- Aug 23, 2022
- 197 Posts
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PROJECT INFORMATION & FAQ
The book
I have been writing a book about (classic) trance music since late 2020. Up until August 2022, I mostly worked on it occasionally. Since then, this project transformed into something larger than I anticipated/planned, and working on it became one of my core daily routines/activities. The work is ongoing, although I would expect the book to be finished/published no sooner than 2027 (and no later than 2030). To learn more about the book's main goal and what I aim to achieve with its publication, click on the 'FOCUS' chapter. To learn more about its structure, click on the 'CONTENT' chapter. To learn more about the working process (that the post's title refers to) and why it will probably take multiple years to finish the book, click on the 'RESEARCH' chapter.
I find it critically important to clarify what this book will be and won't be (or at least, what will and won’t be the main focus of it) to set the proper expectations for it and avoid any misunderstanding/confusion. So let's start with what it won't be (about). The book won't be history, statistics, or fact-focused. What do I mean by this? Well, to give a few examples, it won't be about explaining in a strict, 'academic way' what trance is or how it was born and how it evolved, changed and branched into different subgenres through the years. Similarly, I don't plan to regurgitate data about how X and Y popular trance tracks topped the charts in Z year. There are two reasons for this. First, many projects already covered these topics quite well (some in books and some in a freely available online form). Second, it's not something that particularly interests me as a writer. Of course, this doesn't mean that the book won't have snippets of historical (and other previously mentioned) information here and there (where it makes sense), but the focus will lie completely elsewhere.
This book is supposed to be a musical and spiritual journey through the different sounds of trance and a deep exploration of what music can be (and how it could affect people on an intellectual and emotional level). I intend to do this by carefully curating music into different categories (chapters), each representing certain themes, sounds, and aspects associated with trance. In these chapters, I plan to analyze the chosen tracks to try to get a better understanding of them and also demonstrate the many sides and nuances of the genre at the same time. Naturally, these music dissections will often involve exploring the tracks’ potential meaning, spiritual, emotional, and intellectual depth, background history, cultural effect, etc. This more involved/serious approach toward music is what brought the book’s idea to life to begin with, and this will be one of the defining pillars of the writing process (from the start all the way to the end).
This book is supposed to be a musical and spiritual journey through the different sounds of trance and a deep exploration of what music can be (and how it could affect people on an intellectual and emotional level). I intend to do this by carefully curating music into different categories (chapters), each representing certain themes, sounds, and aspects associated with trance. In these chapters, I plan to analyze the chosen tracks to try to get a better understanding of them and also demonstrate the many sides and nuances of the genre at the same time. Naturally, these music dissections will often involve exploring the tracks’ potential meaning, spiritual, emotional, and intellectual depth, background history, cultural effect, etc. This more involved/serious approach toward music is what brought the book’s idea to life to begin with, and this will be one of the defining pillars of the writing process (from the start all the way to the end).
In the previous chapter, I already made it clear what will be the main focus of this book. Essentially, it will feature detailed analyses of hundreds of trance tunes from the classic era, curated into specific categories that serve to highlight the different aspects of trance music. To elaborate further and give some actual examples: there will be a chapter solely dedicated to tracks with a cosmic, space-like sound or theme. Tracks like Armin - Communication, Absolute Project - Life Search (Trance Mix), or Aurora Borealis - The Milky Way. Another chapter will focus on experimental and genre-bending tracks that did push trance into new and interesting ways. The Francesco Farfa Remix of Mystic Force’s Mystic Force, Bedrock’s Set In Stone, and the Dream House Remix of R.A.F. By Picotto’s Ocean Whispers are all great examples. There will be 25 chapters, with 500 (or possibly more) tunes discussed extensively.
While this covers the majority of the book, at least 100 pages will be dedicated to other topics, with possibly the largest being the planned interviews. I intend to talk to as many trance producers as possible to see behind the curtain. I want to learn how certain tracks were made, what was the inspiration behind them, and what these artists would name their favorite picks from the genre. I have already contacted some key figures from the early trance scene.
There will also be bonus/extra chapters in the book focused on topics like the greatest trance tracks of the classic era (by considering many factors, such as each track's emotional effect, historical significance, etc.), and who are the most important trance producers (based both on the quantity and quality of their work). I’d also like to discuss other things on a few pages, like what are the ten crucial differences between modern ‘trance’ and classic trance music, what the possibles routes are that trance producers should take/explore to rediscover what the genre is about, what were the key periods of the classic era, and a half-subjective, half-objective explanation of what trance music is (or should be).
While this covers the majority of the book, at least 100 pages will be dedicated to other topics, with possibly the largest being the planned interviews. I intend to talk to as many trance producers as possible to see behind the curtain. I want to learn how certain tracks were made, what was the inspiration behind them, and what these artists would name their favorite picks from the genre. I have already contacted some key figures from the early trance scene.
There will also be bonus/extra chapters in the book focused on topics like the greatest trance tracks of the classic era (by considering many factors, such as each track's emotional effect, historical significance, etc.), and who are the most important trance producers (based both on the quantity and quality of their work). I’d also like to discuss other things on a few pages, like what are the ten crucial differences between modern ‘trance’ and classic trance music, what the possibles routes are that trance producers should take/explore to rediscover what the genre is about, what were the key periods of the classic era, and a half-subjective, half-objective explanation of what trance music is (or should be).
I’m a maximalist (regarding this passion project of mine, anyway). My original plan was to go through all the major trance compilations and radio shows of the classic era (D.Trance, Tunnel Trance Force, Future Trance, A State Of Trance, etc.) and combine that with my previously acquired knowledge to write a book. However, as time went on and my ambitions grew, I realized that I could only get the full picture and make the most authentic and trustworthy book possible if I had all the knowledge.
Thus, I ultimately decided to listen to every single classic trance track released between 1988 and 2009, although with a small compromise. I decided to only listen to 12” vinyl releases between those years (plus some of the key CD compilation series of the time). I made this conscious decision for two reasons.
First, nearly all the noteworthy tracks came out on 12”, as it was by far the most preferred format by DJs and producers in the classic era. So listening to those records and also to the previously mentioned CD compilations basically ensures I’ll get the full picture. Second, including other CDs (for example) in my research would have made things needlessly complicated (and possibly neverending).
For context, there are tens of thousands of CD releases on Discogs tagged with the ‘trance’ label (along with five other ones) between 1988 and 2009. These CDs often feature over 20-30 tracks, but in reality, most of those are from other genres (that I would only find out if I’d waste my time listening to them) or are tracks that can already be found on vinyl or the previously mentioned major CD compilations.
Thus, I ultimately decided to listen to every single classic trance track released between 1988 and 2009, although with a small compromise. I decided to only listen to 12” vinyl releases between those years (plus some of the key CD compilation series of the time). I made this conscious decision for two reasons.
First, nearly all the noteworthy tracks came out on 12”, as it was by far the most preferred format by DJs and producers in the classic era. So listening to those records and also to the previously mentioned CD compilations basically ensures I’ll get the full picture. Second, including other CDs (for example) in my research would have made things needlessly complicated (and possibly neverending).
For context, there are tens of thousands of CD releases on Discogs tagged with the ‘trance’ label (along with five other ones) between 1988 and 2009. These CDs often feature over 20-30 tracks, but in reality, most of those are from other genres (that I would only find out if I’d waste my time listening to them) or are tracks that can already be found on vinyl or the previously mentioned major CD compilations.
Design is usually one of the last steps of a book’s creation process, and while some early design work has already been done to get a basic picture of how the book’s layout will look, I’m not comfortable sharing any images about it yet. However, I can share some details to get my idea/vision across.
Because I plan to make the book visually pleasing and interesting, each of the 500 (or more) music dissections/analyses will be accompanied by a picture taken of their corresponding vinyl/album, along with a portrait of the artist behind the given piece of music. Around 35-40% of each page will be filled with images, while the rest will be filled with writing.
For easier reading and improving the design further, the pages will use a two-column layout, with small margins on all sides (with ‘justify text’ alignment). Color coding will also be a key part of the book, as each key chapter (e.g., the previously mentioned ‘Cosmos,' etc.) will have its own distinct page/border color and design (without negatively affecting the readability).
As for the materials, I plan to use the highest quality materials and printing methods available to make a sturdy book with deep, inky colors and (as much as possible) tear-resistant pages. So expect hardcover binding, high DPI photos with excellent print quality, etc. Also, due to the book's planned design and potential length, it won’t be regular-sized (A5); it will be double-sized (A4) instead, with at least 600 pages.
Because I plan to make the book visually pleasing and interesting, each of the 500 (or more) music dissections/analyses will be accompanied by a picture taken of their corresponding vinyl/album, along with a portrait of the artist behind the given piece of music. Around 35-40% of each page will be filled with images, while the rest will be filled with writing.
For easier reading and improving the design further, the pages will use a two-column layout, with small margins on all sides (with ‘justify text’ alignment). Color coding will also be a key part of the book, as each key chapter (e.g., the previously mentioned ‘Cosmos,' etc.) will have its own distinct page/border color and design (without negatively affecting the readability).
As for the materials, I plan to use the highest quality materials and printing methods available to make a sturdy book with deep, inky colors and (as much as possible) tear-resistant pages. So expect hardcover binding, high DPI photos with excellent print quality, etc. Also, due to the book's planned design and potential length, it won’t be regular-sized (A5); it will be double-sized (A4) instead, with at least 600 pages.
When all the work is finished (including the writing process, interviews, page-setting, proofreading, design, etc.), I intend to launch a Kickstarter campaign to make the book available in physical form. Donations will not be used for personal gains, only to cover printing and shipping expenses, so this will be a non-profit fundraiser. Furthermore, every supporter will receive a DRM-free digital copy of the book. I haven't decided about publishing the book in online stores, though.
I plan to contact a company based in middle Europe to get the books printed and distributed across the globe, as most copies will probably ship to countries like Germany, Netherlands, Belgium, the United Kingdom, and Hungary. In theory, this would help to keep shipping costs down. At least a few hundred supporters will be needed to make the physical release a reality, with an expected price between $50 and $75 per book (without shipping). This calculation is based on its estimated length (600 pages in A4 size), content (frequent use of colored images), and overall quality (hardcover, etc.).
I plan to contact a company based in middle Europe to get the books printed and distributed across the globe, as most copies will probably ship to countries like Germany, Netherlands, Belgium, the United Kingdom, and Hungary. In theory, this would help to keep shipping costs down. At least a few hundred supporters will be needed to make the physical release a reality, with an expected price between $50 and $75 per book (without shipping). This calculation is based on its estimated length (600 pages in A4 size), content (frequent use of colored images), and overall quality (hardcover, etc.).
About myself
I’m David, 28 years old (soon to be 29), and I live in Hungary, Europe. Previously, I worked as a video game journalist (although I also covered tech news and movies), then as a financial news assistant. I also have years of experience in e-trading (with consumer electronics), and I was part of multiple podcasts/radio shows in the past that involved topics along the lines of politics & society, movies, music theory, and video games.
I was first introduced to trance music during my first year at school in 2000 (as far as I remember, mainly with some Tiesto tracks). I instantly fell in love with that distinct sound I’ve heard, although up until the late 2000s, my taste in music was still quite all over the place, unfocused, and perhaps directionless (or maybe I’m just harsh to myself). Around 2008-2009, I rediscovered trance thanks to a friend’s recommendations (Deadline, Carte Blanche, In Silence, etc.), who at the time was also an avid listener of Armin’s A State Of Trance radio show. It only took a few months for me to get hooked, and after that, every week, I eagerly waited for the next Thursday so that I could immerse myself once again in the world of trance.
Looking back at it, it was definitely the time when trance already started to drastically change and move away from its roots (and I actually stopped listening to ASOT a few years after), but it was still a great gateway for me to jump back into the genre and rekindle my love for this type of music (and discover many old classics). Especially because a decade or so later, my passion for trance is higher than before, and I couldn’t imagine my life without it. It’s just that now I don’t really listen to any trance records beyond 2005/2006, aside from a few quality releases. This goes to show you that you didn’t really need to be a part of the underground club culture of the early 90s or the big clubbing life of the late 90s and early 2000s to appreciate what was made back then.
Looking back at it, it was definitely the time when trance already started to drastically change and move away from its roots (and I actually stopped listening to ASOT a few years after), but it was still a great gateway for me to jump back into the genre and rekindle my love for this type of music (and discover many old classics). Especially because a decade or so later, my passion for trance is higher than before, and I couldn’t imagine my life without it. It’s just that now I don’t really listen to any trance records beyond 2005/2006, aside from a few quality releases. This goes to show you that you didn’t really need to be a part of the underground club culture of the early 90s or the big clubbing life of the late 90s and early 2000s to appreciate what was made back then.
I have roughly 300 tracks in my lossless collection that I would rate 4.5 or 5 out of 5 stars and would easily put these among the best trance tunes of all time. I was born in 1993 and was first introduced to trance in the early 2000s, but I have a soft spot for the early 90s (1993, 1994, and 1995 in particular). Naturally, this is somewhat reflected in my top list of tracks, although making a top ten list for me would still be nearly impossible. Regardless, these are some of my picks that I would confidently call my absolute favorites.
1. Ace Da Brain - Magic Waters [2005]
2. Malcolm McLaren - Remembrance (Parks & Wilson V's Obscure Remembrance Mix) [1997]
3. Nostrum - Polaris [1995]
4. Andromeda - Trip To Space [1993]
5. The Source Experience - The Source Experience [1993]
6. Lange Featuring The Morrighan - Follow Me (Lange's Club Mix) [2000]
7. Mystic Force - Mystic Force [1994] (commonly mislabeled as Psychic Harmony)
8. MAYBE | Sunday Club - Healing Dream (Original Mix) [1997]
9. MAYBE | Cosmic Baby - Fantasia (Celestial Harmonies) [1994]
1. Ace Da Brain - Magic Waters [2005]
2. Malcolm McLaren - Remembrance (Parks & Wilson V's Obscure Remembrance Mix) [1997]
3. Nostrum - Polaris [1995]
4. Andromeda - Trip To Space [1993]
5. The Source Experience - The Source Experience [1993]
6. Lange Featuring The Morrighan - Follow Me (Lange's Club Mix) [2000]
7. Mystic Force - Mystic Force [1994] (commonly mislabeled as Psychic Harmony)
8. MAYBE | Sunday Club - Healing Dream (Original Mix) [1997]
9. MAYBE | Cosmic Baby - Fantasia (Celestial Harmonies) [1994]
My goals are quite straightforward with this book. I want to preserve this wonderful era/style of electronic music in written form. I also want to make people remember what’s great about the trance genre, thus potentially inspiring some of them to create tunes in the same spirituality and mindset again, preferably with old production techniques. I’d like people to think and care more deeply about music in general instead of just having surface-level connections with it. Plus, I would like to introduce new people to the world of trance.
FAQ
You can help in multiple ways, but the most important part, for now, would be to streamline my workflow even more by automatizing certain things so that I could spend more time listening to and analyzing music instead of writing, searching, filtering, and comparing a lot of music-related data. If you have some basic programming knowledge and are familiar with SQL and the Discogs API, feel free to contact me via a private message. Other ways you can help involve helping me getting in contact with certain trance labels and artists, proofreading & translating the book, and creating the overall visual design/aesthetic for it.
I use Discogs, as it’s the ultimate source for finding and compiling music-related data. The site doesn’t recognize trance as a genre but as a style. I focus on 12” releases under the ‘Trance,’ ‘Progressive Trance,’ ‘Hard Trance,’ and ‘Tech Trance’ labels between 1988 and 2009. The other three trance styles that the site differentiates from each other are ‘Neo Trance,’ ‘Goa Trance,’ and ‘Psy Trance,’ but I ignore the latter two for reasons I explain in a later FAQ point, while I also ignore neo trance because it’s something that is pretty much exclusive to the modern days of the genre (and not something that has anything to do in terms of sound with classic trance anyways).
I also use online editors like Google Docs and Google Sheets to take notes, write down ideas and keep track of my work, but most of the time, I just update my ‘Ultimate Trance List’ chart (in Google Sheets) as I progress with my project. It has individual tabs for years between 1988 and 2009, a master list for all classic trance tracks (with artist names, track names, and release years included), color codes for better navigation, and some personal notes here and there.
For listening to and discovering music, I generally use YouTube. I don’t really like music-streaming services, plus I like YouTube’s recommendation algorithm, and it has the widest selection of music, thus maximizing the chances that I find the given track I’m searching for while working on my project. With all that being said, some really obscure tracks (especially pre-1993) can’t be found on YouTube either. In those rare instances, I can’t do anything but skip those tracks entirely.
I also use online editors like Google Docs and Google Sheets to take notes, write down ideas and keep track of my work, but most of the time, I just update my ‘Ultimate Trance List’ chart (in Google Sheets) as I progress with my project. It has individual tabs for years between 1988 and 2009, a master list for all classic trance tracks (with artist names, track names, and release years included), color codes for better navigation, and some personal notes here and there.
For listening to and discovering music, I generally use YouTube. I don’t really like music-streaming services, plus I like YouTube’s recommendation algorithm, and it has the widest selection of music, thus maximizing the chances that I find the given track I’m searching for while working on my project. With all that being said, some really obscure tracks (especially pre-1993) can’t be found on YouTube either. In those rare instances, I can’t do anything but skip those tracks entirely.
If I have a track that manages to pique my interest, I try to acquire it as soon as possible in lossless quality to ensure that I give it ideal listening conditions. After that, I give it a few spins in order to decide whether it’s worthy of being among the best of the genre and being part of my personal collection or not. Sometimes making this decision only take a few listens, sometimes it takes ten, and sometimes it takes multiple weeks, as understanding and truly appreciating the given tune may require a lot of effort, like establishing a certain level of intellectual and emotional connection between it and the listener.
I have an extensive online chart (in Google Sheets) that I constantly edit and update as I progress with my research. It has individual tabs for years between 1988 and 2009, a master list for all classic trance tracks (with artist names, track names, and release years included), color codes for better navigation, and some personal notes here and there.
The chart is extremely handy (and even necessary) in helping me keep track of my progress and could also potentially be useful for other trance enthusiasts. I’m not going to make it publicly available yet, though, because it will be completely revised once we (me and a programmer friend) complete our custom script to grab specific data from Discogs using the Discogs API.
The chart is extremely handy (and even necessary) in helping me keep track of my progress and could also potentially be useful for other trance enthusiasts. I’m not going to make it publicly available yet, though, because it will be completely revised once we (me and a programmer friend) complete our custom script to grab specific data from Discogs using the Discogs API.
I think there’s a rough consensus in the trance community that the classic era started with the release of Jam & Spoon’s remix of The Age of Love in 1992 and ended somewhere in the mid-2000s when R&B, rap, electro, and other emerging genres pushed trance out of the mainstream and the clubbing world (which eventually led to a change in its sound).
While this is technically true, the change in sound didn’t happen in a span of a day - it was a multi-year transition instead. Thus, many tracks were still being produced in the vein and spirituality of classic trance in the second half of the 2000s (just noticeably fewer than before), most of the time with old-school production methods.
Somewhat interestingly, the popularity of trance music throughout the years and its slow change/transition in its sound in the late 2000s can be seen mirrored pretty accurately by the number of 12” vinyl releases. 12” was the most used/preferred format by those who produced and mixed tracks in the old spirituality and style, but as new production techniques started to emerge and trance music started to become less ‘organic’ sounding, fewer and fewer 12” releases came out.
In the heydays of trance (1999, 2000, 2001), the yearly releases were around 6,000, which dropped to a measly 1300 in 2007 (arguably the last noteworthy year of trance), while in 2008 and 2009 combined, only around 1200 records were released in total (these were the years when a few uplifting artists still managed to hold the line, like Talla 2XLC, Andy Blueman, etc.).
As for the early years (1988-1992), I honestly don’t expect to talk about many tracks from this era in the book, considering that the overwhelming majority of the music released back then of the so-called trance tracks were proto-trance at best (or just not up to my quality standards). Still, from a writing standpoint, it’s important to learn about this 4-5 year period that eventually led to the birth of trance music, as it gives valuable context to my work.
While this is technically true, the change in sound didn’t happen in a span of a day - it was a multi-year transition instead. Thus, many tracks were still being produced in the vein and spirituality of classic trance in the second half of the 2000s (just noticeably fewer than before), most of the time with old-school production methods.
Somewhat interestingly, the popularity of trance music throughout the years and its slow change/transition in its sound in the late 2000s can be seen mirrored pretty accurately by the number of 12” vinyl releases. 12” was the most used/preferred format by those who produced and mixed tracks in the old spirituality and style, but as new production techniques started to emerge and trance music started to become less ‘organic’ sounding, fewer and fewer 12” releases came out.
In the heydays of trance (1999, 2000, 2001), the yearly releases were around 6,000, which dropped to a measly 1300 in 2007 (arguably the last noteworthy year of trance), while in 2008 and 2009 combined, only around 1200 records were released in total (these were the years when a few uplifting artists still managed to hold the line, like Talla 2XLC, Andy Blueman, etc.).
As for the early years (1988-1992), I honestly don’t expect to talk about many tracks from this era in the book, considering that the overwhelming majority of the music released back then of the so-called trance tracks were proto-trance at best (or just not up to my quality standards). Still, from a writing standpoint, it’s important to learn about this 4-5 year period that eventually led to the birth of trance music, as it gives valuable context to my work.
I associate many things with trance based on my best understanding and knowledge of it. Feelings, thoughts, concepts, themes. These elements include a continuously evolving/building (so progressive in the truest sense of the word) sound, a solid forward momentum/pacing, a strong emotional core, a certain type of musical consistency and harmony between the different parts of the music, etc. Said elements can be found in all the noteworthy works from the classic era (let it be Mystic Force's Mystic Force with heavy ambient elements from '94, Sunday Club's deeply meditative and journey-like Healing Dream from ‘97, or perhaps a hard trance banger like the Daedalus Mix of Flutlicht's Icarus from 2001).
Psy and goa simply don't fall under the same umbrella, in my opinion, and this is a sentiment I’ve seen echoed in many places. They are vastly different compared to other forms of trance. Thus, most trance radio shows and albums never really featured many tracks from these styles (definitely not in the classic era). Two of the largest classic trance Facebook groups also barely feature posts with goa/psy tracks. The same is true for the uploads of the Trance Classics channel, which is a number one source for most trance enthusiasts. Finally, there's a reason why people regularly leave the world 'trance’ out when they talk about goa and psy (in conversation, they usually refer to them as goa/psy instead of goa trance or psy trance).
Psy and goa simply don't fall under the same umbrella, in my opinion, and this is a sentiment I’ve seen echoed in many places. They are vastly different compared to other forms of trance. Thus, most trance radio shows and albums never really featured many tracks from these styles (definitely not in the classic era). Two of the largest classic trance Facebook groups also barely feature posts with goa/psy tracks. The same is true for the uploads of the Trance Classics channel, which is a number one source for most trance enthusiasts. Finally, there's a reason why people regularly leave the world 'trance’ out when they talk about goa and psy (in conversation, they usually refer to them as goa/psy instead of goa trance or psy trance).
I respect his insane knowledge and agree with some of his statements, like how trance as a genre name was probably coined in 1991. However, I heavily question (or even disagree with) him regarding some of his conclusions and observations on trance music. It seems to me that he implies trance was born in the late 80s, and then he explicitly states that “when [he] thinks of pure trance music, [he] really doesn’t think of anything past 1994.”
My problem with this statement is two-fold. First, I don’t really think it makes too much sense to tie a whole genre’s creation to a point when the first sounds associated with that genre started being used in tracks. Sure, the early The KLF and Dance 2 Trance works have had some trance elements (and it’s true for many other works pre-1993), but were they true trance tracks? If a track is mostly rooted in other genres and only a fraction of it is trance, is it truly trance?
The way I see it, trance was a growing and evolving element in those years and a form of a supplementary element to many early tracks, but it only really became its own, distinct musical genre in 1993, with the arrival of classics like Quench - Dreams, The Source Experience - The Source Experience, 4 Voice - Eternal Spirit, Andromeda - Trip To Space, and maybe Datura - Eternity (because calling this one trance could be a stretch).
My second problem is related to the 1994-statement. I realize one can make a really solid argument about how trance has changed after the early 90s. Indeed, it has changed, and I wouldn’t question it for a second. However, I wouldn’t associate that change in any way with the death of trance (even if I have a soft spot for early 90s stuff), and I would definitely disagree on when that turning point was. Not in 1994, that’s for sure, as the experimental mindset and spirituality common in this era were present until at least 1995 (and probably 1996 even). Just think about Nostrum - Polaris, Sunday Club - Paladian Dawn, or the Dream House Remix of R.A.F. By Picotto - Ocean Whispers.
My problem with this statement is two-fold. First, I don’t really think it makes too much sense to tie a whole genre’s creation to a point when the first sounds associated with that genre started being used in tracks. Sure, the early The KLF and Dance 2 Trance works have had some trance elements (and it’s true for many other works pre-1993), but were they true trance tracks? If a track is mostly rooted in other genres and only a fraction of it is trance, is it truly trance?
The way I see it, trance was a growing and evolving element in those years and a form of a supplementary element to many early tracks, but it only really became its own, distinct musical genre in 1993, with the arrival of classics like Quench - Dreams, The Source Experience - The Source Experience, 4 Voice - Eternal Spirit, Andromeda - Trip To Space, and maybe Datura - Eternity (because calling this one trance could be a stretch).
My second problem is related to the 1994-statement. I realize one can make a really solid argument about how trance has changed after the early 90s. Indeed, it has changed, and I wouldn’t question it for a second. However, I wouldn’t associate that change in any way with the death of trance (even if I have a soft spot for early 90s stuff), and I would definitely disagree on when that turning point was. Not in 1994, that’s for sure, as the experimental mindset and spirituality common in this era were present until at least 1995 (and probably 1996 even). Just think about Nostrum - Polaris, Sunday Club - Paladian Dawn, or the Dream House Remix of R.A.F. By Picotto - Ocean Whispers.
OTHER
This spreadsheet will be used to compile every single worthwhile trance track (4.0+ stars, with a few exceptions where notes are included). Album names and artist names will redirect users to their corresponding Discogs page. Clicking on a track name will open a link to its most popular upload on YouTube. Release year and track length are color-coded to show in which trance era the given track came out and in which length category it falls. Clicking on a year switches to its corresponding tab in the spreadsheet (e.g., if you click on 1993, you will see a separate tab where you’ll be able to see all trance releases from that year). The ratings are based on my personal opinion and experience. The Web Purchase column shows the following options: Beatport, Juno Download, Apple Music, and Amazon Music (with hyperlinks if the given track is available to buy somewhere). Sometimes notes are included (e.g., if the track is available to buy but only in a shorter/mixed-over form). CD/WEB shows whether the track has seen a digital release or if it's a vinyl-only release. I may share the spreadsheet sometime in the future.
PROGRESS REPORTS
Due to character limitations, I edited the first comment under my post, in which you'll be able to read my progress reports.
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