@ Light The Fuse- Thanks for supporting Voltaic! Glad you like the track. This is my first post on Tranceaddict BTW, so I hope this message comes through correctly

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quote:

Originally posted by rubez back in the day you were working against the tide to try and keep up with all the quality tracks being released. entire mix compliations were stuffed wall-to-wall with (what are now) classics, i'm not talking about having the benefit of cherrypicking classics from history - these were all contemporary! today it's a barren wasteland, with very rare glimpses of something resembling quality.

look at any of those classic wall to wall mixes that you hold dear to your heart and then look at the release dates of every tune - you soon realise that 90% of the tunes weren't released in the last week/months/year that the mix was put together.

the unrealised secret of so many of those classic mixes is that the tunes weren't all new at the time the mix was put together. today music is quickly digested - songs that would've been classics just disappear in a frenzy of diplo's next weekly release.

or did you miss steve birch's latest....or liquid souls album....or insert names new ep...or the lost language mix or the original tune in this thread...or simon templar/winkee's rise....or the new mekka or something

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Last edited by Light The Fuse on Apr-16-2014 at 16:13

There was all this same talk many many years ago when Glam Rock ruled radio and clubs, there didn’t seem to be an end… until the Punk arrived. There was a movement that rebelled against the masses and all started from a tiny 200 capacity club in Covent garden in London. It blew up because it was a breathe of fresh air away from the corporately controlled music industry. A big two fingers up.
There’s some amazing documentaries about this if you search.

Frankie knuckles did the same a decade later introducing House music and putting an end to disco’s domination. Again some great written info on this.

It’s all musical cycles that naturally come around. When something gets commercialised it produces a movement away from the masses, yes many of us are tired with the current for of Trance but believe me, I’m seeing a big movement of credible producers coming back to Trance. I’m not talking super saws and fart bass lines, but deep, dark underground, techno, beautiful complex melodies. All it takes is a small movement that produces a life line for many that believe in this sound.

There needs to be leaders that believe in Trance to keep it alive, I’m getting plenty of them around me taking that lead, good things are coming and you must believe in it… just as Frankie Knuckles and Sex Pistols did.
I’ve seen too many of these cycles in my career to know only good things are coming.

Last edited by John 00 Fleming on Apr-16-2014 at 16:10

thank you cowboy mike - after hearing voltaic i went through your back catalogue - some really great stuff there - you have a new fan in oz

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nice- I appreciate it! I've been full force on the production end for the last 2 years... Lots of new tracks/remixes on the way

Also @ John- Thanks for including Voltaic on GTG! I know you put a lot of thought into what tracks make it onto your show, so it's an honor

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quote:

Originally posted by Light The Fuse you listen to any 'classic 1992-1995 trance mix' and seriously its all hart-house with a little jam & spoon.

Really? As well as Eye-Q / Harthouse, you had labels like MFS, Logic, Superstition, Suck Me Plasma, Platipus and many more consistently putting out classic trance records. You had massive events at huge German clubs like Dorian Gray, E-Werk and Omen. Read this article: http://trancentral.st/mm.html Trance was actually big business in the dance scene in the early '90s. To compare the scene now to then is just laughable if you actually examine the evidence closey.

In fact, what is often glossed over in these revisionist Internet narratives about pure, classic trance is the scene enjoyed a boom and then faded away almost to nothing by 1995-6, and only then started resurging, primarily through the goa scene. Go to the Muzik Magazine archive (http://www.muzikmagazine.co.uk/index.html) and read some old issues from 1995/1996. They didn't even have a page reviewing trance singles in 1995. In 1996 they review a Cygnus X single and Laurent Garnier, the guest reviewer, states "I have to say, Eye-Q are living in the past. This sort of record sounded really good two years ago, but now I think they should move onto something else", while the magazine themselves state "It's taken Germany a long time to recover from trance going pop" (http://www.muzikmagazine.co.uk/issu...anuary_1996.pdf).

What actually happened was the German trance sound was big around 1993 but became commercial and faded from popularity, resurfacing a couple of years later. So how does this fit with your supposed "20 year cycle"? The truth is, there is no parallel between the early '90s trance scene and today. The cultural and musical conditions of the early '90s were completely and utterly different from today. Trance had a cultural resonance that is simply missing now. Despite all this talk of "cycles", a close and objective analysis of the facts reveals that these cycles only exist as very vaguely, loosely applicable archetypes of regeneration that cannot usefully predict anything. Spotting cycles is the human trend for pattern recognition, something that often leads us to draw parallels and make connections where the data is spurious at best. Ionically enough, that's what leads to superstition.

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quote:

Originally posted by SYSTEM-J What actually happened was the German trance sound was big around 1993

I'm pretty sure German trance wasn't big around 1993. It was underground, rapidly emerged in 1994 and went of like a rocket.

The German dance chart around the same period as in the Music Magazine (page 58) looked nothing like the UK one: http://ki.informatik.uni-wuerzburg....dan_080495.html

Best page of the magazine was page 74 though, which I happen to have in my collection (bought in Germany) :http://www.muzikmagazine.co.uk/issu...1_june_1995.pdf

I think this shows pretty well what was hot around 1993 at Germany:http://www.discogs.com/Various-Tech.../release/103086


Also many well known compilation series like the Trance Nation and Dance Opera (Belgium) started in 1994, also the year that the Trancemaster compilations went to double cd's.

I don't understand why mix compilations get mentioned that often. Most popular in my opinion where the non-mixed complications as those you could use to make you're own compilations on cd (years later) or tape. Mixed compilations sucked for that and also the tracks often were too short.

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Originally posted by Trance-M Best page of the magazine was page 74 though, which I happen to have in my collection (bought in Germany)

The one with the Drexciya rant? Funny how he's going off about almost the exact same thing as many trance fans are these days.

I get a kick out of pg. 84, where "John Pleased Wimmin" reviews 'Clutchbag' singles like Faithless' Salva Mea and Underworld's Born Slippy EP, "Muff Fitzgerald" reviews 'Hardbag', and a Police remix EP earns the coveted 'Ashtray Of The Month' Award.

God, I wish we still had music journalism like Muzik.

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quote:

Originally posted by Sykonee singles like Faithless' Salva Mea and Underworld's Born Slippy EP

I have many Faithless singles too, like 16 I think, starting with Salva Mea.
Born Slippy @Trancemaster 10 in 1995.

I was surprised to see that compilation in a Tranceless magazine.

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quote:

Originally posted by John 00 Fleming Re a comment regarding JOOF releases, JOOF tracks are not meant to be memorable they are DJs tools aimed squarely for the dance floor and not for radio. That's always been my ethos, being a traditional DJ.

I'm sorry but music has to be memorable, it has to portray a human experience of some sort.

Of course filler tunes need to exist for DJ's to have a dynamic set, but the tunes which "represent" the set and the label needs to be special, different and memorable.

"Sunburn" and "The 10th Life" are great tunes that represent what i want to see more of in today's Trance but we need more versatility from other producers as well.

quote:

Originally posted by John 00 Fleming J Re a comment regarding JOOF releases, JOOF tracks are not meant to be memorable they are DJs tools aimed squarely for the dance floor and not for radio. That's always been my ethos, being a traditional DJ.

Then I ask why do you sell the tracks in the first place in the download charts if they are not meant for home listening? I am not a regular clubber but I only got into the music purely based on the fact that the tracks were enjoyable listening from home. Please note that I hate the stuff being churned out the commercial edm/pop guys.