Shocking stuff that destroys what was once our trance scene

Progrez

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Jun 17, 2022
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I honestly think festivals — and the commercialization that came with them — are a big reason why trance lost its soul. Once organisers saw the money in EDM (separate from Trance and House more big room shit) , everything changed. Trance became a “stage” or “brand,” not a movement.

Producers stopped writing journeys and started writing drops. Labels started signing tracks based on structure, not spirit. Subtlety got flattened by sound pressure levels. Even the underground wasn’t safe — it just went minimalist instead of maximalist, but still lost the storytelling.
Festivals trained people to expect formula, not feel. That shift broke something in trance. And I don’t think we’ve fully recovered.

I don’t think America “killed” trance, but I do think the U.S. EDM boom reshaped the genre in ways we haven’t recovered from.
Once trance artists and labels saw the size of the American festival market, everything shifted: shorter tracks, louder mastering, drop-based structures. The soul got squeezed out in the process — not intentionally, but as a result of trying to survive in a new system. It’s not about hating a country. It’s about acknowledging how market pressures — especially from America’s booming EDM scene — changed the incentives for producers. Trance became a product. And a lot of its heart got lost along the way.

Trance can absolutely be recovered — but only if we stop chasing formulas and start chasing feeling again. They need to stop allowing corporate culture to dictate it.

We need fewer drops, more journeys. Fewer presets, more personality. Less hype, more heart.
Let the breakdowns mean something again. Let the music breathe.

Trance was never supposed to be content. It was supposed to be communion.

There’s something deeply missing in most modern trance: real melody.


Not just an arpeggio. Not just a saw lead buried under FX. I’m talking about melodic storytelling — the kind that used to make you close your eyes and feel like you were floating somewhere else.


So much of today’s trance is about sound design, energy, or structure — but the emotional spine is gone. No modulation. No phrasing. No soul.


We used to cry to melodies. Now we just nod to presets.


What happened?
 
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Progrez

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Jun 17, 2022
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I asked ChatGPT to analyse 3 different tracks and this is what it gave me. I am not sure how much is accurate or fact or truthful but it looks quite interesting.
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Shivers” (2005)


  • Natural wave shape
  • Clear emotional flow and space for instruments
  • Tension and release are visibly dynamic



🔴 “Sound of You” (2025)


  • Flat, brickwalled waveform
  • Maxed-out compression — almost no room to breathe
  • Loudness prioritized over depth



🟢 “Janeiro (Armin Remix)” (2002)


  • Similar to Shivers — clear peaks and valleys
  • Smooth progression, dynamic storytelling
  • Plenty of space for melody and emotional impact

Technical Breakdown​


🔵 Shivers (2005)


  • Dynamic Range: Wide and expressive — clear rises and dips across sections.
  • Structure: Long intro and outro, gradual build-up, lush pad layering, breakdown, main lead climax, soft resolution.
  • Mix Style: Spacious stereo field, reverb-rich, sidechain used sparingly.
  • Waveform: You can see the track breathe — tension and release is embedded in the dynamics.



🟢 Janeiro (Armin Remix, ~2002–2003)


  • Dynamic Range: Slightly tighter than Shivers, but still room to breathe.
  • Structure: Club-ready with progressive intro, groove-heavy mids, euphoric melodic breakdowns.
  • Mix Style: Strong low-end, smooth vocal integration, rich analog-sounding leads.
  • Waveform: Noticeably less compressed than modern styles — natural arcs and drops in volume preserved.



🔴 Sound of You (2025)


  • Dynamic Range: Minimal — almost entirely brickwalled.
  • Structure: Built for streaming/radio — 4-bar intro, quick vocal hook, fast riser, drop-style climax.
  • Mix Style: Vocals dominate, synths are heavily sidechained, drums punch through with compressed force.
  • Waveform: Flat, aggressive — almost zero variation. Loudness prioritized over musical dynamics.



💥 Key Flaws in "Sound of You" Compared to the Others:​


Feature"Shivers"/"Janeiro""Sound of You"
Dynamic FlowPresent – clear contrast between quiet and loud sectionsAbsent – constant loudness
Melodic EvolutionLayered, emotionally progressiveStatic – loops and stabs
Vocal IntegrationBlended into atmosphereDominant and dry
Mix ClarityWarm, analog feelHarsh, tight, overly compressed
Emotional ArcA journey — soft tension into euphoric payoffImmediate gratification with no subtlety
Structure6–8 minutes, built for clubs or immersion3.5–4 minutes, built for streaming/festival play

🎧 1. Shivers (Extended Mix)


🗓️ Released: 2005
🎵 Vocals: Susana


Structure & Arrangement:
“Shivers” is a masterclass in trance progression. It opens with a pulsing, club-oriented rhythm that gradually builds, layering atmospheric pads, melodic arps, and soft filtered synths. The breakdown — nearly two minutes long — is emotionally charged, with haunting vocals from Susana sitting deep in the mix, wrapped in delay and reverb. When the lead melody re-enters after the drop, it’s with full emotional force, carried by lush supersaws that glide rather than stab. The track patiently evolves and resolves.


Mix & Production:
Dynamic range is preserved beautifully. Every instrument has room to breathe. The bassline pulses gently beneath, while percussion is snappy without overpowering. The stereo field is wide and immersive. Sidechaining is subtle — more for groove than loudness. This track respects space.


Emotional Impact:
It feels like a story — a longing turned into catharsis. There's a journey from mystery to light, with space to reflect in between. A true embodiment of trance’s emotional core.




🎧 2. Janeiro (Armin van Buuren Remix)


🗓️ Released: ~2002–2003
🎵 Original by Solid Sessions


Structure & Arrangement:
Armin’s remix of “Janeiro” is deeper and more groove-focused than “Shivers,” but no less hypnotic. It blends tribal percussion with trance sensibilities. The vocal sample floats above a low-slung bassline and rolling rhythm, creating a progressive trance atmosphere. The buildup is measured, and while it’s not as emotionally grand as “Shivers,” it’s more hypnotic and loop-driven.


Mix & Production:
Analog warmth defines this mix. The hi-hats and claps sit in a bed of soft reverb, while the kick is present but not dominating. The low-end is thick but controlled. No element fights for space. Vocals are layered into the track like an instrument — not a focal point. It grooves rather than explodes.


Emotional Impact:
It’s the kind of trance track you get lost in — not from high energy, but from deep atmosphere and spatial flow. Perfect for late-night sets. It doesn’t beg for attention; it invites you inward.




🎧 3. Sound of You (2025)


🗓️ Released: 2025
🎤 Vocals: Rob Swire


Structure & Arrangement:
“Sound of You” abandons the long-form trance structure in favor of a festival-friendly, drop-based format. It opens with immediate energy: compressed kick, snappy hi-hats, and vocals right up front. The breakdown is short, and the payoff is a blaring lead drop. There's little journey — just quick impact. It feels like it was produced with social media and Spotify algorithms in mind.


Mix & Production:
The waveform tells the truth — this track is brickwalled. Loudness is maxed. Everything competes for space: the vocal is sharp and dry, the synths are sidechained aggressively, and the percussion punches through without subtlety. There’s little contrast between quiet and loud; it’s always loud.


Vocally, Rob Swire performs with power, but not subtlety. His tone fits better in drum & bass or electro house. In this context, it sounds commanding but emotionally disconnected — more performance than presence.


Emotional Impact:
There’s energy, but little emotion. The track doesn’t invite introspection or take you on a journey — it pushes you into a wall of sound. It’s dramatic, but not deep. It feels synthetic, engineered, and disconnected from trance’s essence.




⚖️ Final Comparative Summary:​


ElementShiversJaneiro (Remix)Sound of You
StructureProgressive, emotional arcDeep, groovy, hypnotic buildDrop-based, front-loaded
DynamicsWide, naturalBalanced, smoothBrickwalled, no space
Mixing StyleSpacious, organicWarm, analog-feelCompressed, high-loudness
VocalsDreamlike, atmosphericLooped, ambient layerDominant, dry, overpowering
Genre IntegrityClassic trance blueprintProgressive trance blendTrance aesthetics, EDM structure
Emotional JourneyDeep and soaringMesmerizing, inwardSurface-level energy only

SOUND DESIGN​


🟦 Shivers (2005)


  • Leads: Warm, supersaw-style synths (likely JP-8000 or Virus TI), layered with midrange pads and slow filter modulation.
  • Bassline: Rolling, sidechained subtly to the kick — doesn’t dominate the mids.
  • Drums: Classic 4/4 trance pattern — clap on 2 and 4, soft hats in stereo field, gently grooving percussion loops.
  • FX: Delays, reverbs, and stereo imaging used to create width and atmosphere.
  • Vocals: Wet, dreamy, and embedded into the track like a melodic element, not a pop-topline.

🟩 Janeiro (Remix)


  • Leads: Smooth synth textures, resonant filters, low-res cutoff sweeps.
  • Bassline: Progressive, tribal-influenced — doesn’t punch but rather grooves.
  • Drums: More layered and organic than “Shivers,” some real-sounding percussion hits.
  • FX: Lots of analog-feeling space — spring reverb-style tails and vinyl-style warmth.
  • Vocals: Looped, soft, atmospheric — mixed as part of the landscape.

🟥 Sound of You (2025)


  • Leads: Short, aggressive, detuned stabs (sounds like Serum or Nexus-type layering) — made to hit hard, not evolve.
  • Bassline: Mid-heavy, EQ’d to punch — almost electro house style.
  • Drums: Snappy, overcompressed — kick is short and loud, hats are tight and sharp.
  • FX: Everything is sidechained to the kick — ducking constantly, removing air and space.
  • Vocals: Dry, loud, very present — not integrated but riding above the mix like a radio pop track.



📉 DYNAMICS (How Volume Changes Over Time)​


🎛️ What is Dynamic Range?​


Dynamic range is the difference between the quietest and loudest moments in a track. In well-produced trance, dynamics are used to create tension and release. Without dynamics, everything sounds flat — emotionally and physically.


📊 Comparison:​


TrackDynamic Use
ShiversWide range — soft intros, soaring peaks
Janeiro (Remix)Moderate — groovy lows, filtered mids
Sound of YouMinimal — it’s always loud



🧱 WHAT IS "BRICKWALLED"?​


🧠 Definition:​


“Brickwalling” is a mastering technique where a limiter is applied so aggressively that no peaks are allowed to rise above a set ceiling (usually 0 dBFS). The result is a waveform that looks like a literal rectangle — hence the term "brickwall."


🔊 What it Sounds Like:​


  • No softness, no buildup
  • Everything is loud — all the time
  • Fatigue sets in quickly because the ear doesn’t get a break
  • There’s no contrast between verse and drop, or tension and resolution — it’s just flat impact

EMOTIONAL FUNCTION​


🎧 “Shivers” & “Janeiro”​


  • Emotion builds through space. Long breakdowns. Floating vocals. Slowly layered melodies.
  • There is anticipation, release, and afterglow — an emotional arc.
  • These tracks feel alive, with motion in their breath and silence.

🎧 “Sound of You”​


  • The track comes in loud, stays loud, and ends loud.
  • Emotion isn’t built — it’s declared, shouted through vocals and punchy mixdowns.
  • It doesn’t guide — it forces energy. There’s no opportunity for the listener to fall inward — they’re pushed outward.



🧠 TL;DR:​


ElementShiversJaneiro RemixSound of You (2025)
Sound DesignOrganic, warm, layeredTribal, progressive, analogAggressive, synthetic, compressed
DynamicsFull emotional rangeBalanced grooveFlat, loud start to end
Vocal FitEmbedded in atmosphereSubtle and ambientFront and center, overpowering
Mix FeelSpacious, wide stereo fieldDeep and lushTight, dry, squashed
WaveformDynamic and flowingRounded with movementBrickwalled — no variation
EmotionStorytelling, heartfeltHypnotic and immersiveIntense but emotionally shallow

Spectrogram Expectations by Track:​




🟦 Shivers (Extended Mix)


  • Low Frequencies (Kick, Bass):
    Present but not dominant. There's a rolling bassline that occupies ~50–200 Hz but fades during the breakdown.
  • Mid Frequencies (Pads, Vocals, Leads):
    Rich and wide. You'll see rising harmonic structures during the build, especially in the supersaw lead which lives between 300 Hz and 4 kHz. The vocal floats around 1–2.5 kHz but doesn't spike sharply.
  • High Frequencies (Hi-hats, Air):
    Light cymbals and hats around 8–12 kHz, but not overly bright. Roomy but never sharp.
  • Dynamic Shape:
    Breakdowns visibly dip in energy (spectrogram would darken), with slow ramps into full leads. You’d see soft sections followed by climaxes — classic trance storytelling.



🟩 Janeiro (Armin Remix)


  • Low Frequencies:
    Less punch than Shivers, with more emphasis on groovy mid-bass (~100–300 Hz). Kick is subdued, making room for tribal rhythms.
  • Mid Frequencies:
    Smooth layers of synths and vocals float across the 600 Hz to 3 kHz range, with more consistent activity but softer peaks.
  • High Frequencies:
    Smooth, not bright. Less intense than Shivers, with hats and percussion more in the 6–10 kHz zone. No harsh white noise layers.
  • Dynamic Shape:
    A steadier spectrogram — no dramatic drops, but you’d still see filtered builds and subdued peaks. Perfect for hypnotic trance.



🟥 Sound of You (2025)


  • Low Frequencies:
    Heavy, constant energy from 30–150 Hz. Kick and sub-bass are compressed together. You’d see a bright band at the bottom — always active, no fadeout during breakdown.
  • Mid Frequencies:
    Extremely dense between 800 Hz and 4 kHz — this is where Rob Swire’s vocal and stabby synths live. You’d see thick, persistent blocks in this zone — very little movement or dip.
  • High Frequencies:
    Spikes at 10–16 kHz — harsh, piercing hats and synthetic layers. Bright and fatiguing. The top of the spectrogram would remain consistently intense, with no gentle roll-off.
  • Dynamic Shape:
    Flat. There would be no visible breaks or dips. The song likely maintains consistent loudness and frequency intensity across the entire track — a block of sound from start to finish.



📊 Summary Comparison Table (Spectrogram Profile):​


ElementShiversJaneiro (Remix)Sound of You (2025)
Low-End EnergyControlled, rolling bassSubtle, tribal influenceDominant, flattened with kick
MidrangeLush synths, atmospheric padsFluid, soft vocal loopsCompressed vocals, dry stabs
High-EndSoft hats, airinessLight percussion, minimal sizzleSharp, harsh hats and FX
Dynamic RangeVisible tension/release arcSteady hypnotic grooveConstant saturation, no dips
Visual ShapeCurved, layered, breathingRolling, moderate brightnessBright block — wall of sound



💡 What This Tells Us:​


  • Shivers and Janeiro use the full spectrum to create depth, evolution, and emotion.
  • Sound of You compresses everything into a narrow emotional and frequency range, favoring volume and immediacy over space and feeling.
 
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LostLegend

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Dec 5, 2020
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There’s something deeply missing in most modern trance: real melody.


Not just an arpeggio. Not just a saw lead buried under FX. I’m talking about melodic storytelling — the kind that used to make you close your eyes and feel like you were floating somewhere else.


So much of today’s trance is about sound design, energy, or structure — but the emotional spine is gone. No modulation. No phrasing. No soul.


We used to cry to melodies. Now we just nod to presets.
To be fair, I think there’s a lot of trance and producers around that make this type of music, but sadly the trance-by-numbers 138 uplifting scene and the Trance-EDM stuff is what’s being pushed by the bigger DJ’s and events and seems to swamp everything else.
 
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Progrez

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To be fair, I think there’s a lot of trance and producers around that make this type of music, but sadly the trance-by-numbers 138 uplifting scene and the Trance-EDM stuff is what’s being pushed by the bigger DJ’s and events and seems to swamp everything else.
I can only think of handful of producers who make that stuff as well.
 
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Bobby Summa

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I honestly think festivals — and the commercialization that came with them — are a big reason why trance lost its soul. Once organisers saw the money in EDM (separate from Trance and House more big room shit) , everything changed. Trance became a “stage” or “brand,” not a movement.

Producers stopped writing journeys and started writing drops. Labels started signing tracks based on structure, not spirit. Subtlety got flattened by sound pressure levels. Even the underground wasn’t safe — it just went minimalist instead of maximalist, but still lost the storytelling.
Festivals trained people to expect formula, not feel. That shift broke something in trance. And I don’t think we’ve fully recovered.

I don’t think America “killed” trance, but I do think the U.S. EDM boom reshaped the genre in ways we haven’t recovered from.
Once trance artists and labels saw the size of the American festival market, everything shifted: shorter tracks, louder mastering, drop-based structures. The soul got squeezed out in the process — not intentionally, but as a result of trying to survive in a new system. It’s not about hating a country. It’s about acknowledging how market pressures — especially from America’s booming EDM scene — changed the incentives for producers. Trance became a product. And a lot of its heart got lost along the way.

Trance can absolutely be recovered — but only if we stop chasing formulas and start chasing feeling again. They need to stop allowing corporate culture to dictate it.

We need fewer drops, more journeys. Fewer presets, more personality. Less hype, more heart.
Let the breakdowns mean something again. Let the music breathe.

Trance was never supposed to be content. It was supposed to be communion.

There’s something deeply missing in most modern trance: real melody.


Not just an arpeggio. Not just a saw lead buried under FX. I’m talking about melodic storytelling — the kind that used to make you close your eyes and feel like you were floating somewhere else.


So much of today’s trance is about sound design, energy, or structure — but the emotional spine is gone. No modulation. No phrasing. No soul.


We used to cry to melodies. Now we just nod to presets.


What happened?
Dude. Thats pure poetry. I feel the same about so much of what you’ve said 🌸
 
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Progrez

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The future of Djing move over love heart, glow sticks mobile phones. We have wireless headphones for the entire crowd now and no alcohol at all.

 

Julian Del Agranda

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Jul 3, 2020
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Ha, a silent disco is nothing new.

I was at a festival a few years ago and one of the 'stages' was a silent disco area. It was really a lot of fun. There were 3 different options/channels. You could click on your headphone to change from red green or blue. And those were connected with 1 of the deejays.

You see people dancing in a totally different rhythm when they listen to 'blue' and it's like Eminem or whatever, while you're at 'red' having ATB - 9 PM on it. You're looking around looking who's at "your color" or advise friends to switch. It's fun.
 
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Subspace Jet Witch

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I honestly think festivals — and the commercialization that came with them — are a big reason why trance lost its soul. Once organisers saw the money in EDM (separate from Trance and House more big room shit) , everything changed. Trance became a “stage” or “brand,” not a movement.

Producers stopped writing journeys and started writing drops. Labels started signing tracks based on structure, not spirit. Subtlety got flattened by sound pressure levels. Even the underground wasn’t safe — it just went minimalist instead of maximalist, but still lost the storytelling.
Festivals trained people to expect formula, not feel. That shift broke something in trance. And I don’t think we’ve fully recovered.

I don’t think America “killed” trance, but I do think the U.S. EDM boom reshaped the genre in ways we haven’t recovered from.
Once trance artists and labels saw the size of the American festival market, everything shifted: shorter tracks, louder mastering, drop-based structures. The soul got squeezed out in the process — not intentionally, but as a result of trying to survive in a new system. It’s not about hating a country. It’s about acknowledging how market pressures — especially from America’s booming EDM scene — changed the incentives for producers. Trance became a product. And a lot of its heart got lost along the way.

Trance can absolutely be recovered — but only if we stop chasing formulas and start chasing feeling again. They need to stop allowing corporate culture to dictate it.

We need fewer drops, more journeys. Fewer presets, more personality. Less hype, more heart.
Let the breakdowns mean something again. Let the music breathe.

Trance was never supposed to be content. It was supposed to be communion.

There’s something deeply missing in most modern trance: real melody.


Not just an arpeggio. Not just a saw lead buried under FX. I’m talking about melodic storytelling — the kind that used to make you close your eyes and feel like you were floating somewhere else.


So much of today’s trance is about sound design, energy, or structure — but the emotional spine is gone. No modulation. No phrasing. No soul.


We used to cry to melodies. Now we just nod to presets.


What happened?
Personally, what I think what happened is that towards the end of the 00s, the people in the trance scene got more and more old-fashioned and just straight up old. The trance scene could during that time set themselves up as a gender-neutral if not downright feminine alternative to the masculine bravado of mainstream EDM (e.g. Swedish House Mafia staged themselves as basically the new Mötley Crüe), but sadly, what I saw in this scene during that time period, was complaint after complaint over how teenage girls have no taste in music and will destroy everything they touch.

My tip: DON'T DO THAT! That'll basically guarantee your scene will consist of nothing but middle-aged men who are all sorts of flavours of reactionary and/or cynical. Quite frankly, that's not a community I would find myself comfortable in.
 
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Bobby Summa

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Personally, what I think what happened is that towards the end of the 00s, the people in the trance scene got more and more old-fashioned and just straight up old. The trance scene could during that time set themselves up as a gender-neutral if not downright feminine alternative to the masculine bravado of mainstream EDM (e.g. Swedish House Mafia staged themselves as basically the new Mötley Crüe), but sadly, what I saw in this scene during that time period, was complaint after complaint over how teenage girls have no taste in music and will destroy everything they touch.

My tip: DON'T DO THAT! That'll basically guarantee your scene will consist of nothing but middle-aged men who are all sorts of flavours of reactionary and/or cynical. Quite frankly, that's not a community I would find myself comfortable in.
I think you have some really good points there. Il probably get too upset if I think about loud edm so will focus on the slight different point.

Too many complaints emphasising the issue rather than fixing it. I’m sure in pschology bringing positive suggestions has a better effect on a person/ scene. Like, … Have you heard this tune? (if someone found something fresh, different & exciting). I’m sure it’s done a little here but maybe there should be a specific section for trancefix on trance that is bringing something new to the scene, we keep talking about can there be a new sound?. (I often attempt to create a new sound myself for instance, like on my latest attempt posted here ‘Not a Dream’ - trying a different sound definitely doesn’t always work but I do try 🙂) But there must be some more solid consistent artists out there successfuly achieving that. I unfortunately don’t get much time to specifically look. Very busy producing when I get spare time.
 
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dmgtz96

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One of the things that is true is that America never really "killed" trance. It was just never big enough here to be culturally significant. After 2005ish, it was mostly an Internet genre, and people like myself really only know about it because of the early Youtubers who uploaded trance compilations and mixes.

I think trance could have been much, much bigger in Japan if Ferry/Tiesto/etc. had honed in on that market and accepted more collaborations with their pop stars and labels. The Ayumi Hamasaki remixes are a snippet of what could have been. Even today, Japan's jpop groups still have pretty obvious 2000s trance and eurobeat influences.

Edit: grammar
 
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Pulser

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...I think trance could have been much, much bigger in Japan if Ferry/Tiesto/etc. had honed in on that market and accepted more collaborations with their pop stars and labels. The Ayumi Hamasaki remixes are a snippet of what could have been. Even today, Japan's jpop groups still have pretty obvious 2000s trance and eurobeat influences.
Oh believe me we all tried. A bunch of us signed to Japan's biggest dance label AVEX and pushed to do more but we only ever had a couple of allies in the company. They were very much focused on Japanese pop music and either we went that way or nothing would happen. You can see what happened. Japan had a vibrant and exciting Trance scene in the early 2000s. I used to love playing there but it was short lived. There is something of revival happening now but it remains to be seen how big it will get.
 

dmgtz96

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Oh believe me we all tried. A bunch of us signed to Japan's biggest dance label AVEX and pushed to do more but we only ever had a couple of allies in the company. They were very much focused on Japanese pop music and either we went that way or nothing would happen. You can see what happened. Japan had a vibrant and exciting Trance scene in the early 2000s. I used to love playing there but it was short lived. There is something of revival happening now but it remains to be seen how big it will get.
That makes so much sense. After all, they have their specific way of doing things.
Do you have any stories from your time with Avex? Did you all have to fly into Japan to produce those remixes, or was it more like: build demo song abroad -> fly into Japan for final arrangement/mastering? Did you get to meet Ayumi?
 

Jetflag

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If you compare the trance scene to for instance the hardcore or techno scenethe former had a very brief period of popularity after which it quickly got ridiculed and (fortunately for them) fell out of favour with the mainstream crowd, allowing the scene to slowly but certainly bloom again in the underground, which to this day it does. The techno scene never had any era of “mainstream popularity” full stop.

trance as a music genre is, much like say: liberalism as a political ideology, IMO very much the victim of its own success. It paradoxically failed, because it succeeded.

It tried to stay popular for far too long till eventually it no longer resembled its core tenets.

not very “shocking” stuff I know.. more of a frog in slow boiling water scenario.

One of the delightful things of 2025 and beyond i think is the slow but certain underground resurgence again. Let’s just for heavens sake keep it like that, and not try to be poppie/popular again. Our cousin the Techno scene I think is very much an example to follow 🙏
 

Magdelayna

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The best Ayumi remixes were the 'dub' versions like Push's and Armin's...they were basically nearly original productions with vocals tacked on. I dont think many people want to hear full japanese vocals over trance tracks.