there aren't really any tunes like that, by the end of 93 techno was filing for divorce from trance.
trance (?)
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there aren't really any tunes like that, by the end of 93 techno was filing for divorce from trance.
IdleRich
IdleRich
Just cos there aren't any doesn't mean you don't know some.
you might like this.
Apparently it's called freeform hardcore/trancecore though most of it doesn't sound like anything to do with hardcore at all to me, just very fast hardtrance. But this one is quite ravey, in that 92-93 lineage.
@Pearsall did some mixes of the stuff. So he can probably advise you on which tracks have the most hardcore DNA.
in general this stuff was pretty much just very fast hardtrance, maybe something that could work for you would be this one from Citadel of Kaos, who had done some pretty big breakbeat anthems in the early 90's before moving in a more trance-influenced direction
cheers. Yeah I'm not a huge trance fan, not after 93-94 anyway, I love the hard dark stuff coming out from frankfurt but I think by 94 the german hard trance sound got very accessible, almost close to happy hardcore. and lost its EBM/new beat influences, more of a bouncy castle vibe.
to go back to what @dilbert one was saying, trance is kind of not really about composite rave pluralism. But I wrote a long essay on this on @blissblogger 's blog, which I will see if I can find.
part of the issue with defining early trance is that it can mean several things at once
A)the housier end (brit prog house of sasha/digweed, oakenfold, which is way cornier and soppier to my ears than 93 chipmunk ardcore.) Paul Van Dyk in Berlin is one of the main guys to link that sound back to what was happening in Germany, and was pioneering/ahead of the curve for the white Euros and package holiday chelsea/manchester united/liverpool fan Brits, even if I think his music is absolutely diabolical.
one track which I think exemplifies how prog house of 92-93 sounds way cheesy to my ears is this one from Spooky, archetypical ShitBrit
It lacks the actual classy restraint and fine tuned cavernous production of US garage of the time, instead being rave lite and whimsy.
It also illustrates why the back room of jungle clubs played bumpin garage. You can already begin to here how this sort of sound is more a just-4-u-Surrey take on house, more trippy for the secular UK audience without any link to the church.
B)Sven vath type frankfurt technotrance, starts in 91, (more ebm-indebted and consequently more cold.) Basically over by 95-96 as it gets re-absorbed back into proper techno. This is the kind of music your Colin Dales, Favers, Dave Angels were playing, when they did venture there. Paralleled by the early hard trance of Bonzai, Pure Dance etc. The Belgians were particularly raging hardcore/acid heavy on this front, check the work of Danny Casseau as trax-x which is pretty extreme and is barely trance, hanging on by the thinnest of threads. Also, protect system - arachnophobia. Pure gloomcore quasi-trance! Jones and Stevenson - First Rebirth is probably the best trance track ever made and it is basically archetypical 93 belgian hardcore, Wagnerian pomp on a bad acid trip. Although it is not representative of most hard trance, which is probably what makes it great.
part of the reason why I think (and this is a tentative guess on my part) that frankfurt trance was seen as a form of more intelligent music is because it came through the same import channels for the UK techno djs. There was not much floor burning dancefloor techno in this country until 94-95, with the exception of people like Luke Slater, Russ Gabriel, Universal indicator/Kosmik Kommando etc. For sure, there were outliers on Rephlex, Praxis etc, but some of those tunes are still weird by contemporary techno standards.
Based on set lists (so anyone who was there, correct me if im wrong) the north London, Bandulu type infinite sound really takes off in 94, same with the high speed detroit indebted Stockwell sound of Dave Angel.
So where as your Vaths and Taniths quite logically followed their ebm techno into techno-trance, it was an import phenomenon for most of the UK jocks in 92-93. Ironically, this is why I prefer UK techno djs to german techno djs on the whole, they are much more prone to bringing their attitudes from soul, hip hop and pre-92 ardkore. Loftgroover the funkadelic fan playing hard acid, extreme metal, gabber, and speedcore, etc...
c)or the germanic/Italian rave hardtrance in 94-95 (absolutely not played by any of the UK/euro techno djs) which you get with labels like EDM, Spaceflowerer, United Ravers Records, some Suck Me Plasma, etc. In essence, a more teutonic version of happy hardcore, so absolutely cheesy by definition. Instead of the E-xtatic pianos you get angel choir stabs.. Played by the likes of M-Zone, Mark EG at northern/provincial happy hardcore raves. I don't like this music so I can't give you in depth recommendations unlike pearsall, but it pretty much all sounds like this record, give or take 20-30 bpm+.
Sunbeam - Outside World E.P.
View credits, reviews, tracks and shop for the 1994 Vinyl release of "Outside World E.P." on Discogs.www.discogs.com
Another one is Legend B - lost in Love, which still retains the 303s from the techno trance sound, but the burning mercurial corosive textures are totally annihilated, to be replaced by something squiggly and cuddly.
dilbert1
Well-known member
Nice one @thirdform
Was the quote from your essay or have you yet to find it?
And yeah, clearly trance proper and I suppose a lot of dance music increasingly thru the mid-90s is rather specialized and silo’d, as I’m sure has been discussed here a million times. Jungle certainly followed this congealing trend. Not that there weren’t distinct pockets of sound, separate rooms, and sub-genres beforehand, but it seems like as late as ‘93 the hardcore melting pot was still in play in a way it wasn’t once many producer’s “decided” to pursue this or that niche in the bifurcations of the following years. That’s what interested me in those Out of Order tunes anyways, great example is Kenny Ken dropping one of them in this set alongside stuff from Kemet and Suburban Base in ‘93, @18:24
Not long after this it seemed that ‘pluralism’ could be more construed as impropriety or fence-sitting. Citadel of Kaos is a great example too, tracks like ‘Warped’ kind of do it for me (and of course ‘E Z Man’ in a big way on a much earlier tip), although the one @Pearsall posted isn’t bad but has that thing of a big dull monophonic lead hogging the melodic space that really turns me off from a lot of this music, I like my 303s more staccato and with nimble modulation.
Anyhow going by your schema I definitely favor ‘option b’ where this sound is concerned (that ‘Arachnophobia’ track is wicked), but the Out of Order tune ‘Tears’ nicely synthesizes the blistering techno-wise 303 assaults with spooky gated angel stabs a la ‘option c’. And I also have to say that perhaps its not without a tinge of irony on my part, and notwithstanding that its a motif which may result much more often than not in unlistenable cheesy goofiness like that Legend B tune you posted (which just crosses the line into not-really-enjoyable for me), but I like the anthemic, kind of kitschy and weepy epic triumphalism found in ‘c’ and demonstrated in these two that have already been posted. I think they’re in the same key, as it seems to be a lot of trance hooks are?
I’d really like to ID the synth patches on them, I’m sure they’re just presets
@1:29
And in the intro here, which again is incredible
Was the quote from your essay or have you yet to find it?
And yeah, clearly trance proper and I suppose a lot of dance music increasingly thru the mid-90s is rather specialized and silo’d, as I’m sure has been discussed here a million times. Jungle certainly followed this congealing trend. Not that there weren’t distinct pockets of sound, separate rooms, and sub-genres beforehand, but it seems like as late as ‘93 the hardcore melting pot was still in play in a way it wasn’t once many producer’s “decided” to pursue this or that niche in the bifurcations of the following years. That’s what interested me in those Out of Order tunes anyways, great example is Kenny Ken dropping one of them in this set alongside stuff from Kemet and Suburban Base in ‘93, @18:24
Not long after this it seemed that ‘pluralism’ could be more construed as impropriety or fence-sitting. Citadel of Kaos is a great example too, tracks like ‘Warped’ kind of do it for me (and of course ‘E Z Man’ in a big way on a much earlier tip), although the one @Pearsall posted isn’t bad but has that thing of a big dull monophonic lead hogging the melodic space that really turns me off from a lot of this music, I like my 303s more staccato and with nimble modulation.
Anyhow going by your schema I definitely favor ‘option b’ where this sound is concerned (that ‘Arachnophobia’ track is wicked), but the Out of Order tune ‘Tears’ nicely synthesizes the blistering techno-wise 303 assaults with spooky gated angel stabs a la ‘option c’. And I also have to say that perhaps its not without a tinge of irony on my part, and notwithstanding that its a motif which may result much more often than not in unlistenable cheesy goofiness like that Legend B tune you posted (which just crosses the line into not-really-enjoyable for me), but I like the anthemic, kind of kitschy and weepy epic triumphalism found in ‘c’ and demonstrated in these two that have already been posted. I think they’re in the same key, as it seems to be a lot of trance hooks are?
I’d really like to ID the synth patches on them, I’m sure they’re just presets
@1:29
And in the intro here, which again is incredible