Trance Stylistic origins: Techno, House, Electronic art music, Industrial Cultural origins: Early 1990s, Europe, particularly Germany, The Netherlands, Belgium and UK Typical instruments: Synthesizer, Keyboard, Drum machine, Sequencer, Sampler Mainstream popularity: High Subgenres Acid, Electro, Euro, Goa, Hard, Hardcore, Progressive, Psychedelic, Tribal, Uplifting, Vocal Fusion genres Deep, Futurepop, Hardstyle, Trancestep, Tech Other topics Notable artists and DJs - Raves - Glowsticking Trance is a style of electronic dance music that developed in the 1990s. Trance music is generally characterized by a tempo of between 130 and 160 bpm, featuring repeating melodic synthesizer phrases, and a musical form that builds up and down throughout a track, often crescendoing or featuring a breakdown. Sometimes vocals are also utilised. The style is arguably derived from a combination of largely techno and house. 'Trance' received its name from the repetitious morphing beats, and the throbbing melodies which would presumably put the listener into a trance-like state. As this music is almost always played in nightclubs at popular vacation spots and in inner cities, trance can be understood as a form of club music. Contents 1 History 1.1 Origins 1.2 Trance begins as a genre 1.3 The sound of modern trance 2 Trance in the mainstream 3 Trance and drugs 4 Definition and styles 5 Notable trance records 6 See also 7 External links History Origins Early electronic art music artists such as Klaus Schulze have proven to be a significant influence on trance music. Throughout the 1970s Schulze recorded numerous albums of atmospheric, sequencer-driven electronic music. Also, several of his albums from the 1980s include the word "trance" in their titles, such as the 1981 Trancefer and 1987 En=Trance. Elements of what became modern club music also known as trance music were also explored by industrial artists in the late 1980s. Most notable was Psychic TV's 1989 album Towards Thee Infinite Beat, which featuring drawn out and monotonous patterns with short looping voice samples and is considered by some to be the first trance record. The intent was to make sound that was hypnotic to its listeners, this would also lead to a strain of trance known as Euphoria being developed which caused an uplifting sensation among its listeners who became somewhat euphoric during listening. These industrial artists were largely dissociated from rave culture, although many were interested in the developments happening in Goa trance which is a much 'heavier' sound than what is now known as trance. Many of the trance albums produced by industrial artists were generally experiments, not an attempt to start a new genre with an associated culture — they remained firmly rooted culturally in industrial and avant-garde music. As trance began to take off in rave culture, most of these artists abandoned the club style. Trance begins as a genre Main articles: acid trance, Goa trance The earliest identifiable trance recordings came not from within the trance scene itself, but from the UK acid house movement, and were made by The KLF. The most notable of these were the original 1988 / 1989 versions of 'What Time Is Love' and '3AM Eternal' (the former indeed laying out the entire blueprint for the trance sound - as well as helping to inspire the sounds of hardcore and rave) and the 1988 track 'Kylie Said Trance'. Their use of the term 'pure trance' to describe these recordings reinforces this case strongly. These early recordings were markedly different from the releases and re-releases to huge commercial success around the period of the 'White Room' album (1991) and are significantly more minimalist, nightclub-oriented and 'underground' in sound. The trance sound beyond this acid-era genesis is said to have begun as an off-shoot of techno in German clubs during the very early 1990s. Frankfurt is often cited as a birthplace of Trance. Some of the earliest pioneers of the genre included DJ Dag (Dag Lerner), Oliver Lieb, Sven Väth and Torsten Stenzel, who all produced numerous tracks under multiple aliases. Trance labels like Eye Q, Harthouse, Superstition, Rising High, FAX +49-69/450464 and MFS Records were Frankfurt based. Arguably a fusion of techno and house, early trance shared much with techno in terms of the tempo and rhythmic structures but also added more melodic overtones which were appropriated from the style of house popular in Europe's club scene at that time. This early music tended to be characterized by hypnotic and melodic qualities and typically involved repeating rhythmic patterns added over an appropriate length of time as a track progressed. Of worth to note, the album that is generally accepted as THE definition of the frankfurt trance sound, and which subsequently influenced all of the early pioneers mentioned above, was the Pete Namlook "4Voice" album. Of note, one of the studio engineers who worked on this pioneering effort was one Maik Maurice, otherwise known as ½ of Resistance D, the famed Hard Trance duo. If you are a fan of the frankfurt sound, this album is the beginning. At about the same period of time in the late 1980s and early 1990s, a musical revolution was happening in Goa, India. Electronic body music (EBM) bands like Cabaret Voltaire and Front 242 came to Goa and began influencing artists like Goa Gil, Eat Static, Doof, and Man With No Name who heard the psychedelic elements of EBM, expanded on them minus the vocals and guitars to create Goa trance. Goa music is heavily influenced by Indian culture and psychedelic drugs, as seen in numerous references to both in track and album titles. The sound of modern trance Main articles: progressive trance, anthem trance By the mid-1990s, trance, specifically progressive trance, which emerged from acid trance much as progressive house had emerged from acid house, had emerged commercially as one of the dominant genres of dance music. Progressive trance set in stone the basic formula of modern trance by becoming even more focused on the anthemic basslines and lead melodies, moving away from hypnotic, repetitive, arpeggiated analog synth patterns and spacey pads. Popular elements and anthemic pads became more widespread. Compositions leaned towards incremental changes (aka progressive structures), sometimes composed in thirds (as BT frequently does). Buildups and breakdowns became longer and more exaggerated. The sound became more and more excessive and overblown. This sound came to be known as anthem trance. Immensely popular, trance found itself filling a niche as 'edgier' than house, more soothing than drum and bass, and more melodic than techno, something that makes it accessible to many people. Artists like Paul van Dyk, DJ Tiesto, Ferry Corsten, and Armin van Buuren came to the forefront as premier producers and remixers, bringing with them the emotional, "epic" feel of the style. Many of these producers also DJ'd in clubs playing their own productions as well as those by other trance DJs. By the end of the 1990s, trance remained commercially huge, but had fractured into an extremely diverse genre. Some of the artists that had helped create the trance sound in the early and mid-1990s had, by the end of the decade, abandoned trance completely (artists of particular note here are Pascal F.E.O.S. and Oliver Lieb). Perhaps as a consequence, similar things were happening with the DJs as well. For example, trance duo Sasha and Digweed (also known as Delta Heavy), have helped bring the progressive sound to the forefront, all but abandoned it by 2000, instead spinning a darker mix of the rising "deep trance" and "tech-trance" style they pioneered along with producers and DJ's like Slacker and Breeder. Sasha and John Digweed might argue that their 2000 release "Communicate" not be called trance at all. In the mid 2000s, other new bands like Tony Reed and Synthetik FM began to fuse rave styles of music with synthpop and new wave and use the new medium of the internet to distribute their music. Trance in the mainstream As trance has entered the mainstream it has alienated many of its original fans. As the industry became bigger, companies (especially Ministry of Sound) and DJs began to alter their sound to that of a more pop based one, so as to make the sound more accessible to an even wider, and younger, audience. Vocals in particular are now extremely common in mainstream trance, adding to their popular sound. Trance and drugs Trance developed alongside the increasing use of the drug ecstasy in the club scene. Ecstacy invokes a feeling of intense optimism and goodwill, and when taken while listening to loud trance music the feeling can become euphoric and highly energetic. The structure of trance music came to develop, deliberately or not, so that it became ever more effective at provoking these euphoric feelings. The metronomic beat, simple distorted waveforms drenched in large amounts of reverb, and long build-ups with snare rolls leading out of a breakdown all trigger a huge predictable response from ecstacy users. Today drug use in the trance scene is a lot rarer than it was in the 80s & 90s. Ecstasy use has become a subculture within the scene, rather than a major aspect of it, and many trance listeners don't regularly use ecstasy or have even tried it. Definition and styles Trance is a style that employs a 4/4 time signature, complemented by a 4/4 bass drum on its downbeats, a snare or clap on each second beat, and usually a regular open hi-hat on the off-beat. Utilizing synthesizers and drum machines, Trance has a BPM of 130-160 beats per minute, somewhat faster than house music. Arpeggios and minor scales are common features. Trance often involves one "central" melody which goes through entire song, just on start and end of the song is this melody sometimes set off, to make mixing of trance songs easier. Much, but by no means all, trance music contains minimalist vocals. The unwavering drum mechanism may be constantly tweaked with for effect, with the Attack, Decay, Sustain, Release (ADSR) all given liberal treatment. Trance is produced with keyboards, computerized synthesizers, drum machines, and music sequencer software connected via MIDI. Trance records are almost invariably heavily loaded with reverb and delay effects on the synth sounds, vocals and often parts of the percussion section. This provides the tracks with the sense of vast space that is necessary to achieve the epic quality that trance producers tend to look for. Flangers, phasers and other effects are also commonly used at high settings - in trance there is no need for sounds to seem in any way authentic, so producers have free rein. Some Sub-Genre Classifications Of Trance Name Of The Sub-Genre Description Artists Acid trance An early '90's style. Characterized by the use of a Roland TB-303 bass machine as the lead synth. Hardfloor, Art of Trance, Union Jack, Eternal Basement, Emmanuel Top, Solar Quest, Kai Tracid (however his style is more like acid influenced Anthem trance) Anthem trance/Uplifting trance Style of trance that emerged in the wake of progressive trance in the late 90's. Characterized by extended chord progression in all elements (lead synth, bass chords, treble chords), extended breakdowns, and relegation of arpeggiation to the background while bringing wash effects to the fore. Vincent de Moor, Ronski Speed, Tiësto, System F, 4 Strings, Super8, Ayla, Paul van Dyk, Armin van Buuren, ATB, Neo & Farina, Blank & Jones, Marco V, Matt Darey, Trance Authority Classic trance Original form of trance music, said to have originated in the very early 90's. Characterized by less percussion than techno, more melody, arpeggiated melody, and repetitive melodic chords/arpeggios. Westbam, Dance 2 Trance, Jam and Spoon, Sven Väth, Oliver Lieb, Cosmic Baby Euro-Trance Euro-Trance is a hybrid of hard trance and Eurodance music incorporating hardstyle bass drums and trance elements. The trance synths at times sound like techno hoovers with trancey effects and strings backing it up. The vocals are often pitched up for the most part, but sometimes they can be heard as in normal pitch range. This is often confused as vocal trance because of its use of vocals. The lyrical content is usually pretty simple, containing an introduction to the song with usually no or little drums, and often includes renderings of classic happy hardcore anthems or melodies. Also some of the middle 90's happy hardcore producers started to produce tracks in this style. Jan Wayne, Rob Mayth, Special D, Starsplash, Mark'Oh, Pulsedriver Goa trance A complexly melodic form of trance named for Goa, India, and originating in the early 90's. Often uses the Raga. Psygone, S.U.N. Project, Man With No Name, Astral Projection, Juno Reactor, MFG Hard Trance Aggressive and faster trance sounding, Originating in Frankfurt, includes influences from hardcore. The style has first's tracks in 1993 and decline in the late 90's. Pascal F.E.O.S., Resistance D, Legend B, Nostrum, Gary D, Genetic Line, The Hooligan, Flutlicht, Mat Silver & Tony Burt, Jones & Stephenson, Yves Deruyter, Cosmic Gate, S.H.O.K.K., Mauro Picotto Hardstyle Closely related to nu style gabber and hard trance. Its sound is usually characterized by a mix of gabber and hardcore like kick/bass sounds, trance like synth stabs and sweeps and miscellaneous samples. However, Hardstyle usually has a lot slower BPM (between 140 and 150). Lady Dana, DJ Luna, Trance Generators, DJ Isaac Progressive trance Style of trance that originated in the early-mid 90's. Differentiated from the then "regular" trance by breakdowns, less acid-like sound & bass chord changes that gave the repeating lead synth a feeling of "progression". BT, Humate, Sasha, John Digweed, Sander Kleinenberg, Slacker, Breeder, Narcotik, Natious.... Psychedelic trance Better known as psytrance; ambiguously synonymous with Goa trance, less melodic (also focuses less on eastern melodies) more abstract, metallick and futuristic. Also while goa tracks can be even slow as 130 bpm, psytrance tracks' speed rarely goes under 140bpm (except Progressive Psytrance tracks). Shiva Chandra, Etnica, Infected Mushroom, Astrix, Phacelift, Total Eclipse, Hallucinogen Progressive psytrance Emerged from both progressive house and psytrance. Identified by slower BPM range (roughly between 125 and 138), deep, low bass line, similarities to house in percussion, track structure and other things as well as psychedelic trance depth and relative musical unpredictability. Magnetrixx, Ticon, Phony Orphants, Son Kite, Atmos Tribal A trance derivative that took classic trance and overlaid it with polyrhythmic percussive beats, ethnic samples, bongo sounds. It emphasizes the rhythmic core of trance. It shares many things with early Goa trance and Balearic House. Tribal can also be understood not so much as a style in itself, but as a component of any other trance style that has a bongo polyrhythm to it. Enigma, Tarentella, Etnoscope Vocal trance/Epic Trance Broad term referring to trance with a full set of lyrics, which may or may not be any of the above genres. Oftentimes an artist will borrow a singer's talents as opposed to the singer himself or herself (vocalists are typically female), or sample from/remix more traditional pop music. Note that there is some debate as to where the divide lies between vocal trance and Eurodance. 4 Strings, Lange, Ian Van Dahl, Above & Beyond, Fragma, Lost Witness, Armin Van Buuren, Oceanlab, Chicane, Lasgo. Electro trance This Trance style has influenced by electroclash and take some elements to Uplifting Trance. Originated around 2004. Ferry Corsten, Elevation, Marcel Woods, Gabriel & Dresden Ibiza Trance/Chill Trance/Ambient Trance This style has been influenced by various relaxed music genres, especially linked to Ibiza's ( Spain ) chill-out style of life parallel with the huge rave scene that is present in the islands. Very melodic and mellow, sometimes with ethnic features, it often samples seaside elements like seagulls and ocean waves. Also known as balearic house. Chicane, Solar Stone, Chiller Twist, York, Miro, Salt Tank Deeptech Trance This style has been influenced majorly by breakbeat. It is a chilled out blend of reggae beat matching and more notably the use of excessive synth pads, blended to create an almost euphoric state of relaxation. Fridgebeats, Chicane, Shifted Phases Notable trance records The neutrality of this section is disputed. Please see the discussion on the talk page. It has been suggested that this section be split into a new article. (Discuss) 1988 What Time Is Love (Original Version) by The KLF One of the KLF's first proto-trance recordings from the acid house era. The main thing keeping this record from being indisputably trance is its lack of any sort of kick drum. Interestingly, however, DJs were occasionally known to spin this on top of stripped down house beats — a combination which, taken as a whole, would have to be considered "true" trance. While it's probably going too far to say that "DJs invented trance," it's food for thought. 1989 System by Force Legato An early production of Oliver Lieb. Too mechanical and amelodic to be considered trance, but a seminal contribution to the burgeoning German techno scene which would soon spawn trance. Pacific by 808 State Whilst not truly a trance track, the moody and ethereal atmosphere of this turn-of-the-'90s anthem would prove to be a definitive influence on budding German producers of the time. Ultimo Imperio by Atahualpa A techno/new beat track with very heavy trance-like overtones, and a clear stylistic precedent for the development of acid and goa/psy-trance. 1990 Techno Trance by D-Shake A driving piece of early "techno-trance" (the style would later split into techno proper and trance proper; not to be confused with the much later advent of "tech-trance," a later fusion of the two styles). Age Of Love by Age Of Love Many DJs and fans of the time as well as trance historians consider this record a trance classic citation needed], even before trance became a genre of its own. The ethereal sound of this record is the foundation of the trance sound. The original mix from 1990 should not be confused with the far more well-known Jam & Spoon remix from 1992, the latter having been produced and released after trance had become an established style in the German underground, complete with gated choirs and dramatic chord progressions. The original mix from 1990 was far more minimalistic and quite similar to the slower techno and new beat recordings of the time. Nonetheless, sufficient similarity can be heard between this and other early trance tracks to consider it truly a member of the genre. Released near the beginning of the year, in March! We Came In Peace by Dance 2 Trance The seminal trance record by monolothic producers Dance 2 Trance, whom very probably inspired the name of the genre in Germany, where the sound was first emulated and produced by subsequent German artists, and played in underground clubs and raves; never alone, but always with another genre of electronic music, as the DJs back then never played only one style of music. Note that this track did not see wide release until 1991, but it did get a significant promo release in 1990, and was often heard in 1990. Q by Mental Cube Huge, early Future Sound of London production, which helped secure the UK's dance music production credentials. 1991 Lock Up by Zero B: This UK hardcore techno / rave piece spelled out exactly how the big, uplifting trance / dance breakdown should (and would) go for years to come. They didn't get bigger than this, and still struggle to do the same. The central riff is a trance classic, the rest of the track pure rave - all ahead of its time by years whichever angle you observe it from... Papua New Guinea by Future Sound Of London A classic rave-era, UK progressive breaks track that also defined a huge part of trance's later sound, direction and high prooduction values citation needed] . FSOL breakthrough record. Go by Moby Moby's most famous track citation needed] before he found fame from his album Play. No Fate by Zyon The first successful trance release on Eye Q. One of the most renowned tracks of the label citation needed]. 1992 Hello San Francisco by Dance 2 Trance A monster track of Summer 1992, this was a huge leap forward for trance. The heavily detuned pads, ethereal pianos, and sparse analog basslines in this track were among the first of their kind, immensely foreshadowing of what was to come later. Perfect Day by Visions of Shiva Cosmic Baby and Van Dyk sure started on a high with this piano-fuelled-delicacy-turns-monster. Liquid Is Liquid by Liquid This is a prime example of atmospheric "old skool" trance, with its continuous arpeggios and haunting sound. One of the first tracks to enjoy anthem status. 11 years later it was revamped by Scooter in their album The Stadium Techno Experience. Rave Generator by Toxic Two Stella by Jam and Spoon A classic Ibiza trance track. Pacific Symphony by Transformer 2 Big rave / trance hybrid piece from 1992, epic strings with cheesy vocals. Camargue by CJ Bolland Strings, chords and elegant techno-trance from the ex-hardcore man who would bring the darkside in 1992's 'Mantra' and the seminal, groundbreaking 'The Fourth Sign' LP (1992) 1993 How much Can You Take? by Visions Of Shiva Love Stimulation by Humate The Paul van Dyk Lovemix is considered a defining moment in art of remixing, giving an otherwise plain tune "classic" status. Outface by Komakino A track which sits between techno and trance and illustrates the difference between the two. Right In The Night by Jam and Spoon An early vocal trance track and a great international hit. Abduction by Eat Static One of the very first Goa trance artist albums. This album set a standard for future releases citation needed] in this genre. Café Del Mar by Energy 52 Epitomises the romantic imagery of Ibiza: originally part of a series of melodic ambient tracks played in Café Del Mar in Ibiza while tourists sit to watch the sunsets, it has been remixed numerous times into a variety of different trance sub styles and hence has reached its present day iconic status. The First Rebirth by Jones & Stephenson Perhaps the first hard trance track [1], also appears on many albums with classic hardcore techno tracks. [2] [3] [4] Vernon's Wonderland by Vernon Released during the peak of the German trance scene, it is notable because of the exposure it got in other parts of Europe, and particularly the UK. One of the first trance tracks to gain such popularity outside Germany, along with "Stella" by Jam & Spoon and "Hello San Francisco" by Dance 2 Trance. Wow! Mr. Yogi by The Overlords In particular, the "F.A.M. Tranceport Mix" is one of the very earliest tracks to delve deeply into the mystical, Eastern-tinged Goa Trance sound. Paint a Picture by Man With No Name Man With No Name would go on to become one of the most respected names in goa/psy-trance in the mid 1990s. This was his first foray into psychedelic trance territory. An extremely influential, precedent-setting track for the sound of deep goa/psy and acid trance. 1994 The Milky Way by Aurora Borealis A fast and hard trance track, originated in France The Orange Theme by Cygnus X This Cygnus X (aka A.C.Boutsen) reworking of the theme tune from A Clockwork Orange continues to be played even as of 2006 and has been remixed countless times. It is notable for the number of scales the main theme is played. Lost In Love by Legend B Trance classic from Germany, a fast hard Trance track written and produced by Peter Blase and Jens Ahrens. 1995 Oasis by Paragliders One of the last major classic-style trance tracks before the progressive sound emerged. Twisted by Hallucinogen An original and innovative psychedelic goa trance album citation needed] . Completely representative of psychedelic goa trance at that time (others such as Astral Projection and X-Dream are typical of a slightly later sound (1996 onwards)). This was one of the first Goa Trance albums to sell over 50,000 copies. Mahadeva by Astral Projection Iconic among goa-trance’s listeners. Mahadeva catapulted Astral Projection to the top of the genre and brought to prominence the Israeli psy-trance scene. Children by Robert Miles A dream trance hit that has received acclaim from critics both inside and outside trance. Influential as it was one of the first trance tracks to break into the mainstream and charted exceptionally well for the genre at that time. I Want To Live by Grace 1996 No Access by Hondy The Salone Margherita mix, at this time played often by Pete Tong on BBC Radio 1 is a key example of trance at its peak demonstrating its amazing symphonic and anthemic qualities. While one variant of this record actually came out in 1995, it is listed here, since most versions of the record came out this year. Beachball by Nalin & Kane An example of Ibiza-style “Balearic trance” , an global hit for Nalin & Kane. Flaming June by BT A widely-accepted classic citation needed]. Example of progressive trance. Composed in thirds, the structure of this tune represents the evolving, progressive structure of mid-1990s progressive trance. Offshore by Chicane Another classic ibiza trance, it reached on both European and USA charts. 1997 Blue Fear by Armin Van Buuren Blue Fear by Armin Van Buuren was his first big success on Cyber Records. Along with 'Communication', this made it to the UK charts on its first day debut. Remixers include Solid Globe, Agnelli & Nelson and Scott Mac. Open Your Eyes by At the villa People a venerable club classiccitation needed], At the Villa people came from the rather underground club "At the Villa, which at this time was located in a church in Belgium, the original location, which was a true villa, had burned down. Desert Storm by Desert Storm originated from Germany, a slow paced, heavy bass tune, very long, and very deep. Originally released in 1994, but re-released in 1997 on the At the Villa compilation maxi bundle called "At the Villa Laurence, Music from the Club". 1998 For an Angel (PVD's 1998 E-Werk Remix) by Paul van Dyk Released at the pinnacle of the anthemic/progressive trance scene, a remix of an earlier 1994 track produced in homage to the closure of Berlin’s E-Werk club at which Dyk was a resident DJ. The has established itself as a cult classic among the mainstream and trance connoisseurs. 1998 by Binary Finary A runaway trance hit for Binary Finary (producers Matt Laws and Stuart Matheson). It was noticed by many influential DJs such as Paul Van Dyk, who remixed the track and exported it around the globe. Universal Nation by Push Belgian uplifting trance by Push (aka M.I.K.E.). Madagascar by Art of Trance This track from the Platipus label was composed by Simon Berry and has been remixed several times since its first release. 1999 Sandstorm/Feel The Beat/Out Of Control by Darude This track became an international hit after Darude found fame as an online unsigned artist on the now demised mp3.com site. As well, relatively unknown musically, Finland also became prominent on the dance music scene with JS16 producing the subsequent album in 2000, Before The Storm. Liberation by Matt Darey "Liberation", which features the soaring vocals of Marcella Woods is one of Matt Darey's most well-known works. It receives annual remixes from Darey and others (under titles such as "Liberation 2002", "Liberation 2005", and "Liberation 2006"), and Darey still features it prominently in his live shows. Carte Blanche by Veracocha This driving epic trance track was produced by Vincent de Moor and Ferry Corsten and is archetypal of epic trance. Saltwater by Chicane An example of epic trance; it featured Celtic/folk chanting throughout and became a hit, partly due its use in an Irish tourism television advert. Barber's Adagio for Strings (Ferry Corsten Remix) by William Orbit This Ferry Corsten treatment of William Orbit's rendition of the Adagio For Strings by Samuel Barber, has been one of the most successful marriages to date of classical music and trance. Later also covered by DJ Tiesto Xpander by Sasha One of Sasha’s most acknowledged works in production. Its use on Global Underground 13: Ibiza (a popular mix compilation) and on the soundtrack to the game Wipeout 3 increased mainstream awareness of the track. 2001 Urban/Suburban Train by DJ Tiesto An energetic single, made prominent in its use as a closing track during Tiesto’s performances. 2002 Ligaya by Gouryella A relatively recent track that has been an important addition citation needed] with its euphoric and emotional melody to any DJ's sonic arsenal. Southern Sun by Paul Oakenfold A vocal trance released on Oakenfold’s experimental albeit mainstream trance album Bunkka. Made famous mostly through DJ Tiesto’s remix. 2003 Burned With Desire by Armin Van Buuren Armin Van Buuren's Burned With Desire epitomised vocal and euphoric/anthemic trance. Trance artists that remixed this song include Ronski Speed and Riley & Durrant. As The Rush Comes by Motorcycle A minor release which garnered attention through its use in performances by some of the more prominent DJs. 2004 Cities of the Future by Infected Mushroom Israeli trance duo Infected Mushroom produced this album on their CD IM the Supervisor, which was a hit at its debut release. It is a song with vocoded lyrics, spurring a few remixes. White Room by White Room No One On Earth by Above & Beyond Was voted as the best track of 2004 by the listeners of the radio show "A State of Trance". 2005 Serenity by Armin Van Buuren A melodic trance track featuring Jan Wayne, this is the Sensation White Anthem Air For Life by Above & Beyond and Andy Moor See also Progressive trance Progressive psytrance Psychedelic trance Progressive house Hard trance Acid trance Vocal trance Eurobeat Uplifting trance External links This article or section may contain external links added only to promote a website, product, or service – otherwise known as spam. If you are familiar with the content of the external links, please help by removing promotional links, in accordance with Wikipedia:External links. (you can help!) Information & updates on Trance DJs on Resident Advisor Biographies of many popular Trance DJs Info on DJs and singles (vinyl/cdr) or albums TranceAddict - Trance/EDM Message Board Special Trance Wiki created by website Trance.nu Trancetribe Australian based Online community TranceProject Encyclopedic Database Guides to producing Trance music Artists, DJs and record labels Berliner Trance -Good documentary by Ben Hardyment showing origins of the German Trance scene Newground's Audio Portal, Trance music section _ Electronic music | Genres Ambient | Breakbeat | Dance | Drum and bass | Electronica | Electronic art music | Hard dance | Hardcore | House | Industrial | Synthpop | Techno | Trance Search Term: "Trance_music" Categories: NPOV disputes | Articles to be split | Articles with unsourced statements | Wikipedia spam cleanup | Electronic music genres | Trance music | Music genres

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