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The Evolutionary Perspective
Category Archives: Trance
Manju Warrier joining Padavettu to Trance release, here are the weekly highlights of Mollywood – Times of India
Posted: February 27, 2020 at 2:27 am
From new announcements to big releases, the week that followed the Valentines Day was quite good for M-Town. From the Lady Superstar of Mollywood Manju Warrier joining the Nivin Pauly-starrer Padavettu to the grand release of Anwar Rasheeds Trance, heres taking a look at the most interesting news from Mollywood this week.Manju Warrier joins the Nivin Pauly-starrer 'Padavettu' Manju Warrier is on a race to chase some of the good projects in showbiz. After bagging a role in the Mammootty-starrer 'The Priest', the Lady Superstar has now joined Nivin Pauly-starrer 'Padavettu'. Manju is teaming with Nivin for the first time. Thank you @nivinpaulyactor @sunnywayn for making me a part of #padavettu. So excited to be part of this sure-shot blockbuster!, Manju wrote on her social media handle after joining the movie's set.
'Hridayam' goes on floors Yet another stellar movie in Mollywood! Vineeth Sreenivasans directorial, Hridayam, which has Pranav Mohanlal and Kalyani Priyadarshan in lead roles went on floors this week. Makers of the movie have started shooting at Palakkad. Mohanlal and Sreenivasan have worked together for Priyadarshans directorials which were huge hits and hence their kids are teaming up together for Hridayam. The movie also brings back the popular production house Merryland Cinemas back.
Antony Varghese in 'Dev Fakir' After giving a top-notch performance in critically acclaimed 'Jallikattu', Antony Varghese Pepe has signed yet another movie titled 'Dev Fakir'. Directed by Zac Harriss, the movie is scripted by 'The Great Father' fame Haneef Adeni. The actor will be seen in a 'mass' avatar in the film. Antony Varghese has also signed up for a couple of movies including 'Falimy' and 'Ajagajantharam'.
Posted: at 2:27 am
Mike Zaloxx, a Swiss DJ and producer, has been passionate about electronic music since the young age of 12. He started to look into music production around that age, and it wasnt until he finished with school that he could devote even more time into intensive producing sessions in which lead to what you can find in his growing discography right now. Playing around with genres such as big room, deep house, future house among others, his latest release takes listeners into the uplifting realm of trance.
Saving Nightis all about pure instrumentals, and it lets the beat do the talking. It features the elements of trance that fans of the genre love so well such as the pulsating synths at the start, mixed in with moments of euphoria and droplets of pure electrifying energy. All in all, Saving Night is a perfect representation of what makes the trance genre so well loved and will surely be taken in lovingly by the community. This is Zaloxxs first release outside of the big room/house genres, but it feels like hes been making trance for years and years on end, showcasing a natural talent for it. With the attention gained for far from this release (with over 100,000 plays on the radio edit on Spotify), its safe to say that Mike Zaloxx will be shifting his focus to trance, and we can expect more tracks in this direction from the talented artist during 2020.
Listen to Saving Night below, and keep an eye out for new releases by following his Instagram page here.
Posted: at 2:27 am
Plurnt up, Chicago! From glovin to shufflin and everything in between, rave in some of the greatest EDM clubs in Chicago. Kandi Kids and Rave Bunnies unite for the nights that never quit!
This bi-level River North bar is a staple for EDM aficionados as well as fashion-forward Chicagoans and visitors alike. Imagine youre in a dark space, with loud music, beats, and then occasional flashes of lights in a show. Its as if youre in a literal soundbar, which is partially true. Enter: River Norths Sound-Bar. The first level, or main stage, is for electronic music come here for acclaimed DJs. If EDM isnt your groups favorite music genre, send them downstairs to the second floor, which focuses more on throwbacks and hip-hop tunes and remixes. Sound-Bar brings a whole new level to the going-out experience in Chicago, such that youll feel like youre at Spring Awakening (just inside!).
Basements have never been so elevated! Take your evening to new heights at Spybar. Find yourself in the beats and lose yourself in the lights while you dance the night away. Spybar is the ultimate lounge and bar for connoisseurs prog, trance, and house music. Order a strong drink, watch the lights, and en-trance yourself into a melodic evening.
Do you like to stay up until the wee hours of the morning dancing to the drop and the bright lights? How does 5 am sound? Get your PLUR on at smartbar in Wrigleyville. smartbar brings a lot to the dance floor for you and friends- including a disco ball, lights, and national/international DJs. With a capacity of 400 dancers and fist-pumpers alike, smartbar pairs the beats with strong drinks and reasonably priced shows (free on Thursdays, $15 after midnight on weekends). Be smart about your night in Wrigley: skip the snapback and go to smartbar.
Three cocktail bars, two dance floors, one unforgettable evening *cue the beat drop.* Home to Pretty in Pink on Wednesday evenings and host to famous DJs (Louis the Child, for one), Prysm Nightclub brings an edgy flair to the edge of Chicagos quaint, Kingsbury Street. Also, they have lasers so be prepared for an unrealistically bright evening. Keep up the tempo and drops going if you can until 5 am on Saturdays.
*Note: Be sure to follow the dress code!
Above a famed country-style establishment in River North, is Tunnel (ironically not in the basement). Go up the stairs and follow your hearts true desire: beat drops and LED lights. Tunnel has created a high-energy atmosphere thats even, gasp, sultry. Complete with massive tufted-lounge seating and intricate light fixtures (that sync up to the beat!), Tunnel harnesses the musics energy and inspires dancers, shufflers, and light enthusiasts to get PLURNT!
Heres to your evening full of PLUR, kandi, and lights!
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Posted: at 2:27 am
Indian tennis ace Leander Paes recollects what went through his mind en route to the nations first individual Olympic medal in 44 years.
Ever so often, there comes a time when the stars align in perfect symmetry for athletes to do no wrong. The zone, as it's commonly known, isn't frequent but it is the holy grail for athletes as Leander Paes found out at the 1996 Atlanta Olympics.
After losing the first set and when I was serving at 1-2 and 30-40 in the second set, something magical happened. I got into what we athletes call the zone where you dont really remember what happened for that 45-minute period, Leander Paes shared in an exclusive chat with the Olympic Channel.
Down a set against Fernando Meligeni in the bronze medal match at Atlanta 1996 and staring down the barrel with a break-point to save in the second set, Leander Paes shared exactly how he went on to bring home Indias first individual Olympic medal in 44 years.
When I saved the break-point, won that game 2-2, won the second set and served for the match at 5-4 in the third, I got into a zone, he said recalled still trying to make sense of that magical night at Atlanta, now steeped deep in Indian sports folklore.
I dont even remember the points because I was in such a trance. Thats why I talk about a mystical and magical experience when you play for 1.4 billion people. When you go out to play the Davis Cup or the Olympics, its a different feeling altogether, he added.
Athletes across multiple disciplines have spoken of being in the zone in the past. Its believed to happen when an individual enjoys a supreme state of focus that allows them to compete at their peak.
In essence, when Leander Paes and other athletes have been in the zone, they were completely immersed in their craft and absorbed by what they were doing to the point where only they and their objective existed in the nexus of space and time.
Getting to that state isnt easy or frequent but Leander Paes believes much of it is mind over matter, as he discovered in 1996 Atlanta.
After losing to (Andre) Agassi in the semis (where he had ruptured a few tendons in his wrist), I was in a hard cask for 24 hours and the morning of the bronze medal match where I came to play Fernando Meligeni, I realised that it was more mind over matter on that day, Leander Paes explained.
For all his mental strength and tenacity, its worth pointing out that Leander Paes did prepare for the 1996 Olympic Games meticulously.
You know, I prepared for Atlanta very specifically. As soon as (1992) Barcelona finished, I spent four years preparing for Atlanta.
I even took time off the Pro tour to play in tournaments that have high altitude. It resembled the conditions that were there in Stone Mountain, Atlanta. I played in all the hard courts with high altitude in South America, he added.
When he eventually did get to Atlanta, though, the draw wasnt very kind to him.
When I got to Atlanta, I saw that I had drawn Pete Sampras in the first round and all my contemporaries were tapping me on the back and telling me bad luck, its a tough draw. But I somehow felt that there was a magic about Atlanta.
There was something magical and mystical which is very hard to put into words. But Pete Sampras pulled out, as history will tell, and Richey Reneberg came in for him and I beat him in three sets.
As it turned out, Leander Paes instincts of something magical unfolding at Atlanta proved to be bang on the money. His bronze in the singles that year is still the nations only medal in tennis at the Olympics. Its also a source of goosebumps to the million Indians, who can still recall his finest hour.
Trying to articulate how I feel gives me goosebumps even in a warm room because the magic of playing for my fellow Indians far supersedes when I play for myself in an individual tournament, the seven-time Olympian said.
With the 2020 Olympics just around the corner, Leander Paes will be hoping for one last hurrah in his final year as a professional in the tennis circuit. And Regardless of whether he can find the zone again, you can rest assured that a billion Indians will be backing him to conjure another magical date with destiny in keeping with that transcendental night at Atlanta.
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Mickey Hart reflects on New Orleans key role in the development of American music.
To celebrate Mardi Gras 2020, were revisiting this article from ourApril/May 2019 issue ofRelix, honoring 50 years of Jazz Fest.
Congo Square deserves to be recognized, Mickey Hart asserts. It is sacred ground, and we need to recognizeits importance. American-based music emerged from theculture that inhabited Congo Square in the 1800s. Most peoplehave no idea what has happened there, but we should never forget.We need to take care of it.
Among his many passions, the Grateful Dead drummer hasmaintained a focus on the history and mythology of music, whichhe has explored in books such as Planet Drum: A Celebration ofPercussion and Rhythm, Drumming at the Edge of Magic, SpiritInto Sound: The Magic of Musicand Songcatchers: In Search of theWorlds Music.
As Hart looks back on his development as a musician and a musicologist, he explains that, while he was drawn to the drums from an early age, his scholarly exploration of the instrument didnt manifest itself until years later. At first, I had no idea about any of this, he says. It reached out to methe ghosts of Congo Square grabbed me around the neck and wouldnt let me go. All I was doing was dancing and listening to Tito Puente, Machito, Tito Rodrguez and all the great Latin bands that were coming out of New York in the 30s, 40s, 50s. These rhythms hit the city street, and they transformed into dance music, into what we know as Latin music now. Thats how music worksyou usually base your knowledge on the body of work that preceded you, and you practice it and learn it, and then you make your own music with it, eventually. Thats what happened to the Grateful Dead, and thats what happened to me.
When I started writing my books Drumming at the Edge ofMagic and Planet Drum, back in the 70s and 80s, he continues,that was when I did all the research to find out what the historywas to what I was doing. Why was I practicing 12-15 hours a day?I had no idea. I was putting myself into a trance but I didnt knowanything about all that stuff back then. It took about 12 years ofresearch to write Drumming at the Edge of Magic, tracing whywe drum, what rhythm is all about and the history of itthebrotherhood and the sisterhood. Where did it come from? Whyam I drumming until I collapse? Why do I do these things to playmusic? Why do we play in the driving rain? Whats it all about? Andthen I discovered these rhythm cultures, which are some of themost powerful cultures on the planet. So, it was just in the ether;it was in the air. I was totally into big-band music. So, you bringyour influences forward into whatever you do, and you change itand you mutate it. It all started on the docks of New Orleans in the1800s, and wound up right here today.
Youve said that there isnt a more important city to the birth of American music than New Orleans. Can you trace the origins of that sound?
When you think about the music of New Orleans, you have to start in West Africa with the slave trade. The diaspora traveled to Brazil, Central America, Haiti, Cuba and, eventually, to New Orleans. There was a Haitian revolt beginning in the 1790s, which resulted in an influx into New Orleans of the West African slave trade. [Haiti expelled the French colonial government during a revolution that lasted from 17911804.] In many cases, these slaves brought musical instruments.
Now, the interesting part of all this is that, when they got there,the instruments were taken away. They were allowed to practicein Haiti, Puerto Rico and the Caribbean but, as soon as theygot to New Orleans, the slave owners, fearing Vodun practicescelebrating the gods Ogun, Shangoall these great gods of WestAfricalimited this practice and they did what they could toCatholicize those same gods.
However, on Sunday, the slaves were allowed to practice their rituals in two placesone in Congo Square and the other in Lake Pontchartrain. Here, they were supervised because they were afraid of slaves going into a trance, and these were trance-based religions from West Africa. So, they were allowed to play on Sundays, and between 6-8 p.m. there would be a shot. Thats when they would move into a trance. They would bring in the loa, which inhabited their bodies, in what is a classic possession trance ritual. And these trance-based religions were driven by the trance drums, often using the bat, specifically, which would become congas. Pontchartrain and Congo Square became the real nexus of everything in American backbeat. All the American music like jazz, rap, rock-and-roll, bluesthat all came out of this influx of slaves into New Orleans, where all these trance-based religions were driven by the drums.
If we jump ahead to 1900, then compare the beats of New Orleans to Ghana across the ocean. To what extent were those sounds transformed by interacting with other sounds on American soil?
They mutated, although the rituals were the same. They were going after the loa, going after the trance. And thats the important thing to understand. It was for pleasure, but their pleasure was contacting the gods, and the only way to do that was through these dances. There was no dance without a rhythm, and no rhythm without a dancethey were inseparable. These public gatherings were really frowned upon. So they used to call them entertainments.
Eventually, they were able to keep their drums. After the 1800s, they were allowed to start to have their drums and practice their own rituals. For awhile there, people were selling tickets for others to watch them. There were people in buggies up on the hillsthe whites were watching the rituals from their hillside in New Orleans, watching Pontchartrain and Congo Square. All of this came to an end in 1870 or 1875 when the first Jim Crow Act forbid blacks to freely assemblethats when the dances stopped.
But, a lot of things came out of that, like the instrumentsthe bass drums, the wood blocks, the cymbals, all the African instruments. Sometimes they changed form, but they were pretty much the same instruments.
Meanwhile, the music traveled by way of the Mississippi Riverover to Kansas City and up to Chicago, and it wound up every placein America.
You also cant forget Storyville [New Orleans red light district];thats where ragtime began. You also have the brass bands emergingat this time as well.
New Orleans is Mecca; its the birth place of American music.Its where all those rivers came together and birthed what weknow as our music. And all this history goes back to those fieldson Congo Square.
In Drumming at the Edge of Magic, you also describe how all these rhythms led to a new American instrument.
Yes, the effort to power these new rhythms led to the creation of the drum set, which is incredible. Its one of the only great American instruments and it took the tom-toms from the East, the cymbals from Turkey and some of the other things I just mentioned. Wetook all these different elements from around the world, and wemade what we call a contraption, which was shortened to traps,the American drum set.
Can you talk about the clave rhythm, which also is a product of the diaspora?
The clave means key. The key to everything; the key to the rhythms. That was picked up by Latin music like Tito Puente, Machito and all those New York bands who were playing the clave that was coming out of the rhythms of West Africa. They picked up on it and realized you had to revolve around this one rhythm. All these rhythmic patterns had some version of the clave, which was a repeated pattern where everybody knew the first part of the rhythm and the second part, and it repeats over and over. The one thing that stays constant is the clave. It was derived from the West African rhythms and, of course, it was taken into the new lexicon of the New World.
Thats what you hear in Bo Diddleyhe picked up on it. Buddy Hollythats clave! The Rolling Stones, the Grateful Dead. We all love clave. I was teethed on clave. Thats where I came from. One of the things I brought into the Grateful Dead was a bit of the clave. Bill and I played that really well; we love clave. Not everyone loves clave because it has a rolling rhythm to it, which is not so easy for people to pick up on. But once you do, you realize it is the key to everything, rhythmically.
This article originally appeared in the April/May 2019 issue of Relix. For more features, interviews, album reviews and more, subscribe here.
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Posted: at 2:27 am
In May this year,Armin van Buurenwill embark on his series of shows titledThis Is Me. Some of the most special shows of his career so far, it will celebrate his achievements and successes through his music career when he started all the way up to present day, and will be uniquely intimate in the iconic venue Ziggo Dome. Now, these shows have the age limit of 18+ (like most electronic shows that go on through the evening), but Armin has announced something that will allow children to be involved in the action too. Together with events companyALDA(who have been responsible for hosting a lot of Armins events in the past and will be alongside him for the This Is Me shows), van Buuren has announced his This Is Blah Blah Blah show.
The all ages show will be aimed at those under 18 who still share the same passion for trance music as adults, and who wouldnt usually get to see the trance king in action. The afternoon show slots into the schedule of the other shows and will also take place in the Ziggo Dome. Explaining his reasoning behind the show and its concept, Armin had this to say:
I want to spark the younger fans with my love for music, having fun on stage, doing what I love most. Thats why I decided to add an all-ages show to the This Is Me series on Saturday May 23rd, called This Is Blah Blah Blah. This one is for all my fans who arent able to visita regular 18+ show. But most of all, this one is dedicated to my kids.
Taking place on Saturday23 May, you can now sign up the Armin van Buuren This Is Blah Blah Blah ticket pre-sale by clicking here, which starts Thursday 27 at16:00 CET. Get ready to be a part of something truly special!
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Paul van Dyk and Dermot Kennedy lead strong live music weekend at The Ritz in Ybor City – Creative Loafing Tampa
Posted: at 2:27 am
Irish songwriter Dermot Kennedy kicks off another strong weekend of shows at The Ritz, but the real attraction over the next few days is a Saturday set from German trance giant Paul van Dyk (pictured) whos fresh off the release of a reflective new single, Duality.
The anthem is from a forthcoming album, Guiding Light, which is a reaction to a horrific fall the 48-year-old had at the 2016 edition of Utrechts A State of Trance festival. More information on both shows is available via theritzybor.com.
Follow @cl_music on Twitter to get the most up-to-date music news, concert announcements and local tunes. Subscribe to our newsletter, and listen to us on WMNF 88.5-FMs Radio Reverb program every Saturday from 4 p.m.-6 p.m.
Posted: February 15, 2020 at 10:59 pm
2020 Indian Malayalam language film directed by Anwar Rasheed, released on 20 February 2020
Trance is an upcoming Indian Malayalam language film directed and produced by Anwar Rasheed and written by Vincent Vadakkan. It features Fahadh Faasil in the lead role, playing five stages of his character's life, along with an ensemble supporting cast of Nazriya Nazim, Soubin Shahir, Vinayakan and Gautham Menon. Amal Neerad was the cinematographer, while newcomer Jackson Vijayan composed the songs for the film. Resul Pookkutty was the sound designer.
Filming was completed on 1 September 2019. The film is now set to release on 20 February 2020.
Trance was produced by Anwar Rasheed himself. The film marks the debut of Vincent Vadakkan as screenwriter. Rasheed was earlier supposed to direct a short in 5 Sundarikal (2013) based on the screenplay by Vadakkan. But it did not work out as he did not got the right cast. Later, Vadakkan narrated the story of Trance, but then he was not ready to produce the film because of its high production cost. Rasheed had Fahadh Faasil in mind for the lead role then itself. Later, Fahadh happened to hear the story from Vadakkan and insisted Rasheed to reconsider the project. By then, the storyline had changed and bankability of Fahadh had also grown and Rasheed was confident in producing the film.
The first look poster of Trance was released by Anwar Rasheed. A week-long first schedule of filming was completed in December 2017 in Mumbai. For the first time in Malayalam cinema, Bolt High Speed Cinebot cameras were used to shoot some scenes in the film. The film is shot with sync sound. The film was shot mainly in coastal Kanyakumari, across various locations in India and Dubai, and the climax was shot in Amsterdam. In July 2019, it as reported that Trance is expected to cost close to 20 crore when it completes production. Filming was completed on 1 September 2019.
Its release was postponed multiple times. The film was initially scheduled to be released on 22 March 2019. Then there were plans to release the film during Eid al-Fitr (June) but was later shifted to Onam (September) due to pending visual effects work. Release date was again scheduled for 20 December 2019 before postponing to February 2020 due to delay in post-production work. Then it was scheduled to 14 February 2020 on Valentine's Day. But the regional Central Board of Film Certification in Thiruvananthapuram referred the film to a revising committee in Mumbai since Rasheed was not willing to cut a 8-minute long sequence that could hurt religious sentiments. Now the film is all set to release on 20 February 2020.
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Posted: at 10:59 pm
Sporadically throughout the evening, a faint chant could be heard across the venue. As enthusiasm built, fan engagement increased the chant's volume before it eventually consumed the room. At its climax, the mantra was unavoidable and permeated the audience in a way rarely seen in trance shows.
"BRYAN. BRYAN. BRYAN FUCKING KEARNEY."
The chant has developed into a sort of hymn for fans of Bryan Kearney. The Irish DJ and producer has garnered an extensive following within the trance community, primarily due to his ability to transcend the genre with his many projects.
A fan of dance music himself, Kearney, alongside fellow trance DJ John O'Callaghan,was an avid clubgoer as a teenager. The Irishmen recalled their youthful ventures through various Dublin nightclubs in the mini-documentary,Tales From The Temple.
Apart from depicting how Kearney took his first steps in turning his DJ hobby into a full-time career, thefilm also shed light on the inception of his successful project with O'Callaghan, Key4050.
Derived from the access code from the Dublin apartment O'Callaghan stayed in, Key4050 has been showcased in music festivals around the world including Dreamstate SoCal. The enterprise generated plenty of new material, the majority of which ended up on their debut album, also named Tales From The Temple.
As label head of Kearnage Recordings, Kearney is preparing to deliver plenty of new music in 2020. His first release of the new decade is"Snarl,"a club banger that has been reverberating through speakers since last spring.
We caught up with Kearney on the heels of his four-hour-long set at Academy LA. As his first time back in Southern California since his two performances at Dreamstate, Kearney spoke on the hectic times leading up to the trance festival.
EDM.COM: This was your first time in Los Angeles since Dreamstate SoCal back in November. Take us back, how was that experience for you?
Bryan Kearney: It was a great experience. Dreamstate is always one of the standout events of the year. The lead up to the event was quite intense with a huge amount of time spent in the studio in preparation for both my solo performance as Karney and as Key4050 alongside John O'Callaghan.
What kind of preparation was needed for your two Dreamstate performances?
September to November were intensive months of touring with shows all across the world on a weekly basis. It was a real challenge to balance the touring, studio and personal life during this period.
It was during this time where I stopped drinking alcohol at my shows in order to give my body and mind the best opportunity to focus on the tasks at hand. I tend to work better when I have something to focus on, such as a Karney set where the intention is to play as many new tracks as possible, the same with Key4050. John and I are continuously working on new material to introduce to our live shows.
And how did those two very different sets turn out for you?
I was really happy with how the Key4050 set went. We played a lot of new tracks for the first time and the crowd seemed to enjoy it, which is always the most important thing. We finished our set on the main stage and I then had my Karney performance on the Vision Stage an hour later. I really enjoyed that set. The crowd was really up for it, the area was packed and full of people that really knew their music, the diehards.
I had put a huge amount of work and effort into that 60 minutes of music, especially on the brand-new dark dub of "By My Side." That was a track that I spent an abnormal amount of time on. It was a very intensive day but it was all worthwhile in the end.
It can feel quite surreal at times to fly halfway across the world and then to be onstage playing in front of 10,000 people in a matter of hours, trying your best to process everything that is going on and to give the best performance you can.
How was the fan reaction to both of those unique performances?
I don't read comments on Facebook, Instagram, or Soundcloud and I haven't looked at my Twitter mentions in over two years. The only thing that I look at in terms of direct feedback is DMs on Instagram. I'll check the stats of a post but I won't get distracted by the comments attached to it.
At the end of the day, I have absolutely no control over what people think about me or my music. All I can do is perform to the best of my ability in the studio and onstage and the people can then make their choice based on their own subjective opinion.
Not everyone is into the techier side of dance music and that's fine. I am and I always have been. The Karney project allows me to showcase my darker creative side. Some people will prefer the trancey or vocal stuff, etc., but this sound is equally as important to me. I'm excited at how the project has developed over the past couple of years and I'm sure the music will continue to improve. It's a constant learning process.
How have you seen the Key4050 project grow?
I think we sort of take for granted how much the project has grown over the past few years, but I think that's always going to happen when you're so deeply involved in something. It's only when you step back and take a breath that you can see how much has been achieved in such a short amount of time.
Key4050 started out as a bit of fun in the old Music First studio. There was no plan or anything in place. I had a mess about on Cubase, got some rough ideas down and went home. I came back in the next day and John was after transforming the track into the final version of "Dinklebot."
From there we just kept on adding to a growing discography of Key4050 music. We released an album containing 32 tracks around this time last year, and we embarked on a worldwide tour throughout 2019. We now have a huge amount of original music and we are adding to it all the time.
We made our first vocal track in September 2019 called"I Love You" with Plumb, and this has been our biggest track to date. That track is set for release very soon.
Speaking of Key4050, about a year ago you released the YouTube mini-documentary Tales From The Temple. What inspired you guys to take viewers on a trip down memory lane?
We wanted to give people an insight into the project and a detailed backstory of Key4050. We wanted to show people where we came from, the people that inspired us, the experiences we had, and the part that they played in the project.
We were both clubbers and lovers of dance music and were always obsessed with music and everything to do with it. Key4050 draws inspiration from all of our past experiences but is produced in a modern-day production style. The documentary gives a detailed account of the Key4050 story, the venues that we attended, the DJs and producers we idolized, and how we took our first steps in turning a hobby into a full-time career.
Social Media is usually all about presenting this perfected, idealized version of yourself to the world. This documentary cut out all that and gave the viewer a proper insight into the history and story behind Key4050.
If you come from the same era of music as us I think it will resonate with you, but it can appeal to people only new to the scene as well.
The latest release out of your label is "Snarl." What can we expect from that track?
"Snarl" is a track that I've been playing in my sets since April of last year after its debut at Subculture Belfast. It's a simple enough track, to be honest, designed for impact in a club. It's out now on Kearnage Recordings. It's the first of a number of Karney tracks that will be released in 2020.
You indicated online that there are a number of new releases for 2020 out of Kearnage. Are there any that we should keep an eye out for?
I don't look too far ahead when it comes to releases on the label. I've recently signed a couple of great tracks from Will Rees and Paul Denton and they will be released over the next couple of months. I have a number of Karney tracks to put out this year and there will be a number of Key4050 tunes released on the label, too.
You had a great kickoff to 2020 with your extended, four-hour set Academy LA. Out of all of your upcoming 2020 gigs, do you have any that you're looking forward to?
The show at Academy was unreal, I'd probably put that as my favorite U.S. club show to date. I suppose the main show that I'm looking forward to at the moment is A State of Trance 950 in Utrecht where we are playing as Key4050 for the first time. ASOT is the springboard for the rest of the year in terms of new music. I'm really excited about that show.
Finally, what is your favorite subgenre of trance?
I don't believe in genres. I don't believe in limitations when it comes to music.
Posted: at 10:59 pm
For nearly 30 years, German DJ and producer Paul van Dyk has been a purveyor of the truest trance sounds. He was one of the first international superstar DJs, and he remains aforce on and off the decks.
Case in point: "Duality," hisfirst official release for 2020, perfectly bridges the gap between the thumping beats of his early days and the limitless techniques of the future.
"Duality" is straight up for the club. It rips open with a hard dance floor beat, but as all good trance will do, a stirring synth melody washes over bringing with it a river of emotion. A rush of thoughts and feelings, the single captures the yin and yang within us all.
Duality is a state of mind you find yourself in," van Dyk tellsBillboardDance."The brain is still echoing the strongest signals of how youve become used to seeing yourself: completely fit and vital and able to do everything. The truth is that your body is not currently capable of doing all those things, putting you in a surreal existence. This track is about starting to resolve that duality.
It's a rather quick tune, clocking in at just less than four minutes, and yet "Duality" opens your heart to a myriad of feelings.
It's out everywhere Friday, Feb. 14, the second single from van Dyk's forthcoming LPGuiding Light,but you can listen to it below on early exclusive onBillboardDance.
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