Category Archives: Trance

The most unfortunate thing about constant success for a company is the eventual reality that I cant last forever. No matter how stunning or amazing its initial rally is, every stock is subject to hype that can lead to an overvaluation. These overvalued stocks ultimately cause a risk to long-term investors who may be subject to a volatile price drop should institutions decide to cash in on a historic run.

Message its important to look earnestly at a stock and consider whether or not your position is still worth it. Its up to you as an individual investor to decide if your gains on a position are satisfactory. I will use these three high-performing stocks as examples of what clues to look for regarding overvaluation.

Source: Piotr Swat / Shutterstock.com

I may be a contrarian when I say that Nvidia (NASDAQ:NVDA) is driving a trend of overvalued stocks, but hear me out. The company grew by $1 trillion in market capitalization in under 100 days, yet none of its big-ticket products sell directly to consumers. It builds exceptionally complex technologies with fairly niche use cases.

Take, for example, the recent announcement of its Blackwell graphics processing unit. At $40,000 a piece, nobody but the companies that use it for their products is buying it. Thats fine because demand for linear processing power is through the roof as everyone jumps on the artificial intelligence bandwagon, but what happens if forecasted demand is overinflated? What happens if the data used to train AI runs out? Billions of dollars in data center GPUs will be essentially wasted.

Moreover, 5G connections and internet speeds across the U.S. are nowhere near fast enough to support the processing speeds that Nvidia devices are offering. Yes, the engine Nvidia is building to power the new industrial revolution is faster than anything ever seen before, but what if it simply doesnt need to be?

Source: Vitaliy Karimov / Shutterstock.com

Though it saw a 28% correction over the last six months, theres a good chance Tesla (NASDAQ:TSLA) is still overvalued, trading at around $184 a share. For example, its market capitalization is $589 billion, which is stunning compared to the next biggest car company by market share, Toyota (NYSE:TM), at $261 billion.

At first, the difference may seem to be because of Teslas technological edge. Still, more and more consumer trends show a decreasing demand for electric vehicles as hybrid engines become more practical. This disparity in market cap between first-place TSLA and second-place TM seems even more glaring when you consider that TSLAs revenue in 2023 came in at $94.75 billion compared to TMs $297.86 billion.

Even worse, Tesla trades at a price-to-earnings ratio of 47.28x, which appears exceptionally expensive compared to Toyotas price-to-earnings of 8.37x. As a result, Im confident that Teslas stock is still one of the more overvalued stocks in the auto sector, regardless of its perception of being a tech stock.

Source: Claudio Divizia / Shutterstock.com

Though discussion comes from several angles, from e-commerce to cloud computing, Amazon (NASDAQ:AMZN) is likely one of the more gently overvalued stocks in this trio. The company still takes a relatively measured approach when addressing the mediatemperingrs hype and expectations around its stock performance.

Though its Amazon Web Services platform is dominant and is the primary e-commerce site in the United States, much of the speculation on Amazons future trajectory has focused on its ventures in the AI race. Yet, AI is one thing Amazon is relatively quiet about, at least in comparison to the other major tech stocks of the Nasdaq.

Its price-to-earnings ratio is also high for the tech industry, sitting at 51x currently. While it may not be trading as overvalued as TSLA or NVDA, some calculations suggest the stock is 32% over its intrinsic value, courtesy of Alpha Spread.

On the date of publication, Viktor Zarevdid not have (either directly or indirectly) any positions in the securities mentioned in this article.The opinions expressed in this article are those of the writer, subject to the InvestorPlace.comPublishing Guidelines.

Viktor Zarev is a scientist, researcher, and writer specializing in explaining the complex world of technology stocks through dedication to accuracy and understanding.

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Hype-nosis: Snap Out of the Trance and See These 3 Stocks for What They Really Are - InvestorPlace

Giant has a passion for two things - bicycles and some confusing naming conventions. With that in mind, let me introduce you to the Giant Trance X Advanced, the Trance X, the Trance X Advanced SX and, of course, the Trance X SX. While some of them might sound like a burlesque techno evening, I can assure you that they are bicycles, and in fairness, they look to be ones that will cater to mountain bikers who want all that makes a modern trail bike good - mature, progressive geo, clever features and plenty of adjustment.

140 mm travel rear, 150 mm fork 29" Wheels / 27.5" for SX Carbon or Alloy frame 64.8 degree head tube angle Geo and reach adjustment Sizes: S, M, L, XL Weight: 13.7kg / 30.2lb (size large) Price: $3,700 - $8,000 USD giant-bicycles.com/

The Maestro 3 system used on this bike features a flip chip, but it's not there only there to tune the angles of your bike. The chip, which offers three positions, also doubles up as a way of adjusting between 29 and 27.5" wheels. As stock, the SX versions will come mixed wheeled only, whereas the other models will come stock 29" but can go to 27.5". Due to the extra travel, the SX won't be able to go to bigger wheels. Giant suggests the bike is ridden in the mid or low positions with a larger wheel and mid or high with a smaller one. Outside of the suggestion, it will work, but the geometry might get slightly wayward.

Stock builds will be set in the mid position. From there, the low position reduces the angle by 0.4 degrees, and the high steepens by around 0.3 degrees. The full 29" bike has a head angle of 64.8-degrees, and the Trance SX 63.6-degrees. The seat tube angles see a similar difference between the two models, at 77.5 and 76.3 respectively, and are potentially inverse of what a rider may want. Typically, longer travel bikes are ridden on steeper climbs and descents, and shorter travel, slightly less aggressive ones are slightly shallower gradients. In an ideal world, the slacker SX would have a steeper seat tube to compensate. However, that's just the limitation of making one frame do two wheel sizes, flip chips or not.

The bike's reach is quite contemporary, at 480 mm for a large size. Again, the small 27.5" rear wheel of the SX will affect reach, reducing it by around 10mm and slightly increasing the stack value.

The bikes use the same rear end length across all models and sizes.

Would it be a Giant if it didn't feature Maestro? That's one for the philosophers. The Maestro 3 system uses a swingarm and two co-rotating links to drive the shock. The bottom shock-eyelet hardware also doubles up the mount for the lower link to connect to the front triangle. Giant seems to be all-in on Trunnions, and this Trance X is no different.

Trance X Advanced 1 - $7,000USD / $8,499 CAD Fox Performance Elite Grip2 36 and Factory Float X, SRAM GX AXS T-Type drivetrain, Shimano XT M8120 brakes, Giant TRX carbon wheels

Trance X Advanced 2 - Not Available in US / $5,899 CAD - Fox Rhythm Grip 36 and Performance Float, Shimano SLX drivetrain, Shimano Deore M6120 brakes, Giant TRX carbon wheels

Trance X Advanced 3 - P&A TBC Fox Rhythm Grip 36 and Performance Float, Shimano Deore drivetrain, Shimano BR-MT420 brakes, Giant TRX carbon wheels

Trance X 2 - Not Available in US / $3,899 CAD Fox Rhythm Grip 36 and Performance Float, Shimano Deore drivetrain, Shimano BR-MT420 brakes, Giant TRA2 alloy wheels

Trance X Advanced SX - $5,600 USD / $6,499 Fox Performance Elite Grip2 36 and Performance Elite Float X, Shimano SLX drivetrain, Shimano BR-MT420 brakes, Giant TRX carbon wheels

Trance X SX - Not Available in US / $3,999 CAD Fox Rhythm Grip 36 and Marzocchi Bomber Air, Shimano Deore Drivetrain, Shimano BR-MT420 brakes, Giant TRA2 alloy wheels

Having only got the bike a few days before the busiest week in the bike industry ever I certainly haven't got as much riding in as I would like on the new Trance. That said, some things are obvious. Firstly, this is an actual 29" trail bike that weighs around thirty pounds, which is a rarer sight than it once was. On the climbs, you can definitely surge up them, with the Maestro platform granting a lot of grip. It's also neutral and predictable in just about every way, which I personally really enjoy.

That said, it perhaps doesn't feel like the burliest of bikes and can feel a little skittish when going full chat, although I put that down to the Exo tires more than anything. Overall, this offers a nice blend of radical to reasonable, and I look forward to getting many more miles in on it over the spring.

Continued here:

First Ride: The 2024 Giant Trance X Advanced - Pinkbike.com

A Nigerian man has narrated how he lost his girlfriend of five years after relocating to Abuja for greener pastures.

He lamented that they were in a relationship since 2019 and already planned on getting married this year.

The heartbroken man shared his ordeal with a relationship adviser identified on X as @jon_d_doe.

He narrated that they were living in Port Harcourt before his job transferred him to another location, Abuja.

Following the update, he planned with his girlfriend to go alone and rent an apartment before she could come over and join him since they didn't want to stay in his family house.

The man said that it was during that period that his girlfriend started acting strange towards him and he knew that their relationship was about to hit the rocks.

Sometimes, she ignored his calls and avoided his video calls and as time passed, the signs became more pressing.

When he finally rented a one-bedroom apartment, he asked his girlfriend to come to Abuja and it was then he realised that she cheated on him.

After much pressure, she confessed and claimed that she was taken advantage of as it felt like she was in a trance when she slept with her side boo.

The man narrated:

Netizens took to the comments section to share their thoughts on the heartbreaking story.

@Maggiewitdsauce said:

@EMYLONDON11 said:

@memerings reacted:

@cugorjil said:

Meanwhile, Legit.ng previously reported that a Nigerian man employed one of the interesting features of GB Whatsapp to catch his cheating girlfriend.

A Twitter user shared the chat between the said cheating lady and the man, urging male folks not to stop fearing women.

Source: Legit.ng

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"It Felt Like I Was In a Trance": Lady Narrates Her Bedroom Experience With Side Boo in Leaked Chats - Legit.ng

Its 1AM in Londons Canning Town and hundreds of ravers are queuing outside The Cause in anticipation for Snow Strippers first-ever UK show at cult club night Trance Party. Hoards of zoomers dressed in archive Rick Owens and Praying wait in anticipation, stashing their bags of powder into platform New Rocks and downing 75ml bottles of Smirnoff before entry through the barriers. The energy inside is unhinged as Snow Strippers take to the stage. The pit is pure madness, packed from floor-to-wall with ravers moshing up against the barriers, which are being held intact by the TP crew and a handful of rather pissed off looking security. Upstairs, more ravers crowd the staircase, cramming their faces through the bars to get a glimpse of the action. Later I overheard someone describe the set as the first time they thought they might actually die at a club night.

Is it worth the hype? Definitely. Since releasing their first two singles in 2021, American based duo Snow Strippers are fast becoming one of the hottest electronic acts to surface in recent years, having worked their way up through the NY indie scene (theyre signed to Surf Gang records, along with the likes of Evilgiane and Eera), eventually catching the attention of Lil Uzi Vert, who featured them on last years Pink Tape. Theyre spearheading the electroclash and EDM comeback youll find countless articles comparing their ravey sound to early Crystal Castles or Salem while their effortless aesthetic, synonymous with vape smoke and strobe lights, is the epitome of internet cool.

We asked Snow Strippers to capture the ravey antics at their first-ever London show take a look in the gallery above.

Originally posted here:

In pictures: Snow Strippers take over Londons Trance Party - Dazed

Trance and techno pioneers Juno Reactor began life as aloose and lively art collective. Head honcho Ben Watkins fondly remembers the time he and his wife drovea surface-to-air missile past Big Ben as an anti GulfWar protest.As the 90s soldiered on, he and his ever-evolving lineup focused more on the music, turning out three albums that pushed the envelope for the electronic music genre, before work began ontheir masterpiece Bible Of Dreams.

The album was pieced together in Watkins Dickensian warehouse over by Shoreditch, a studio space made sonically perfect thanks to a recently installed system that was hand-crafted by sound expert (and now Watkins label boss) Robert Trunz.

That changed it all, Watkins says. He put in a really big Raindirk Symphony desk, which is really quite specialised. Robertactually first started making desks for Deep Purple, andwhat he built rattled the whole building.That desk was amazing. It had this really beautiful EQ. And when you pushed the bass end, it just purred at you. That made a massive impact on the music we could make, because suddenly we had a three-dimensional sound in the studio.

Watkins began to create bass-heavy, 360 soundscapes, pullinglive African percussion, Middle Eastern influences, livevocalists, rock guitars, and analogue drums into the mix.Developing themes across the albums tracks were inspired bythe concepts of dreams, death, religion and sharks, all whilefinding space for sampling actual Formula 1 racing cars, alongside dialogue snippets from movies including Ed Wood (1994) andThe Ten Commandments (1956).

It would be deep-dive dance music, out on the fringes of the underground, with a shattering sense of tribal rhythm and an emotional depth unlike anything else on the scene at the time.

It was around that time everyone started saying things like Goa trance, says Watkins. But, we didnt really like those sort of pigeonholes. And we didnt like the idea of being labelled.Me, [and band members] Mike [Maguire] and Stephen [Holweck] just didnt want to have a blueprint. We just tried tomake the music that we wanted to hear.

My studio was like a huge warehouse over by Shoreditch. Robert Trunz came in and added a massive Raindirk Symphony desk and massive monitors with nine 12 bass drivers each side. Wed got rid of the Atari ST, and were on an early Macintosh tower, running everything through some sort of MIDI device. It was all Cubase. Like, 2.0. Ive always used Cubase since the very beginning.

A lot was arranged in the computer, but we used to jam a lot on the desk. We had certain amounts of automation, but were always hands on deck, come the mix. I had a Korg MS-20, but my favourite was the Mono/Poly. Then aRoland MC-202, 303. The Korg DW-8000 and EX-8000. And wed hire an Oberheim keyboard. But, generally, it was those things and samplers.

I had a couple of Akai 1000s. Or, maybe a newer one? And some Oberheim Matrix 1000s. And we also had the Cyclosonic 3D panner, forspatial effects, and then 24-track tape machines.

Ive got this sort of imaginary musical cooker where I put ideas inwhen theyre just sounding a bit dodgy. I just chuck them in there and leave them until theyre ready for pulling out again and working on. This was one of those. I originally started the track with a guy called Xavier [Morel], whos aDJ. And it was a pretty well, it wasnt that good.

I think Xavier got taken to prison for six months, which sort of allowed him a bit of respite. And, in that time, I came across the story of this 18-year old French girl who was murdered by an English truck driver. And, when they found her body, the father wrote on a tree, Jardin De Cecile. Which means, The Garden of Cecile.

I had just had my daughter around this time in 96 my daughter was born. And it really affects you, when youve just had akid. Your emotional well is like, times 100. So it really affected me.

After that, I thought, Okay, lets take this track out of the cooker, andmanipulate it into like a sonic garden of Cecile. And that was the story behind it. And there are other writers on there as well [Mike Maguire and Paul Jackson].

This features [South African conga king] Mabi Thobejane. He had areally big life story, and he was an amazing person to be around. When he was 17, he was out doing live shows with Duke Ellington, Miles Davis, and those sorts of artists.

We met through Robert Trunz, who recorded him for his jazz label, M.E.L.T. 2000. He took me on a trip to Namibia, where we filmed and recorded the bush people, and spentanother two weeks down inthedesert.

Mabia started telling me about how he wrote tracks. And it seemed very similar to the way I do, which is very much about images, or stories, and theres always a fixed element to it. Its not just about, Oh, lets have a good time. And Conga Fury pretty much came out of that. We said, Lets do a song about the dreams ofthe Bushman or Sand People.

He was an amazing percussionist. And before that, percussion was like, things that white guys did, badly. Like T-Rex, and you know, people just sort of seal-flapping on congas.

I was working far more with real acoustic drums, at the time. We had Nick Burton on percussion and drum kit. He was great on this [track]. Hes a great drummer and had arockabilly band called Westworld. But, he had great rhythmic sense. And he had really good electronic sense, as well. So, on things like GodIs God, were very much workingwith him.

This also features Natacha Atlas on vocals. She was a friend of Nicks, because I think Nick was working with someone else from her band, Transglobal Underground. And he said, Lets get Natacha Atlas down. And so she came down. And she really looked like Elizabeth Taylor. She looked beautiful. And she had alittle wheelie bag, because she hadnt got anywhere to live at the time. She was always going to different houses to stay in. So, shebrought in her wheelie bag of everything she had. And then she came into the vocal booth, and it just sounded amazing.

God Is God has been quite atransitional track for Juno Reactor, because of the much slower BPM difference as well. It was never a hit. But it, you know, like a lot of Junos stuff, spread through, in a sort of below-the-radar type of way.

I just remember working with Paul Jackson, who was one of the writers, and him being so precise on this track. It ended up taking a great deal of long nights to get this one done. It was OK, though. I mean, we had my studio in which Robert Trunz had installed this amazing gear. Stuff like a huge Raindirk Symphony desk, and monitors with all these bass drivers.

He was CEO of M.E.L.T. 2000, which was the umbrella company which ran the Blue Room record label that put the album out, as well. We also had 24-track tape machines, so everything was going down to tape with the Cyclosonic 3Dpanner, which we used to have tohire in every day for like 100 orsomething. And then, when all of these sorts of panners became useless, Irang up FX Rentals and got one forlike 120, and now theyre worththousands!

Like a lot of the tracks, this is like eight minutes long. I mean, Idont know why writing tracks forthat amount of time was so important to us. But, with the sort of longer tracks you got a better story.So, a lot of the thinking, in those days, was to have a longer intro. Then youd get into it.Thenyoud fire it up, and then hit acrescendo.

This is also Mabi, again, on percussion. And, I think I got my old mate Pete Glenister down on guitar.I did some guitars, too. Stephane [Holweck] is the bass player. And he played like electric bass on it as well. Its all very swampy swampy rock.

Ive always liked that sort of crossing over between dance and rock. Yeah, the first two albums we did are not really doing that. And [third album] Luciana, didnt haveit,either.Before I was working in Juno, Iwas in the band The Flowerpot Men. That was electronics and cello, voice, guitars. Then I was in Sunsonic, which was the extension of The Flowerpot Men, with acoustic instruments and electronics. So, Ive always liked that. Because whether its singers or players, you just get so much more onto tape. You get an emotional content.

Well, this is based on the stories from the Japanese folklore tales of the princess and the moon. And Ihad done a track called Samurai before [Hypnotic Records, 1996]. And Japan was really quite an important birthing pool for JunoReactor.

We did a lot of things there, way before we did anything outside. And that was a nod to them, really. And Iliked the story. It has great percussion by Nick Burton, as well. Ithink its alot of his knowledge as a drummer coming through, but Ithink its all pretty much electronic.

That desk was really amazing. When you pushed the bass end, itjust purred at you

Its got a darkness to it. I think, maybe at times, Im a bit Gothic. Isort of [insert] myself into that world quite easily. Although you dont get that much Gothic stuff onJuno, but I quite like that darkness in tracks.

And theres a credit to Yapo. That was one of the guys in our family in Japan. And he did thevoiceovers. I was always recording stuff. Ive been doing that for years, just with aZoom or tape recorders. I once recorded an Indian singer in a taxi.

Thats me and Johann [Bley]. And Iremember thinking that I wanted toget Formula 1 cars recorded. SoIwent up to [UK racetrack] Silverstone, I think.I got an invite from, the Marlboro team [Ferrari]. And, I think at the time, Schumacher was racing for them. But the majority of the carsthat I used were actually the Benetton ones.

Besides the cars, I think theres a bit of the Johnny Depp film, EdWood. So those had to give the record company a big task to get thelicences through; all of this stuff. Like the Charlton Heston samples weused in God Is God from The Ten Commandments.

We just love sharks, and the protection of sharks. I mean, generally, the whole protection of thesea. The sea and the marine life,globally, has been quite a big thing for us.What really gave this track, andthe whole album, its sound, washaving such a great desk. I still love working on analogue desks now. Whether working with samplers or live percussion, it really added anewsound.

It was like another member of the band, really. I think it gave us abig advantage over other bands. And I think thats why the album stillsounds okay now.We had great engineers as well. Greg Hunter was there. And there was Richard Edwards. They took tracks to a new level, you know?

I could not have mixed them aswell as they did. Ive got proof, because Ive got some of the mixes Idid for demos. They taught me alotabout mixing. And there was mastering by Kevin Metcalfe. Ive been working with him since the 80s. The first record he mastered was David Bowies Hunky Dory, so we were in good hands.

Trance pioneers Juno Reactor have announced that thatll release a 5CD box set, through Edsel Records, containing their first five landmark albums. Entitled Imagination, Use It as A Weapon, and retailing 35, each one comes with an exclusive art print, signed by Ben Watkins himself.

Meanwhile, the seminal Bible Of Dreams gets a standalone limited edition heavyweight double vinyl pressing release viaDemon Records. Both will be available from March 15th, with more Juno Reactor releases and live shows planned for the rest of 2024.

For all the latest news on their mesmerising live shows and any new and forthcoming releases, head to the official website.

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Juno Reactor's Ben Watkins on the 1997 Goa trance classic Bible of Dreams: "What really gave the album its sound ... - MusicRadar

This past weekend marked a momentous occasion for global dance music fans as W&W, one of the industrys most influential duos, resurfaced their esteemed NWYR alias with a captivating performance at A State Of Trances debut Rotterdam event, ASOT DESTINATION 2024. Following a four-year hiatus from the live stage as NWYR, Willem van Hanegem and Ward van der Harst delighted the audience at Rotterdam Ahoy under their Trance-leaning moniker, drawing a 25,000-strong crowd to witness their highly-anticipated comeback. Now, the full live set is available to watch via W&Ws YouTube channel.

Helmed by Armin van Buuren, A State Of Trance stands as a cornerstone brand within the industry, with a multitude of events across the electronic music calendar attracting enthusiasts from across the globe, year after year. Additionally, NWYRs inclusion in the events debut Rotterdam edition elevated the excitement to even greater heights, augmenting an already stellar roster of top-tier talent.

The absence of NWYR from the club and festival scene over the past few years had left a palpable void, with fans eagerly awaiting the return of their anthemic, Trance-driven sets. Equally renowned for their high-octane productions, which form the backbone of W&W imprint Rave Culture, NWYRs sound palette has garnered a devoted global following, cementing their status as one of the genres most influential acts.

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W&W make their triumphant return under the NWYR project - We Rave You

The Trance Database is free, contains 150,000 classic trance tracks, and is available without registration. The DB is a spreadsheet that can be opened almost anywhere, anytime, on any device.

The database was created with the goal to compile all trance (and proto-trance) tracks made between 1988 and 2009.. For the construction, vinyl releases were used as a reference. The DB provides various details about each track, such as the artists name, song title, length, and style. And under the song names are links directly to YouTube, where the tune can be listened to. And whose work is this? This is the work of Koncz Dvid, aka TheTranceHistorian, a Hungarian man with a passion for trance. Interestingly, the Hungarian community seems to be very active in projects lately, just think of Tams Borjns LEGO Pioneer CDJ 2000.

Around 2022, Dvid was working on a similar list for his book, also about Trance. The main focus of this was the history of the genres origin, but he soon realized that it would be a great opportunity to create a nearly complete database. He made the exciting announcement on the Trancefix forum that the mostly finished database had arrived.

My original intent with [the database] was to aid my research for the book and make processing large amounts of data (and also the writing) faster. But then I quickly realized that it could be a useful and valuable source of information for all Trance lovers out there, hence, I decided to make it available to everyone, added Dvid.

According to the author, most of the information was obtained by accessing the open database/API of discogs.com. The almost 150,000 records from 1988 to 2009 are almost 90% accurate, according to Dvid. In addition to the forgotten masterpieces, it includes such hit tracks as Take Me Away by 4 Strings, Robert Miles Children or Tistos Traffic, and many more.

The database is available here on Google Sheets, completely free of charge and without registration. The initial page will be an information page, but for speed, there are tabs at the bottom of the screen to jump between years.

Follow this link:

A Trance Database Arrived: Browse by Year with Ease - We Rave You

Gatecrasher is returning to Sheffield with Rock N Roll Circus' debut event as it celebrates its 30th anniversary.

Its just over two weeks until Rock N Roll Circus debut Sheffield event brings big names to Don Valley Bowl - including Noel Gallaghers High Flying Birds, Happy Mondays and Natalie Imbruglia.

From Friday, September 1 to Sunday, September 3, dozens of acts will perform in front of thousands, and Sheffields former legendary dance club Gatecrasher will make a return to celebrate its 30th anniversary.

Organisers have announced the giant big top will see a second stage for the Gatecrasher anniversary show on Sunday, September 3, as well as many additional DJs, now in collaboration with BBC Introducing.

Gatecrasher needs little introduction. After arriving in Sheffield in the 90s, it quickly transformed into a superclub at The Republic in the city centre, with Judge Jules as a resident DJ and Paul Van Dyk just one of the huge names it attracted. In 2007, the club caught fire and collapsed, putting the iconic nightclub into history.

Dance and trance icons already confirmed for the day include Ferry Corsten, Ilan Bluestone, Ruben de Ronde, Mark V, and Sander van Doorn. Some of Gatecrashers resident DJs will also be back to support the headliners on the second stage.

Also, Sheffield DJs Corey Mahoney, Simon Brown and Sandy Turnbull have all been confirmed to start the Sunday closing party in style alongside the likes of BBC Introducing top picks, Lee Parkinson and Charla Green.

The Gatecrasher Classical orchestra will also return as part of the irresistible event for the first time in five years, performing a blistering 90-minute set of the planet's biggest trance anthems.

A spokesperson for Gatecrasher said: "We are thrilled to be back home in Sheffield, our undoubted spiritual home. We look forward to seeing old friends and making new amazing memories delivered by the Dutch legends and local heroes that helped us conquer the trance world all those years ago.

Story continues

"We're all thrilled to announce a second stage in collaboration with BBC Introducing who continue to support the local scene. Gatecrasher loves Sheffield and Sheffield loves its trance music."

The event will be complete with acrobats and all the fun of the fair with a street food village, local beers, cocktails and more.

Gatecrasher is a strictly 18+ show starting at 3pm and closing at 11 pm.

Excerpt from:

Rock N Roll Circus: Second stage announced as Sheffields Gatecrasher returns with 30th anniversary show - Yahoo Eurosport UK

Photo Credit: Nicholas Gunn Official

Having worked with several top-tier names within the genre, including Armin van Buuren, Aly & Fila, Andrew Rayel, and Sam Martin, Nicholas Gunn proves his skilled abilities and cements his name as one to follow as he continues to push boundaries and find innovative ways to translate his passionate creativity into moving music.

Nicholas Gunns unstoppable passion and enthusiasm for his art support his growth as an artist and is the pillar to all his creative pursuits; with such a talent and drive, Nicholas Gunn is sure to continue making influential waves within the electronic music scene, both through his musical releases and his work as owner of the label Blue Dot Music.

Here to discuss his plans for the summer, Nicholas Gunn joins us in this exclusive interview, sharing an insiders look into his release schedule and upcoming projects.

EG: Hi Nicholas! How are you today?

Nicholas Gunn: I am well, thank you for asking!

EG: Youve had a busy year already; do you have any exciting plans for the summer?

Nicholas Gunn: With two young boys and a busy work schedule, my life is extremely organized, otherwise, it tends to fall apart quickly. A family vacation in August this year, followed by a few business trips, including one to ADE in October. Growing my label Blue Dot Music has me spending plenty of time in the office and studio this year. The focus has been really intense.

EG: Are you gearing up to release any new music soon?

Nicholas Gunn: Theres always new music! My schedule is currently booked through March 2024 with new titles coming out. On the immediate horizon, theres a new collab between Dave Neven and me, featuring Alina Renae, titled My Life, which is the follow-up track to our Love You More title from 2022. I also have some classic ambient titles, as well as a collab with Ciaran McAuley, all seeing release dates by October 2023.

EG: You often collaborate in your work, are there any artists/producers that have caught your eye over the summer that you would love to work with in the future?

Nicholas Gunn: If I am in the studio and writing a topline and lyric for a track thats geared towards trance (based on tempo), then I start thinking about who would be a good fit for a collab. Ciaran McAuley and I are a perfect fit and I have been wanting to work with him for the last year and that will be realized this fall. Craig Connelly and I have been tossing around some ideas and hopefully that will work out as well

Theres always new music! My schedule is currently booked through March 2024 with new titles coming out

EG: Do you prefer to write and produce in the summer? Do you find that the sense of freedom that the summer evokes translates into your productions at all or impacts your creativity?

Nicholas Gunn: I am producing all year long. Theres rarely ever downtime and the time of year always yields new inspiration, whether its summer, fall, winter, or spring. I learned many years ago to never set expectations and to just roll with it all.

EG: Aside from music, what has been a memorable moment of the summer for you?

Nicholas Gunn: Raising my kids. They are my life. All consuming. We have been taking bike rides to Venice Beach all summer long and they have been amazing. We throw the kids on the bikes with us and peddle for hours on the boardwalk. Seriously great times!

EG: Are there any creative milestones that you are hoping to achieve this summer?

Nicholas Gunn: Growing my label Blue Dot is my main goal. Ive had the label since 2016, but we have been adding new titles from many different artists over the last year and things are going very well.

EG: Do you have any planned collaborations that you can tell us about?

Nicholas Gunn: Yeah, we already touched upon the ones I can mention and thats my upcoming track with Dave Neven feat. Alina Renae My life and another with Ciaran McAuley feat. Alina Renae titled In the End. Craig Connelly and I are still messing around with some ideas but nothing firm planned yet.

I make money from my passion, so I make sure that passion is always authentic and being fulfilled by following my heart, raising my family, and living my best life

EG: Are you planning on attending any festivals or live shows this summer?

Nicholas Gunn: Ill be at Amsterdam Dance Event in October and Dreamstate in November.

EG: What are you most looking forward to as we look ahead to your summer and the rest of the year?

Nicholas Gunn: Life. My existence here and how it unfolds to fuel my creativity and work. I dont really work, in all honesty. I make money from my passion, so I make sure that passion is always authentic and being fulfilled by following my heart, raising my family, and living my best life

EG: Thank you for your time, Nicholas! We wish you all the best!

Nicholas Gunn & 88Birds Heart of Gold is out now via Blue Dot Music. Stream and download here.

Follow Nicholas Gunn: Soundcloud | Spotify | Instagram | Website

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Nicholas Gunn: "I learned many years ago to never set expectations" - Electronic Groove

Marvel fans have held a good amount of resentment toward Peter Quill (Christ Pratt), also known as Star-Lord, since he was a major reason why Thanos (Josh Brolin) defeated the heroes during Avengers: Infinity War. During the Battle of Titan, Iron Man (Robert Downey Jr.), Doctor Strange (Benedict Cumberbatch), Spider-Man (Tom Holland), Drax (Dave Bautista), Mantis (Pom Klementieff), Nebula (Karen Gillan) and Star-Lord hold down Thanos and try to extract the Infinity Gauntlet from him. However, Peter begins to question the whereabouts of his romantic partner, Gamora (Zoe Saldaa). Thanos reveals that he killed her, which causes Peter to lose control and punch Thanos repeatedly in the face, waking him up from Mantis' trance.

From that point on, Marvel fans weren't forgiving of the character's actions. Even James Gunn felt that Peter's actions weren't true to his character. But some fans contest that it was within his personality to react passionately because of his actions in Guardians of the Galaxy Vol. 2 when Ego (Kurt Russell) shares that he was the reason Peter's mother died from cancer. But for those that didn't buy into that, Guardians of the Galaxy Vol. 3 goes out of its way to give Peter the redemption arc he deserves.

RELATED: Guardians of the Galaxy: Who is Peter Quill's Real Father?

Right before Adam Warlock (Will Poulter) arrives, fans are aware that Peter isn't the captain they had become accustomed to seeing. He's constantly drinking due to his issues, which hurts the Guardians. The only reason Peter bounces back is because Rocket (Bradley Cooper) ends up greatly injured. Peter then makes it his ultimate mission to save his best friend. Those with issues with Star-Lord may have found it jarring that Peter is so quick to jump back into the hero role, but they should remember that he cares deeply about the people he loves.

Rewatching all the Guardians' appearances in the Marvel Cinematic Universe will display how much these characters care for one another. Although Rocket and Peter butt heads, their relationship is something special. So, when Rocket appears to die at the end of the second act, Peter states, "I am not letting him go," which is a reminder that Peter is still dealing with losing the old Gamora, and this time, he won't let a loved one slip through his fingertips.

RELATED: Before Star-Lord, Chris Pratt Was in Another Notable Comic Book Movie

For the first half of Vol. 3, Peter longs for the old Gamora to return. But in time, he comes to realize that won't ever happen. Once this is established, Peter puts all his energy into Rocket's successful recovery. However, Peter is still able to appreciate this new version of Gamora. At the same time, the new Gamora was able to admit that she could see why a variant of her fell for him.

This all leads to Peter finally letting go of his past, returning to Earth and reconnecting with his family. Although Peter is nowhere near perfect and can be considered a screw-up by many, his past mistakes have been absolved, as he's someone who always wears his heart on his sleeve.

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Guardians of the Galaxy 3 Redeemed Star-Lord's Infinity War Mistake - CBR - Comic Book Resources