Category Archives: Trance

To finally get to our dream jobs at The Spinoff, our staff have been through some pretty shitty employment.

From flagrant sexism to gagging on fur balls from beard clippings, we at The Spinoff were exploited and used by our former employers.

But now you dont have to suffer the indignity that we endured, because this June, skate, surf, and snowboard clothing company Volcom is giving 15 people from around the world the chance to make their passion their profession. The prize is a trip to Austin, Texas to work on your dream job and $5000 cash; thats $5000 more than The Spinoffs Don Rowe got paid for his summer job. Enter the competition today so you dont have to spend two months stripping half the Waikatos wallpaper for no pay, or nine hours every day unpacking boxes in a freezing windowless room.

In the summer break of my first year at Auckland Uni, I got my first full-time job, working at an ice cream factory. From 7am to 4pm, my task was to unbox and sort whatever had been delivered to the factory floor. Deliveries were either plastic containers, plastic lids, 10kg bags of hokey pokey and crushed cookies, or 20L sacks of flavoured syrups that served as great weight training. It was a beautiful summer (apparently) but the room I worked in was windowless and had to be kept chilled because the ice cream was being made next door. It was always a fun surprise finding out what the weather had been like that day as I left to go home. Sometimes Id be called into the packing room to put boxes together or to stand at the conveyor belt and make sure that thousands of ice cream tubs didnt clog up the shrink-wrap machine. It was the definition of mindless work but also very stressful because you couldnt stop for a second until the machines stopped. The machines were loud so everyone wore ear muffs but werent allowed to listen to music in case of an alarm. I did a lot of self-reflection and got very pale that summer. But now Im very good at taping and untaping cardboard boxes so it wasnt all bad.

My first job was at a small hairdressing place: washing, sweeping and generally being around hair for $8 an hour, three hours every Saturday morning. The people who worked there were lovely, but the big problem was dealing with all the goddamn hair. Sartre was wrong: hell isnt other people, its other peoples hair. I would frequently, silently dry retch over the basins when washing out perm solution. I pulled endless globs of rancid hair from the drains like a horror film. I inhaled so many beard trimmings I wont be surprised if I have a gerbil-sized hairball wedged in my lungs forever. The sinks were shoddy and would frequently leak down peoples necks, so I once had to blow-dry an elderly womans back for about half an hour, dry-retching all the way. Still, cant put a price on 24 bucks.

I once had an interview for a job with a lady who said to me, I know Im not supposed to ask you this, but when are you planning on getting pregnant? Because I dont want someone whos going to go on maternity leave anytime soon. Clearly there were alarm bells from the start, but I was in London and needed to pay my excruciatingly high rent so I took the job. Cool move. Another highlight was the day she told me that I needed to remove the nail polish from my nails as it had chipped slightly and we were meeting with some of the company bosses. She literally handed me the nail polish remover and stood there and watched me take it off. When we went into the meeting the bosses were wearing jeans, t-shirts and Crocs.

About six months before I started at The Spinoff I spent several weeks drainlaying through a period of intense thunderstorms. One afternoon, shin-deep in clay mud like something out of Flanders Fields, I watched the foreman and his pneumonia get into their truck and drive away, lightning streaking above the retirement village we were building. That was the second worst job Ive had. Far, far more hazardous to both mood and health were the two months I spent painting the most rundown state houses in the governments Waikato portfolio. From Ngaruawahia to Forest Lake, Huntly to Hamilton, we scraped half a century worth of ciggy-stained wallpaper from sagging walls, sanded the space behind the fridge and generally got stuck into the residences of people who just didnt give a shit anymore, and hadnt for the past twenty years. Then, at the end of the contract, we got screwed by the contractor and ended up with a total of $0 for our time, thank you very much, just in time for Christmas. Happy days.

My first proper job was stacking shelves at 277 Woolworths at night. I was 17, living on K Road and making a minimum of $120 a week, $80 of which covered my rent. It was lonely, repetitive and depressing. In the break room there were Polaroid photos of the shoplifters holding what they got caught with. Their names were scrawled at the bottom in vivid. Mostly high school kids with cans of V and pensioners with cat food or cheap cuts of steak. I wondered why they didnt steal nicer meat. A shoplifting friend of mine told me you get the same punishment for shoplifting anything up to $500. Someone should tell these old men, I thought. The photos were beautiful and sad in a way that appealed to me.

I listened to my Walkman the whole time. When they told me I couldnt listen to my Walkman anymore I quit the next day and called in sick for the next two weeks. The boss threatened to withhold my last pay cheque if I never came back, so I worked my last shift, listening to my friends bFM show on my Walkman. He played a song for me: The Dead Kennedys Take This Job And Shove It.

The lonely supermarket aisle where Walkmans are banned and hope is out of stock.

My first job was at the fish bar at Woolworths. I was 15. My hands used to get cut up cleaning the fish machine and the fish oil would get into my hands. I was 15 and I smelled like fish all the time. It was not a good time. I hate fish.

I also worked at the Bunny Bar where I had to dress up as a bunny. But the bar got sued by Playboy and was shut down. Fish Bar was still worse than the Bunny Bar.

My first job was working in a Kiwifruit grading shed during harvest time. It was fine, but I was so useless at it they kept on moving me around different jobs. I was a box packer one day, but was so slow kiwifruit piled up around me like discarded peanut shells on the floor of a bar. I got moved to grading which required watching scores of kiwifruit go past on the conveyor belt and picking out the non-export grade fruit (basically the fruit that looked bung), but I let so many scarred and degenerate fruit through they moved me again. And so on and so on.

And then the kiwifruit market imploded and I never had to work in a kiwifruit orchard ever again.

Jos Barbosa has been linked to the collapse of the kiwifruit market.

I scored my worst job when I moved to Melbourne for the summer holidays and was desperately broke and in need of work quickly. I found myself selling energy plans door to door for one of the large Australian electricity providers. After three days of unpaid training, on the morning of my first day we gathered in the main office in the central city where loud trance music was used to motivate the sellers who charged around the room hi fiving and shouting. It was very cultish. Each team would then jump in a van and head to the citys outer suburbs motivational trance loud on the stereo again. It was then my job to go out into the neighbourhood and manipulate struggling, and often confused, families to switch energy providers by gently implying if they didnt, their power would be cut off. That was my first and last day as an energy salesman.

For five terrifying hours when I was 17 I worked as a potato picker about an hour south of Auckland. I wanted to get money for a PS4. I was put into a combine harvester with four strangers while we went around a field for five hours. I have the softest hands of any person I know, and I did not cope. I ended up calling my mother to come and pick me up that afternoon.

Whats your this? Your passion, that thing you wish you could do full time. This June, Volcom is searching the Earth to find 15 people who are ready to make their passion their paycheque.

Applying is easy; weve thrown out the traditional job application and replaced it with the simple question, Whats your this and what would it mean to you to put #ThisFirst?

Enter now for the chance to prioritise your passion by letting Volcom give you that extra push that will allow you to spend six weeks focusing on your this while also getting paid.

Continued here:

The Spinoff's Worst Jobs Ever: fish oil, shoplifting, trenches, and trance - The Spinoff

Written by Ronnie Sweeting

MARIPOSA Music on the Green brought to you by The Mariposa County Arts Council and its many fine sponsors presents the third of thirteen weekends of free concerts with a special appearance/ debut of local super-group Arroyo (w/Little Tiger) on Friday, June 16, and from San Francisco, Trance Mission Duo (featuring Stephen Kent & Beth Custer) on Saturday, June 17.

Arroyo is a result of the collaboration of singer/songwriter Ben Goger (The Trespassers), drummer Chris Adcock (Robes, Chaz), guitarist Adam Burns (Bootstrap Circus, Little Tiger), bassist Benny Lee Friedrich (The Trespassers), and multi-instrumentalist Jonny Troyna (Wools Surf Club, Robes).

It began out of Gogers desire to give some of his songs a rock n roll rhythm, and his brother-in-law Chriss constant attempts to shoehorn country and folk into Devo and Ramones style rhythms. The result is an upbeat type of country rock music, veering occasionally into power pop and 70s-style arena rock.

Opening the night will be Little Tiger, Burns and wife Mandy Vances synth pop duo.

Trance Mission Duo features two extraordinary and award-winning multi-instrumentalist/composers (Stephen Kent: didjeridu, percussion, cello-sintir, bass; Beth Custer: B flat, alto, bass clarinets, percussion) with mountains of global accolades to their credit.

In this new duo incarnation, Trance Mission continues the genre-breaking musical traditions they started in the 1990s. Founded in 91 by Kent (Baraka Moon; host of the World Music program on KPFA-Berkeley) and Custer (film score composer; recent Emmy award-winner [KQED]), this seminal 4th World duo out of the Bay Area performed extensively on the West Coast and in Europe and created four universally acclaimed recordings released on San Franciscos City of Tribes label.

The music of Trance Mission is a nearly indescribable amalgam of World/ Trance music that includes implements of progressive Jazz, African and Aboriginal, with an infectious improvisational spirit and humor.

Trance Missions unique, multi-genre music is unlike any presented in Mariposa before their debut at the Art Park in 2015, making their return a truly special appearance. Notable performances include Maybeck Studio, Live Oak Festival, Freight & Salvage, Slims, Palms Playhouse, and many more.

The digital aura remarkably marries the indigenous instrumentation with a rare naturalness, resonating with the full flame of world-derived trance power. Sam Prestianni

A unique Aboriginal, African and European fusion. Their rhythmic, trance-inducing music for didgeridoo, drums and synthesizer makes a perfect soundtrack. j. poet

This is such deep, exploratory, soulful musicunlike anything Ive ever heard. Its world music, yes, but at the same time its progressive, jazzy, tribal, traditional, jamming, driving, trance rhythmsI hear something new every time I put this CD on. PG, Dirty Linen

A complete schedule of the talent performing throughout this summer season (along with a brief description of each) can be found at http://www.mariposaartscouncil.org.

All performances begin at 7 p.m. at the Mariposa County Art Park, located on Highway 140, between 4th and 5th Streets, in historic downtown Mariposa. Free parking on 5th Street along the Creek Walkway to the Park, also providing handicapped access.

The shows are free to the public tips for the performers will be solicited, encouraged and appreciated.

The Mariposa Arts Council, sponsor of Cousin Jacks Music on the Green, is funded in part by Mariposa County, the California Arts Council, and the National Endowment for the Arts.

The MARIPOSA COUNTY ARTS COUNCIL, INC. is an incorporated not-for- profit organization, created to promote and support all forms of the cultural arts, for all ages, throughout Mariposa County.

Read the original here:

Local Super Group Debuts At Music on the Green - Sierra News Online (press release) (registration) (blog)

When:

June 9, 2017 @ 11:00 pm June 10, 2017 @ 7:00 am

2017-06-09T23:00:00+01:00

2017-06-10T07:00:00+01:00

Where:

Club 414 414 Coldharbour Lane Brixton, London SW9 UK

On Friday 9th June Club 414 opens its doors once again for a Trance night.

For this night you can expect to hear a mixture of amazing Trance music, such as Trance from the past and present, Tech Trance and harder edged Trance, spun from some of the UKs finest underground DJs around.

Damien Blanes shall be playing a Tech Trance set, under his Trance alias DJ name Patrick Blanes.

A very well known regular to Club 414 and the main man behind Trancelucid parties at 414 and Lorenzo Barrero returns again. Lorenzo has a big love for Trance music and various styles of Trance, within the Trance spectrum.

A regular on CRT (Channel RubeTube), a Internet music channel and Dibs features on the line up also. Dibs has a big passion for Trance music and will be playing a mixture of Progressive leading into some Uplifting Trance.

Finally we have Kestas returning back to Club 414, and who is a very versatile DJ. With him moving back to his home country and Lithuania soon we thought of getting him down to play, before he leaves.

LINE UP:

PATRICK BLANES (AKA Damien Blanes) (Tech Trance set under his Trance alias DJ name Patrick Blanes)

LORENZO BARRERO

Mixcloud: https://www.mixcloud.com/lorenzobarrero/

DIBS

KESTAS

https://www.facebook.com/kestas.malinis

EVENT INFO:

Club 414 Presents Trance Night Friday 9th June 2017 11pm 7am 5 before midnight, 10 after. Progressive & Trance

PLEASE BRING PHOTO ID / NO ID NO ENTRY

Open Roof terrace for those who wish to smoke.

Club 414 414 Coldharbour Lane, Brixton, London, SW9 8LF

http://www.club414.org

HOW TO GET THERE =

Tube = Brixton (Victoria Line 24 hours)

Rail = Brixton Mainline station

Daytime buses = 2, 3, 35, 37, 45, 59, 109, 118, 133, 159, 196, 250, 322, 333, 345, 355, 415, 432, P4, P5

Night buses = N2, N3, N35, 37, N133, N159, 250, 345, 689, 690

Directions: Come out of Brixton tube station and turn left. Walk 100 yards till you see KFC on your left. Turn left and walk 100 yards. You have reached your destination on the left.

Visit link:

Trance Night - BrixtonBuzz

Were just a few days away from Luminosity Beach Festival a 4 day trance festival at the best with some of the best names in the business. If that wasnt enough Luminosity Events has now announced a 2 day Club weekender at Panama Club, Amsterdam. This will happen on 17th and 18th of November, 2017.

You can buy your tickets here Paylogic.nl

In their own words Luminosity celebrates 10 beautiful years together with YOU, the beautiful Trance Lovers and with our talented DJs and we are happy to continue this celebration with you and we are bringing to your attention this Luminosity 10 Years anniversary WEEKENDER in November in Amsterdam!

Day tickets start at 15 Euros and weekender will cost you 30 Euros

Co-Founder of Trance Hub, Curator of The Gathering events in India and ALT+TRANCE in Czech Republic. By day, a Digital Marketing Enthusiast with love for Food and Technology. By night, a dreamer who wants to grow the Trance scene in India.

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Luminosity events announces 10 Year Anniversary Weekender - Trance Hub (satire) (press release) (blog)

Veteran Trance Producer & DJ John 00 Fleming shares his view on the art of DJing. John is all set to embark on his Australia tour later in June. He will be playing at Melbourne, Sydney and Brisbane.

I often fear were going to lose a generation of DJs, in todays world a producer makes a few popular tracks, gets signed to a management company then heads on the road touring having the DJ tag slapped on them. As with most musical genres, the DJ tag and meaning is now blurred. Playing a load of your own tracks crammed into an hour set is now classed as a DJ? But a DJ is a lot more than that, authentic DJs never had the need to produce music as they were too busy doing something a lot more important. DJs have always been the lead figures in creating new scenes, investing into a foundation for the future, finding new exciting music, exposing and supporting new music/producers and creating underground parties rebelling against the mainstream. I remember watching a documentary about a new style of music called Northern soul in the UK in the late 60s, the pivotal driving force leading this scene were DJs who traveled to the US to discover obscure offshoots of Motown, they put their own hi energy twist on it and created an underground dance movement that in return became a commercial success that boomed in the UK. Its no different as we move forward through the decades, I was part of a 90s rave culture, many DJs worked tirelessly against the mainstream machines to create new musical experiences. DJs were the foundation that created many scenes on a local level that in return built actual musical movements such as Chicago House, Detroit Techno, Spanish Baleric, Belgium Nu Beat and more. DJs worked hard getting this music onto radio to give more exposure thus helping these scenes grow and flourish. Eventually when a certain scene got embraced by the commercial masses, DJs were already two steps ahead creating the next scene.

Dont underestimate the importance of a DJ. Many of the most powerful figures in the music industry started their careers as DJs due to their knowledge in music, first hand historic experience in music culture along with being human musical encyclopaedias.

Myself being an authentic DJ , get extremely worried what the future holds as I dont see too many other authentic DJs breaking through and fear for the future of whom will move things forward. I see light in the Techno and Progressive House worlds as they have a lot more DJs involved in that scene and the boom and growth is testament to this. When I look at the Trance world, I worry its predominately producer driven, heavily weighed around self promotion, as a result things are going stale musically not moving forward and the next generation are heading to other places to experience forward thinking music. Again looking back, the most successful Trance brands were run and programmed by authentic DJs, today the musical curve and set time is dictated by an artists manager, then hijacked into it being their mini concert focused around them. Theres no collective input, no union focussed on investing back into the Trance scene as a team. Self promotion is the theme.

This is by no means a dig at producers, its highlighting a change in the buisness model. For years DJs have always worked closely with producers (and promoters) as we need each other and seen the rewards. Thousands of producers have been discovered and exposed by DJs, but DJs are nothing without the music. Were a team that need each other whom collectively create musical history. Today the important role of a DJ is completely overlooked. A DJ cant sustain a career without music production as promoters look at Beatports top 10 as benchmark, in many cases a DJ doesnt want to produce music, they want to move forward and create the next musical cycle and be apart of a movement offering something new. Authentic DJs like stepping into the musical future, to experiment with you on the dance floor and to push new boundaries testing those obscure finds, and thats a big part of what clubbers want too, being stimulated on the dance floor. A concert is a place to hear your all your favourite radio tracks performed live. Two very different things.

Im always thankful to those forefathers in the 60s/70s whom created Motown, Northern Soul then Disco that in return created House music and all its offshoots. They provided the platform for my career that Im enjoying today, something Ill forever be in debt. I also understand, respect and can relate to the dedication, the uphill struggle, financial sacrifices and fight against the mainstream they had to endear, without them we wouldnt be enjoying the scenes that we have today. Without my generation and our battles we wouldnt be were we are today and enjoying this huge electronic scene. Ill always continue that same ethos as they did, I dont care about fame, glory and domination, I care about the next generation and want to continue to lay these foundations knowing the baton will be passed on so that they can move things forward.

Take a moment to discover your local DJs. Take a moment to look around at the DJs whom run labels and offering a different take on the masses. Take a moment to discover those local parties and support them. Go get involved and support and enjoy what they bring musically.

Ill follow up this blog shortly, giving advice to the next generation of DJs and producers of how to get gigs.

Source John 00 Fleming Facebook page

Co-Founder of Trance Hub, Curator of The Gathering events in India and ALT+TRANCE in Czech Republic. By day, a Digital Marketing Enthusiast with love for Food and Technology. By night, a dreamer who wants to grow the Trance scene in India.

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Talk about albums that have been a game changer in the genre, and the first name that...

Excerpt from:

The forgotten role of a DJ John 00 Fleming - Trance Hub (satire) (press release) (blog)

News Written by Tom Williams on June 9, 2017

Aussie instrumental outfit sleepmakeswaves have taken to the triple j studios to rework a classic 90s trance track into all all-out post-rock banger for Like A Version, and no, its not Sandstorm.

Sleepmakeswaves used their debut Like A Version appearance to cover the 1995 Eurodance and dream trance classic Children by late producer Robert Miles, who died in May at the age of 47 after a nine-month battle with metastatic cancer.

The band gave the track their unique icy touch, complete with huge swells of guitar and complex rhythms. It was also the first time a Like A Version segment has featured both an instrumental original and instrumental cover.

While in the triple j studios, sleepmakeswaves also performed their original track Tundra, from their latest album Made Of Breath Only. Watch both performances, below.

Read the original here:

Watch Sleepmakeswaves Crush A '90s Trance Classic For 'Like A Version' - Music Feeds

It was a question we posed in November last year that was to set the tone for the unravelling of the Conservatives election campaign. How, after twoterms of crippling austerity cuts, dismantling of the welfare state and a referendum that was used as bait to secure a second term did the Tories ever get such strong public backing in the first place? Coming in to this snap election pollsters were predicting a huge majority for Theresa May on June 8th, but as the public have since learned, such heights of popularity was thegreatest trick the Tories ever pulled.

Whatever the outcome of tomorrows election we have learned some important home truths about the Conservative party over the last few months. A much-desired majority would grant them freedom to reverse the ban on fox hunting, liberty to cut social care and public services such as policing and give them a remit to deliver ahard-line in Brexit talks. No wonder they have done all they can to keep their true message out of the media. They started with a great lie and did all they could not to let it unravel, but unravel it has, and if sources close to the campaign trail are to be believed The Tories are increasingly paralysed by panic.

But take a look at how the Conservatives have campaigned over the last few weeks and their fear-stricken rhetoric becomes quite apparent. They say Jeremy Corbyn must have access to a money tree if he is to deliver on his ambitious manifesto promises even though they are all grounded in sound logic. They say Corbyn isnt a born leader even though hes roused significant momentum behindan anti-establishment message, they say hecant protect the country even though the latest terrorist incidents are happening on their watch and they say Labour cant manage the economy, even though our economic situation as we stand is less than enviable andpublic spending as a percentage of GDP is rocketing under the current administration.

Ultimately, it is reality that hasreally killed the Conservative campaign. The average Brit has seldom been as worse off in modern history and it is high time the majority gets heard in this election rather than the few, which became Labours alternative strapline to Mays lukewarm Strong and Stable pledge. AsRay Barron Woolford wrote here, in Tory Britain the rise of the food bank and debt is the fastest growing sector for business opportunities. The Government no longer sees this a badge of shame or failure it refers to it as the Third Sector. AsPaul de Hoest added in this piece, inequality and the housing crisis are no accident they are a direct consequence of Government policy, and the Conservatives answer to a crisis at the bottom is to impose less welfare spending and more tax cuts for the already wealthy.

Jeremy Corbyn had the relatively straight-forward job, he says, of simply pointing this out. And what a job he has done. On Monday night thousands of people turned out to watch him speak on the banks of the River Tyneas Theresa May struggled to fill a medium-sized room on her campaign trail. He packed out Birmingham last night and received rapturous support inScarborough, Hebden Bridge, Liverpool, Cardiff, Reading, York, Leamington Spa, Manchester and Cambridge.As Adam Turner wrote here, Corbyn has done more than any politician in history to engage young people in politics.

In the end hismessage was simple; Britain needs to snap out of its trance if things are to change, and with hours left before we go to the polls it seems the hypnotists grasp may just have faded away.

Original post:

Britain Decides: Are we about to 'snap' out of our trance? - The London Economic

Talk about albums that have been a game changer in the genre, and the first name that comes to our heads is Blueprint! Every time one listens to this album, they happen to discover something new.Ferry Corsten has always tried to push the boundaries of the genre by combining different musical elements and genres to create something magical. His tracks always have a story to tell. Animated by the thought of combining music and a story-line that surpasses the confines of this planet, Blueprint is truly an exceptional one that captivates the listener immediately. So today, we sit down with the man behind this masterpiece and get him to answer a few questions for us. Here is Mr Ferry Corsten for you!

Get your copy here :https://flashover.choons.at/blueprintalbum

Hi Ferry! Firstly, congratulations on the release of your album Blueprint. Ithas been no time at all since the albums release and its already being toutedas a game changer for the genre. How does it feel to be at the receiving endof such a positive response?

Hi There! Thanks for interviewing me. Im absolutely over the moon with the response of my fans and reviews regarding the album. It was a really long process to make the album, blood, sweat, and tears, but seeing the responses, it was worth all the work.

We have always seen you being extremely inclined towards sci-fi and weconstantly see you questioning the beginning of the universe and its creationswith your tracks. How did the idea for blueprint come about? Does this albumanswer all your questions?

Ever since I was a little kid, Ive been a big sci-fi fan. The interest in the unknown and what lies beyond that always grabbed me. For this project I had a chance to work with both my favourite interests, scifi and music. So this was actually a no brainer. When I hooked up with David it was great to work together and build a storyline from my idea. The album definitely gives me some answers to some questions Ive had, or rather shares in a concept level what various possibilities can be.

How did the collaboration with David H. Miller happen? How was yourexperience working with him?

I got to meet the David (the screenwriter) from my manager who was a friend of his. We hit it off very well and working together was easy and fun. The flow was fantastic. Working on the storyboard and at the same time the music definitely inspired me in creating the flow and mood of each track that was to be made.

Can we see you working on upcoming albums with a similar concept or bycollaborating with a writer?

I always say never say never. I dont want to pigeon-hole myself to a corner that all my albums will have a story or collaborated with a writer, but it was always a dream I had and glad that I took the time to do it. I must say the process of creating this album was absolutely amazing.

The album follows a storyline. It has a lot of pieces that come together as yougo with the flow of the album. You will also be going on a Blueprint albumtour. What can fans expect to see on this tour? Can we probably see a tourconcept coming up which uses visuals along with audio to recreate this storyon a larger platform to give the fans a complete musical and sci-fi experience?

We definitely have a lot of visuals made for this album that I will be using for the tour. I definitely want clubbers to enjoy the experience of the music and not entirely of the audio story so there will be snippets here and there but it will not be an album listening session. That is for sure. At the end of the day, the album was also for the music, so my fans will becoming to listen to that.

You recently visited the NASA John F Kennedy Space Centre! How was yourexperience there? Can we expect it to inspire any of your work in the future?

It was AMAZING!!!! Im so lucky to be able to have gotten that opportunity. It was a dream come true. It was definitely inspiring, but actually more jaw dropping.

We see you working with a little bit of Morse code on this album. You haveearlier used Morse code on L.E.F too. What is the message you are trying tosend out through it? And how did the fascination for Morse code arise?

Yes I did on L.E.F and there was an actual meaning connected to it. It was so cool to see how some people deciphered it too. Ive always been fascinated about morse code. Its music, theres a tone and a rhythm. Music communicates to people in different forms.

We saw you use a very different strategy to release your album where fanshad to unlock parts of the album which would take them to the next step. Howdid it work for the album? Was it carried out to give more of a mysterious feelto the album?

It was a lot of fun to see how my fans were curious about the album. We did it because we wanted to have a more mysterious feel, and at the same time, due to its complexity allow people to understand the flow of how the album is played.

Who is Lucas in the album based on? Does it represent you?

Hahahaha, maybe just a little bit. Im nerdy enough to be Lucas but not that much of a loner

Finally, do you have any message you would like to send to all the peoplelistening to the album? Any suggestions as to how one can enhance theiroverall album listening experience?

Thank you so much for taking the time to listen to my album. Ive been following my social media closely when my album was released because I was curious ( and yes ) a bit nervous on what the feedback would be like. Im touched and grateful for the positive responses Ive seen so far. I love it that some people have gotten the concept on the first listen, Im honoured that some continued and ended up falling in love with the album and have kept listening to it over and over again. Although I do love every track Ive made , Ive always felt that when I listen to the audio in the beg, it helped me set the mood of the meaning of the song. Again, thank you for your support and allowing me to do this.

Trance enthusiast. Armada Ambassador. Content writer. Im not afraid of 138! Making people give Trance a chance.

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With massive dance parties spanning over 3 continents, Transmission first began in...

Read this article:

All about Blueprint with Ferry Corsten - Trance Hub (satire) (press release) (blog)

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Trance (2010) - IMDb

Techno, trance and house is played quietly enough for babies at Big Fish Little Fish. Photograph: Stephanie Malkoun

Big Fish Little Fish started in London in 2013 with the slogan 2-4 hour party people. On Sunday afternoons, big-name DJs play family-friendly timeslots at licensed premises a welcome antidote to the nauseating mums and bubs activities that fill suburban libraries and yoga studios on weekdays. The events soon spread across the UK and this weekend past, they launched in Australia. Our family was intrigued.

My partner spent his youth raving in London, and devoted several summers to chasing sound systems across Europe. Hes now a 40-year-old father of two who plays classic rave anthems to the newborn. The six-year-old was keen to go because the event promised bubbles, dancing and face paint but at two weeks postpartum, I was less convinced. Taking a newborn to a rave didnt exactly sound like a relaxing Sunday.

At 2pm, Melbournes La Di Da is packed, but the atmosphere is genial, relaxed and wholesome. Half the brightly dressed clubbers totter around at knee height, wide-eyed and ecstatic as if someone spiked the cordial. Parents take selfies to capture this milestone: their familys first rave. A teething baby gnaws on a glowstick. Apparently the biggest security problem is baby shoes going missing on the dancefloor.

Techno, trance and house is played quietly enough for tiny ears. Thanks to a quality PA system, it still sounds rich and bass-heavy. The headline DJ Jamie Stevens is known for playing at grown-up music festivals, and I throw some shapes in an arrhythmic, motherly fashion.

My partner looks at ease bouncing to Underworld, while the newborn sleeps on his chest in a harness

Its hard to cut loose while trying to avoid kneeing a child in the face, plus my daughter keeps tugging at my hem to beg for money to buy cupcakes. I fantasise briefly about creche facilities. But it feels uplifting to dance, as if my body is waking from the hibernation of pregnancy.

The line for face painting is longer than the bar queue. I had expected to see some heavy boozing, but the parents seem to be pacing themselves. Champagne is popular, befitting the mood of tentative, responsible celebration.

Everyone at the event is either under six or over 35. Some parents look like theyve come straight from supervising their kids footy match, but many have dug out their old reflective baggy trousers and furry waistcoats. There are plenty of dads, which is refreshing when so many family activities are targeted to women. I overhear one father reminiscing that he took his now-wife to this same nightclub on their first date.

It seems to be a bonding opportunity, where couples can relive their pre-kids days without forking out for a babysitter. In the UK, music festivals such as Camp Bestival have been tapping into this market for years, and Australia is finally catching up. While cuddling his baby on the dancefloor, one of the DJs tells me he is thrilled to play a gig that his family can attend. My partner looks at ease bouncing to Underworld, while the newborn sleeps on his chest in a harness.

The clock strikes 4pm and, as a finale, a parachute is unfurled over the dancefloor. Kids lose their minds with glee as their parents hold them aloft.

As we walk to the car, the six-year-old says she enjoyed the parachute and drinking a fizzy drink the most. My partner says the event reminded him of the 90s club night Whirl-Y-Gig. Oh, and the newborn? She has slept through the whole event a sure sign of her approval.

Mark Dynamix is DJing the Sydney launch of Big Fish Little Fish at Portugal Madeira Club in Marrickville on Saturday 24 June. A second Melbourne event, on 23 July, is already sold out

Original post:

'Techno trance for tiny ears': taking your newborn to a rave - The Guardian (blog)