Producer Yotto and record label Anjunadeep are like peanut butter and jelly, they are made for each other. The Finnish talent rose to notoriety with the label by his side. Yet in 2017 they have not teamed up, until now. On May 26th “Wilderness Girl” will spell the drought. The style of sound we expect
We’ve got a new project for you to lock your ears on today. OTHER’s identity is a mystery but what we do know is that the artist has teamed with vocalist Brandon Banks for a bangin’ collaboration. “Safety” moves at a steady pace allowing vocals and wavey synth design to take the spotlight and have
It’s never easy for an artist who’s spent nearly a decade honing their craft to cope with the demands of fans; this is especially true in electronic music, when sticking to one style or genre of music can be crippling to an artist’s creativity. Such was the case for Arty, who began to fall out of love with the passion of producing a couple years ago.
As he wrote in a letter to fans on Facebook, the pressure from wanting to create what he wanted and to please his fans simultaneously created a rift in his creative process, and it became more of a job than a passion. And that wasn’t good anymore. But last year, he managed to find a foot hold and regained that innocent teenage love for production, leading to his first production as Alpha 9 in 7 years.
Read what Arty has to say below, and listen to “The Night is Ours.”
Hey everyone, Arty here and I wanna share some thoughts with you that I’ve been living with for a while now.
First, thanks to all of you for being with me in this amazing musical journey, I just realized it’s already been 9 years since I’m doing what I love the most and your support is the one of the few things that keeps me motivated and inspired,
I appreciate it so much and I always will!
But I also appreciate the desire to explore myself in different musical styles, trying something new and pushing this idea forward all the time. Since the beginning of my career I’ve always been saying that I don’t wanna stuck in one certain genre, and the reason is not because I don’t like it anymore. The real reason that is for me as an artist, listening, getting inspired and making as much diverse music as possible is one of the things that helps my creativity and keeps me from being stagnated as a musician…which is the worst.
That’s why at some point the music I was making has started to go further and further away from its original roots.
Some of you accepted it, some if you didn’t. Yet all of the records I made always came from my soul, whether it’s trance, dance or pop. Over these years I’ve been always listening to your feedback. You might think that for an artist it’s extremely easy to start ignoring his fans, their demands and just do what his heart or mind says.
Well, it’s not. And that’s where idea of discovering new sound clashes with listener’s voice and all of this happens in my head. “IN MY HEAD”, so don’t get me wrong, I’m not complaining about it. Your feedback and support was always with me throughout this journey, but when some of my records didn’t match your expectation, unconsciously I started to build this pressure on my shoulders and I started to compromise my music in an effort to make both me and my fans satisfied.
2016 was amazing year for me. It was a year of re-discovering myself as an artist and as a person as well, considering it took me a minute to get out of my album’s routine and its aftermath, which was close to a nightmare. But the freedom afterwards felt like nothing else. I didn’t feel myself so inspired and productive in a long time, and it was probably the first time I opened my eyes so wide. Closer to the end of last year I noticed how much my music was different from what I’ve done in the past, and I felt like I had been neglecting my long-time fans and it didn’t feel fair. And that’s how I came up with idea of bringing the Alpha 9 alias back. It gives me the freedom to not be bounded to a specific genre, allowing me to experiment and keep pushing my boundaries with Arty, while I can be as close as possible to my long-time fans using Alpha 9 moniker.
I remember myself as a 17 year old kid, running back home from university classes every day, absolutely blinded by just the idea of making music. No pressure from managers, labels or promoters, just pure passion. For the first time in a long time I feel like that kid again and I don’t feel this pressure anymore.
Also I wanna make it really clear, although Alpha 9 is still me, it’s a totally separate project from Arty, focused on totally different music. I’m taking Arty music further towards the dance scene, while Alpha 9 will be a progressive/trance oriented project, this applies to branding, releases and live sets.
Below is the link for my first track back as Alpha 9 “The Night is Ours” that came out today on Armind. As a sign of appreciation for your support, the first 1000 downloads on this link are free.
Image via Rukes.com
This article was first published on Your EDM.
Source: Arty Releases His First Track As Alpha 9 In Seven Years
Trance lovers from around the world have plenty of new music and artist line-up releases to look forward to throughout the week as Dreamstate prepares for its second installment of their San Francisco event. After a statement was posted on their official social media accounts, Insomniac’s successful all-trance event will happen over Memorial Day Weekend
The post [Daily Updates] Dreamstate San Francisco Begins Week-long Announcements appeared first on EDM Sauce.
I’ve always found it fascinating when someone has the ability to make a connection with another person by expressing their art; It’s a human link that bonds two complete strangers together over a creation that would have never existed had that individual not created it. I’ve also found myself a bit envious of that because
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John 00 Fleming, or J00F as he’s affectionately called by fans, exists as a crusader of sorts in the outer fringes of dance music, using his quiet leadership to communicate what he values most musically and to help revive these ideas in the music industry at large. Having DJ’ed since his teenage years in the ‘80s, John not only stands out as one of the community’s wisest members, but also one of its most passionate.
One might wonder, what is the driving force behind his three decade-long career? The answer rests in the late 1980s and early 1990s, when an intriguing and melodic form of techno began circulating. “I’m always looking for something new, something fresh,” he explained when discussing his life as what he calls “a traditional DJ.”
He continued on, praising techno and its powerful 4/4 beat for becoming a revolutionary escape to “cheesy breakbeat stuff” dominating the scene at the time. Then, he as he recalled. “people started putting trippy, melodic moments into a techno beat…It was completely trancing the dancefloor out! We would just look at all of these people acting like waddling penguins, just nodding their heads down.”
That music he so fondly described came to be known as “trance.”
In its early days, trance was credible. It was cutting edge and hypnotic to its core, taking only minutes to enrapture anyone coming across it for their first time. Having branched off from techno, tracks produced under the genre were consistent and enduring in their build and minimal in nature. They rarely stopped for a breakdown and lacked in a distinctive “drop,” maintaining the utmost trance-inducing effects instead.
Goa trance arose around the same time, introducing psychedelic melodic structures and helping shape trance’s development throughout its nascent years. J00F described the combination of sounds as: “this lush, progressive stuff from the trance world that we knew, going into psychedelic sounds which went harder and were really driving, dark, and deep.”
One of John’s all-time favorite trance records
His words echo into the present, where these same tastes are palpably alive in the music he plays.
“Even Sasha & Digweed, Way Out West, all the big names used to tap into it,” Fleming noted when listing his early observations of the genre. Indeed, they did; “Heaven Scent,” by John Digweed & Nick Muir under their Bedrock alias for example, is lauded as an anthem for the genre and carries just a hint of acid-tinged psychedelia in its confines.
Like Fleming, the DJs named above were –and still are — keen innovators who realized the potential of this sound. This essence is exactly what J00F fought so hard to keep afloat in the ’90s, where he remembers, “…doing it for nothing and losing loads of money, just putting a lot of loss into creating trance.”
It’s also something he and others are speaking out about today, in order “to protect and preserve it for a future generation.”
Electronic music had been well into its eruption onto the mainstream by the early ‘2000s, taking trance along with it. At first, the music retained its class when crossing over. “There was a lot of instrumental stuff going in the charts, and it was pretty credible…Art Of Trance, people like that made crossover tracks, but they weren’t cheesy,” advised Fleming.
Photo Credit: Juan Rios
But, he admitted, “The thing with trance music, is it can easily cross over into the commercial world because it’s emotional, it’s musical, it’s got melodies, it can have vocals. It ticks all the boxes where it can go into the mainstream.”
New types of commercial music with elements based loosely on trance began crossing over into the pop world, birthing what’s infamously labeled as “EDM” roughly a decade ago.
“With trance, you have to kind of protect it, and be very careful.”
J00F believes that it was during this time that a major disconnect between trance’s original ethos and what most people know it as now began forming. “There was nowhere for EDM to go,” he asserted when it came to categorizing it in outlets like Beatport.
The media and those new to the scene began catching onto this new definition until “trance became the place for this big room commercial stuff,” he went on.
Fueling the flames, he quipped, are certain DJs considered as “leaders” in the trance scene who helped push the genre forward in its early days and still carry its banner despite evolving more into the commercial realm after reaching superstardom. He understands why they do so, however — it all comes down to credibility in the end.
The problem is, “When you look at all these brands, which are branded with the trance name in them and it’s blatantly not trance, it just causes more confusion,” explained Fleming. It’s frustrating and disappointing to watch people’s perception of the genre he’s spent so much time developing change toward a negative direction as a result of such confusion.
He’s not alone in this sentiment: “many say this behind the scenes but never speak out loud.”
This of course makes it easy to understand why so many artists refuse to call their music “trance” as well, the veteran sympathetically pointed out. “People rebelling and going back underground had no choice but to put their music into techno and progressive house. And that’s where trance goes when it’s rebelling.”
“It’s uncomfortable because I know the top tier of these trance people, and I suppose it’s like the really embarrassing family member at your party – you’re related to it, but you’re watching them make a complete idiot of themselves. They’re tarnishing the family’s name and you’re watching this go on. So at the end of the day, you try and distance yourself from it.”
J00F further posits that artists who can arguably be defined as trance in his eyes such as Eric Prydz, deadmau5, and even Stephan Bodzin or Tale Of Us, “are just protecting what they’re doing because it’s credible and they don’t want to associate themselves with this commercial stuff.”
Even Fleming has done so with his own work recently: “I’m putting a lot of my stuff in those categories as well because I don’t want it to get lost in the trance section.” He worries sometimes that “My shouting ‘this is trance!’ is falling on deaf ears these days,” leaving him with no choice but to re-label his music.
Regardless, he realizes that now more than ever, it’s important to stand up for what he believes in, and work against the media and DJs who are diluting the ethos of trance to re-educate the public on the genre’s full breadth, and the potential it can achieve.
“I know the essence of trance and the ethos of trance. I know what trance should be about, and it frustrates me others look at me (I play trance in my eyes) and says “Oh, you’re a techno DJ,” or “You play progressive house.” I say, ‘No, I play trance!’”
He backtracks to a time when he almost left trance himself after he lost gigs due to promoters who “assumed that I’d be playing all that fluffy, commercial stuff because I’d stuck to my roots and still called [my music] trance.”
Then, he thought, “What am I doing? I’ve dedicated my whole career to trance music. I can’t just walk away!”
The John 00 Fleming we know today remains as steadfast and enthusiastic about trance music from when he’d first discovered it so long ago. In fact, it’s almost as though history is repeating himself. When he first started out in the genre, he referred to himself and his peers as “rebel punks” of their day, fighting commercialism with their revolutionary music to establish credibility in the mainstream.
Now, he finds himself in the same position of fighting against commercialism and making sacrifices in the process while proudly defining himself as a trance artist, this time to take his music’s credibility back after having it warped by mainstream.
Photo Credit: Michael Tullberg
Fleming emphasizes that there are positive signs in dance music’s direction as fans mature and crave more nuanced music: “This progressive theme is starting to grow, and it’s what I call progressive trance. I’m finding so much cool music now with those melodies that I was talking about. It embodies the soul and the spirit of trance!”
Fleming continued his adoration for progressive: “Before you know it, half an hour goes by, then four hours go by and you look at your watch and think ‘where did the time go?! I’ve just been taken into the future and dropped back here again.’”
This kind of immersive DJ experience has become a staple of trance and progressive — a carefully crafted art which Fleming feels is under threat due to the current industry climate: “The way to start DJing is putting your own events on, playing to empty rooms with only 50 people, work bloody hard to get those 50 people moving.”
He agreed that possessing strong DJ skills is an invaluable asset to one’s career, and is the main reason why he’s been around so long. He and his fans have a symbiotic relationship: they give him the freedom to take them wherever they go, and in return, he provides them with a journey that opens an artistic window into his persona.
“You play all those gigs in those dark, dingy places and then you learn how to perform as a DJ. You learn how to open a club, to get people from standing behind the bar to the middle of the dancefloor, and how to keep them on the dancefloor. “
Fleming enjoys treating listeners to gems he spent a painstaking amount of time finding as well. “To me, the best kinds of tracks are the ones you can’t find inside Beatport; they’re dug in there deep. Or the ones you discover on YouTube with only a few hundred plays.” He and his peers invest a good deal of time in cratedigging, and still come up with eight or more hours of music to play if they get the chance. Fans entering this corner of electronic music appreciate it too.
Will trance ever enjoy the credibility it once had as a serious genre? Can history come full circle?
A bittersweet shadow invaded John’s voice as he mapped out his view. He knows what could catalyze a swift recovery of trance, arguing, “If these people [the top tier DJs] drop their trance branding and started something new, then that would be the start of helping to clear things up in the trance world.” However, he doubts much will change until that happens.
“I am very open-minded when it comes to music – there are a lot of commercial acts I like, and I like pop. It just frustrates me; it feels like there’s this baby in trance that lost its way, and I don’t want to see it disappear forever.”
That said, he remains dedicated to using his voice in the scene to remind others of the brilliance he’s observed in trance in both its fledgling days and also the blooming underground scene bubbling up in the present. His music speaks to its consumers on an intimate and forward-thinking level with its combination of edgy progressive and goa with traditional overtones.
Ultimately, Fleming’s efforts will most certainly not go to waste either — over the years, he’s successfully passed down enough tools and wisdom to those who’ve encountered him to carry the deeper meaning of trance onward, no matter how obscured the genre becomes in the present.
Feature Photo Credit: Andy Rapkins
Julian Jordan has definitely set the tone for 2017 as the talented Dutchman released a brand-new single called ‘Always’ (with CHOCO), out now on his GOLDKID Record label. Built on a strong foundation of chord progressions and luscious vocals, ‘Always’ is an offering sure to shake up the electronic music scene. The track makes perfect
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An air of dark, hypnotic beauty presides over Guy J productions – a power which the Israeli progressive wizard employs in his latest, “Diagonal.” It’s positioning as the B-side to his MDQ/Diagonal EP fits its identity perfectly as “MDQ’s” darker cousin, cruising through tantalizing and deep synth melodies sprinkled with exotic elements which give the mind something new to latch onto with each listen. Sharp, yet lush percussion pierces this entrancing overlay, adding a meditative drive that adds to the finesse “Diagonal” exudes.
MDQ/Diagonal releases through Guy J’s Lost&Found imprint on January 27. The release follows up his brief return to his original home label Bedrock in the form of an equally seductive “2026.”
In its simplest definition, “materia” is the Latin root word meaning matter, base and the substance that all things are made of. After giving their upcoming album a listen, I can understand why Trance legends Cosmic Gate have decided to give their latest release this most fitting title. It is difficult for artists to keep
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Namedropping Airwave doesn’t merely identify one as a true trance fanatic but a longtime lover of dance music. The man from Brussels has been sharing tunes with the world for the last two decades and despite a few short phases with harder genres, he’s has largely stayed devoted to the progressive sound. Last years ambitious and