Joanna Bishop, Shiloh White, Meg Sorensen, and Emily Jacobsen

Gaffer John Bills

Key Grip Tyler Stevens

Edited by Lindsey Stirling

Special thanks to Adam Abel and Kent Findley

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Moon Trance - Lindsey Stirling (Original Song) - YouTube

Armin Van Buuren Drops ‘A State Of Trance, Ibiza 2017’ – EDM Identity

Armin Van Buuren releasesA State Of Trance, Ibiza 2017 to give fans a taste of the island paradise.

Starting all the way back in 2004, Armin Van Buuren began releasingA State Of Trance mix albums in addition to his annual year mix which has become a staple of Armada Music. All tied into his A State Of Trance Radio show which is broadcast weekly from Amsterdam, the series, events, and imprint bring together some of the best artists in electronic music for fans around the world. During Episode 827, Armin brought forth a one-hour special forA State Of Trance, Ibiza 2017 to help get everyone hyped up on the compilation which dropped today.

Teasing some of the exclusive tracks off the album at the ASOT Stage during Tomorrowland 2017, this release has been on our radar and anticipated for quite some time.Broken into two parts, On The Beach and In The Club, the A State Of Trance, Ibiza 2017 compilationshows the duality of the electronic music paradise off the coast of Spain. Bringing fans a total of 40 tracks from artists ranging from Alpha 9 to KhoMha, with Gareth Emery, BT, and more getting some love too, this is a must-listen to compilation for any ASOT or Armada Music lover.

Download or streamA State Of Trance, Ibiza 2017 on your favorite platform here!

CD1 (On The Beach)

CD2 (In The Club)

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Grant has been listening to electronic dance music since the early 2000s. Actively involved in the EDM community, Grant is an admin for the EDC & Coachella subreddits and their Facebook groups. Previously he has been part of several EDM startups and promotion companies such as Shamele55, Electric State of Mind and Q-Dance. Originally listening to trance artists such as ATB, Armin Van Buuren and Paul Oakenfold, Grant has expanded his listening experience to include a full set of genres ranging from hardstyle to deep house and has been regularly attending both festivals and club events since 2010.

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Armin Van Buuren Drops 'A State Of Trance, Ibiza 2017' - EDM Identity

Op-Ed || Pure Trance Argues For The New Over 1999 – EDM Identity

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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Op-Ed || Pure Trance Argues For The New Over 1999 - EDM Identity


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