Ozorian Prophet May 2013
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The Psytrance Party
THE PSYTRANCE PARTY C. DE LEDESMA M.Phil. 2011 THE PSYTRANCE PARTY CHARLES DE LEDESMA A thesis submitted in partial fulfilment of the requirements of the School of Humanities and Social Sciences, University of East London for the degree of Master of Philosophy August 2011 Abstract In my study, I explore a specific kind of Electronic Dance Music (EDM) event - the psytrance party to highlight the importance of social connectivity and the generation of a modern form of communitas (Turner, 1969, 1982). Since the early 90s psytrance, and a related earlier style, Goa trance, have been understood as hedonist music cultures where participants seek to get into a trance-like state through all night dancing and psychedelic drugs consumption. Authors (Cole and Hannan, 1997; D’Andrea, 2007; Partridge, 2004; St John 2010a and 2010b; Saldanha, 2007) conflate this electronic dance music with spirituality and indigene rituals. In addition, they locate psytrance in a neo-psychedelic countercultural continuum with roots stretching back to the 1960s. Others locate the trance party events, driven by fast, hypnotic, beat-driven, largely instrumental music, as post sub cultural and neo-tribal, representing symbolic resistance to capitalism and neo liberalism. My study is in partial agreement with these readings when applied to genre history, but questions their validity for contemporary practice. The data I collected at and around the 2008 Offworld festival demonstrates that participants found the psytrance experience enjoyable and enriching, despite an apparent lack of overt euphoria, spectacular transgression, or sustained hedonism. I suggest that my work adds to an existing body of literature on psytrance in its exploration of a dance music event as a liminal space, redolent with communitas, but one too which foregrounds mundane features, such as socialising and pleasure. -
Hallucinogen LSD (Live Mix) Mp3, Flac, Wma
Hallucinogen LSD (Live Mix) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: LSD (Live Mix) Country: UK Released: 1995 Style: Goa Trance MP3 version RAR size: 1524 mb FLAC version RAR size: 1155 mb WMA version RAR size: 1510 mb Rating: 4.7 Votes: 731 Other Formats: APE AUD WMA DTS MIDI MOD ASF Tracklist Hide Credits LSD (Live Mix) A 9:05 Producer, Remix – Hallucinogen LSD (L.S. Doof Remix) B1 6:19 Remix – DoofWritten-By – N. Barber* LSD (Original Version) B2 6:46 Producer [Additional] – Ben KemptonProducer, Mixed By – Hallucinogen Companies, etc. Mixed At – Doof Studios Produced At – Hallucinogen Sound Labs Mixed At – Hallucinogen Sound Labs Phonographic Copyright (p) – Dragonfly Records Copyright (c) – Dragonfly Records Credits Written-By – Simon Posford Notes B1: Mixed at Doof Studios, London. B2: Produced & mixed at Hallucinogen Sound Labs, London. ℗ Dragonfly Records 1995 © Dragonfly Records 1995 Comes in three versions - green, orange or purple label on the A side. Durations extracted from vinyl rip Other versions Category Artist Title (Format) Label Category Country Year LSD (Live Mix) (12", BFLT 29 Hallucinogen Dragonfly Records BFLT 29 UK 1995 Pur) LSD Remixes (4xFile, TWXDL01 Hallucinogen Twisted Records TWXDL01 UK 2008 MP3, 320) SUB 4804.1 Hallucinogen LSD (CD, Single, Ora) Substance SUB 4804.1 France 1996 LSD (Live Mix) (12", BFLT 29 Hallucinogen Dragonfly Records BFLT 29 UK 1995 Gre) TWST 13RX Hallucinogen LSD (12", Ltd) Twisted Records TWST 13RX Europe 2001 Comments about LSD (Live Mix) - Hallucinogen Nuliax If you like this then you like Goa/Psy Trance. Tired of people whining about how Goa/Psy all sounds the same. -
Final Copy 2019 01 31 Charl
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Charles, Christopher Title: Psyculture in Bristol Careers, Projects and Strategies in Digital Music-Making General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Psyculture in Bristol: Careers, Projects, and Strategies in Digital Music-Making Christopher Charles A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Ph. D. -
Download Brochure
Name: Niraj Singh ACOUSTAMIND Hometown: Mumbai Genre: Electronic Dance Music: Psytrance, Dark Progressive Likes (Facebook): 1270 likes About: Acoustamind - is Niraj Singh who is born and bred from Bombay, India. Niraj got acquainted with disc joking at a very tender age of 16. In his Djing journey, he was hit by the psychedelic music wave in 2005 which gave birth to his psychedelic project “Psyboy Original” under which he performed in several events and festivals throughout India. Completed his “Audio Engineering” from the prestigious SAE institute in the year 2012 to deepen his understanding of music production and is currently pursuing Acoustical instruments. He spends majority time of the day in his studio (Rabbit Hole Soundlab), producing music which consists of dark and harmonic atmospheres, deep and powerful bass lines, psychedelic melodies and synthesized rhythms. His music is a smooth blend of familiar Sounds from the nature and unheard Alienated sounds. “Acoustamind” as a project believes and focuses on working with collaboration with various artists like Karran, Shishiva, etc to produce music with cross collaboration of creative ideologies. Niraj has shared the stage with many senior artists of the dark and forest psychedelic trance genre on numnerous occasions in Goa and other parts of India. Acoustamind’s objective is to spread UNBOUNDED FRESH BREATHTAKING AND BRAIN TRANSFORMING ELECTROMAGNETIC WAVES with a humble smile through SOUNDCARPETS MELTED WITH PHAT KICKS AND ULTRAUEBERROLLING GROOVY BASSLINES and wishes to travel the world. http://bhooteshwara.com/artist/acoustamind/ http://soundcloud.com/…/acoustamind-vs-kosmic-baba-bad-robot Name: Ovnimoon records ALPHATRANCE Hometown: Toulouse, France Genre: Psychedelic trance, Progressive trance Psytrance, Trance Likes(Facebook): 10,588 About: Dj Alphatrance (Ovnimoon Records) is DJ who is spiritually enlightened by Buddhism. -
Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture
Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture Feature Article Christopher Charles University of Bristol (UK) Abstract Digital technology has changed the way in which genre terms are used in today’s musical cultures. Web 2.0 services have given musicians greater control over how their music is categorised than in previous eras, and the tagging systems they contain have created a non-hierarchical environment in which musical genres, descriptive terms, and a wide range of other metadata can be deployed in combination, allowing musicians to describe their musical output with greater subtlety than before. This article looks at these changes in the context of psyculture, an international EDM culture characterised by a wide vocabulary of stylistic terms, highlighting the significance of these changes for modern-day music careers. Profiles are given of two artists, and their use of genre on social media platforms is outlined. The article focuses on two genres which have thus far been peripheral to the literature on psyculture, forest psytrance and psydub. It also touches on related genres and some novel concepts employed by participants (”morning forest” and ”tundra”). Keywords: psyculture; genre; internet; forest psytrance; psydub Christopher Charles is a musician and researcher from Bristol, UK. His recent PhD thesis (2019) looked at the careers of psychedelic musicians in Bristol with chapters on event promotion, digital music distribution, and online learning. He produces and performs psydub music under the name Geoglyph, and forest psytrance under the name Espertine. Email: <[email protected]>. Dancecult: Journal of Electronic Dance Music Culture 12(1): 22–47 ISSN 1947-5403 ©2020 Dancecult http://dj.dancecult.net http://dx.doi.org/10.12801/1947-5403.2020.12.01.09 Charles | Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture 23 Introduction The internet has brought about important changes to the nature and function of genre in today’s musical cultures. -
Aliens, Afropsychedelia and Psyculture
The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture Feature Article Graham St John Griffith University (Australia) Abstract This article offers detailed comment on thevibe of the exiles, a socio-sonic aesthetic infused with the sensibility of the exile, of compatriotism in expatriation, a characteristic of psychedelic electronica from Goatrance to psytrance and beyond (i.e. psyculture). The commentary focuses on an emancipatory artifice which sees participants in the psyculture continuum adopt the figure of the alien in transpersonal and utopian projects. Decaled with the cosmic liminality of space exploration, alien encounter and abduction repurposed from science fiction, psychedelic event-culture cultivates posthumanist pretentions resembling Afrofuturist sensibilities that are identified with, appropriated and reassembled by participants. Offering a range of examples, among them Israeli psychedelic artists bent on entering another world, the article explores the interface of psyculture and Afrofuturism. Sharing a theme central to cosmic jazz, funk, rock, dub, electro, hip-hop and techno, from the earliest productions, Israeli and otherwise, Goatrance, assumed an off-world trajectory, and a concomitant celebration of difference, a potent otherness signified by the alien encounter, where contact and abduction become driving narratives for increasingly popular social aesthetics. Exploring the different orbits from which mystics and ecstatics transmit visions of another world, the article, then, focuses on the socio- sonic aesthetics of the dance floor, that orgiastic domain in which a multitude of “freedoms” are performed, mutant utopias propagated, and alien identities danced into being. Keywords: alien-ation; psyculture; Afrofuturism; posthumanism; psytrance; exiles; aliens; vibe Graham St John is a cultural anthropologist and researcher of electronic dance music cultures and festivals. -
Various Raja Ram's Stash Bag Mp3, Flac, Wma
Various Raja Ram's Stash Bag mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Raja Ram's Stash Bag Country: UK Released: 2002 Style: Goa Trance, Psy-Trance MP3 version RAR size: 1437 mb FLAC version RAR size: 1553 mb WMA version RAR size: 1512 mb Rating: 4.6 Votes: 969 Other Formats: MOD MP3 AC3 MP1 MPC ADX ASF Tracklist Hide Credits Telepathy 1 –The Infinity Project 4:13 Written-By – G. Wood*, Raja Ram, S. Posford* Out Here We Are Stoned (The True School Heart Trance Mastermix) 2 –E-Rection 3:42 Remix – X Dream*Remix [Extra Tweakage] – Benji Vaughan, Raja RamWritten-By – D. Brown*, P. Huber* Time Simulation 3 –Talamasca 6:48 Written-By – Lestat* 3rd Link 4 –Biotonic* 5:28 Written-By – Jerone Lecoque*, J. Brizzard*, Julianne Lecoque* Crystal Skulls 5 –Logic Bomb 2:13 Written-By – J. Krafft*, J. Pettterson* Midnight Sun (GMS Remix) 6 –Alien Project vs. Astrix 3:12 Remix – GMSWritten-By – A. Linker*, A. Shmailov* Salvia Divinorum 7 –1300 Mics* 1:30 Written-By – Bansi, Chicago, Raja Ram, Riktam Crystal Skulls 8 –GMS & 1300 Mics* Vocals – Isabelle*, Mariana Written-By – Bansi, Chicago, Raja 3:16 Ram, Riktam Binary Neuronaut 9 –The Infinity Project Remix [Extra Tweakage] – Benji Vaughan, Raja RamWritten- 3:00 By – G Wood*, Raja Ram, S. Posford* –Space Tribe And Electric The Acid Test 10 6:35 Universe Written-By – O. Wisdom*, Raja Ram Halloween 11 –GMS 5:04 Written-By – Bansi, Riktam Shamanix (Remix) 12 –Hallucinogen 7:29 Written-By – S. Posford* Around The World In A Tea Daze 13 –Shpongle Vocals [Uncredited] – Abigail GortonWritten-By – Raja Ram, 3:12 S. -
The Globalization of Goatrance
Interview with Graham St John By Geert Lovink Australian cultural critic Graham St John has written a groundbreaking study on the way the electronic dance music (EDM) genre called Goatrance globalized itself as a movement. In Global Tribe: Technology, Spirituality and Psytrance (Equinox, 2012), he describes Goatrance not merely as a subcategory of EDM. Psytrance, as it is also called, is first and foremost a culture that is celebrated through events such as parties and festivals. The emphasis here is not on regular clubs or labels but on personal transformation which is celebrated in a collective fashion. Music has a supportive role here, it is literally a medium, a transportative vehicle to carry us into another realm of consciousness. As Graham points out in the intro, “Enabling departures from dominant codes of practice and arrivals at alternative modes of being, the dance floor and the community proliferating around its verges, are built according to the design of a radical utopian imagination.” The traveller-scholar St John has given himself the task to articulate, theorize and popularize that imagination. Because of the ‘serving’ task of the music, music criticism plays less of a role in this case. If anything, Graham St John is a Critic of the Cosmic Event. I’d love to see him as a contemporary organic intellectual (as Gramsci defined it) of the psytrance movement. His intimate knowledge of the festivals and their ‘architechtonics of transition’ has put Graham St John at odds with traditional (Anglo-Saxon) academia that has a hard time understanding underground cultures which position themselves outside of the pop mainstream. -
The Spiritual and the Revolutionary Alternative
This article was downloaded by: [HEAL-Link Consortium] On: 7 October 2008 Access details: Access Details: [subscription number 772811123] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Culture and Religion Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713694811 The Spiritual and the Revolutionary: Alternative Spirituality, British Free Festivals, and the Emergence of Rave Culture Christopher Partridge Online Publication Date: 01 March 2006 To cite this Article Partridge, Christopher(2006)'The Spiritual and the Revolutionary: Alternative Spirituality, British Free Festivals, and the Emergence of Rave Culture',Culture and Religion,7:1,41 — 60 To link to this Article: DOI: 10.1080/01438300600625408 URL: http://dx.doi.org/10.1080/01438300600625408 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Strange Sounds Strange Sounds This Page Intentionally Left Blank Strange Sounds
Strange Sounds Strange Sounds This page intentionally left blank Strange Sounds Music, Technology, &Oulture TIMOTHY D. TAYLOR ROUTLEDGE NEW YORK LONDON Published in 2001 by Routledge 270 Madison Ave, NewYorkNY 10016 Published in Great Britain by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group. Transferred to Digital Printing 2010 Copyright © 2001 by Routledge All rights reserved. No part of this book may be printed or reproduced or utilized in any form or by electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publisher. The publisher and author gratefully acknowledge permission to reprint the following: An earlier version of chapter 7 appeared as "Music at Home, Politics Afar" in Decomposition: Post-Dis ciplinary Performance, edited by Sue-Ellen Case, Philip Brett, and Susan Leigh Foster, © 2000 by Indiana University Press. Example 4.1, an exceprt from "Moon Moods," music by Harry Revel, © 1946, reprinted by permission of Michael H. Goldsen, Inc., and William C. Schulman. Figure 4.5 used courtesy of Capitol Records, Inc. Figure 7.2 and figure 7.3 reprinted by permission of Geert-Jan Hobijn. Figure 8.1 and figure 8.2 reprinted by permission of Synthetic Sa:dhus. Figure 8.3, figure 8.4, and figure 8.5 reprinted by permission of Tsunami Enterprises, Inc. Cataloguing-in-Publication Data is available from the Library of Congress. ISBN 0-415-93683-7 (hbk.) - ISBN 0-415-93684-5 (pbk.) Publisher's Note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original may be apparent. -
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Seasoned Exodus The Exile Mosaic of Psyculture Feature Article Graham St John University of Queensland (Australia) Abstract Psychedelic trance music and culture (psyculture) is explored as a culture of exodus rooted in the seasonal dance party culture evolving in Goa, India, over the 1970s/1980s, and revealing a heterogeneous exile sensibility shaping Goa trance and psyculture from the 1990s/2000s. That is, diverse transgressive and transcendent expatriations would shape the music and aesthetics of Goa/psytrance. Thus, resisting circumscription under singular heuristic formulas, Goa trance and its progeny are shown to be internally diverse. This freak mosaic was seasoned by expatriates and bohemians in exile from many countries, experienced in world cosmopolitan conurbations, with the seasonal DJ-led trance dance culture of Goa absorbing innovations in EDM productions, performance and aesthetics throughout the 1980s before the Goa sound and subsequent festival culture emerged in the mid-1990s. Rooted in an experimental freak community host to the conscious realisation and ecstatic abandonment of the self, psyculture is heir to this diverse exile experience. Keywords: Goa trance, psytrance, psyculture, exodus, cultural exile, counterculture, festival Graham St John is an Honorary Research Fellow at the Centre for Critical and Cultural Studies at the University of Queensland. His book forthcoming with Equinox in 2012 is Global Tribe: Spirituality, Technology and Psytrance. Other recent books include Technomad: Global Raving Countercultures -
Ozorian Prophet May 2013
Universally Owned | Our 4th year. Issue No.27 Saturday, August 8, 2015 Independent and Free INTERVIEW MUSIC + CIRCUS More complex music The child within By novishari more difficult in terms of On the Way to Ozora, one getting around authorities of our favorite villains, for proper free parties, but London born Phil Getty, a when it's good, it's still spe- true Fagin’s Reject joined cial, and that's why I still us for a bit of a talk. do it. In terms of sound, it's definitely been an im- – So what hooks someone provement though! No coming from a psychedel- more DAT tapes and crap ic rock and metal back- quality, now it's all about ground to Goa? the crystal-clear sound – It was a natural pro- systems that will do jus- gression for me to go tice to the more complex from metal to psychedel- music. ic rock, especially after I – You have a collection got into Led Zeppelin and of limited vinyl releas- Hendrix. Then from bands es dating back to those like Ozrics, Hawkwind and early 90’s. What is/are the Gong to goa trance. I think greatest vinyl treasure/s this was because of the syn- you have? thesisers used for the trip- – All of it. It's a journey py stuff, I could never work through my life in musi- out how they made those cal form. But If I had to sounds. But the thing that pick something it would sticks out most in my mind be Jungle High by Juno was seeing Eat Static live Reactor as it was the first in 1992.