The venue was secured by George Baker and Alton Miller. D. Wynn and Derrick May were the regular Friday night DJs, and Baker and Chez Damier played to a mostly gay crowd on Saturday nights.

Usher – Yeah – Techno Trance Remix music( Oldschool jungle is the name given to a style of electronic music that incorporates influences from genres including breakbeat hardcore, techno, rare groove and reggaedubdancehall.
| There is significant debate as to whether Jungle is a separate genre from drum and bass as some use the terms interchangeably.
| The fast tempos 150 to 170 bpm breakbeats, other heavily syncopated percussive loops, samples and simple synthesized effects makes up the easily recognizable form of Jungle.
| Producers create the tell-tale drum patterns; sometimes completely off-beat, by cutting apart breakbeats such as the Amen break.
| Jungle producers incorporated classic JamaicanCaribbean sound-system culture production-methods.
| The slower, deep basslines and simple melodies which are directly descended from dub, reggae and dancehall accentuated the overall production and hence gave Jungle its rolling quality.
| While the use of the word to describe what is now known as Jungle is debatable, the emergence of the term in relation to electronic music circles can be roughly traced to lyrics used in JamaicanCaribbean toasting a pre-cursor to modern MCs, circa 1970.
| References to Jungle, Junglists and Jungle music can be found throughout dub, reggae and dancehall genres from that era up until today.
| Interestingly, and possibly just coincidentally, the term jungle music was used to describe music by Duke Ellington in the 1920-30s.
| With African musical and drumming influences they played a rhythmic, exotic sound advertised as jungle music and the jungle sound, the band at that time was often named The Jungle Band on flyers.
| It has been suggested that the term Junglist was a reference to a person either from a section of Kingston known as The Concrete Jungle or from a different suburb, The Gardens, which was a leafy area colloquially referred to as The Jungle.
| The first documented use of the term is within a song featuring Jungle producer and lyricist Rebel MC.
| In which a sample was taken from a much older dancehall tune containing the lyrics Rebel got this chant – alla the junglists.
| Smiley & PJ from Shut Up and Dance were once not let into a club by a bouncer claiming We dont play your jungle music here, referring to the more drum orientated oldschool hardcore.
| They started to use the term themselves.
| At one time there was even some confusion and debate as to whether the use of the word Jungle was a racist referral to its apparently blacker, reggae-influenced sound and fans.
| This seems unlikely as whilst it has been suggested that it was the black youth of Britain who fueled the early Jungle and drum and bass scenes
| This was only the reality very early on and is now a racially diverse mix of fans and producers alike.
| Jungle shares a number of similarities with Hip Hop.
| First, both genres have been coined black music.
| When Jungle first gained popularity, it received many of the same complaints that Hip Hop music first did It was “too dark” and downbeat, glorified violence and gangs, and it was not musical enough.
| Both genres of music are produced using the same types of equipment samplers, drum machines, microphones and sequencers.
| Furthermore, the music contains the same sort of components such as “rhythmic complexity, repetition with subtle variations, the significance of the drum, melodic interest in bass frequencies and breaks in pitch and time.”
| Some early proponents preferred to define the Jungle element as representing the deeper and darker sound of the heavy beats and bass lines, while others saw a connection with triblal drumming, percussion and simplicity.
| Producers and DJs of the early 90s; MC 5ive 0, Groove Connection and Kingsley Roast, place the origin of the word in the scene with pioneers like Moose, Soundman and Danny Jungle.
| Resident DJs Fabio and Grooverider; amongst others, began to take the Hardcore sound to a new level.
| The speed of the music increased from 120bpm to 145bpm, whilst more ragga and dancehall elements were brought in and Techno, Disco and House influences were decreased.
| Eventually the music became too fast and difficult to be mixed with more traditional rave music, creating a division with the other popular electronic genres.
| When it lost the four-on-the-floor beat, and created percussive elements solely from raw, chopped up breakbeats, the old-school ravers would complain that it had gone all jungle-techno.
| The club Rage finally shut its doors in 1993, but the new legion of Junglists had evolved, changing dancing styles for the faster music, enjoying the off-beat rhythms and with less reliance on the chemical stimulation of the rave era.
| Jungle reached the peak of its popularity between 1994 and 1995.
| It was toward the end of this period that the genre diversified into drum and bass as most producers started to incorporate new sounds and rhythms into their music.
| The co-produced Timeless by Goldie and Rob Playford Moving Shadow label owner is the clearest example of a track from this time period which is not considered Jungle.
| Showcasing the new wave of high-tech music production tools being created and computer and audio-software possibilities, 1995 ushered in many of the biggest names in drum and bass today.
| The term Jungle was then used to describe a large range of electronic dance music and so has become too vague to be useful.
| Today the term jungle is mostly used as a synonym for drum and bass See Jungle vs. drum and bass.
| There is a dissenting viewpoint which asserts that jungle exists distinctive to drum & bass, despite the progressive changes brought by the interpretations of emerging artists throughout the 90s some examples being Reprazent, Ed Rush, LTJ Bukem, Soundman, Goldie and Optical.
| There is certainly a thriving underground movement producing and developing tracks in the style of a decade ago and some original though currently mainstream drum & bass jungle producers have noticed this new enthusiasm for the original sound.
| For example Shy FX, creator of Original Nuttah, has recently launched the Digital Sound Boy label, featuring tracks with the structure and production values of modern drum & bass but with ragga vocals and multiple reggae and old school elements.
| It should however be noted that ragga vocals and old school elements have always featured in the works of drum & bass producers and labels, particularly True Playaz. The vast majority of jungle artists at the end of this article could be labelled drum & bass artists and most would not recognize a distinction.
| Jungle music had also a large impact on a variety of other styles like IDM and Electronica.
| Notable artists who were influenced by jungle are Squarepusher, Aphex Twin , Venetian Snares and Shitmat.
| A discothèque, is an entertainment venue or club with recorded music played by Discaires Disc jockeys through a PA system, rather than an on-stage band.
| The word derives from the French word discothèque a type of nightclub.
| Discothèque is a portmanteau coined around 1941 from disc and bibliothèque library by La Discothèque, then located on the Rue de la Huchette in Paris, France Jones + Kantonen, 1999.
| Previously, most bars and nightclubs used live bands as entertainment.
| By the late 1960s, American versions of the discotheque starting to catch on, and with these clubs, the demand for new dance steps such as the Frug, the Merengue, and the Mule skyrocketed.
| Record labels feverishly rushed out whole albums of music to monkey or limbo by, or else mimicked the discotheque effect by assembling compilations of everything from the foxtrot to the boogaloo.
| Dance instructors got in on the act, releasing LPs such Killer Joes International Discotheque.
| By the late 1970s many major US cities had thriving disco club scenes which were centered around discotheques, nightclubs, and private loft parties where DJs would play disco hits through powerful PA systems for the dancers.
| The DJs played … a smooth mix of long single records to keep people “dancing all night long” Some of the prestigious clubs had elaborate light organs, which converted audio signals into colored lights that throbbed to the beat of the music or even glass-floored dance floors with colored lights.
| Some cities had disco dance instructors or dance schools which taught people how to do popular disco dances such as touch dancing, the hustle and the cha cha.
| There were also disco fashions that discotheque-goers wore for nights out at their local disco, such as sheer, flowing Halston dresses for women and shiny polyester Qiana shirts for men with pointy collars, preferably open at the chest, often worn with double-knit suit jackets.
| In addition to the dance and fashion aspects of the disco club scene, there was also a thriving drug subculture, particularly for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as cocaine nicknamed blow, amyl nitrite poppers, and the …other quintessential 1970s club drug Quaalude, which suspended motor coordination and turned one’s arms and legs to Jell-O.Theassive quantities of drugs ingested in discotheques by newly liberated gay men produced the next cultural phenomenon of the disco era rampant promiscuity and public sex.
| While the dance floor was the central arena of seduction, actual sex usually took place in the nether regions of the disco bathroom stalls, exit stairwells, and so on.
| In other cases the disco became a kind of “main course” in a hedonist’s menu for a night out.
| Famous 1970s discotheques included …cocaine-filled celeb hangouts such as Manhattans Studio 54 , which was operated by Steve Rubell and Ian Schrager.
| Studio 54 was notorious for the hedonism that went on within; the balconies were known for sexual encounters, and drug use was rampant.
| Its dance floor was decorated with an image of the Man in the Moon that included an animated cocaine spoon.
| Other famous discotheques included the Loft, the Paradise Garage, and Aux Puces, one of the first gay disco bars.
| Today the term discothèque is usually synonymous with nightclubs in France because disco music is still very popular there, but in contemporary English usage it is now very dated, because nightclubs have not been commonly called discos since the early 1980s.
| The term disco was originally a 1960s US abbreviation of discothèque, a place where disco music was played.
| The term disco, which is a shortened form of discothèque, refers to a specific style of pop music that was derived in U.S.A. from funk and soul, and to the dance styles popular in 1970s disco clubs e.g., The Hustle.
| In Europe the same term used for the European Disco productions, that had 50s and 60s Europop influences.
| Later, those European productions mostly Italian and German were named Euro Disco and Disco was only used for the U.S.A. productions.
| Electronic dance music is a broad set of percussive music genres that largely inherit from 1970s disco music and, to some extent, the experimental pop music of Kraftwerk.
| Such music was originally borne of and popularized via regional nightclub scenes in the 1980s.
| By the early 1990s, the presence of electronic dance music in contemporary culture was noted widely and its role in society began to be explored in published historical, cultural and social science academic studies.
| It is constructed by means of electronic instruments such as synthesizers, drum machines and sequencers, and generally emphasizes the unique sounds of those instruments, even when mimicking traditional acoustic instrumentation.
| It sometimes encompasses music not primarily meant for dancing, but derived from the dance-oriented styles.
| Electronic dance music experienced a boom after the proliferation of personal computers in the 1980s, many music genres that made use of electronic instruments developed into contemporary styles mainly thanks to the MIDI protocol, which enabled computers, synthesizers, sound cards, samplers and drum machines to control one another and achieve the full synchronization of sounds.
| Electronic dance music is typically composed using computers and synthesizers, and rarely has any physical instruments played live for the track, instead this is replaced by sampled percussive beats or phrases, the latter often being cut up beyond their original rhythms, or digitalelectronic sounds.
| Dance music typically ranges from 120bpm up to 200bpm.
| Since around the mid-1980s, electronic dance music has enjoyed popularity in many nightclubs, and, as of 2006, is the predominant type of music played in discothèques as well as the rave scene.
| As such, the related term club music, while broadly referring to whatever music genres are currently in vogue and associated with nightclubs, has, for some, become synonymous with all electronic dance music, or just those genres — or some subset thereof — that are typically played at mainstream discothèques.
| It is sometimes used more broadly to encompass non-electronic music played at such venues, or electronic music that is not normally played at clubs but that shares attributes with music that is.
| What is widely considered to be club music changes over time, includes different genres depending on the region and whos making the reference, and may not always encompass electronic dance music.
| For example, as of 2006, hip hop music, being widely played in clubs, is one form of club music to many, but a smaller percentage would describe it as being a form of electronic dance music.
| Similarly, electronic dance music sometimes means different things to different people.
| Both terms vaguely encompass multiple genres, and sometimes are used as if they were genres themselves.
| The distinction is that club music is ultimately based on whats popular, whereas electronic dance music is based on attributes of the music itself.
| Electronic dance music is categorized by music journalists and fans alike as an ever-evolving plethora of named genres, styles and sub-styles.
| Some genres, such as techno, house, trance, electro, breakbeat, drum and bass are primarily intended to promote dancing.
| Others, such as IDM, glitch and trip-hop, are more experimental and tend to be associated more with listening than dancing.
| Steve Hillage and Miquette Giraudy set out a categorization of electronic dance music genres based on beats per minute bpm
| With the explosive growth of computers music technology and consequent reduction in the cost of equipment in the late 1990s, the number of artists and DJs working within electronic music is overwhelming.
| With the advent of hard disk recording systems, it is possible for any home computer user to become a musician, and hence the rise in the number of bedroom bands, often consisting of a single person.
| Nevertheless notable artists can still be identified.
| Influential musicians in industrial, synth pop and later electronic dance styles include New Order, Cabaret Voltaire, Throbbing Gristle both now defunct, the Human League and Kraftwerk.
| In house, techno and drum and bass pioneers such as Juan Atkins, Derrick May, Goldie, A Guy Called Gerald, LTJ Bukem and Frankie Bones are still active as of 2007.
| Commercially successful artists working under the electronica rubric such as Fatboy Slim, Faithless, The Chemical Brothers, Daft Punk, The Crystal Method, Massive Attack, The Prodigy, Orbital, Propellerheads, Underworld and Moby continue to release albums and perform regularly sometimes in stadium-sized arenas, such has the popularity of electronic dance music grown.
| Some DJs such as Paul Oakenfold, John Digweed, Sasha, Paul van Dyk, Armin van Buuren, and Tijs Verwest aka Tiësto have reached true superstar status and can command five-figure salaries for a single performance.
| They perform for hours on end. Some DJs have world wide radio, and internet, broadcasted shows that air weekly, such as A State of Trance, a show mixed by Armin van Buuren.
| Until the 1980s, there were virtually no record labels that exclusively promoted electronic dance music.
| Because of this dearth of outlets, many of the early techno pioneers started their own.
| For example, techno pioneer Juan Atkins started Metroplex Records, and Richie Hawtin started his hugely influential Plus 8 imprint.
| In the United Kingdom, Warp Records emerged in the 1990s as one of the pre-eminent sources of home-listening and experimental music.
| Later arrivals include Astralwerks, Ninja Tune, and Paul Oakenfolds Perfecto record label.
| Fantazia is a dance organisation based in the UK.
| Founded in 1991 by James Perkins, it was set up at a time when breakbeat hardcore was on the ascendent within the rave scene, having grown out of the Acid House movement.
| Given the popularity and appeal of the music to a new generation of disaffected youth, the company grew quickly in line with the movement, holding six large raves in 1992.
| In terms of both the scale and number of events Fantazia promoted, no other UK based promoter has come close.
| As part of a general trend in the rave movement, not only were these events legal – but also particularly large.
| As above, Fantazia’s rave at Castle Donington was the largest outdoor rave to be held in the UK – with no fewer than 25,000 people although police estimated an extra 3000 had gained entrance without tickets.
| Additionally, possibly following on from the Raindance events, Fantazia raves increasingly featured certain characteristics of theme parks and mainstream celebrations.
| For example, the Fantazia at Castle Donington included a stage dressed as a castle, a giant inflatable dragon and a large pyrotechnic firework display.
| However, these things should be seen as peripheral, as the music and possibly the use of ecstasy constituted the core of each event and the movement in general.
| At the Castle Donington event alone, over 60 DJs & PAs played throughout the night.
| Unlike many other rave promoters in the early nineties, Fantazia filmed all their major events and released videos.
| These were generally successful in the charts.
| One particularly successful video, for example, was of the Big Bang New Year event circa 94 which reached No. 2 – beaten only by Take That.
| This footage can still be seen on the company’s website and is available to license.
| This represents an interesting timeframe of an era that many people shaped and, at the same time, that influenced many people.
| The company moved away from raves around 1993-94 as the regulatory environment becomes less favourable for organisations to put on large, outdoor, one off events e.g. councils refusing licenses and charging exorbitant licence application fees.
| As a result, Fantazia focussed its energies on the recording side of the company – which had been founded to release the ground breaking Old Skool compilation The First Taste.
| From this grew the successful series The House CollectionClub Classics.
| These featured attractive, often fetish clad women, on the covers and were mixed by top House DJs like Jeremy Healy, Carl Cox and Paul Oakenfold.
| Regularly selling over 100,000 albums the company went on to sell many millions of records.
| In 1997 the company held Fantazia The Return of a Legend, at the G-Mex in Manchester.
| Once again this broke records as over 12,000 people made this the largest ever indoor House music event.
| The next rave being held by the company will be held at Braehead Arena, Glasgow, on the 16th February 2008, and is expected to last up to nine hours, with over 40 DJs performing.
| The company still exists to this day and has a web site dedicated to their past activities as well as the whole rave and dance scene.
| Breakbeat hardcore not to be confused with Breakcore and popularly known as rave music, originally referred to as simply hardcore in the United Kingdom, with oldskool hardcore a common term in the 21st century is a style of electronic music that primarily uses breakbeats for its rhythm lines.
| It was an early 1990s offshoot of the acid house scene of late 1980s Britain and was the precursor to various genres including jungledrum and bass and happy hardcore.
| Hardcore emerged as an irreverent response to the soothing, soulful direction that Electronic Dance Music had taken in the early iterations of trance and deep house.
| In contrast with lushly produced house music, hardcore emphasized a unique, harsh, aggressive sound that drew strongly from hip-hop and early acid house.
| It added a hip-hop influence with the addition of breakbeats and increased the tempo.
| A strong reggae and ragga influence emerged in 199192, with uplifting piano melody loops or Jamaican reggae samples used at normal speed layered on top of frenetic 150 to 170 bpm breakbeats.
| The music itself very much reflected the effects of the rave scenes drugs of choice, Ecstasy, LSD and amphetamines, with its bombastic beats, manic synths, sped-up vocal samples and rumbling bass-lines.
| Evoking the anarchist spirit of embattled underground parties, hardcore sometimes glorified quick production with minimal hardware, Made in 2 Minutes as the title of a track by Plastic Jam proclaimed but in truth was key in evolving many innovative sounds and styles in dance music.
| As Chris Sharp in Modulations describes on the evolution of the hardcore sound,
| Despite its emphasis on sheer speed, hardcore came to articulate misty nostalgia, momentary rapture, urban dread, criminal moodiness, and sci-fi futurism.
| The scene revolved around the M25 motorway Londons orbital motorway, and its audience was mainly urban teenagers and lower middle-class suburban teenagers with cars.
| The audience was very much multi-cultural, with black and white influences resulting in a unique sound.
| The scene expanded rapidly in 1991, with large raves of 30,000 to 50,000 people attending in open air venues around England, put on by Spiral Tribe and other free party sound systems held at numerous locations up and down the length of England.
| This scene spawned the idea of holding huge parties rather than small clubs.
| Emerging from the early 1980s proto-Rave scene…………… and landing squarely in Balearic Ibiza and London, Rave was originally the product of the MDMA culture.
| When MDMA became a schedule 1 drug, the yuppies dropped out, and the parties went underground.
| Prior to this, MDMA was available generally, used mostly for its ability to form close bonds between users rather than as a trance-dance drug.
| Ironically the drug that was the catalyst for the Rave scene would also be the force that would drive it back underground.
| Entrepreneurs, both legal and illegal, sensing the money producing potential of the scene introduced the culture to the London West End clubs, attracting the attention of a broader class of people and increasing the scrutiny of the parties and people involved. Reynolds, 1998
| The early 90s saw the shifting of the underground sound become more prevalent in the mainstream.
| Even without any radio play, many hybrid and regional styles made their way into Top20 charts.
| However, during 1990, the two main subdivisions of this underground rave movement was primarily either house or techno although often interchangeable or vaguely used to define a multitude of styles.
| However, between 1993 and 1994 the scene fragmented, and forked off into two distinct styles – Jungle later giving rise to Drum and Bass and 4-beat alternatively known as happy hardcore.
| Jungles sound was more focused on basslines, whilst 4-beat retained the rave synths, the 44 kickdrum, and happier piano elements.
| By 1996, most 4-beat had dropped its breakbeats in-part due to bouncy techno, whilst drum and bass had long dropped the techno style synth stabs, thus further separating the two styles. The almost independent evolution of styles created distinct sounds of bleep and bass, brutalist techno, hardcore jungle, pop-rave, hip-house, and ragga-techno sounds.
| Since the early-to-mid-2000s, several new record labels and artists have appeared producing music in the hardcore breaks style with the aim of recreating the sound and vibe of the early 1990s breakbeat hardcore.
| Compositions stay faithful to the original sound by using a combination of old and new piano melodies, techno riffs and breaks, whilst taking advantage of technological advances in music productions of the 21st century.
| Additionally more artists from the first wave of breakbeat hardcore such as Luna-C of Kniteforce and Suburban Bases Smart Es, Brainstormer of Formation Records and F Projects Brainstorm Crew, and Phuture Assassins of Suburban Base are returning to do new productions.
| For the comic book character previously known as Techno, see Fixer comics.
| Techno is a form of electronic dance music EDM that emerged in Detroit, Michigan, USA during the mid to late 1980s.
| Many styles of techno now exist, but Detroit techno, a genre in its own right, is seen as the foundation upon which a number of subgenres have been built.
| The initial take on techno arose from the melding of Eurocentric synthesizer-based music with various African American styles such as Chicago house, funk, electro, and electric jazz.
| Added to this was the influence of futuristic and fictional themes that were relevant to life in American late capitalist society most particularly the novel Future Shock by Alvin Toffler.
| Techno music pioneer Juan Atkins cites Tofflers phrase techno rebels as inspiring him to use the word techno to describe the musical style he helped to create.
| This unique blend of influences aligns techno with the aesthetic referred to as AfroDiasporic Futurism.
| To producers such as Derrick May, the transference of spirit from the machine to the body is often a central preoccupation; essentially an expression of technological spirituality.
| In this manner techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness.
| Music journalists and fans of techno are generally selective in their use of the term; so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance.
| Techno is also commonly confused with generalized descriptors, such as electronic music and dance music.
| The template for the Detroit techno sound was primarily developed by four individuals, Juan Atkins, Kevin Saunderson, Derrick May the so called Belleville Three, and Eddie Fowlkes, all of whom attended school together at Belleville High, near Detroit, Michigan.
| By the close of the 1980s, the four had operated under various guises Atkins as Model 500, Flinstones, and Magic Juan; Fowlkes simply as Eddie Flashin Fowlkes; Saunderson as Reese, Keynotes, and Kaos; with May using the aliases Mayday, R-Tyme, and Rhythim Is Rhythim.
| There were also a number of joint ventures, the most commercially successful of which was the Atkins and Saunderson with James Pennington collaboration on the first Inner City single Big Fun.
| Prior to achieving notoriety the budding musicians, mix tape traders, and aspiring DJsfound inspiration in Midnight Funk Association, an eclectic, 5-hour, late-night radio program hosted on various Detroit radio stations including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles The Electrifying Mojo Johnson.
| Mojos show featured heavy doses of electronic sounds from the likes of Giorgio Moroder, Kraftwerk and Tangerine Dream alongside the funk of Parliament and the new wave sounds of the B-52s.
| Atkins has noted that He Mojo played all the Parliament and Funkadelic that anybody ever wanted to hear.
| Those two groups were really big in Detroit at the time.
| In fact, they were one of the main reasons why disco didnt really grab hold in Detroit in 79.
| Mojo used to play a lot of funk just to be different from all the other stations that had gone over to disco.
| When Knee Deep came out, that just put the last nail in the coffin of disco music.
| Despite the short-lived disco boom in Detroit it had the effect of inspiring many individuals to take up mixing; Juan Atkins among them.
| Subsequently, Atkins taught Derrick May how to mix records, and in 1980 the pair started working together as a DJ duo called Deep Space Soundworks, or just Deep Space.
| In 1980 or 1981, they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year.
| The music was initially conceived of as party music that was played on daily mixed radio programs and played at high school club parties in Detroit.
| Late 1970searly 1980s high school clubs such as Brats, Charivari, Ciabattino, Comrades, Gables, Hardwear, Rafael, Rumours, Snobs, and Weekends created the incubator in which techno was grown.
| These young promoters developed and nurtured the local dance music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs and their music.
| As these local clubs grew in popularity, groups of DJs began to band together and market their mixing skills and sound systems to the clubs in order to cater to the growing audiences of listeners.
| Locations like local church activity centers, vacant warehouses, offices and YMCA auditoriums were the early locations where the underage crowds gathered, and where the musical form was nurtured and defined.
| Of the four individuals responsible for establishing techno as a genre in its own right, it is Juan Atkins who is recognized as the originator; indeed in 1995 American music technology publication Keyboard Magazine honored Atkins as one of 12 Who Count in the history of keyboard music; at that time Detroit techno was still relatively unknown in the United States despite its notoriety in Europe.
| In the early 1980s Atkins began recording with musical partner Richard 3070 Davis and later with a third member Jon-5 as Cybotron.
| This trio released a number of electro inspired tunes, the best known of which is Clear.
| According to a recent bio on MySpace, Atkins coined the term techno to describe their music, taking as one inspiration the works of futurist and author Alvin Toffler; from whom he borrowed the terms cybotron and metroplex.
| Atkins has used the term techno to describe earlier bands that made heavy use of synthesizers such as Kraftwerk, although many people would consider Kraftwerks music and Juans early music in Cybotron as electro.
| Eventually, Atkins started producing his own music under the pseudonym Model 500, and in 1985 he established the record label Metroplex.
| In the same year he released a seminal work entitled No UFOs, one of the first Detroit techno productions to receive wider attention and an important turning point for the music. Of this time Atkins has said
| “When I started Metroplex around February or March of 85 and released No UFOs, I thought I was just going to make my money back on it, but I wound up selling between 10,000 and 15,000 copies.
| I had no idea that my record would happen in Chicago.
| Derricks parents had moved there, and he was making regular trips between Detroit and Chicago.
| So when I came out with No UFOs he took copies out to Chicago and gave them to some DJs, and it just happened.
| The music soon attracted enough attention to garner its own weekend club, the Music Institute MI, which opened at 1315 Broadway in downtown Detroit in mid-1988.
| The venue was secured by George Baker and Alton Miller. D. Wynn and Derrick May were the regular Friday night DJs, and Baker and Chez Damier played to a mostly gay crowd on Saturday nights.
| The club closed on November 24, 1989 with Derrick May playing Strings Of Life along with a recording of clock tower bells.
| Though short-lived, MI was known internationally for its all night sets, its sparse white rooms, and its juice bar stocked with smart drinks the Institute never served liquor.
| Relatively quickly, techno began to be seen by its originators and up-and-coming producers as an expression of Future Shock post-industrial angst.
| It also took on increasingly high tech and science-fiction oriented themes.
| Following the release in 1988 of an album compiled by Neil Rushton an A&R scout for 10 Records and Derrick May, titled Techno! The New Dance Sound Of Detroit, the music press began to characterize techno as Detroits relatively high-tech, mechanical brand of house music; as it retained the same basic structure as the soulful, minimalist post-disco styles which were forged in Chicago and New York City at the start of the decade.
| The musics producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and being influenced by house in particular.
| Mays 1987–88 hit Strings Of Life released under the nom de plume Rhythim Is Rhythim, for example, is considered a classic in both the house and techno genres.
| At the same time, there is evidence that the Chicago house sound developed as a result of Frankie Knuckles using a drum machine he bought from Derrick May. Juan Atkins claims that
| “Derrick sold Chicago DJ Frankie Knuckles a TR909 drum machine.
| This was back when the Powerplant was open in Chicago, but before any of the Chicago DJs were making records.
| They were all into playing Italian imports; No UFOs was the only US-based independent record that they played.So Frankie Knuckles started using the 909 at his shows at the Powerplant.
| Boss had just brought out their little sampling footpedal, and somebody took one along there.
| Somebody was on the mic, and they sampled that and played it over the drumtrack pattern.
| Having got the drum machine and the sampler, they could make their own tunes to play at parties.
| One thing just led to another, and Chip E used the 909 to make his own record, and from then on all these DJs in Chicago borrowed that 909 to come out with their own records.
| Atkins also believes that the first acid house producers, seeking to distance house music from disco, emulated the techno sound.
| Some commentators, who believe things are not so clear cut, have attempted to redefine the origins of techno by incorporating musical precursors to the Detroit sound as part of a historical survey of the genre.
| This essentially removes any chronologically distinct point of origination.
| To support this view they point to examples such as Sharevari 1981 by A Number Of Names, the earliest compositions by Cybotron 1981, Donna Summer and Giorgio Moroders I Feel Love 1977, Moroders From Here to Eternity 1977 and the more dancefloor-orientated selections from Kraftwerks repertoire between 1977 and 1983.
| Indeed, Atkins has acknowledged that his earliest enthusiasm was for Kraftwerk and Giorgio Moroder, particularly Moroders work with Donna Summer and the producers own album E=MC2.
| Atkins also mentions that around 1980 I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and Id ride around in my car playing it.
| Derrick May has also identified the influence of Kraftwerk and other European synthesizer music in commenting that it was just classy and clean, and to us it was beautiful, like outer space.
| Living around Detroit, there was so little beauty…everything is an ugly mess in Detroit, and so we were attracted to this music.
| It, like, ignited our imagination!
| It seems apparent that certain electro-disco and European synth pop productions share with techno a dependence on machine-generated beats and dancefloor popularity.
| However, for some, the comparisons remain contentious; as do the efforts to regress further into the past to find antecedents.
| The logical extension of this rationale entails a further regression to the sequenced electronic music of Raymond Scott, whose The Rhythm Modulator, The Bass-Line Generator and IBM Probe are considered early examples of techno-like music.
| It is also noteworthy that the possible influence of electronic music found in American sci-fi movie soundtracks, such as the work of Louis and Bebe Barron for the film Forbidden Planet, appears to be unconsidered
| In merging a European synth-pop aesthetic with the sensibilities of soul, funk, house, and electro, the early producers pushed dance music into unchartered terrain.
| The initial pioneers of the emerging genre melded the beat-centric styles of their Motown predecessors with the music technology of the time to create characteristically intense grooves and percussive basslines.
| The resulting Detroit sound exerted an influence on widely differing styles of electronic music but also maintained an identity as a genre in its own right one commonly referred to as Detroit techno.
| Derrick May famously described the sound of techno as something which is like Detroit…a complete mistake, its like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company.
| With time, the sound became more refined, and was given added sophistication with the addition of jazz tinged colors.
| Arguably, it was Manchester UK based techno act 808 State that fueled this development, with tracks such as Pacific, and Cobra Bora, taken from the 1989 release Ninety.
| In Detroit, a producer heavily influenced by said jazz sensibilities at this time was Detroits Mike Banks; demonstration of which can be found on the influential Underground Resistance release Nation 2 Nation 1991.
| By 1993 Detroit acts such as Model 500 and UR had made explicit references to the genre, with the tracks Jazz is the Teacher 1993 and Hi-Tech Jazz 1993; the latter from the groundbreaking EP Galaxy 2 Galaxy.
| This lead was followed by a number of techno producers in the UK who were evidently influenced of both jazz and UR; Dave Angels Seas Of Tranquility EP 1994 being a case in point.
| As the original sound evolved it also diverged; to such an extent that a wide spectrum of stylistically distinct musics was being referred to as techno.
| This ranged from overtly pop oriented acts such as Moby to the distinctly anti-commercial sentiments of the appropriately named Underground Resistance.
| By the late 1980s and early 90s the original techno sound had garnered a large underground following in the UK, Belgium, and Germany.
| Its popularity in Europe was largely due to the growth of a free party scene known as rave, and a thriving club culture.
| In America, apart from regional scenes in Detroit, New York, and Chicago, interest was limited.
| Producers from Detroit, frustrated by the lack of opportunity in their home country looked to Europe for their future livelihood.
| This so called first wave was soon joined by a number of up and coming artists including Carl Craig, Jay Denham, Kenny Larkin, and Stacey Pullen, with URs Jeff Mills, Mike Banks, and Robert Hood pushing their own unique sound.
| A number of New York producers were also making an impression at this time, notable amongst them being Frankie Bones, Lenny Dee, and Joey Beltram.
| In the same period, close to Detroit Windsor, Ontario Richie Hawtin, with business partner John Acquaviva, launched the influential imprint Plus 8 Records.
| Arguably, it was developments in American produced techno between 1990 and 92 that fueled the expansion, and eventual divergence, of techno in Europe, particulary in Germany.
| In Berlin, following the closure of a free party venue called UFO, the club Tresor opened in 1991.
| The venue was, for a time, a standard bearer for techno in Europe and played host to many of the leading Detroit producers; some of whom relocated to Berlin.
| There were a number of other techno producers building upon the Detroit sound at this time but there was also an abundance of EDM derivatives beginning to emerge.
| Some drew heavily upon the Detroit aesthetic, while others fused components of preceding dance music forms.
| This lead to the appearance, in the UK initially, of what was inventive new music, much of which bore little if any relation to the original techno sound; Breakbeat hardcore and the initial jungle drum and bass excursions being primary examples.
| As the mid 1990s approached, the term intelligent dance music IDM had gained common usage in an attempt to differentiate the increasingly sophisticated takes on EDM from two other strands of techno that had emerged; one being a harder, faster, industrial sounding variant, and the other, an overtly commercial strain that was simply referred to as cheese.
| The Warp Records compilation Artifical Intelligence is credited as the record that ushered the rise of IDM and electronica.
| Of this time Warps founder and managing director Steve Beckett has said that “the dance scene was changing and we were hearing b-sides that werent dance but were interesting and fitted into experimental, progressive rock, so we decided to make the compilation Artificial Intelligence, which became a milestone…it felt like we were leading the market rather than it leading us, the music was aimed at home listening rather than clubs and dance floors people coming home, off their nuts, and having the most interesting part of the night listening to totally tripped out music.
| With an increasing diversification and commericalisation of dance music, the collectivist sentiment prominent in the early rave scene diminished; each new faction having its own particular attitude and vision of how dance music or in certain cases non-dance music should evolve.
| Some examples include ambient techno, trance, industrial techno, breakbeat hardcore, gabber, acid techno, happy hardcore, and minimal techno.
| Less well-known styles related to techno or its subgenres include the primarily Sheffield UK based bleep techno, a regional variant which had some success between 1989 and 1991; and a scene that was responsible for putting Warp Records on the map LFOs self-titled 12 being its debut release.
| More recent off-shoots are nortec, wonky techno, and ghettotech a style that combines some of the aesthetics of techno with hip hop and house music.
| Other niche scenes include nu jazz, speedcore, breakcore, broken beat, digital hardcore, glitch and so-called no-beat techno.
| Whilst techno and its derivatives only occasionally produce commercially successful mainstream acts, Underworld and Orbital being two better known examples, the genre has significantly affected many other areas of music.
| In an effort to appear relevant, many established artists, for example Madonna and U2, have dabbled with dance music, yet such endeavors have rarely evidenced a genuine understanding or appreciation of technos origins.
| The mainstream music industry has been responsible for the growth of a huge remix industry.
| This is largely a drive to gain exposure for artists that are not identified with club styles such as house, techno, and drum and bass.
| Many club acts and dance DJs have made very successful careers out of remixing alone; Armand Van Helden being a good example.
| More recently, contemporary R&B has taken a significant foray into the dance genre thanks largely to club scene remixes such as Freemasons recent interpretations of Beyonce and Kelly Rowland and whilst some criticise this as indicative of the music industry seeking greater exposure for its big act roster, it can also be viewed as a natural part of the process of musical evolution.
| One R&B artist, Missy Elliott, inadvertently exposed the popular music audience to the Detroit techno sound when she featured material from Cybotrons Clear on her 2006 release Lose Control; this resulted in Juan Atkins receiving a Grammy Award nomination for his writing credit.
| Elliotts 2001 album Miss E…So Addictive also clearly demonstrates the influence of club culture.
| In recent years, the publication of relatively accurate histories by authors Simon Reynolds Generation Ecstasy aka Energy Flash and Dan Sicko Techno Rebels, plus mainstream press coverage of the Detroit Electronic Music Festival, have helped to diffuse the genres more dubious mythology.
| Even the Detroit based company Ford Motors eventually became savvy to the mass appeal of techno noting that this music was created partly by the pounding clangor of the Motor Citys auto factories.
| It became natural for us to incorporate Detroit techno into our commercials after we discovered that young people are embracing techno; with a marketing campaign targeting under 35s Ford would choose Model 500s No UFOs to underpin its November 2000 MTV television advertisement for the Ford Focus.
| In attempting to sum up the changes since the heyday of Detroit techno Derrick May has since revised his famous quote in stating that “Kraftwerk got off on the third floor and now George Clinton’s got Napalm Death in there with him.
| The elevator’s stalled between the pharmacy and the athletic wear store.
| n general, techno is very DJ-friendly, being mainly instrumental commercial varieties being an exception, and is produced with the intention of it being heard in the context a continuous DJ set, wherein the DJ progresses from one record to the next via a synchronized segue or mix.
| Much of the instrumentation in techno emphasizes the role of rhythm over other musical parameters but the design of synthetic timbres, and the creative use of music production technology in general, are important aspects of the overall aesthetic practice.
| The main drum part is almost universally in common time 44; meaning 4 quarter note pulses per bar.
| In its simplest form, time is marked with kicks bass drum beats on each quarter note pulse, a snare or clap on the second and fourth pulse of the bar, with an open hi-hat sound every second eight note.
| This is essentially a disco or even polka drum pattern and is common throughout house music and its derivatives of which techno is one.
| The tempo tends to vary between approximately 120 bpm quarter note equals 120 pulses per bar and 150 bpm depending on the style of techno.
| Much of the drum programming employed in the original Detroit based techno made use of syncopation and polyrhythm, yet in many cases the basic disco type pattern was used as a foundation; with polyrthythmic elaborations added using other drum machine voices.
| It is this syncopated feel funkiness that distinguishes the Detroit strain of techno from other variants; indeed this is a feature that many DJs and producers still use to distinguish their music from commercial forms of techno, the majority of which are devoid of syncopation.
| Derrick May has summed up the sound as Hi-tech Tribalism; something very spiritual, very bass oriented, and very drum oriented, very percussive.
| The original Techno music was very hi-tech with a very percussive feel…it was extremely, extremely Tribal.
| It feels like youre in some sort of hi-tech village.
| EDM tends to be produced with the aid of instruments synthesizer keyboards that are designed with the Western musical tradition in mind.
| However, techno does not always adhere to conventional harmonic practice, and such strictures are often ignored in favor of timbral manipulation alone.
| The use of motivic development though relatively limited, and the employment of conventional musical frameworks, is more widely found in commercial techno styles, for example Euro-trance; where the template is often an AABA song structure.
| There are numerous ways to create techno, but the vast majority depend upon the use of loop based step sequencing as a compositional method.
| Many techno musicians, or producers, rather than employing traditional compositional techniques, will work in an improvisatory fashion; often treating the electronic music studio as one large instrument.
| This assemblage of devices will include units that are capable of producing unique timbres but technical proficiency is required if the technology is to be successfully exploited.
| The equipment will be synchronised using a hardware or a computer based MIDI sequencer; this enables the producer to combine, in one arrangement, the sequenced output of many devices.
| A typical approach is to create successive layers of material until a suitable cacophony is achieved.
| Once a usable palette of material has been generated, a producer may then focus on developing a temporal framework; a process of dictating how the work will unfold in time.
| Some producers achieve this by adding or removing layers of material at appropriate points in the mix.
| Quite often this is achieved by physically manipulating a mixer, sequencer, effects, dynamic processing, equalisation, and filtering, while recording to a multi-track device.
| Other producers achieve similar results by using the automation features of computer based digital audio workstations.
| Some techno consists of little more than cleverly programmed rhythmic sequences and looped motifs, combined with signal processing of one variety or another; frequency filtering being a commonly used process.
| A more idiosyncratic approach to production is evident in the music of artists such as Twerk and Autechre where aspects of algorithmic composition are employed in the generation of material.
| Instruments utilized by the original techno producers based in Detroit included classic drum machines like the Roland TR-808 and TR-909, devices such as the Roland TB-303 bass line generator, with synthesizers such as the Roland SH-101, Kawai KC10, Yamaha DX7, and Yamaha DX100.
| Much of the early music sequencing was executed via MIDI using hardware sequencers such as the Korg SQD1, and Roland MC-50 and the limited amount of sampling that was featured in this early style was accomplished using an Akai S900.
| In recent years, as computer technology has become more accessible and music software has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional musical performance practices; for instance laptop performance laptronica and live coding.
| In the last decade a number of software based virtual studio environments have emerged, with products such as Propellerheads Reason and Ableton Live finding popular appeal.
| These software based music production tools provide viable and cost effective alternatives to typical hardware based production studios and thanks to advances in microprocessor technology, it is now possible to create high quality music using little more than a single laptop computer.
| Such advances have, for better or for worse, democratized music creation, leading to a massive increase in the amount of home produced music available to the general public, via the internet.
| Artists can now also individuate their sound by creating personalized software synthesizers, effects modules, and various composition environments.
| Devices that once existed exclusively in the hardware domain can easily have virtual counterparts.
| Some of the more popular software tools for achieving such ends are commercial releases including MaxMsp and Reaktor, and freeware packages such as Pure Data, SuperCollider, and ChucK.
| In some sense, as a result of technological innovation, the DIY mentality that was once a core part of dance music culture is seeing a resurgence.
| Psychedelic trance or psytrance is a form of electronic music characterized by hypnotic arrangements of synthetic rhythms and mesmerizing melodies.
| It first broke out into the mainstream in 1995 as the UK music press began to report on the exploding trend of Goa trance.
| Since then the genre has diversified immensely and now offers considerable variety in terms of mood, tempo, and style.
| Some examples include melodic full on, dark darkpsy, progressive, suomi, psybreaks generally quite rare, and psybient or psychedelic downtempo.
| The original Goa trance or old school was often made with popular Modular synthesizers and hardware samplers, but modern psychedelic trance is typically made with VST and AU software sampler applications.
| The use of analog synthesizers for sound synthesis has given way to digital virtual analog instruments like the Nord Lead, Access Virus, Korg MS-2000, Roland JP-8000 and computer VST and AU plugins like Native Instruments Reaktor.
| These are usually controlled by MIDI sequencers within Digital Audio Workstation DAW applications.
| Emphasis is placed on purely synthesized timbres for programming and lead melodies.
| Tempos range across the spectrum depending on the style and approach of the individual producer although speeds between 140 and 150 BPM are common.
| Psychedelic trance has a distinctive, speedy sound. High BPMs generally between 120 and 150 BPM tend to be faster than other forms of trance or techno music.
| Psychedelic trance uses strong bass beats that pound constant throughout the song, and overlays the bass with varying rhythms using drums and other synthesized instruments.
| Psychedelic trance tracks tend to be 8-12 minutes long.
| This gives the music time to develop slowly, building up to a climax before breaking back down to rebuild again.
| Layering is used to great effect in Psychedelic trance, with new musical ideas being added on at regular intervals, often every 4 or 8 bars.
| This buildup will happen till a climax is reached, and then the song will break down and start a new rhythmic pattern over the constant bass line.
| Psychedelic trance also makes heavy use of the cutoff frequency control on the synthesizer.
| Reverb is also used heavily, with large, open sounding reverb present on most of the lead synthesizers in the track.
| Goa Trance sometimes referred to as Goa or by the number 604 is a form of electronic music that developed around the same time as Trance music became popular in Europe.
| It originated during the late 1980s and early 1990s in the Indian state of Goa. Essentially, Trance music was pop cultures answer to the Goa Trance music scene on the beaches of Goa where the travellers music scene has been famous since the time of the Beatles.
| Goa Trance enjoyed the greater part of its success from around 1994–1998, and since then has dwindled significantly both in production and consumption, being replaced by its successor, Psychedelic Trance aka psytrance.
| Many of the original Goa Trance artists Dick Trevor, Simon Posford, Nick Doof, Slinky Wizard, Total Eclipse, Dominic Lamb, James Monro are still making music, but refer to their style of music simply as TRANCE.
| TIP records, Flying Rhino Records, Dragonfly Records, Transient Records, Phantasm, Symbiosis Records, Blue Room Released were all key players on the beach and in the scene.
| Goa Trance is closely related to the emergence of Psytrance during the latter half of the 1990s and early 2000s, where the two genres mixed together.
| In popular culture, the distinction between the two genres often remains largely a matter of opinion they are considered by some to be synonymous; others say that Psytrance is more cybernetic and that Goa Trance is more organic, and still others maintain that there is a clear difference between the two.
| If anything, the styles are easier to differentiate in Central and Eastern Europe e.g. Germany, Austria, Hungary, Romania where Goa Trance parties are more popular than Psy-Trance parties – the opposite being true in the UK and the Netherlands.
| Psy Trance has a noticeably more aggressive bassline and goa tends to avoid the triplet-stlye bass lines.
| Between them however, both psy- and goa trance are sonically distinct from other forms of trance in both tonal quality, structure and feel.
| In many countries they are generally more underground and less commercial than other forms of trance.
| Among the first compilations or albums where Goa Trance could be heard, as opposed to normal trance music, are Dragonfly Records Project II Trance and its successor Order Odonata.
| Many of these artists are still producing psychedelic electronic music, often called classic psy within the scene.
| The music has its roots in the popularity of the Goa state in India in the late 1960s and early 1970s as a hippie mecca, and although musical developments were incorporating elements of industrial music and EBM with the spiritual culture in India throughout the 1980s, the actual Goa Trance style did not officially appear until the early 1990s.
| As the hippie tourist influx tapered off in the 1970s and 1980s, a core group remained in Goa, concentrating on developments in music along with other pursuits such as yoga and recreational drug use.
| The music that would eventually be known as Goa Trance did not evolve from one single genre, but was inspired mainly by Industrial musicEBM like Front Line Assembly and A Split-Second, acid house The KLFs What time is love? in particular and psychedelic rock like Ozric Tentacles, Steve Hillage and Ash Ra Tempel.
| In addition to those, oriental tribalethnic music also became a source of inspiration, unsurprisingly considering that it was from Goa in the Orient that Goa Trance originated.
| A very early example 1974 of the relation between psy-rock and the music that would eventually be known as Goa Trance is The Cosmic Jokers a collaboration between Ash Ra Tempel and Klaus Schulze highly experimental and psychedelic album Galactic Supermarket, which features occasional 44 rhythms intertwined with elements from psy-rock, early analogue synths and occasionally tribal-esque drum patterns.
| The introduction of techno and its techniques to Goa led to what eventually became the Goa Trance style; early pioneers included DJs Fred Disko, Laurent, Goa Gil, and Amsterdam Joey.
| Many parties generally similar to raves but with a more mystic flavour, at least in early 1990s in Goa revolve entirely around this genre of music.
| In other countries, Goa is also often played at raves, festivals and parties in conjunction with other styles of trance and techno.
| Today, Goa Trance has a significant following in Israel, brought to that country by former soldiers returning from recreational post-army trips to Goa in the early 1990s.
| A great deal of Goa Trance or now, more accurately, psytrance is now produced in Israel, but its production and consumption is a global phenomenon.
| New hot-spots today include Brazil, Japan and South Africa.
| The original Goa Trance sound has undergone a great deal of other genres evolving from it since 1997.
| From 1997 till 2000 the Goa Trance scene was without any clear goal.
| Artists experimented in many ways from combining Goa Trance with breakbeats to creating a blend of Goa Trance and minimal techno which later went on to become progressiveminimal psytrance.
| The main goal during this time was to experiment in new ways and create something different from the Goa Trance sound that was so popular and widespread during the mid 90s.
| As a result, anything could be heard at a Goa Trance party.
| After 2000, new styles were born, fixed and have survived until today, with some of them becoming commercialized and enjoying much more success in clubs, for example full-on psytrance.
| Today a lot of music that is labeled Goa Trance has very little to do with the original sound of Goa Trance, however, achieving a psychedelic sound be it organic or cybernetic is said to remain the goal that producers are out to accomplish.
| One particular underground genre that branched off from Goa Trance is called suomisaundi Finnish sound, which originated in Finland.
| One of its trademark features is reference to earlymid-1990s classic Goa Trance music, and this genre is often exhibited in Finlands forest party scene.
| At these parties, mostly Goa Trance and Suomi-style psytrance can be heard.
| Goa Trance is essentially dance-trance music it was referred to as Trance Dance in its formative years, the original goal being to assist the dancers in experiencing a collective state of bodily transcendence, similar to that of ancient shamanic dancing rituals, through hypnotic, pulsing melodies and rhythms.
| As such it has an energetic beat, almost always in 44 time and mainly consisting of 16th or 32nd note patterns played in both synth and percussion parts.
| A typical track will generally build up to a much more energetic movement in the second half then taper off fairly quickly toward the end.
| The BPM typically lies in the 130 – 150 range, although some tracks may have BPMs as low as 110 or as high as 160.
| Generally 8-12 minutes long, Goa Trance tracks tend to focus on steadily building energy throughout, using changes in percussion patterns and more intricate and layered synth parts as the music progresses in order to build a hypnotic and intense feel.
| The kick drum often is a low, thick sound with a large amount of sub-bass frequencies, and is thought to be the origin of the term doof, a label for dance music and Goa Trance in particular.
| The music very often incorporates a great deal of effects, much more so than other forms of dance music, and are often created through experimentation with synthesisers.
| A well-known sound that originated with Goa Trance and became much more prevalent through its successor, psytrance, is the organic squelchy sound usually a saw-wave which is run through a resonant high-pass filter, known to sound especially good on psychedelic drugs.
| Other important pieces of equipment used in Goa Trance include popular analogue synthesizers such as the Roland TB-303, Roland Juno-60106, Novation Bass-Station, Korg MS-10, and notably the Roland SH-101.
| Hardware samplers manufactured by Akai, Yamaha and Ensoniq were also popular for sample storage and manipulation.
| A popular element of Goa Trance is the use of strange samples, often from sci-fi movies.
| Those samples mostly contain references to drugs, parapsychology, extraterrestrials, existentialism, OBEs, dreams, science, spirituality and other things that could be deemed as mysterious and unconventional.
| For an extensive list of such samples, see Psychedelic Mind Expanders sample list
| Goa Trance parties began in the late 1980s in the state of Goa, India and they can take place in unusual locations such as on a beach or in the middle of the forest, although it is not uncommon for them to be held in conventional locations like clubs.
| There have been attempts to formalise parties, such as those held at Bamboo Forest, into commercial events, which was initially met with much resistance.
| The need to pay the local police baksheesh means that theyre now generally staged around a bar, even though this may only be a temporary fixture in the forest or beach.
| The parties around the New Year tend to be the most chaotic with busloads of people coming in from all places such as Mumbai, Delhi, Bangalore and the world over.
| Travelers, beggars and sadhus from all over India pass by to join in.
| However, with the proliferation of Goa Trance music across the globe, parties are now being held at locations all over the world.
| Among the most notable of these parties are the Full Moon Party held monthly at Ko Pha Ngan, Thailand and several events held in Byron Bay, Australia as well as Israel, Japan, South Africa and Scandinavia.
| Goa parties also have a definitive visual aspect – the use of fluoro fluorescent paint is common on clothing and on decorations such as tapestries.
| The graphics on these decorations are usually associated with topics such as aliens, Hinduism, other religious especially eastern images, mushrooms and other psychedelic art, shamanism and technology.
| Shrines in front of the DJ stands featuring religious items are also common decorations.
| For a short period in the mid-1990s Goa Trance enjoyed significant commercial success with support from DJs such as Paul Oakenfold, who later went on to assist in developing a much more mainstream style of trance outside Goa.
| Only a few artists came close to being Goa Trance stars, enjoying worldwide fame.
| Among the most notable are, Infected Mushroom, Eat Static, Astral Projection, Man With No Name, Hallucinogen, Cosmosis and Doof.
| Goa Trance duo Juno Reactor had their music featured in many Hollywood movies like Mortal Kombat, The Matrix, and even Once Upon a Time in Mexico; however, whether those are actually Goa Trance is debatable, but they do fall under the supercategory of Psy that comprises several subgenres.
| Kox Box from Denmark have Goa Trance tracks on the sound track of the movie Pusher most notably the track Fuel On, which was also featured on the compilation Distance To Goa 4.
| More recently, the Gran Tourismo 4 Kicks Soundtrack was comprised entirely of GoaPsychedelic trance artists, and ESPN has featured ~30 second clips of Goa during the scoring recaps for both colleg