Category Archives: Trance

The Nation

Hypnotic DJ Daniel Kandi back for more 'Epic Trance' The Nation Kandi has performed at most of the world's big EDM festivals, including Trance Energy, Global Gathering and Tomorrowland, and at clubs including Pacha in Buenos Aires and London's Ministry of Sound. He's a mainstay of DJ Magazine's Top 100 DJs poll.

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Hypnotic DJ Daniel Kandi back for more 'Epic Trance' - The Nation

The Hindu

Trance and transformation The Hindu Marine Drive's tetrapods break the Arabian Sea's powerful journey towards land. With each wave that crashes into them, they are changed infinitesimally. Over time, these changes add up to a transformation of form and meaning. By the sea, at the ...

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Trance and transformation - The Hindu

In recent columns, weve explored the evolutionary development and potential of the human brain and how new approaches, including mindfulness, can use this knowledge to better manage our emotions and chronic pain.

Clinical hypnosis is a technique used by specially trained health professionals to help an individual engage the subconscious mind to reinforce positive thoughts, emotions and behaviours. It can help you visualize a positive healthier future. The hypnotic or trance state is an altered state of consciousness we naturally fall in and out of each day. Remember the last time you were in a movie theatre totally engaged in the characters and story on the screen? Remember awakening from that trance when the credits rolled and you walked out of the theatre? How often have you walked or driven home when your mind was elsewhere and you found yourself at home sooner than you expected without thinking about it?

You were in trance as an impressionable toddler and child, during emotionally charged experiences in the past, in a new place that engaged your senses, when you fell in love for the first time, and when you were lost in thought earlier today.

In these uncontrolled trance states, our unconscious is highly sensitive to suggestion. We may have accepted incorrect beliefs about the world, other people and ourselves and these incorrect or maladaptive beliefs shape the stories we tell ourselves. In turn, our personal stories affect our outlook on life and our conscious perspective.

Having suffered from chronic pain in the past, Ive recognized how easy it is to fall into negative thinking traps or cognitive distortions that actually increased my suffering. Negative thoughts about our pain can include the following. The pain is just going to get worse. I have to take something (drugs or alcohol) to manage the pain. I have to find the right test or treatment to cure the pain. Because the pain gets worse with activity, I must be causing harm and I have to lie down and rest. Our subconscious mind can accept these beliefs without question.

Similarly, negative beliefs and assumptions we accepted in the trances of early life, can contribute to anxiety, depression and unhappiness throughout our adult lives. Im not good enough. I have to be perfect. The world is a dangerous place. Somethings wrong with me. People cant be trusted. Life is unfair.

With mindfulness and cognitive behavioural therapy, we can uncover maladaptive thoughts and beliefs, and step-by-step replace them with those that are more accurate, adaptive and empowering. We can become conscious and aware co-authors of our own life stories and agents of positive change in our personal lives and in our world.

All hypnosis is self-hypnosis. We allow the conscious mind to relax and engage the subconscious mind using imagery. We often start with deliberate relaxed breathing. Unlike mindfulness meditation, we control rather than simply observe the breath.

In hypnotic inductions, we use the breath as a vehicle of progressive relaxation and imagine the whole body letting go with each successive breath. When we reach a stage of deep relaxation, we offer positive suggestions to the subconscious. These suggestions reinforce the new more adaptive neural pathways that will enhance our coping with lifes challenges and allow us to visualize ourselves mastering our lives and achieving our personal potentials. This creates a positive blueprint for our minds.

Because clinical hypnosis is not appropriate for every person and every psychological or physical health condition, it should only be used by experienced and appropriately trained professionals.

If you would like to find one, contact the Canadian Society of Clinical Hypnosis (BC Division) at hypnosis.bc.ca. This non-profit society offers training to professionals in medicine, psychology, dentistry and other allied professions including a training workshop in February of each year.

In upcoming columns, well explore how you may use the practical strategies of cognitive behavioural therapy to manage chronic pain or difficult emotions.

Davidicus Wong is a family physician and his Healthwise columns appear regularly in this paper. For more on achieving your positive potential in health, see his website at davidicuswong.wordpress.com.

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Hypnosis: The trance of everyday life - Vancouver Courier

Theyve made some awesome speakers over the years, Creative Technology launched the Nuno Series of designer lifestyle portable Bluetooth speakers. Nuno means woven cloth in the Japanese language. The Nuno series draws its name from the way the speakers are wrapped in sheaths of woven fabric, resulting in a signature rustic minimalist look. The clean lines embody the timeless appeal of simple, well made, handcrafted pieces of art.With a styling that looks simply amazing whether youve carried it to your office, dance studio, or the park, or anywhere at home, the Nuno series delivers loud impressive audio with the wireless convenience of Bluetooth. The control buttons are also specially designed to look good aesthetically as well as function ergonomically.

Some awesome features..

The speakersare now available in the retail stores at the following prices:

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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All these faded pictures I save In the corners of my mind They call in waves to take...

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These new Creative speakers are set to become a fashion statement - Trance Hub (satire) (press release) (blog)

We were driving down to our Mums one evening and it suddenly just hit us that we should start properly making music together, Ed Russell, otherwise known as Tessela and one half of Overmono, tells me over a bowl of noodle broth in Soho. That sounds strange, but wed never written music together for our own enjoyment outside of a specific brief. What followed was a five-day writing session in a cottage away from the distractions of city life in London, freeing up Ed and brother Tom, otherwise known as Truss and the other half of Overmono, to work completely independently, free of record label expectations and outside of their respective solo projects.

Tom is 10 years Eds senior, and the brotherly partnership between the two seems to have been void of any disputes through the course of their time spent working together, having previously, although accidentally, established an improvisational live techno project known as TRER for a run of shows across 2013 and 2014, and just one release on a label called Brothers in 2012. Ed admits that he actually finds it impossible to write music with anyone else, adding that he has actually tried a few times before with friends, before Tom cuts him off mid-sentence: You can be pretty stubborn.

Having emerged from some fruitful early studio sessions, which gave the pair the chance to simply experiment away from what might be expected from their club-focused output and try something outside of the techno that they had come to be known for individually as well as together during their brief stint as TRER, they struck up a deal with XL and now two EPs later, and with a further EP and later an album on the way, theyve set other projects on the back-burner.

On their latest EP, Arla II, the pair draw on refracted, big room trance and the kind of 90s rave that has been a particularly heavy influence on the younger Russell brothers output over the years. Tracks such as O-Coast and Powder Dry mark out their ability to craft music together that draws on their own solo discographies while also adding a further dimension that doesnt necessarily adhere to the rules of techno and club music.

The pair are in high moods as we meet to speak over lunch, covering their early relationship with techno, the shift from TRER to Overmono and their unorthodox approach to sampling amongst other subjects.

Listening to you both DJ, be it together or individually, I feel like theres a strong lineage of faster, harder 90s techno running through it all, which differs somewhat to the more widely heard techno of today, with labels like Tresor and Djax-Up-Beats figuring heavily amongst the music you play out?

Tom Russell: I suppose some of my first introduction to the harder techno was stuff like Producer and others like Stu Allan and Carl Cox. This was around the early 1990s and I was listening to that along with some of the stuff emerging from Berlin and labels like Downwards, as well as, as you say, Tresor and Djax-Up-Beats. That was all somewhat in a different world to the techno that I had been listening to before.

Ed Russell: For me, I was probably listening to stuff like that when I was around 8, and Tom was 18 when he got his decks and was playing that music. Im not sure if it made too much of an impression immediately, but I got some turntables when I was around 11 and the only records I was mixing with were ones that I was pinching from Toms room. I cant remember any specific records and I wish I could, but I guess some of it would have been that faster, harder techno. For me, I guess I went back and discovered it all retrospectively, especially with UK rave music in general.

Particularly in your music as Tessela, Ed, 90s rave culture has obviously been a strong reference point with regards to the hardcore and breakbeat of that time. Is that something that youve looked to incorporate into Overmono, or has that happened unconsciously perhaps?

ER: Its something that definitely folded into Overmono but we didnt set out to do so. Part of it would come down to the box of records Tom got when we first started writing for Overmono.

TR: My brother-in-law was a DJ in Leeds back in the late 80s and early 90s and he had tons of vinyl that had been gathering dust for a number of years down in a cellar, and he said that I could check it out to see if theres anything that I might want. The first box we checked out had loads of amazing early Detroit stuff like Underground Resistance and Transmat records inside, and it was like oh my god, this is amazing, Ill take the lot, and he wanted to get rid of them so he was fine with that. Then I got them all home and it was just a total letdown because Id discovered all these records in this one box but then all the others were just not the same at all. There was a lot of UK stuff that I couldnt even tell if they made it to official press because a lot of them were promos.

A lot of it is really bad, but we decided that we would just spend some time at the start of the project going through all these records and just pulling samples out, like drum loops, breaks, synths and whatever else we fancied. We built up a big library of sounds we thought were interesting, and that was almost the start of Overmono. We just almost exclusively used these samples to make the basis of some tracks.

ER: It was quite nice having a starting point like that.

TR: It was a totally different way of working for me at least, because Ive never really used sampling very much in my work before.

Did any of that library find its way into the finished Overmono recordings then?

ER: Theres quite a lot that weve used, especially in the first record. Most of it we tried to obscure beyond recognition just to avoid any issues, so nobody should be able to find out what it is.

TR: People will probably try hard to find out now.

ER: There were one or two that we did have to clear or re-record. I think, more generally, because I wasnt around to experience 90s rave culture first-hand because I was too young at the time, it feels more for me like Ive somehow gained some sense of ownership because it is still what Ive come from and what Ive grown up with. For me it feels much more natural to take influence from 90s UK rave culture than making disco records or something, because it wouldnt feel authentic at all. Obviously early rave records were doing stuff like that in that they were speeding up parts of early hip-hop records or whatever, so thats not to say that you have to always have some ownership over what it is youre producing, but for me it feels that I can go through and take influence from this big archive of samples we have, and have it still feel genuine.

Why did you start afresh with Overmono rather than perhaps continuing with the TRER project?

TR: I guess we dont specifically see Overmono as a solely techno-focused project. TRER was more techno-focused and that project just came about without us really intending it to. A promoter from Ireland wanted to book us to do a live project and then that led to some further bookings and it spiralled a little from there.

ER: A friend of ours started a label called Brothers and asked if we could contribute a track to it and that was the only TRER track that we wrote. We never decided to start that project but it just carried on for a while, but we both knew that wasnt what we wanted to do together in terms of musical output, I guess because it felt too similar to what we were doing on our own already. We liked the idea of having an outlet for all the other ideas that might get squeezed out of your solo work. Your influences get narrower and narrower as your sound develops and you grow more accustomed to the way you work, and in a way thats really nice because you feel more comfortable writing and can carve out your own niche. At the same time though, you might find that you cant work in some other ideas or they get pushed out, and doing Overmono means we can entertain those ideas and see if they can work in other ways. The two records weve put out so far, weve been able to work on without being limited to this idea of whether other people can play them out in clubs.

Have you brought ideas that you were working on individually before into the fold for further work with Overmono?

ER: Not too much from before, but there is something that Tom wrote around 10 years ago that I think is absolutely amazing. We tried working it into something recently and spent around a month going around in circles until we finally accepted it wasnt working.

Why was that?

TR: I just dont think its particularly as amazing as Ed thinks.

ER: Its good, but its very big room.

Listening to something like O-Coast, I hear quite a trance-y, big room element to it even if it doesnt fall into other obvious big room traditions. That doesnt have to be a bad thing of course.

TR: Yes, especially with trance. We both love a bit of trance - its become such a dirty word. We love melodic stuff and theres a huge amount of great stuff. Obviously there was a time where techno and trance were on very similar wavelengths and theyve both crossed over into our work. As for big room, I guess a lot of my records as Truss are made to be played at big raves.

Youve been co-running Poly Kicks, so in terms of working with XL on Overmono, was it the case that that gave you the chance to think bigger?

ER: When we started the project, there was a five-day writing session in a cottage. We did that independently. We decided it would be a good idea to book out this cottage in South Wales and we took down as much kit with us as we could. We broke down on the way and spent a night in Newbury so we only had three days there. We just made music day and night with no phone, no internet reception. There were no distractions and I think we came out with around 15 tracks. I guess that comes back to having your solo focus narrowed over time, and then we had all these possibilities working together.

TR: We werent writing for a label or with any other considerations apart from just doing what we wanted to do.

ER: Youre always chasing that feeling of hitting on a good idea. You feel so uplifted. We did it as just an enjoyable writing experience without boundaries and it was really free and easy. Once we had the music we didnt know what to do with it. We thought Poly Kicks wouldnt be the right place because its very much focused on 12s and playable, club-focused records. XL was top of our list really.

TR: It felt it would be the best fit.

Its my understanding that youre in the process of working towards an album, so hows that coming along?

ER: Ive been reading quite a lot and making notes in preparation for the album, gathering thoughts and ideas. We need to set some boundaries before we start writing, so were trying to create some sort of manifesto I guess within which to work.

TR: As liberating as it is to have all those possibilities, it can also be a hindrance, whether its the techniques we use or the equipment.

Would you say the process of working together has come more naturally as the years have passed?

TR: I think its always been really easy right from the off.

ER: I find it pretty much impossible to make music with anyone else actually. Ive tried a few times with friends

TR: You can be pretty stubborn.

ER: I can be. Im a bit of a megalomaniac as well so I find it hard to relinquish control sometimes, but that works better if youre brothers rather than if youre mates. Youre less bothered about writing something with somebody and being scared of their reaction. If we dont like each others ideas, we can take criticism.

TR: Neither of us hold back really when we dont like something or think something should be improved. There will always be times when one of us feels strongly about something and the other feels the opposite and its of course about trying to find some kind of compromise there to make you both happy. It doesnt really often happen though. Were on the same wavelength for the most part.

ER: If were not both into something, theres probably a reason why. Theres a track were working on at the moment where Tom thinks the synth line sounds like an awful, distorted electric guitar-based drum & bass record. I cant remember who its by.

TR: I probably shouldnt say really.

Do you want to draw out silly elements in what you do though? For example, Tom, your work as Blacknecks definitely didnt take itself seriously.

TR: Yeah, we both definitely like stuff that doesnt take itself too seriously. I think some of our favourite music has a certain tongue-in-cheek element about it, but doesnt cross too far over the line. Blacknecks I think was very borderline - maybe a few times we went over the line, but that was the nature of the project. With Overmono, it might just be a sample we use where only we know the source of it, but nobody else does, so its something for us.

ER: Some of the samples are pretty outlandish and I dont think we should give away where they come from.

TR: Were both big fans of Aphex for example, and one of the things I love most about Aphex is the humour in everything he does.

Arla II is out now on XL. Overmono play live at Field Day on June 3. For tickets and more information, click here

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In A Trance: Truss & Tessela's Overmono Interviewed - The Quietus

Attention deficit disorder is all about distraction until its not! One of the most surprising aspects of ADHD is hyperfocus a persons ability to hone in on a specific task, sometimes to the exclusion of everything else.

Someone with an interest in computer programming may happily hunt for a bug in thousands of lines of code, regardless of the fact that he usually cant sit still. A musician may write a symphony in only a few weeks.

Unfortunately, hyperfocus cant be reliably sustained or controlled. When parents tell me how their daughter breezed through a challenging science fair project only to settle into a spotty classroom performance, I know that she was hyperfocusing. Adults can find that kind of focus in a new job working intensely for a year, say, to fix major problems in their department. When things finally run smoothly, they lose interest and move on.

At its best, hyperfocus is what psychologist Mihaly Csikszentmihalyi calls flow a state of mind in which you are so immersed in a task that you become (not to sound too far out) one with it. PET scans have shown that the hyperfocusing brain literally lights up with activity and pleasure.

At its worst, hyperfocus becomes a trance-like state in which you do the same pointless act over and over again. A teen who creates vocabulary cards for an upcoming test, for instance, may spend hours decorating them instead of studying. With hyperfocus, you can easily lose all sense of time and perspective.

If you hyperfocus regularly, congratulations! I do, when I am writing. But remember that it may cause you to forget about everything else a Friday-night dinner with friends, a wedding anniversary, paying the bills. To ensure that family or coworkers arent left in the lurch, do the following:

Hyperfocus is more likely to occur when you are engaged in a task that is challenging, that matters to you, and in which you make progress. These tips will help:

Link:

Hyperfocus: A Blessing and a Curse - ADDitude

Paul van Dyk Announces US Tour Powered by Insomniac's Dreamstate Trance Brand EDM Sauce Trance legend Paul van Dyk has announced a monumental North American tour, presented by Insomniac's Dreamstate trance brand. The tour consists of 12 dates, sprawling across the U.S. and Canada, closing out the tour with a headlining performance at ...

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Paul van Dyk Announces US Tour Powered by Insomniac's Dreamstate Trance Brand - EDM Sauce

Grass Valley Police Department

Friday

8:06 a.m. A caller from the 300 block of Railroad Avenue reported receiving a parking ticket in an employee parking lot that he thought may be a scam.

8:27 a.m. A caller from the 700 block of Maltman Drive reported a transient sleeping under the stairs.

8:34 a.m. A caller from the 100 block of Brentwood Drive reported receiving harassing and threatening text messages for over a day, including messages stating that the texter makes his own weapons and that the caller should watch out for his family.

9:05 a.m. A caller from the 100 block of Springhill Drive reported a website had been created by subjects claiming to run and own his business.

Saturday

9:11 a.m. A caller from the 100 block of Race Street reported loud house and trance music coming from a nearby residence. The caller stated that the issue is ongoing at all times of the day. Police made contact with the suspect, who agreed to keep the music down.

11:27 a.m. A caller from the 200 block of Chapel Street reported finding a phone in his car when he came out of church that wasn't there previously. The caller said he made contact with the owner of the phone, who said it was stolen from her, and he would be mailing the phone back to her.

4:37 p.m. A caller from the 100 block of West McKnight Way reported a shoplifter who had run away with merchandise. The caller had determined the shoplifter's identity by referencing security tapes, but did not want to file charges due to low worth of items stolen.

6:10 p.m. A caller from the 200 block of North Church Street reported overhearing a neighbor trying to pay someone to beat the caller up. Police commented that it remained unclear whether that neighbor was talking about the caller, even though he was certain that the neighbor was.

8:14 p.m. A caller from the 100 block of West McKnight Way reported a shoplifter stealing shoes from a business.

Nevada County Sheriff's Office

Friday

9:52 a.m. A caller near the intersection of Highway 49 and Lime Kiln Road reported a large dump truck dropping trash and debris all over the highway.

10:31 a.m. A caller from the 14000 block of 49 Street reported an aggressive pit bull on the loose.

1:40 p.m. A caller from the 11000 block of View Drive requested her adult grandson be removed from her residence because he was not listening or minding her rules. Police advised the caller on the process of obtaining a restraining order.

4:34 p.m. A caller from the 11000 block of Sunset Way reported broken glass behind the tires of her vehicle. She reported the situation has been ongoing for three weeks.

6:59 p.m. A caller from the 15000 block of Pleasant Valley Road reported three people trying to steal items from his storage unit. The caller said that the issue is ongoing, and when he tries to confront the subjects they disappear.

Saturday

4:11 a.m. A caller from the 17000 block of Landini Place reported she was home alone and not expecting visitors when she heard a knock on the door. The caller reported hearing the toilet flushing in her downstairs apartment which has separate access.

4:43 p.m. A caller near the intersection of Venus Court and Dog Bar Road reported approaching the driver of a parked car, who stated he was going to burn the callers house down and that he was in the military. The driver was taken into custody by police officers on charges of (422PC)

7:34 p.m. A caller from the 12000 block of Highway 174 reported seeing the driver of a vehicle driving with his elbows while holding a pipe in one hand and lighting it with a lighter in the other hand. The caller reported seeing a child's carseat in the back of the vehicle.

11:29 p.m. A caller from the 21000 block of Big Oak Drive reported that he is a taxi dispatch driver and had just been assaulted by a customer. The assaulter told police that the driver had sped into the driveway going too fast and had nearly bumped into his son.

Matthew Pera

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Nevada County Police Blotter: Trance music never stops - The Union of Grass Valley

KATHMANDU: Influential British DJ Paul Oakenfold has reached Mount Everest's base camp where he plans to host the "highest party on earth", performing a set at 5,380 metres.

As climbing season in Nepal kicks into gear, few of the mountaineers heading to the world's highest peak were likely expecting to be joined by the three-time Grammy nominated artist and his dance beats.

Oakenfold -- whose three-decade long career has included collaborations with Madonna and U2 -- is due to perform a set at base camp on Tuesday morning.

"We are here now doing sound checks. We are really looking forward to the show tomorrow. Everyone is really excited here," Oakenfold told AFP by phone from base camp today.

The 53-year-old artist said he had no trekking experience before he set out on the 10-day walk to Everest with a team of yaks and porters hauling the audio equipment needed for the event.

Oakenfold trained for four months before arriving in Nepal in between a hectic schedule of late night gigs, he said.

DJ Paul Oakenfold's SoundTrek on April 10, 2017 and taken on April 6 shows the British artist performing a practice set at Pheriche village on his way to Mount Everest's base camp. (Image:AFP)

"I'm not going to pretend it was easy to get here... but it has been a wonderful trek. If you could see the view I'm looking at, it is very inspiring," he said.

The world's highest peak will provide a very different kind of high to Oakenfold's usual shows, which often draw thousands of revellers.

"The audience will probably be sitting mostly. The air is so thin here, you will run out of breath quite quickly," said Ranzen Jha, a Nepali DJ accompanying Oakenfold.

The gig is the first in the record producer's SoundTrek series, aimed at drawing attention to the effects of global warming and raising money for charities.

Oakenfold is also raising funds to help survivors of Nepal's devastating 2015 earthquake, which killed nearly 9,000 people and left thousands homeless, many of whom are still living in temporary shelters.

"I want to support in the rebuilding and to shed light on the environment... I would like to do my bit," he said.

But not everyone is keen on the idea, with some complaining that the renowned DJ is disturbing the peace and tranquility of the Himalayas.

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British DJ Paul Oakenfold takes trance to Mount Everest, world's highest gig ever - Economic Times

Mix 247 EDM: What inspired you to start making music?

Soren Andrews: Ever since I was a kid, I grew up on 80s music such as The Cure and Metallica and I got into drumming. However, I wasnt interested in DJing until I went to college at Eastern New Mexico University. One day I was sitting in the computer lab and a trance tune popped up and I told myself that I wanted to do that!

Mix 247 EDM: After inspiration came to you in the computer lab, what was your first step to try to set that goal of being a DJ?

Soren Andrews: My parents were against the whole idea but my sister personally thought it was great. I just stumbled into the whole DJing life because I thought it looked fun and it also looked like that it was something that I should be doing.

Mix 247 EDM: Did you ever take lessons, have mentors, or teach yourself?

Soren Andrews: At the beginning, I taught myself, but with my first official release in 2009, signed on with Elliptical Recordings in Chicago, there was another DJ that called himself DJ Menace that came out of New York. Hes a great guy that took me under his wing and he taught me everything from the basics and how to bold my sound. Also since 2012, a guy named Mark Sherry, whos originally from Scotland, helped mold me into where I want to go now.

Mix 247 EDM: What was your first big gig as a DJ?

Soren Andrews: My first big gig was at Spinning Vision in Chicago, back in 2010! I love the music and the people in Chicago because it is so molded and defined. You get all these people who all love one genre within an entire city.

Mix 247 EDM: After your huge gig in Chicago, what led your career to Utah?

Soren Andrews: While being raised in Roswell, with a town of around 50,000 people, my brother was stationed out in the air force in Utah and he told me to come over and start DJing in Utah. My first gig in Utah was at Area 51 in Downtown Salt Lake City. At the time there werent any monitors in the booth so I couldnt hear myself mixing. From that point on to where I am now, I couldnt have picked a better path!

Mix 247 EDM: I see that you have recently released a brand new track, Pacific Coast Highway, want to tell us all about it?

Soren Andrews: Yes! It all started when I took a trip to Oregon one time with my friends. Starting in Portland, we drove all the way down and stayed in this city called Bandon, which is four hours south of Portland. We then drove further south into Northern California to go see the Redwoods and the coastline and the forest that you drive through inspired me to write this track. This tune is a little softer than what I usually write but I was really encouraged to write something that made me come out of my comfort zone. It has a mixture of future house and progressive trance.

Excerpt from:

Behind the Beat: Soren Andrews Lightin' Up the Trance - Mix 247 EDM