Category Archives: Trance

After the trade deadline passed last year, I wrote about your dads favorite player on the Minnesota Twins. Of course, Im talking about Luis Arraez.

I examined the then-24-year-old and his place among the core players on the club going forward. At the time, there were questions about where he would find a defensive home, especially with an incoming wave of young slugging prospects. Some of those questions remain to this day, but his spot among the Twins core is no longer up for debate. Arraez is in the inner ring of that core.

His old-school hitting approach is not only effective, but it puts local dads in a trance faster than a fresh pair of New Balances and a Ken Burns documentary ever could. Arraez reminds them of the hitting savants of their youth a time when it paid off to be a brainy hitter who can find holes in the opponents defense. And in todays game, which widely leans on a boom-or-bust approach, its a breath of fresh air.

When Arraez went 2-5 with a go-ahead bomb to right field in Tuesdays game against the Cleveland Guardians, faint echoes of an MVP chant rang through the hallowed halls of Target Field. While that might be somewhat premature at this point in the season, its clear that fans can see his value to a club that is fighting for a division lead in late June.

Just ask your dad.

With league-leading on-base and contact skills, multiple years of team control, and young complementary bats surrounding him, Arraez has cemented his place in the Twins core, and the fanbases hearts, for the foreseeable future.

When I questioned the future role for La Regadera in August of last year, I examined it through the scope of considering the young players who had a more defined role on the team, both in the batting order and in a defensive capacity. At the time, Arraez certainly had the upside of a traditional everyday leadoff hitter, but his splits against lefties were concerning, as was his potential defensive home in the field. Since then, his bat has certainly exceeded expectations, and he has found a passable defensive home at first base. (Still, lets consider it more of a rental than a long-term lease).

Looking at his stat line this year, its crystal clear he needs to be planted atop the lineup versus virtually all right-handed starting pitchers. So far this season, he has a .404/.481/.522 slash line in those instances. Thats the stuff of legend, and his under-the-hood numbers back that up. Heres a list of instances where Arraez ranks in the top-10 in all of MLB against right-handed pitchers, according to Inside Edge:

Its hard to come up with a better option to get the most at-bats against righties than Arraez this year. Certainly, his numbers against lefties hold him back from being an elite all-around player. His .224/.309/.245 in that regard is pretty ugly. Still, when he gets those opportunities, at least he is only striking out at a 10% rate, and hes still drawing a walk 9% of the time.

Plus, thats the nice part of being just one part of the teams multi-player core if all goes as planned, there will be suitable right-handed bat options to carry the load. From Jose Miranda (.721 OPS vs. LHP) to Spencer Steer (.918 OPS in Triple-A) and even eventually the return of rookie sensation Royce Lewis, the team will have no shortage of options to shuffle the infield around to maximize their efficiency in the next few years.

As far as his defensive home, Arraez hasnt wowed anyone at first base, but hes been passable enough to keep him in the lineup consistently while manager Rocco Baldelli juggles rest days for his team. Second base is another option that isnt ideal from a defensive range point of view but will work in the short term. But thats how you know Arraez is essential to the core of this team. Its a pretty easy call to make room for this lackluster fielder because his approach at the plate is that good.

Beyond the schematic outlook of Arraezs place in the Twins core, he is a perfect fit in regards to clubhouse chemistry. Hes a young player with plenty of big-league experience who is beloved by his teammates, fans, and even by the members of the media that cover him daily. Its one thing to be a must-see player because of immense skill. Its another level when the player captures attention with infectious enthusiasm and genuine enjoyment of the game. Not to mention, he is under team control through the 2025 season, so fans can get used to his pairing with franchise centerpiece Byron Buxton.

Is Luis Arraez the whole package? Certainly not. But hes a foundational piece to a transitioning Twins team over the next few years. And if its good enough for Dad, then it should be good enough for you.

See the article here:

Re-Examining Luis Arraez's Place In the Twins' Core - Zone Coverage

Superstar DJ and producer duo KAS:ST premiered their brand new track Leaving Earth released on June 23rd on Cercle Records during the Cercle Festival 2022.

Leaving Earth is a hypnotic, aerial track mixing melodic and powerful techno. The track offers a well-worked break, accompanied by Kis spellbinding vocals and co-produced by Gordo, the alter-ego of the successful producer Carnage. The emotion expressed through the track is gripping, at the border between melancholy and a certain darkness.

Quite used to the cosmos theme, KAS:ST inspired themselves through Ariane Rocket stage, where they premiered track at the Cercle Festival 2022. The superb Leaving Earth is a big room cut with rolling drums and bright, trance-like synths that bring a subtle sense of euphoria. The mood is epic and the emotions from the futuristic vocal that is deeply buried in the mix is spine tingling.

Each KAS:ST track released is a journey bringing together dark and melancholic emotions without ever losing touch with the clubbing aspect of techno. KAS:ST never cease to push their music beyond techno boundaries, they create an atypical and avantgarde blend of electronic music. Presenting on the world electronic circuit as both DJ and Live duo. Producing and directing their own music videos they have cumulating over 15 million plays, 30 million Spotify streams, 80k instagram followers, sold out merchandising. They have remixed legends Moby, Monolink and NTO and also been remixed by renowned artists at the polar opposite of the techno sphere, like 999999999 or Tale Of Us. KAS:ST bring their own synth laden and stylish yet emotive take to the genre each time.

Both acts started sending beats and vocals to each other some months ago. It all came together for this special occasion. Their desire to gather different aspects of the musical prism led them to exchange with the renowned producer Gordo. It all came together for this special occasion. Gordo is one of the few artists to ever dominate both the hip hop and dance music charts. He recently co-produced half of Drakes last album which already break the most first-day streams for a dance album on Apple Music.

After breathtaking livestreams, Cercle has launched the Cercle Records label signing with talented and worldwide artists. The French label is dedicated to promoting artists and venues with an exceptional production. Cercle Records goal is to raise awareness around art, cultural heritage sites and great sceneries through a unique music journey.

The year 2022 marks the launch of a new concept for the label: exclusive in-person parties which will not be streamed. To have the chance to live these special episodes, it is necessary to go on the unique spots finely selected following the Cercle and Cercle Records DNA.

Listen to the track below.

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KAS:ST released their track "Leaving Earth" on Cercle Records - Rave Jungle

Three years in the making, Risings much-anticipated first edition brought to Melbournes festival-deprived audiences a rich program featuring 225 events.

With former Chunky Move founder and choreographer Gideon Obarzanek as co-director, it was only natural to expect a dance-heavy presence with eight local and international productions.

The works ranged from incredible local performer Jo Lloyd and her dancers in dialogue with drummer Jim White and guitarist Emmett Kelly, to the exquisite Indonesian dancer and choreographer Riantos ritualistic Hijra'h, but there were three works which I felt particularly captured something of this post-pandemic age.

Jurrungu Ngan-ga/Straight Talk

Marrugekus productions have often been straight talk powerful invitations to reflect on the devastating effects of ongoing colonialism as experienced daily by Indigenous people and other marginalised communities.

Their works are almost always the result of intercultural collaborations, expressed through complex choreography expanding into spoken text, multimedia installations and diverse styles of dance.

Jurrungu Ngan Marrugeku is complex choreography expanding into spoken text, multimedia installations and diverse styles of dance. Prudence Upton/ Rising

This production is no different, inspired by ideas and experience contributed as material by choreographer Dalisa Pigrams own grandfather Yawuru leader and senator Patrick Dodson, Kurdish Iranian writer and former Manus Island detainee Behrouz Boochani and Iranian-Australian scholar-activist Omid Tofighian.

Jurrungu Ngan-ga tackles the devastating consequences of Australias entrenched, government-sanctioned fixation with punishment through detention and incarceration.

The show brings together a cast of nine dancers of multiple backgrounds (from First Peoples, refugee, transgender and settler communities) who also contribute their embodied stories and histories to the piece.

It starts with a subtly exquisite solo, the dancer embracing the space with ample movement flowing freely. As it unfolds, movement becomes cagier, as if restrained, constrained by invisible barriers. It prefaces the next solo, a man pacing in a cell of light watched by a camera. He is in turn surveying by us watching the camera footage.

This is a man caged in a prison, caged in a body, and the movement no longer ample pulsates with repressed anger.

From here, the choreography grows into dizzying ensemble moments, including a surreal moment when the dancers navigate their way through a stage occupied by glowing crystal chandeliers lowered to the ground.

The choreography grows into dizzying ensemble moments. Abby Murray/Rising

There is everything in this piece, from police abuse to spit-hoods to video surveillance, to naked bodies dumped on the floor with a muffled thump, to names of those who have perished in police custody or in detention. There is abuse and humiliation and moments of protest, of fury, and joy, wild and unapologetic.

The choreography is a breathtaking tour de force delivered by fierce bodies telling their dire stories. Although nothing is accusatory here, there is no breathing space for the audiences but to take it all in. As the final solo arrives, soothing and somewhat majestic, ears still resonate with the powerful rapping this is Australia.

This is Australia at its ugliest, in its fear of everything not from here, of everyone not like us, a mirror talking back at us.

Jurrungu Ngan-ga is truly a piece of its plagued times, viscerally sharp and brutally raw, so raw that it cuts to the bone, and the call to action at the end may well be the only way to catch the breath.

The Dancing Public

Danish choreographer Mette Ingvartsens The Dancing Public is also a piece about plagued times and as visceral as Marrugekus, yet very different.

We step into the dimly lit space. The music is raving and Ingvartsen, mingling with the audience, is inviting everyone to spread around. Some are starting to move with the music as they inspect the space. Then Ingvartsen gets up on one of the three platforms placed here and there, and starts to dance.

Furiously, relentlessly, her body pulses, throbs, possessed by the beats, convulsing in trance-like gestures.

Furiously, relentlessly, her body pulses, throbs, possessed by the beats, convulsing in trance-like gestures. Michael Pham/Rising

As she dances, she chants about the unexplained hysterical mass dancing episodes that started in the 1300 in south of France and continued over time. People danced till they dropped, their feet covered in blood and their minds covered in fog. It was the time of mediaeval plaques and poverty.

She joins the crowds again and dances with anyone as she swirls her way to the other platform to tell us some more. She keeps dancing. There is no sweat dripping off her body, no heavy breathing. She is fury unleashed and it is mesmerising to watch. We forget about dancing.

Suddenly, she hurls her body over the platform railing and leaves it hanging there, in a rare moment of stillness, no sweat dripping, and we, with her, suspend our breath. And the dancing kicks off again, and goes on and on and at the end, she leaves us alone, to dance or not.

If Dancing Public is about the public dancing it fails. The contagion from one body to the other does not take. Participatory dance shows are always tricky they really depend on the audience mood and the dramaturgical tricks giving the cues. They also depend on who is in the room, and in Melbourne, given the ticket price, it wasnt exactly the crowd most inclined to dance.

She is fury unleashed and it is mesmerising to watch. We forget about dancing. Michael Pham/Rising

Dancing Public is indeed an experiment that needs to be experienced with the body, through the body. It is all that we have missed during these last two years. And here lies the merit of this show, in it turning a story from the past into some important questions for today: would we have all taken to the streets dancing if confinement had continued?

Could this be a new form of protest in our heavily policed socially-distanced post pandemic reality? Dancing manias were considered a threat to public order as crowds could be neither controlled nor explained.

In this sense, this show is more an invitation to consider our relationship to social norms, to being together, to acting collectively. How we respond to this invitation will depend on who is ready to let go.

At the start of Multitud, from the Uruguayan choreographer Tamara Cubas, the 72 volunteer performers are part of the audience then, they step onto the stage, one by one, facing us. Bodies standing tall, lit by discreet fluoro lights.

Suddenly one bends, like a broken puppet, then another. Some fall to the ground, some crouch. Some rise back up, some dont.

Later, they start running in circles. The circles grow into a spinning whirlwind.

They all coalesce into a vortex of piled, panting bodies, pulsing like magma, until they breathe as one: one single breath. A pause, and they erupt into a thunderous laughter. It is hilarious. It is hysterical, too, as they come together again into a crowd, frenzied and threatening this time, out of control, taking aim and tugging ferociously at a teenager in a green jumper.

They are vile.

They step onto the stage, one by one, facing us. Bodies standing tall. Michelle Li/Rising

The teenager stares at us as we witness what may turn into a public lynching. But the crowd calms down and there is silence and stillness again as they all watch us, the teenager and the attackers. In this suspended moment, one piercing cry is made of everyones cry. There is fury and anger and tears, real tears.

One wonders if we have caused them, placid witnesses of someones misery. Appeased, the crowd slowly disintegrates and retreats in the shadows backstage. In their final coming together, somehow they have lost their clothes. No, they have exchanged their clothes, nonchalantly at first, with sharper precision as they take or give, some are naked, some wear the wrong shoes, clothes fly everywhere, scattered now on the floor, some keep searching, some let go.

Multitud places the directions and the power of the actual choreography in the hands of the group they decide where to start, what to do, how to end. They can opt out too. Every night is different. Every time is different.

Multitud RISING. Michelle Li/ RISING

Multitud succeeds where The Dancing Public fails. This, too, is an exquisite reflection on being together and acting collectively, yet this is about what holds us together as a collective.

This is not choreography for the masses, rather it is a multitude of relations between individual bodies, each affecting or being affected by the other. It is about being in communion; attentive, alert, attuned to the other. Then we become responsible for what we do collectively.

Multitud is fiercely political and delicately poetic, a tribute to what dance can (still) do in times of plague.

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How Rising festival brought us dance in times of plague - EconoTimes

words by sidonie bird de la coeur

Kicking off the party at Bourke Street Courtyard as part of Novels series React tomorrow is NAK, an up-and-coming Melbourne-based DJ. The React event series is really special to me because it was where I was introduced to those deeper and darker shades of techno genres like breaks, trance and electro that are all hallmarks of my sound now, she told us.

I have a really particular memory where I saw Jennifer Loveless play at one of the Reacts, maybe 2 years ago.

She played a phenomenal set that night, and seeing an Asian woman up on the stage made me think for the first time that DJing was something I could do too, as someone of Asian background myself.

It was like before Id reserved the idea of DJing in my head as a man-only activity, unless you were a super influential, international or cool white woman.

The opportunity to see someone with the same cultural background as me up on stage was so empowering which is why its so important that we have more POC, fem and gender non-conforming DJs.

Keep up with the latest music news, features, festivals, interviews and reviewshere.

Now, two years on, NAK is opening set for Novels takeover of Bourke Street Courtyard tomorrow. The setup Novel does for their Bourke St Courtyard is insane speakers, lights, projections so Im stoked to be a part of that. Also feels like such a full circle moment, I remember listening to Schackes Kisloty People on repeat with my friends a couple years ago.

If Im recording a mix at home, thats completely planned I usually have an idea in my head of the journey I want to take the listener through, she said when I asked her what her process for planning mixes is. If its a DJ set at an event, Ive actually been trying to walk in without a plan Ill just prep a playlist beforehand with way more songs than I need that I think will fit the vibe of the event.

Someone once told me that all their best DJ sets have been entirely improvised, as you have to read the crowd throughout the event you really cant perfectly plan and predict where the set will go.

Since Im opening this event, Im more so setting the mood for the night, warming up the dance floor etc. so that means slower tempos, grooves, breaks as people start to fill in. Lowkey, opening sets are hard because everyones sober

Im genuinely just excited to play my music on nice speakers, it makes such a huge difference, Novel has so many resources and they really know how to pull off a party so this is gonna be sick. Literally my React playlist at the moment is just every song I want played on big speakers.

Its really nice full circle moment to return to React, so surreal to think Im going to be standing right where I saw Jennifer play.

React at Bourke Street Courtyard is on from 3pm, on Saturday 25 June. Grab your tickets by heading here.

See the article here:

'It's so important that we have more POC and fem DJs'; NAK on opening at Bourke St's React - Beat Magazine

7 June 2022, 16:55

We regret to inform that it looks like Lucas Sinclair is about to get Vecna'd in Volume 2.

Vecna, Vecna, Vecna. Stranger Things 4's hellish new villain has been hard at work, terrorising our faves one by one. And now it looks like his next victim has been revealed...

We've already seen Vecna catch and kill Chrissy, Fred and Patrick. We've also seen Max manage to escape Vecna with the help of Kate Bush. When the credits roll on Volume 1, Nancy is still stuck in Vecna's trance with no clear path to safety just yet.

With the villain still at large going into Volume 2, it's only a matter of time before more of our Hawkins heroes end up scrambling to remember their fave songs to escape his torture. But who will be next to fall under his curse?

Well, thanks to a brief chat between Caleb McLaughlin and Gaten Matarazzo in a behind-the-scenes video shared by Stranger Things on YouTube, fans believe Lucas will get caught by Vecna in Volume 2.

Based on the trailer for Volume 2, it looks like Max, Lucas and Erica end up re-exploring the Creel house in the real world as Nancy, Robin and Steve attempt to enter Vecna's Upside Down lair with Eddie and Dustin guarding the gate at the trailer.

In the trailer, we see Erica looking on in horror as the light she's carrying starts to get brighter. We also see Max appear to be trapped against the same wooden panels that Chrissy found herself trapped when she got caught by Vecna.

And, most worryingly of all, we see two shots of Lucas looking absolutely terrified.

While fans already had their suspicions that Lucas might get caught in a trance by Vecna, it now appears that there's reason to believe that he's definitely getting caught in a trance by Vecna.

In a YouTube video shared yesterday (June 6), titled 'On the Set of Stranger Things,' Caleb and Gaten can be seen greeting each other in the makeup trailer before Caleb shows Gaten a picture of him at work the previous day, which has been censored out by a big 'Stranger Things 4' logo to avoid any spoilers.

"Your eyes! Oh man, did they put contacts in?" Gaten asks, as Caleb replies with a yes.

Fans immediately picked up on the little interaction and took to the comments to theorise about why Caleb was wearing contacts in the scene he had just filmed.

"Now why would Lucas need contacts... and the way Gaten reacted to how the contacts looked... they're definitely the contacts that Max, Nancy and the other Vecna victims wore," one user wrote.

Another added: "Judging by the interaction between Gaten and Caleb, when gaten said looking at the picture "did they put contacts", I guess Lucas also is tranced by Vecna, because Sadie [Sink] too wore the lens for the eye when their eye balls just roll backwards."

Lucas is not the only one who fans think Vecna will catch in a trance in Volume 2 either...

Noah Schnapp recently shared a behind-the-scenes photo of himself wearing a harness, and considering Will didn't do much other than ride around in a Pizza van in Volume 1, fans believe he might end up getting Vecna'd too.

Max, Nancy... maybe Lucas, maybe Will... Vecna is gonna get everyone in Volume 2, isn't he?

See the article here:

Stranger Things 4 fans think Lucas gets caught by Vecna thanks to behind-the-scenes video - PopBuzz

Published on June 10, 2022

The Italian Brazilian producer and DJ Mildenhaus is expecting his India tour soon. After his release with the EDM giants he believes India is the best market which he would want to capture. He also says There is a great possibilities of me and my team doing a big show in India. I love the culture and the people there.

Currently Signed to labels like Spinnin, Mildenhauss is the best at what he does and his rein in the world of edm might be unstoppable one.

His recent psy trance single Ininna Tora with Mainstage EDM giants KSHMR & Timmy Trumpet has been buzzing all around the world. The track has garnered support from biggies like Blasterjaxx, Tiesto, W&W, Spinnin Session, DVLM, Mariana Bo and more. Its a perfect track to get the party started.

Brazilian vocals combined with Psy Trance bass makes the track larger than life. Its a perfect mainstream banger for your playlist.

The track has already got 2 Million+ streams on Spotify and is still strong.

Listen to Ininna Tora now-https://open.spotify.com/track/2iQMxfQyEyypb0MCFYaLlE?si=4CEdQA64QfGkpvaaJ0UkdQ

Mildenhauss Socials-Instagram-https://www.instagram.com/mildenhaus_music/?hl=enSoundcloud-https://soundcloud.com/mildenhausYoutube-https://www.youtube.com/channel/UCEsoxwQrJMP_plOa6unEKOw

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Mildenhaus takes about his love for India and the success of Ininna Tora - APN News

Neha Kakkar has become one of the most prominent singers in Bollywood. She has been the voice behind hit songs like Manali Trance, Mahhi Ve, Aankh Marey from Simmba, Garmi from Street Dancer 3D, Badri Ki Dulhania, Sunny Sunny and many more. She has also been a very popular judge of the TV reality shows like Indian Idol and more. Well, it is her birthday today and we bring to you a very interesting piece from her life. Did you know that Neha Kakkar's parents wanted to abort her but couldn't? This revelation was made by Neha Kakkar's brother Tony Kakkar. Also Read - Neha Kakkar Birthday: From one-room house to a lavish bungalow, the singers rags to riches journey is inspiring

Story behind Neha Kakkar's parents wanting an abortion Also Read - IIFA 2022 WORST dressed celebs: Neha Kakkar, Sara Ali Khan, Tiger Shroff and more stars fail to impress with their choices

In a video titled 'Story of Kakkar - part 2', Tony Kakkar who is also a known rapper, revealed the same. Through his song, he revealed that their parents did not have money and hence wanted to abort Neha. However, their mother was already 8 weeks pregnant and hence abortion could not take place. The lyrics of the song go like, "Halaat itne kharaab the, khaali khaali se haath the, Na zada pade likhe, bhole se maa baap the. Paise nahi hote the, raato mei wo rote the, Garbh tha giraana, par beete hafte 8 the, Garmi ka maheena, din tha 6 June ka, shaam dhal rahi thi janam hua junoon ka." Neha Kakkar has often spoken about the struggles of her family and in the video, Tony Kakkar revealed the most heartwrenching parts. Check out the video below: Also Read - Neha Dhupia to Neena Gupta: Bollywood actresses who were pregnant before their marriage

Neha Kakkar's life

From not having money to being the singing sensation of India, Neha Kakkar has surely come a long way in life. The singer is now happily married to Rohanpreet Singh who is also a singer. The couple have been churning out back to back hit songs. Their recent song together is La La La. We wish Neha Kakkar a very happy birthday.

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Neha Kakkar birthday: Did you know Manali Trance singer's mom wanted to abort her? Brother Tony Kakkar shares - Bollywood Life

Keaton Featherstone June 9th, 2022 - 9:00 AM

Australian DJ, HAAi, real name Teneil Throssell, showcases a blend of house, techno and ambient sounds in her latest project Baby, Were Ascending. The sample of a cassette being played in the opening track Channels, indicates that there is soon to be a highlight of nostalgic electronic sounds. As Channels morphs and contorts itself into a multitude of unnatural sounds all ramping up into something lighter than expected, there is awareness of building something new and unique around the underground house scene of the 90s and 2000s.

Throssell focuses on this integration of new and old throughout Baby Were Ascending while forming a fully-connected project that only rarely strays too far. The energy within the track list rarely lets up, and when it does, its to build awareness of what is presented musically. Pigeon Barron sets the rave and techno basis for the rest of the tracklist while demonstrating quality beat cuts and production within the full-length project. With its satisfying industrial drums and synths, its layered sounds create a lifted experience that grasps your ears the longer the track plays. Bodies of Water layers multiple distorted lyrical tones with a central harmony. Combining, they all blend into a singular sound that doesnt stumble and bump into each other, but rather balances the chaos out.

Human Sound creates one of the more memorable features, highlighting the spoken poetry performance of Kai-Isaiah Jamal. The track allows for the poetry to stand alone in its intro and ramps up after its performance to complement its impact. The other memorable performance is from the lead vocalist of Hot Chip, Alexis Taylor. The two pair nicely on Biggest Mood Ever, forming a soft dream-pop melody that is reminiscent of a hot summer in the 80s. The breezy piano within Biggest Mood Ever encourages tied-up hair to be let down and flow in the wind, truly creating a relaxing dream-like trance.

Later on in the album, AM samples radio broadcasts and tuning radio station sounds, interlaced with such an abrasive Mach ten-speed techno beat that feels like an entire spring break party in one minute. AM is a great transition piece into a softer low fi tone in FM.

While Baby Were Ascending has energy in every song, it feels contained and paced awkwardly at times, making some songs less exciting than others. Where AM and Purple Jelly Disc are warzones of techno explosions and beat cuts, Orca and Baby, Were Ascending are trying to build an experience over time. Baby Were Ascending, particularly, is building the feeling of being lifted into space. Its harmonic vocals and monumental build-up feels epic, but its ending doesnt feel justified. Orca creates oceanic electronic sounds that work around its topical idea of something aquatic, developing a techno beat that feels alien and angelic. Its sound isnt the problem, rather its too out of place compared to the other songs on Baby Were Ascending. There is a strange disconnect within the last three songs. Baby Were Ascending feels more like a closing track than Tardigrade, and the slower pace makes their run time feel elongated.

There is a serious energy within Baby Were Ascending that is only further highlighted by its smooth transitions from track to track, and expert highlighting of cuts that make drops feel worthwhile. The tension builds within the tracks, all leading up to a high point which never falls too flat. The hour-long projects largest flaw is its incorporation of atmosphere and vocal incorporation. Both while intriguing on their own, sometimes divert attention away from the bombastic dance chaos.

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Album Review: HAAi Baby, Were Ascending - mxdwn.com

Label: BoxedCountry: United Kingdom

By the mid-nineties, when the United Kingdom became the core of the new trance phenomenon, club life visuals provided few clues as to the faces of the artists actually making the whole scene move. It was not uncommon for original artwork to disappear completely, with brand logos taking centre stage instead. This all changed when Global Underground (GU), run by Boxed, began putting the faces of DJs on its CD covers in 1996. For the first time in its relatively young history, electronic music exited the era of the faceless DJ.

Meanwhile, GU would evolve in symbiosis with the growing international market for superstar DJs who would soon top the bill and travel the world with their record bag in tow. The series directed its efforts to so-called progressive sound that was already honed by Sasha & Digweed, and which incorporated elements from genres such as breakbeat, house and techno. It featured some of the most prominent British DJs at the time, including Danny Howells, Paul Oakenfold and Nick Warren.

Warren compiled the second episode in the series (yet is confusingly labelled as 003, while 002 never came out), recorded live at a performance he did in Prague. Featuring deep, hypnotic house, rhythmic progressive builders, tribal grooves and emotive breakdowns, his efforts here showcase the beauty of the British progressive reign during its early inception. Theres much more gold to be found within this series, yet Warrens early contribution put GU on the right track.

Read this next: The 15 best mid-90s trance tracks

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The 10 best trance compilations from the golden age - Mixmag

Chicagoland vocal house DJ, DJ G-String, has entrancingly reconfigured her top hits in her 5-track trance EP, In the Mirror, which extends her passion for old school Euro house and bringing her audience into the euphoria of her tracks.

Track 1, Always, is a stellar introduction to the EP with the infallibly momentous beats surging around her luxe vocal timbre. Track 2, Your Love, is a series of fiery proclamations of passion intersected by dizzying drops and hardstyle interludes.

Track 3, All These Nights, brings the bass in early before ascending into tension-fraught builds and breaks to the tune of hyper-sonic effects. Track 4, which features Lindsay Compton, winds it down a notch; the progressively evocative mix gives the vocals plenty of room to spill their resounding magnetism on the steady and even-kilter beats. The concluding single, Only If, is potentially the sweetest spot on the EP with its cinematically electrifying earworm quality.

DJ- G-String created the remixes for three of the five releases on the EP, working closely with P5YCh0h and Chriszio on the final two mixes.

DJ G-String said:

The title is a symbolic reflection and celebration of what I have built in this dance music ecosystem so far. It was important to emphasise that we are all unique, and sometimes, you just have to stop and look in the mirror to remember who you are and what you love.

In the Mirror immediately affirms DJ G-Strings motivation behind the EP. It is a triumph of a euphorically-charged soul and displays inexplicable dexterity in the always immersive amped progressions.

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DJ G-String Has Released Her Hyper-Sonic Stormer Of A Trance Remix EP, 'In The Mirror' - Music Essentials