- Aug 23, 2022
- 287 Posts
- 271 Thanked
German-born DJ Hell has been spinning records since 1978 and has performed at some of Berlin’s most iconic venues, including E-Werk and Tresor. In 1992, he released the aptly titled My Definition Of House Music, featuring the title track on the A-side and, on the B-side, a remix by Resistance D., one of the defining acts of the early trance era.
While the original track serves as the artist's own definition of what house music should be, it’s perhaps no surprise that the remix by Maik Maurice and Paschalis Dardoufas brought it notably closer to a trance-like sound (infused with techno elements). Melodic and atmospheric textures begin to emerge, lending the track a more soulful and emotional tone. There’s also a subtle sense of rising tension and release woven into the structure, giving the piece a faintly progressive, evolving quality that foreshadows the hallmark dynamics of trance music.
Yet these components appear in a somewhat suppressed, fragmented way — as if the listener must mentally piece them together while vibing to the rhythm. It’s reminiscent of watching a film: composed of 24 still frames per second, yet perceived by the brain as continuous motion. Similarly, the fragmented trance impulses woven through the techno-house foundation seem to blend seamlessly in the mind, creating an experience that ultimately feels far more trance-oriented than one might expect.
If we look back and analyze the track retrospectively, it can arguably be categorized as a proto-trance work — much like Age of Chance – Time’s Up (Timeless) [1989], Techno Bert – Neue Dimensionen [1990], or The Martian – Star Dancer [1990]. These pieces were all rooted primarily in other electronic styles, yet each took distinct steps toward a nascent, emerging genre, helping to shape what would soon crystallize into trance music.
While the original track serves as the artist's own definition of what house music should be, it’s perhaps no surprise that the remix by Maik Maurice and Paschalis Dardoufas brought it notably closer to a trance-like sound (infused with techno elements). Melodic and atmospheric textures begin to emerge, lending the track a more soulful and emotional tone. There’s also a subtle sense of rising tension and release woven into the structure, giving the piece a faintly progressive, evolving quality that foreshadows the hallmark dynamics of trance music.
Yet these components appear in a somewhat suppressed, fragmented way — as if the listener must mentally piece them together while vibing to the rhythm. It’s reminiscent of watching a film: composed of 24 still frames per second, yet perceived by the brain as continuous motion. Similarly, the fragmented trance impulses woven through the techno-house foundation seem to blend seamlessly in the mind, creating an experience that ultimately feels far more trance-oriented than one might expect.
If we look back and analyze the track retrospectively, it can arguably be categorized as a proto-trance work — much like Age of Chance – Time’s Up (Timeless) [1989], Techno Bert – Neue Dimensionen [1990], or The Martian – Star Dancer [1990]. These pieces were all rooted primarily in other electronic styles, yet each took distinct steps toward a nascent, emerging genre, helping to shape what would soon crystallize into trance music.
