Sie sind auf Seite 1von 17

And here is exactly the reason for the rebellion against corrupting trance music events !

: The essence of all these events is the musical overnight trance dance journey. When we lose the core journey, we lose the purpose and the memorable positive effects the event has on people and the event just becomes another tourist attraction.Although maybe more viable, only in the short term, because the reason festivals lose their appeal as they grow and strive to be more commercial and viable they always neglect to consider how they started and what made them popular and how that vibe was originally created !mall events that have grown into popular festivals all have one thing in common: They started as a basic get together based on good trance music and dancing to it. This shared journey then becomes more expressive as the participants contribute their various artistic and related s"ills to to pay homage to the event and the impact it has on them. We have discovered through trance music events a way to reconnect with everything that ma"es us whole humans and we all strive to maintain and perpetuate this lifestyle. #any people try to chase this happy moment of wholeness by organising and contributing to the trance scene and events. Always remember what made the events memorable originally !!! $n order to ma"e an event viable financially or even profitable for those with opportunistic ambitions, organisers forget that the essence of a trance event is ! $t is the trance music journey ! $n their commercial ambitions to attract more participants and in competing with each other, they lose sight of what originally attracted them into the scene. They now have to worry about money, legalities and rules because they have attracted outsiders into the scene. They have forgotten it%s original purpose and now in order to survive and still chasing that elusive &original feeling' they start to deviate from what made the original events. They are misled into catering for superficial mainstream trends and fashions in music and artistic expressions. Their event becomes a temporary attraction and as it looses it%s founding elements and people it gets discarded by the trendy crowd for a new fad very (uic"ly. The newcomers didn%t get the &#essage' it got lost through commercialism ! Those participants that had the luc" to perceive glimpses of this scene%s original purpose but were never given the opportunity to experience a real journey, they are left wanting and searching for more and from their limited impressions have also strayed into excessive drug use an abuse in their hunt for the & original feeling &. )veryone has neglected to heed that what brings us together as one and the love that emerges from that experience despite all our differences is the dance journey we have to trance music. *ot every music can do this !

+The electronic genres of music today are very similar and overlap in many areas. Trance is a sub, genre of electronica, and even this has a plethora of divisions. #y personal favorite type of trance and the one $ will be discussing is called epic, melodic, and uplifting trance. This category is "nown for its repetitive, rhythmic drum and bass sounds in addition to the beautiful, harmonious melody which is the focal point of the song. -lassical music incorporates many different "inds of instruments, harmoniously unifying them to produce a song which evo"es deep emotion and thought. #elodic trance invo"es the same reaction in the listener as does classical music. .efore $ delve into this line of thought, $ am going to brea" down the structure of melodic trance songs and how it is an allegory to the physical and spiritual worlds. !pirituality is based on the theory that the physical world and the spiritual world go hand in hand, interact with each other, and the physical is a foundation for the spiritual. The physical and spiritual worlds are co,dependent and need each other to exist. $n melodic trance, the song begins with a repetitive, rhythmic "ic",drum and bass line. /ver time, a few more types of percussion may be added. This sound invo"es the listener into a trance, for the ancient 0and some current1 shaman used this exact method for the same ends. The percussion and bass,line are representative of the physical world. The percussion and bass are the lowest vibration on the fre(uency scale, as the physical world is made up of the lowest fre(uency of matter and energy in -reation. This forms a strong foundation for the melody and other instruments. The physical world is a steady foundation for the spiritual so it may interact without fail. *ext, a bac"ground chord progression is introduced over the percussion and bass to slowly prepare the listener mentally and emotionally for the lead melody. This can be e(uated to the living human being preparing for the afterlife by living a just life and studying spirituality, psychology, and philosophy. After a minute or so, a hint of the lead melody or sub,melody may be played here. The brea"down comes next, which is a trademar" of trance music. The brea"down is simply the lead melody by itself or with the chord progression. The brea"down is emblematical of the spiritual world. .eautiful and harmonious, it brings the listener into an exalted state, where emotion and thought is slowly reaching climax. 2ight at the climax of the song, the lead melody and chord progression are played with the percussion and bass line, merging and producing a euphoric feeling throughout the body and mind. This is symbolic of the union of spirit and body, which is the goal of the 3reat Wor" 0merging with 3od1. At this point in the song it is not uncommon to feel at one with the world or extreme euphoria. These are the exact feelings those who are very spiritually progressed claim one experiences when he reaches a certain point on the spiritual path, namely the union of body and spirit 0or spirit and 3od1. The union of percussion and bass with melody and chord progression is the focal point and climax of the song. This is directly allegorical to the ultimate goal of merging spirit and body. After the plateau 0after the climax but before any instruments fade out1, slowly instruments or sounds begin stopping one by one until we are left with just the percussion and bass. .efore you "now it, the song is over and the listener is in a relaxed, happy state. The reason $ claim melodic trance is the new classical music is mainly for two reasons. /ne, it evo"es the same (uality of emotion and thought as classical music. Two, melodic trance uses a variety of instruments in harmony just li"e classical, except these instruments are played on the computer and are modern or altered to sound more futuristic and electronic. #elodic trance and classical music structures are very similar. They both start with a foundation of percussion or bass instruments and eventually reach the climax played by high pitched instruments, and lastly the instruments fade out one by one. .oth genres evo"e intense emotion and thought in the listener and effectively induce a form of trance of him. #elodic trance and classical music are transcendental and divine4 for sound is a universal language, and discriminates against none. $t is said that the angels constantly sing heavenly music in the spiritual realms4 /n earth this music is called melodic trance.+ .obby /l"owit5 Trance #usic 6anuary 78, 9:79

http:;;;topic;888<=,trance,music,is,the,new,classical,music,and,its,spiritual, relationship; $f we do not value and become aware of what we are ris"ing to lose now, we will be on another merry, go,round cycle hunt for that elusive &original feeling'! As we deviate more and more and sell out and corrupt this scene we are loosing the people that can still ta"e us on this journey. The great artists that "now how to write inspiring trance music and the great >6s that still "now how to guide us through the trance dance journey and the many loving contributors whose original creativity it helped foster and express. And thereby we will fail to pass on and introduce newcomers to the peace, love, unity and respect we have the tools to achieve. And unfortunately our mainstream commercial system is corrupting the basic ethics and beliefs that underlie the values that have made successful trance music journey events. >o not neglect what is most precious and always remember what made the events memorable originally !!! A(ua?erde 7@;:7;7A http:;;;globalB9:tribe.htm , +Trance events have an uncanny ability to capture an era, and captivate an audience of travellers occupying the eternal theatre of the dance floor. As this boo" shows, the tendency within psytrance is to thwart the passage of time, to prolong the night, for those who adopt a liminal lifestyle. Amid the hustle and hubris of the psytrance carnival there is a peaceful repose that you sometimes catch when youCve drifted into a sea of outstretched limbs, bodies swaying li"e a field of sunflowers in a light bree5e. And you feel intense joy in this fleeting moment. Dou are the moment. Dou are inside the flow. Dou are all. )mbodying the poetry of dance, you are living evidence that nothing lasts. And this is a deep revelation of the mystical function of trance. $t is difficult to emerge from this little death, because one does not want the partyto end. .ut it must end, even so that it can recommenceEso that one can return to repeat the cycle.+ http:;;;watch vF9?n9gATnGH)IplaynextF7IlistFJHA9A@89K.7@@.<)K9 Transmusical Metaphors(or, The Trippy Tribal Trumpets of Trance) >aily, regular stoning,day by day drudgeriesin the age of nervous anticipations,interrupted by interludes ofunbounded upsurges of utterly redeeming beauty.)xperiences exceeding the most fantastic expectations,as sudden influxes of pure timeless truth:unstoppable storms of harmony and happiness,cosmic coordinates of where you stand,the open air in which a smile expands li"e a vast li(uid sunrise.Tremendous arcane currents of consciousnessupon which surrendering language drifts,are glimpsed vigilantly in circuitous tonal tubules4surging telepathic star,songs.A global wisdom, loving movement,an always,eclipsed musical genremorphing, bifurcating, blendingtechni(ues, tribal customs, visionary methods. The turned on, tuned in dropouts of the 7<@:Cs dispersedto anandaic mysteries of a perfectly hidden spiritual empire.The K:Cs, the L:Cs4*ew acid,ja55,roc",reggae wave,synthesi5ed sounds on #oog.Jaradisiacal beach gatherings gaining alien momentum.!ocietal escapees,anarchistic artists,sincere see"ers.$ntensely mysticaldrug,laden and spirit,soa"ed atmospheregiving rise toacommunitydevoted to manifesting utopian realitiesof jovial post,modern occultism,science,fiction mental dimensionsand liberation of the self and collective.>ressing paradise,palm trees inglowing

orange and green fluorescence.Trading ex(uisite clothing and craftsfrom the cross,continental bac"yards of mystics and shamans.Ta"ing heroic doses of time,tested and novel hallucinogensand sharing the freshest psychedelic soundsfrom all the homelands.7<LL, the new soundtrac" for ritual appeared right on (ueue:Acid Mouse, 3odCs answer to disco.Techno, the human heartCs answer to industriali5ation.The electronic trance dance revealed itself and orchestratedextended surreal and miraculous sacrosanct bacchanals.Then the early ninetiesC rave revolutions.3oa gone globalN!ettled with &Jsychedelic'!urfing the diamond,cutting edge of computational sophistication.Otili5ing innovative sound e(uipment andcreating increasingly complex, layered,textured soundscapes and extraordinary effects.An increasingly unlimited and detailed sonic paletteto create rich musical vistas.Ten thousand orchestras of alien organic instrumentswith multidimensional tonesand reality,bending percussive capabilities.$*T2$-AT) W/*>)2!!The premise presents itself:as tools of technology advance,the result is, in turn, increasingly Ptrippy.C!uddenly emerged a pivotal forcein the aggregation of ardent music lovers:former metal,heads dance excitedly with ex,acidhappycore ravers.Jierced pun" roc"ers and crystal toting new,agers,white,collar corporate,fol" anddread,loc"ed, globe,trotting, fluoro,fractal sporting nomadsall become 7 solidified amalgamation.-lassic,roc" fiends,dub,loving fun"y bra"es nC jungle urbanites,seasoned world,music veteransall get down togetherto the relentless rapture,inducing body,sonic wi5ardry.All musical styles are up for adoptioninto psytrance structured soundscapes.The good, the true I the beautiful finally have a common space.The children, the elders, and the callused fingered drummers finally stomp on the same beat.The proposition of illimitable artistic expression,the liberation of body and communication through the dance of metaphor and matter.*ot merely idealistic futurism,we have a fractal homage and exploration of deep rootsas well as new branches and buds.The colossal eruptions of unity and love that occur on the Pfloorreveal universal principles to all participating:festivities as a carnival of imaginationand humanityCs inherent potential,a more respectful form of the courting ritualsof modern late night dance revelries,P$tCs about the music.CThe 3athering is a real ritual ofcommunal spiritual consciousness,a sacred collective of creativity and cosmic eventssynchroni5ed in will and rhythm.The mystical, religious and occult themes,while used without reservation inartistic imagery, trac" titles, samples and sonic architecture,achieve a balance withshrewd criticism, intelligence and sardonic wit.)ntheogens plus psytrance e(uals vast conceptions of times I pace,hence themes as the historical, archaic, racial, religious,animistic, celestial, futuristic and extra,terrestrial.#any often choose to not use exogenous chemicalsfor altering consciousness,yet the unspea"able sacrednessof the graceful application ofteacher Jlants 0and Jills, Jowders, Jotions and Jreparations1 remainsthoroughly recogni5ed.Amplifying 7== beats per minutein an aesthetic ultra, violet atmosphereinevitably leads to a very greatly altered state of consciousness,an energi5ed trance,even without Pta"ingP anything..y morning we become filled with renewed electric awarenessand perceive a panoply of brighter colors with ultra,heightened sense faculties. Trancey compositions unfold, build up and climaxin highly dynamic progressions over time.$nfinity yields extraordinary stylistic variety:!ometimes aggressive, sometimes celebratory,musicians differ in their statements sharplywhile somehow on paths to a similar objective.Meavy music, flowing music,familiar sounds, alien sounds,deeply digital, organically analog,hypnoti5ing or jarring,silly or profound,lilting or harsh,it has a placein the soundtrac" to the culminationof consciousness and history.Qull,on maximal trances for thepsychic warriors and explorers among us,allowing us to test our sensory s"ills withoverwhelming amounts ofmetamorphosing auricular novelty.2epetitious and minimalistic style musicianscraft trancesthat wor" superbly for thosewith an innate sense of spiritual patienceor "een understanding of progression and "inetic energy.$tCs all too sexy anyway you loo" at it.

$n the eveningCs introduction,treat me "indly.3ive meunthreatening and accessiblegroovy, deep, minimal and fun"y sounds,or some avant,garde abstract electro prog,te"". Then unleash the barrages of intense, mind warping, ego shredding,noise scratching, demon battling, stomping sci,fi symphonies.Qor my rising sun rebirth,spirit in the bac",beat and start to drip gracious halcyon harmonies as the dawn stealthily presents its glory.$ hope for there to be blissful explosionsof uplifting and exalting trance melodies.Then let the daylight be daylight4a numinous culmination of this epic journey,when the unity of the dancers flows profoundlywith seriously celebratory music. The eveningCs scenery is also a priority.The optic language of the shamanic symbolic.>ecorative offerings to the 3alactic 3oddess and the digital deities.$ntense fluorescent tapestries of multi,colored mandalasreach into the retinal fabric of rods and cones,twea" and adjust innate geometrical sensibilitiesinto electrifying structures li"eintelligent jellyfish from Alpha -entauri,or the emotional exclamation of some entityfrom a mathematical dimension.>etailed, organic tripscape paintingsof archetypal terrain elicit intuitional resonancewith nearby and adjoining supra,mythical realms.$lluminated string,art calculationsand scintillatingly sculptured mental geographiesproduce bracing atmospheres of interstellar ultra,violetand dreamli"e, creative stimulation through geometry,iconography, science fiction and hyper,hallucinogenic surrealism. When itCs a time to unwindthere is a place for the mind,with ambient, psy,world music and downtempo tunes,and projected tripped,out visual montages in the chill,out rooms. Add psychoactives, incense,fruit and chai for the morning,and you have the recipe for a very healthytrance party. Anyone initiated "nowsthe sacrament facilitated holotropic experienceis preeminently suited for the out,of,doors.The psy just sounds better under stars and foliage.Qresh air, strea"ing meteorites,beautiful breathing planet in na"ed splendor,all add to the experiencethis timeless ritual proposes to achieve.*othing opens up the currents of communicationbetween 3od and a gathering of peopleli"e a saturated psychedelic sunrise.To see the brilliant smilesof those you have danced with through the nightin the light of a new sun is,(uite literally,spiritual healing..ut nothing can stop the people from gathering,and we who dwell in colder climatesor amidst concrete and steelsurely have created cosmic environmentswithin the warehouses, the lofts and even nightclub venues./h! and how we loo" forward to thecyclodelic trance signalaligning the heavenly bodies withfestivalscelebrating celestial splendoron )arth!The seasonal significances and ecliptic alignments! Mow luc"y we have been to catch a waveand unwittingly ride transgalactic watersof a spiritual tsunami safely beyondthe tangled ends of time. Within the intricately syncopated pulsesand biotically textured vibrationscreated by ever more complex methods of sound synthesiswe are honing the art of tranceinto de,collapsing vistasof organi5ed shamanic sciencesand psychosomatic alchemy. To be fully exposed to the heartbeat of technological musicis to be direct witness to the astounding presence of lifeand participant in its Ronic momentum. http:;;;word,garden;

http:;;;watch vF,aGLi6w=D.S *eotrance and the Jsychedelic Qestival 3raham !t 6ohn Oniversity of 2egina, Oniversity of Sueensland This article explores the religio,spiritual characteristics of psytrance 0psychedelic trance1, attending specifically to the characteristics of what $ call neotrance apparent within the contemporary trance

event, the countercultural inheritance of the +tribal+ psytrance festival, and the dramati5ing of participants% +ultimate concerns+ within the festival framewor". An exploration of the psychedelic festival offers insights on ecstatic 0self,transcendent1,performative 0self,expressive1 and reflexive 0conscious alternative1 trajectories within psytrance music culture. $ address this dynamic with reference to Jortugal%s .oom Qestival. http:;;;index.php;journal;article;view;77;A8 , A true lover of music and the one who understands the vibration behind sound, can never fail to fall in love with psychedelic trance, at least once in his lifetime.' +Jsychedelic Trance music which used to be underground during the Mippie #ovement of the !ixties is now coming to mainstream clubs and is now becoming an urban style statement. Mugely misunderstood, psychedelic trance is one uni(ue genre of music that doesnCt imply fun and entertainment. Jsychedelic parties held have an ideology, so does the psychedelic trance music. $t is */T just for fun and recreation and the ideology behind this music is the (uest for mind exploration and a "ind of spiritual journey into the un"nown. At first, it is a journey that involves a certain degree of acceptance to go far way from the usual lifestyle, norms of thought,processes and social conditioning. /ne has to adept himself to explore different levels of himself away from his lifeCs cocoon into a (uest for mind and self exploration.+ +Jsychedelic trance music evolved in 3oa and the main characteristic of this music is its repetitive beats. This exact principle of repetitive beats was used in the !hamanic rituals, using drums, so as to experience transcendental states of consciousness and to communicate with the other side of this world T the spirit world. /ne of the founders of psychedelic trance, 3oa 3il describes the psychedelic trance party experience as &trance dance experience'. Me also describes dance as active meditation in which you can go beyond thought, beyond mind and raise your consciousness beyond infinity. 3oa 3il has been constantly focusing on using the party situation as a medium to uplift the consciousness of the participants through the trance dance experience.+ +The repetitive beats, the blasting basslines and the mystical tunes in a typical psychedelic trance trac" affect the human brain and its serotonin levels because it ma"es you feel good. .ut thereCs more to the effects of psychedelic trance music. >ar" psychedelic trance is not one of those genres of music that is meant to calm you down or ma"e you feel good. $n a typical psychedelic party that goes all night long, dar" psychedelic trance is played in the later hours of the night. The concept behind this trend is the ancient tribal ritualistic tradition in !hamanism, in which one has to confront the >ar", in order to be lead into and shown the Hight. The sunrise comes with a totally different energy altogether.+ $n an interview from, 3oa 3il says, &!ince the beginning of time man"ind has used music and dance to commune with the !pirit of *ature and the !pirit of the OniverseN. We are using Trance music and the Trance >ance )xperience to set off a chain reaction in consciousnessN. This is what we call &2edefining the Ancient Tribal 2itual for the 97st -entury'. When $ come to the party and set up my alter, sprin"le the Moly Water, recite the Moly #antra, and ma"e the /ffering to the -osmic !pirit, and then start the musicN The music and the whole party becomes an offering to the -osmic !piritN #ay Hord !hiva, *ataraj, Hord of the

>ance come to this place and bless everyone. Then the dancers, the music, the dj, the !pirit, all become /ne.' Me also answers what a &good party' is li"e. Me describes, &When, after the /ffering, everything starts to move in /ne ?ibration, and it is as if a -osmic #ind has come over the party and everyone becomes a part of $tN. And everything becomes so perfect in the moment that you start to feel chills up your spinal columnN. And it continues to be perfect in the momentN. And that feeling continues and intensifies until it feels li"e a cosmic orgasm!!! And then, in the best partiesN .oom! $t comes li"e a supersonic electrical current of Hight that flashes through everyone simultaneously! That is when the !eed is planted! $t is then up to those who have received it to nourish it and ma"e it grow. $n most, it will just disappear as they return to their normal life. .ut there are a few who will &get it'. +Jsychedelic trance and its repetitive beats are meant to induce a state of trance in which we go beyond our own individuality. The &$' no longer ma"es sense in a good psychedelic party. The psychedelic music brings in the cosmic energy to the party and the purpose of a psychedelic party is to become /ne in the divine ecstasy of union with the cosmic spirit. Jsychedelic trance music is a vehicle of transmission of !ha"ti 0-osmic Jower and 3race1 into the party scene, to raise the Gundalini of the participants of the trance dance event.+ .ut thereCs a bad side to it too. /ften there are undesirable energies in a trance dance event. /n this, 3oa 3il says, &/f course these things happen during the course of the whole night and day slowly, slowly. !ometimes it ta"es a long while to exorcise all the demons and get the people moving together in /ne ?ibration. When it happens it is as if time and space have disappeared and there is only .eing M)2) and */WNAnd it is as if my Meart is communicating directly with the Mearts of the >ancers. )ach one individually, yet all at once.' +The effects of psychedelic trance play a major role in altering the state of consciousness into a deeper state, in a metaphysical way. The transcendental states that are induced by psychedelic trance music affect our feelings and emotions too. Qeelings of bliss, ecstasy, oneness, euphoria, infinity and nothingness are often felt as the effects of psychedelic trance music on human mind.+ +!o basically, a psychedelic trance party, is "ind of a modern day shamanic ritual that is being held in order to communicate the values of spirituality and oneness in the language of todayCs youth. The music is a tool for higher consciousness through which we can commune with the !pirit. /ur spirit world reminds us of love, compassion, respect and peace and that is the very essence of psychedelic trance music. $t is up to us to "eep this ?ibe high and protect its purity. + !o all you psytrancers out there "eep it going, but "eep it !hanti. A big cosmic boom.+ UU /m Tat !at UU , Jsychedelic 6unction

Transylvania -alling , 3athering of the Tribes 9::= , 9:7A The !tory in Wonderland continues in this new and exciting cycle of time, reaching after < years its Kth edition V and D/O are again invited to join one of the most special 3atherings of the Tribes on this wonderful Jlanet named )arth. &The Transylvania -alling )xperience is not about a spiritual teaching. Det, when you come here and allow what is happening to touch you, deep understandings ta"e place. And when these understandings blossom into an insight, into a reali5ation, your heart opens, consciousness expands...This expansion is the flowering of your being.' A (uote from !atsang with !tyx

Transylvania is -alling to gather a mix of conscious people from around the globe to share an elevated experience of culture, spirit and community in stunning raw nature! 6oin us in this magical place where time slows down and the outside world drops away... come dance, play, celebrate, love, learn, teach, co,create, co,inspire and transform our consciousness and our world. With the collaboration of myriad talented allies, both local and international, we aim to co,create an event inspired by and inspiring the positive collective consciousness of all who are involved for the betterment of ourselves and of the planet. .y bringing people together through music, art and sacred movement in one of the most gorgeous natural settings on the planet we offer an opportunity to celebrate our spirits, Transylvania is -alling together a mix of conscious people from around the globe gathered to share an elevated experience of culture, spirit and community in stunning raw nature! 6oin us in this magical place where time slows down and the outside world drops away... come dance, play, celebrate, love, learn, teach, co,create, co,inspire and transform our consciousness and our world. With the collaboration of myriad talented allies, both local and international, we aim to co,create an event inspired by and inspiring the positive collective consciousness of all who are involved for the betterment of ourselves and of the planet. .y bringing people together through music, art and sacred movement in one of the most gorgeous natural settings on the planet we offer an opportunity to celebrate our spirits, heal our bodies and minds, and recharge and revitali5e our souls to help us both handle the challenges and reali5e the opportunites of our rapidly changing world.heal our bodies and minds, and recharge and revitali5e our souls to help us both handle the challenges and reali5e the opportunites of our rapidly changing world. T- 9:79 ?ideo: http:;;;L.oAdA-pitS by foolontv T- 9:79 ?ideo: http:;;;=#(x8f:@l9w by !isiI6iri T- 9:77 ?ideo: http:;;;5#AQ$#dOt@S by !isiI6iri T- 9:77 ?ideo: http:;;;HnTH3)v77y) by #urilo 3anesh T- 9::< ?ideo: http:;;;(voK#"vxSSS by psynema $n this transformed realm, you can at last reunite with your spiritual and space families and return in joy to full consciousness. http:;;www.electronicawa"; Dancing to the Digital Shamans Wednesday, A: *ovember 9:77 7<::A Jublished in Qeatures I /ccasionals

Written by Terra -ronshey font si5e Jrint )mail .e the first to comment! !hare on faceboo" !hare on email !hare on twitter !hare on print #ore !haring !ervices : #edia

"Electronic Awakening" producer Julian Reyes discusses sound healing and dance culture. Hast month we spo"e via internet with electronic music promoter 6ulian 2eyes. ?ia Geyframe )ntertainment, which 2eyes launched in 9::=, 2eyesC mission is to share the .ay Area underground sound globally and to create prosperity for the international )lectronic >ance #usic community. 2eyes also wor"s on large scale productions including the Oltra #usic Qestival in #iami and .urning #an. Mis latest project is a documentary on the history and evolution of electronic music which will show for one night only at .rewvies this month. /ur conversation covered the creative and healing nature of sound and vibration, particularly as it relates to the electronic dance music culture. When did electronic music become part of your personal ourney!" #y earliest childhood connections to music were with cumbia, bolero, flamenco, salsa and classical. #y -olombian roots and my motherCs love for classical shaped my perception of and passion for music from an early age. $ consider the &active' birth of the techno movement to be the brea",dancing era. $ reali5e that the music was being created prior to this period. *evertheless, the brea"ers embraced it fully. $t wasnCt a fad, it was actually 0and still is for many1 a way of life. #any years spent in the #iami underground sealed it for me. Then, $ lived in /rlando for a couple of years during the height of the .rea"s scene and met ama5ing artists such as $cey and .aby Anne. After those experiences, $ left for the West -oast, and in 7<<< made it to !an Qrancisco where $ experienced the --- JsyTrance parties, Thump 2adio, and eventually the most ama5ing event in our country, .urning #an. #y personal evolution is in tandem with that of electronic musicCs evolution4 my connection to it is eternal. !ounds grandiose, but $ spea" from the heart. 6ulian 2eyes What is electronic music! )lectronic music is modern shamanism4 it is the evolution of rituali5ed drum circles. The music is a "ey that digital shamans utili5e to move, inspire, teach, and heal others. Qrom a global perspective, electronic music is spiritual technology that can help humanity open metaphysical doors to a realm of infinite possibilities. The world can benefit from the energy, community, and love felt on the dance floor by so many E &)lectronic Awa"ening' spea"s directly to that. $Cve always felt that electronic music is a beacon from the !ingularity. $t is technologyCs way of letting us "now that it is awa"ening. As an artist manager# you work with $Js who create this music. $oes the $J have a role in shaping society! %s this specific to sound culture! There is a (uote from the film that answers this (uestion: &NThe >6s are our priests, and the music is our religionN.'

And what a beautiful religion it is 0spea"ing metaphorically of course1. $t includes everyone, it doesnCt judge you. $t empowers you to dance &li"e no one is watching,' it introduces you to many great souls, and it encourages you to be comfortable with your uni(ueness. )lectronic music allows you to embrace others and yourself. $t brea"s down language barriers, economic divisions. $t invites us to experience each other as e(uals. )veryone on the dance floor becomes one organism. What we really are: one. The >6s enable this alchemy. !imilar vision is experienced at other events and other styles of musicE!ufis, *ative American dances, Woodstoc",li"e festivals are example of that. All ceremonies are extensions of music culture. Qor a powerful loo" into this phenomenon chec" out 3lobal .eat Qusion, a film project based on >ere" .eresC 9::8 boo". The idea is that, by listening to a cultureCs music, you gain direct access to the soul of that culture. ThereCs also the notion of the computer being the worldCs first global fol" % love electronic music mainly because % love to dance. &or me# it's not about performance(it's about expression. )ow does dancing tie in to the tribal sound culture! %s it important for individuals to dance! %s dancing *medicine+! As my friends at the >ancing Qreedom -ollective say, the paths of dance are ecstatic, somatic, shamanic and expressive. )cstatic and shamanic are similar, with important differences. !omatic focuses on the body and can also be very beneficial to your emotions. $ believe we experience different degrees of these paths when we interact with sound. /ne could say performing is a part of expression. $ feel that dancing is essential to a cultureCs identity, traditional values and future understanding. &)lectronic Awa"ening' covers this topic in depth, and explains how we move and direct energy through our dancing as an art form, while sharing this experience with others at the same time. >ancing is medicine to me4 it is ritualistic and liberating. The appreciation of music can be just as powerful. $ recently attended a Tai"o drumming festival, and the visions $ experienced were very strong. After some research $ found out the Tai"o drums are handmade by professional drum ma"ers in 6apan. They believe each drum becomes filled with the spirit of the tree from which the wood came, and the spirit of the drum,ma"er and eventually, over the years, even the performers who play the drum. A drumCs sound comes from the spiritual bond between the performer and this tradition. $n the film, we explore the different metaphysical &pacts' that dancers ma"e with sound energyN because what weCre really tal"ing about here is the interaction with energyEdancing. $Cve always felt that every object carries an energy signature, something li"e a >*A imprint, of every person that object has come in contact with. /ne can extrapolate from this and apply it to a vinyl record, ->, or digital sound. What we hear is the physical manifestation of the sound, but what we perceive metaphysically is much deeperN and the expression is manifested in the dance. What was the ,goal' when you decided to work as producer and music director on a documentary about electronic dance music! There were multiple goals: to help, to inspire, to inform, to promote the artists who wor" so hard, to be a source of positivity, to create prosperity for electronic dance music culture, to entertain and to share. Qrom a production perspective: We wanted to create something different, something uni(ue to our culture. We spend time in the film encouraging people to find happiness within, accepting who you are. The film itself can be perceived as a conduit of love. $ thin" if more people on the planet experienced self,love, they would be more accepting of others. &or you# has working with music always been about healing# uniting# transcending! -r was there some point or moment of reali.ation when your work took on a new or deeper meaning!

When $ understood that electronic music was an integral force driving my personal evolution, $ reali5ed that it had the potential to help others transcend. $ couldnCt pinpoint a specific moment4 what $ can say is that helping and inspiring others has always been part of my life. And the deeper my journey ta"es me, the more $ reali5e that my mission is to inspire those who inspire othersE>6s, producers, ?6s, performers and promoters. There is also the technology factor: #y entire professional career has been within the computer graphics realm. #y visual interaction and passion with technology is as important as the sonic. /ound is said to be healing0 can it also be harmful! $ thin" sound has unlimited potential. !ometimes harm helps you evolve4 other times safety and comfort ma"e you complacent. )ven a teenager banging out to 3abber derives a certain type of healing. An observer may not understand this experience in that moment. $ feel this is one reason why rave culture is so misunderstood. $tCs easy to judge what you donCt understand. Where can one discover more information on sound healing and the spirituality of the electronic dance variety % feel that sound healing begins with allowance. Allow yourself to ust be. We spend so much of our everyday lives trying to *control+ everything. The dance floor offers you the opportunity just to be, and to share that &be',ing with everyone else. The >*A of sound healing can be found in the drum and every subse(uent evolution of all musical instruments. There are countless resources on the Web for the different methodologies4 the main thing to remember is to stay open to exploration and to &let go'N enjoy the dance floor, it is sacred. 1an you share a bit about your process in creating the audio landscape for this documentary! #y main objective was to include a wide variety of styles and artists. As long as &something' in the music resonated with the viewer, $ was happy. Timing and placement were very important4 some trac"s just seemed to magically fit into place, li"e serendipity. Qirst we loc"ed down the story and matched the proper video footage, then the music completed and filled each scene. Jhuture Jrimitive and .ird of Jrey lent a very modern feeling. /ur friends from #oontribe were great contributors and we had people with great ideas such as Hiana, !atur, nia, !atsi and >rew #artine5 0the film editor1. $ would say that the process was one of complete collaboration and fluid creativity coming from many sources. *Electronic Awakening+ brings up the concept of dancers and $Js being deeply unified through music# having shared experiences# emotions (unified hearts and minds on the dance floor. What about off the dance floor# do you experience this unity carrying through into everyday life! When $ step out of my circle, $ see a lot of discord and elitism. And then you have movements li"e /W! that give us that sense of bondingN that unity is so obvious on the dance floor. And if you loo" more closely in that movement, you will see a drum, you will hear a chant, you will see a dance. $tCs all interconnected. What about currently! What inspires you to continue this work! Witnessing the evolution of the music and the culture really motivates me to "eep on nurturing the movement. $nspiration comes in many forms: watching up,and,coming talent such as 6. ?ries, -aptain Moo" and >ere" 2yan pave the way, experiencing The -rystal #ethod tear it up hard after so many years leading the way and listening to Treavor #oontribeCs techno mixes, enjoying ama5ing visuals by >r. Jaradise and Jsyberpixie. Jeople li"e Gri in *- and 2oe 2evolution in #iami are also inspiring.

Mearing my son play piano and rap to electronic music, throwing down at events such as /pulent Temple and !teady!QEso many things move me. $ see the music and hear it everywhere, and when itCs not thereN $ do what $ can to facilitate it. What do you see as the future of tribal sound culture! !ociologists and anthropologists are starting to ta"e a serious loo" at our movement. We have screenings re(uested from universities in .ra5il and 3ermany. WeCre also tal"ing to about a do5en universities here in the O.!. to screen the film on their campuses. $ see electronic dance music culture as a guiding light for the world. WeCre not the only guiding light, of course, but we are the ones that adhere to JHO2 Wpeace, love, unity, respectX. We love .urning #anCs 7: principlesEradical inclusion, gifting, decommodification, radical self,reliance, radial self,expression, communal effort, civic responsibility, leaving no trace, participation and immediacy. We push the envelope in music production and do not ma"e money the primary drive. We want to include all. >oesnCt matter what you loo" li"e, what you wear, what you sound li"e, what color, what preferenceN &we accept you.' The world needs more of that4 the world needs more electronic musicN and itCs on its way. Terra -ronshey, a native !alt Ha"er, has been director of a loud,sound art theme camp;village from Otah at .urning #an for the past three years. !he is the festival accounting coordinator for !undance Qilm Qestival.

Perspective on the Electronic Music Culture's relationship to the !" meme Qor years a great cross,section of the human population has been curious about the date >ecember 97st, 9:79. #uch of this curiosity has been recently satisfied through a multitude of boo"s, films, and scholarly theory. Mowever, another (uestion remains in a curious mist of uncertainty. Where%s the party going to be the night of the grand Malabaloo $n the summer of 9::@ $ began wor"ing on a documentary film as part of a project to finish my degree in anthropology. The subject of my research was the spirituality of electronic dance music culture. Maving never been to an electronic music event, let alone listened to much electronic music, $ traveled out to the West -oast of the Onited !tates for the first time with a handful of tic"ets to parties and festivals $ had never heard of to document the mystical undercurrent of the scene.

0 next article ta"e from http:;;www.mushroom,;v9;index.php languageFenglishImenuFvisionsIsubFtopIartF777<:<1 # $hole myria% of prophetic, esoteric conceptions an% beliefs a$aite%& >ownstream from counter,culture, new age, and general psychedelic phantasmagoria, an ocean of free,form spiritual narratives created a web of neo,mystical realities, a whole multitude of micro, religious framewor"s that all in some way weaved into the metaphysics of dance,floor transcendentalism. As $ tre""ed from party to party, whether they were intentionally spiritual gatherings deep in the mountains, or outlandish hedonic revivals in concrete jungles of urban society, $ began to hear rumors circulate about a party on >ecember 97, 9:79. The idea of wild super,massive rave at an ancient ruin

the day of our envisioned doomsday, as well as beginning, seemed to lin" to a general tone of prophetic belief that made up a major part of the esoteric trace within the rave community. There was an obvious influx of mysterious ideologies circulating around the #ayan -alendar which permeated the scene. $ immediately (uestioned the presence of so much #ayan mythology within the community, and also the adoption of the 7Ath #oon >ream !pell calendar. The -alendar, created from time codes hidden within the original #ayan -alendar, had stimulated a movement for peace through the adoption of a Pnew time% in *ew Age, and other spiritually bent fringe groups all over the world. The >ream !pell -alendar had also become prominent in the rave scene. Jarty flyers were dated with #ayan glyphs, #ayan art and other #ayan symbology was displayed around dance floor dZcor, clothing, and artwor", and other externali5ed traces of an internal belief structure manifesting within the scene. Within the mathematical cosmogony of the >ream!pell, pervades the principle that our species is about to transcend ordinary third,dimensional existence, into a forth,dimensional, or in some translations, a fifth,dimensional reality. $t was a bi5arre idea to encounter, and it was even more bi5arre to have an ecstatic dancing experience progenerate this notion. The adoption of the >ream !pell -alendar, also posts a neo,apocalyptic narrative circumventing the end,date of the #ayan -alendar in 9:79, while at the same time hosting a mathematical philosophy of a major shift in human cognition through the transformation from which a higher,dimensional existence would ensue during our alignment to the center of the 3alaxy on >ecember 97, 9:79. *When all this information came in# it ust seemed to fit what we were already doing# evening though it had no real connection# the idea worked.+ T>6 !olus !eptember 9::@ $ am at a festival called Hightning in a .ottle, an electronic music festival outside !anta .arbara. $ am sitting with a group of people inside a tent between a propane lantern that bla5es with a low electric hiss. The pumping thunder of mega,watt spea"ers% pound through the nylon tent walls. 6ust outside, a sea of people dance in a giant clearing amidst laser beams and flashing neon lights. The roar of their celebration amidst pulsating electronic rhythms echoes the futurism of a Ptechno,tribe% emerging. Qrom interview to interview, my own perceptual interpretation of transcendent ritual through festive cultural rupture rang a shared mental picture as to what the experience meant for people. The owner of the tent leans over the lantern, shadows disappear from his face and he loo"s directly into my eyes and begins to spea" with a tone of affirming gravity, &This is my family. The world that we build out here is the real world for us. Jeople say that 9:79 is the end of the world, but we all "now that it is the end of their world and the beginning of ours' Through my ethnography of the electronic music culture, $ had been observing a movement towards a primordial return, integrating a ritual technology as a mode of transformation. $t was my belief that the "inetic engagement of the dance itself was the main source of esoteric undercurrents which

permeated the scene. /f course psychedelics play a huge role, but the experience had on the dance floor created by intense movement and electronic dance music was the real cultural source for a shared vision of future transcendence into an alternate dimension of reality altogether. The integration of the phenomena and phantasm that encompasses the self,guided dogma incorporated in the 9:79 initiative weaves so neatly into the transcendental impression these sonic environments encapsulate. When loo"ing closely at the initiative of the 9:79 meme, a new world,view of collective spiritual transcendence is indication of the honest expression of the cultures internal desire to alter their perception. $n the face of a (uic"ly changing environment which instinctually demands a transformation of the ways in which humanity both perceives and carries out his existence, the idea of global destruction and creation has long fed into the mythologies of human groups as apart of this internal expression for dramatic change. *ever before in the history of humanity have we seen a single millenarian idea so widespread. Det, a prophecy of global transformation would re(uire a global culture to bare its vision, and the electronic dance community appears to be one of the many appropriate carters of the revelation. Another interesting facet of the integration of this new Pmythos% with the electronic dance community, is the move to outdoor environments, and the integration of intentional ritual and ceremony to their night, long ecstasies. This juxtaposition gives the party experience an authentic communal, as well as tribal sensation, one that implies meaning and value to the experience. With this experience comes a temporary transformation of the perception of the individual undergoing the experience. -ognitive processes are gently and sometimes savagely altered. As the techno,shamanic psychedelic environment integrates into a social,cultural framewor", identities change on individual and collective levelsas the music itself ta"es the mind of the individual into an experience of alternate planes of thought, the myriad of techno,tribal cultural identities swarm in around the dance itself, and reality is but for the instant of a wee"end Pshifted.% The integration of psychedelics into these events allows one to further integrate their imagination into the experience of the environment that surrounds them, in a cyclical feedbac" relationship between the experience and the experience. !ystems of belief and thought are replaced, both temporarily and permanently. The environment yields to an alternate dimension of being, and the experience, though brought on through an arsenal of synthetic arrangements, momentary replaces traditional perceptual framewor"s. #emory of the experience remains and over time evolves cognition. We live in what we believe to be is real. )very time someone experiences reality in the mystical playing field generated at these parties, the more the experience integrates bac" into the Pfamiliar.% The concept of consciousness shifting, ta"es on a very subjective nature as dance ritual reinforces the pragmatism of the experience. As conversation of a shift in the collective reality of the dance community ensues, the number 9:79 pops up in more and more conversationsthe party becomes a vehicle for the collective transformation of an entire human group as their collective memories build up a shared perception of a new experience.

$t%s an old tric" in human behavior that corresponds with the inner wor"ings of our minds. Qor thousands of years, cultures and their traditions all over the world have used music and dance as part of the ritual and ceremony for the integration, and stability of their tribal structures. Gey to this article, it not only promotes community, is promotes the subjectification of their mythologiesand their prophecies. What man is actually interpreting through the development of a mythos is not an interpretation of a particular vision or story but the energetic experience of the dance itself. What one experiences in an ecstatic state of trance is the experience of their internal desires. !ince our internal desires are primordial, they are instinctually connected with nature and the environment around us. Thus, as our environment changes, and we see threat to our current cognitive processes and cultural value systems4 the alteration of our belief structures through a hyper,onslaught of groundbrea"ing scientific information, the desubjectification of religious systems, a globali5ation of the sacred, the meltdown of the industrial world, and environmental threats, transformation of mind and spirit permeates the internal psyche within these spaces of liminality. The tribal experience of dancing beyond the realms of the ego produce a strong feeling of connection with community through music, and the rupture of traditional cultural systems that seem to no longer be wor"ing. This creates a Jetri dish for the development of new cultural framewor"s and the reordering of the groups cognitive processes to better adhere to the changing environment. >ance is an instinctual human behavior to demorali5e and reframe perception as a means of evolution of mind and body. #yth is product of ritual, it is the interpretation of these eternal desires for change. #yth is the narrative of a primeval reality, translating deep spiritual desires, moral craving, social and the practical re(uirements for social transformation. #yth expresses, enhances, and codifies belief. $n turn, myth creates reality. -onsciousness re(uires narrative. $ndividual consciousness and the collective human consciousness re(uires the framewor" of a story in order to direct its initiatives for change. When one%s current reality is threatened with drastic alteration it naturally begins to weave narratives of explanation that will offer hope and resolution to guide its actions through the transformation. The millenarianism that is character of the dance community displays this very (uality of the development of a transcendental mythology as a means of reframing its own cognitive processes to alter mind, body, and spirit to better suit our own personal interface with the environment. >ance,based millenarian movements have happened throughout history, in cultures all over the world. When the Ha"ota *atives were threatened with oppression and reservation life, they immediately reacted with the development of a pan,$ndian religion "nown as the 3host >ance. $t was characteri5ed by the emergence of a prophecy that a particular rituali5ed dance would bring a peaceful end to the Anglo expansion, the return of the .uffalo, the salvation of the community, leaving the earth filled with food, love, and faith. This narrative was typified by clean living, honesty, and cross,cultural cooperation as a means of salvation and resolution alongside the dance itself.

Qor the dance community to adopt the undercurrent of a similar narrative proves a structural framewor" to the development of mythos as a form of cultural revitali5ation. Though the salvation of humanity and the world lies within our individual change in lifestyle as a means of adhering to the shifting environment, the characteri5ation of death and rebirth into a new world fits the prophetic initiative as well: !alvation through dancing. Though the dance community has added the awareness that the process of bringing about such change, will not come through a mystical transformation but through the cultural rupture brought on by the act of rituali5ed dancing itself. The intentionality of the culture reads into the natural magic of sound, and its influence on neurological states. )xperienced within a large group it creates a bond of the collective psyche and the subconscious initiative of the group permeates through the experience. -onsciousness instinctively fabricates new translations of experience, the development of new ideas of origin, and prophetic direction. Mumanity naturally begins to weave new stories for itself as the environment surrounding the collective subject changes. An interesting coincidence, in 7<LK a event "nown as the Marmonic -onvergence, was held by *ew Age groups all over the world to usher in an era of awa"ening into love and unity through divine transformation that would be fully awa"ened on >ecember 97st of 9:79. That same year of 7<LK has historically been identified as the birth of the rave scene. $t was the year that the ecstatic experience of a rituali5ed dance became populari5ed in urban youth all over the world, the beginning of a culture which defined its own initiative as a revolution of peace, love, unity, and respect, through the ecstatic unification of sound, mind and body as a collective group. Qor years the numeric value two thousand twelve has been whispered on the edges of dance floors all over the world. $t is most apparent in the psychedelic trance community as an underlying mythos that defines the revolutionary synergistic electro,fusion of mind body and spirit.. The 9:79 narrative is a form of interpretation most commonly now used to define the experience and the worldview that permeates the reawa"ening of a primordial experience. Again $ am in,between parties, staying in a cabin in #ount !hasta conducting and interview with the !han,man, owner of The ?illage /racle in Weed, -alifornia. We are sitting out in the sun, the icy tip of #t. !hasta beaming in the bac"ground. We are tal"ing about the integration of the 9:79 mythology into the cultural framewor" of the electronic dance community, and the role that the parties actually are playing in the process of global awa"ening into a new mode of thin"ing. Me describes the party as a welcome mat, &They are li"e a doorway in,' he describes, a doorway that leads into a mystical world of archaic, magical phantasmagoria that the experience of transition into indicates not only transformation of the self, but the world to follow. Me states later in the interview, &We "now that we are all heading towards one huge gathering.' What $ see as one of the most interesting features of the 9:79 initiative in terms of the electronic dance community is the idea of a synchroni5ed global gathering on the date the calendar ends, >ecember 97, 9:79. /n that date the earth lines up with the sun, which lines up with the Jalladian

!tar system and the elliptic of the galaxy4 a celestial alignment that the earth has never before experienced. The >ance community already celebrates a model of this end,date ritual, called )arth >ance. This is another synchroni5ed party lin"ing A@: dance,floors all over the world as an intentional ceremony for peace. Though this ritual is conducted annually, the preparation for an even larger synchroni5ed dance ritual to celebrate a celestial event as rare as our alignment to the center of the galaxy offers an interesting notion that humanity should very (uic"ly becoming aware of. This will be the most massive, pan,human ritual ushering transformation in the history of human "ind. With the constant development of the mythos surrounding the 9:79 meme, what will such preparation, and practice of such a ceremony alter of the consciousness of those participating in the ritual The alignment of dance rituals to celestial events is traditionally the source of a mythologies lin" to the stars. Which means, that our collective human narrative is fashioned and reshaped by the movement of the stars. #eaning that our collective human story is a translation of this energetic experience of the cosmos. Mow will the energetic experience of the alignment be translated The creation of new myth perhaps, a new story of human "ind. !o to answer the introductory (uestion, as to the location of the party$ have heard several rumors. !ome rumors have entitled it +The Jarty at the )nd of Time+. The collective pattern of gossip seems to congeal to K principal locations.
There is word that these locations may very well be planetary char"a points. To my "nowledge, these points are Titicaca Ha"e between .olivia and Jeru, #ount !hasta in -alifornia, Oluro Gattjuta, the big red roc" in the middle of Australia, The Tor in 3lastonbury, The 3reat Jyramid in )gypt, and #outh Gailash in Tibet, and Guh,e,male" !iah a not so tall mountain located in the Tri,point area of $ran, Afghanistan and Ja"istan. These are the main points to my "nowledge, however $ have also heard of the Malea"ala -rater, the )l Tule, Table #ountain, .ali, #ount Quji, and the !ergiev Josad in #oscow to be locations also. Wherever the party is, and no matter what happens on >ecember 97st 9:79, the most important and beautiful part is that people from all wal"s of life, from all different cultures and countries will be Onited in a dance, a celebratory ritual to usher in the 3alactic *ew Dear, and a new dawn for man"ind. .ecause when it comes to man"ind%s own part in the great theater of the 9:79 alignment, if anything on our part is going to bring about any real and dramatic change, a massive global rave sounds li"e a damn fine go at it.

$f anyone has any other information to share of the massive Jarty at the )nd of Time, $ would very much li"e to include it in my documentary for all the world to see. Jlease forward all information to: 6eronimoYTheQederation/f)

Wal"ing A Habyrinth , >iscovering /ur !acred $nner Jeace +A ma5e is a pu55le to be solved, defined by ambiguity, blind alleys and bloc"s. $n contrast, a labyrinth is pilgrimage, where one path leads to the center and out again. $t is traversed as a metaphor of the personal journey: inward, center and outward4 releasing, receiving and returning4 yin, yang and the interstitial opening in between.+ [0gail1[ Habyrinth at !t. 6ohns convent,Toronto